It doesn't seem it but I put this together in 2000 to expoain how I applied Sanchin kata.
Beginning Sanchin Bunkai
First do we all have a common reference, such as Morio Higaonna's Traditional
Karatedo 2 with Sanchin in it. It would make for easier reference if we can
do this.
Regarding Ueichi Sanchin, it is performed open handed, and does not use
dynamic tension. I assume it is closer to the original Hiagonna used to
derive his closed fist Sanchin from.
I think a fun place to start would be Myiagi Sanchin (the afforementeiond
Higaonna text) PAGE 39 picture 8 as the text says " from musubi dachi,
bending the knees slightly, use suri ashi to slowly slide the right foot
forward in an inward arc into right sanchin dachi; at the same time bring
both arms up in front of the chest, left arm over right…"
This is just before performing the morote chudan yoko uke (the double side
blocks).
Any takers.
Victor
But to offer my beginning, lets start on the beginning movement.
[By personal preference, I'm not into Rei breakdown.]
------------------------------ Sanchin Kata
"Slide the Right Foot Forward in an inward arch into right Sanchin Dachi, at
the same time bring both arms up in front of the chest" - precursor to the
following morote chudan yoku uke.
I would add left arm out, right crossed on top.
---------- -------
The first thing this reminds me of is the use of the movement as a stop hit.
Sherman Harrill has a variation of this he's used on me.
As I see it, uke's coming out to punch me with his right hand (or to grab me
with his right hand).
I step forward with my right and used the crossed hands to strike straight
into his solar plexus as he's moving with my left. The crossing right can
also strike into the chest at the same time (a double hit).
The throat can also be a target of opportunity. Especially used in some
Aikido as an Atemi strike into the throat. I cite Mitsugi Saotome's "The
Principles of Aikido" page 56 - 57. Shomenuchi irimi with atemi to the
throat, and with atemi to the solar plexus. Great example. BTW works great,
too.
Second opportunity, (from Harrill Sherman sensei), the left hand strikes into
the lower right abdomen, the same time the right strikes across the body into
the side of the attackers right forearm. (A different double strike) This
is an opening movement for the following technique from the kata (Sanchin or
Seisan).
Interesting strike. The lower abdomen of the punching arm is often very
unprepared for a counter strike, as the body is preparing to deliver its own
strike.
This ties into a thought of Rothrock Ernest (Faan Tzi Ying Jow Pai) that the
reason the Chinese chamber their punches on the side of the body is to
protect the lower abdomen area. So it's interesting to find a reason to
strike there.
Which ties into another story from Trevor Leggett's "Zen and the Ways", where
a kenjutsu school had 3 of their seniors massacred one night, with single
knife thrusts into the same area. But that's not germane to this topic. Just
a plug for a fantastic book, if you can ever find a copy.
Well, this is my opening foray into the first movement of Sanchin Kata.
Victor
Sanchin 2nd Movement
After we have stepped out with the right foot and have brought both arms up
in front of the chest, we execute Morote Chudan Yoku Uke (Double Outer Middle
Blocks).
Among the application opportunities are:
Percussive Defense
Grappling counters From the front
1. Uke LFF Lft Grab
You turn 20 degrees left. The Left outer middle block turns the attackers
grabbing arm over while
The right middle block is used as a strike to the attackers left arm triceps.
2. Uke RFF Rt Grab
You turn 20 degrees left. The Left outer middle block turns the attackers
grabbing arm over while the right middle block is used to strike into the
side of the attackers neck or chest.
3. Uke RFF Cross hand grab of your right hand
Defense as in 2.
4. Uke RFF Double hand grab of both hands.
Defense as in 1.
Percussive Offense
5. Attacking to the opponents back/spine from behind with the back knuckle
strikes.
6. Attacking to the opponents back/spine from behind or the side with the
elbow strikes in the double outer blocke
Takedown counters from the front
7. Uke LFF Left Punch
You turn in 20 degrees to the left as your left outer block deflects the
strike, your right foot hooks behind their left foot and at the same time
your right arm strikes up under their punching left arm into their chest
(upper pectorial area). The left deflection and the right upper body strike
combine with the trapping of their foot to spin them down.
8. Uke RFF Right Punch
Your turn in 20 degrees to the left as your left outer block deflects the
strike, your right foot hooks behind their right foot and at the same time
your right arm strikes up under their punching right arm into their upper
back just behind the armpit area. The left deflection and the right upper
back strike combine with the trapping of their foot to spin them down.
Important to note, the double outer blocks create a plane of force between
them to increase the power of both strikes. The simultaneous timing becomes
very important to generate full power into these strikes. When the trapping
of the opponents foot is used with the blocks, the opponents center of
gravity is overtaken with your own to spin them down off balance.
Of course this is an incomplete analysis of this movement and I hope this
spurs discussion to aid us on our quest.
Victor
Important Notice. If you don't check out George Mattson's Ueichi Site at
http://www.xpres.net/~gmattson/cgi-bin/Ultimate/Ultimate.cgi?action=intro&Bypa
ssCookie=true
you're missing out on some very good material. Currently in Bil Glassheen's
Martial Arts Forum there is a very detailed analysis of Ueichi Seisan kata
applications move by move that is really worth the effort to find.
Victor
Sanchin 3rd movement
Before I begin my analysis of this movement, today (02/15/00) on the Cyber
Dojo Paris Janos made a great point about the circular nature of all movement.
I quote from Paris with his permission.
"I agree with what Rusty and others are discussing about circular motion.
"Elliptical might be a good description too, but we all get the idea. The good
thing about circles is that they contain the possibility of power issuance
along the whole curve, not at only one point. Circles also allow
for more smooth transitions between techniques as they eliminate stop-and-go
actions that are counter- productive in a martial sense. "
"There is no pause in power and technique as they merge into one continuous
flow and circles are present in all techniques even when not visibly apparent.
Knowing how to best exploit and utilize these curves and arcs is learned
through correct kata practice and application. They are natural movements but
require
training and thought in order to maximize their effectiveness."
"Often times, kata techniques are studies in describing different circular
directions at the same time while developing the ability to issue power in
different or opposing directions. Compounded circular motion is difficult but
paramount in our study of real fighting ability and attributes. "
"As we improve (hopefully) we learn how to decrease the size of our circles so
as to retain the inherent concept and utilize it most realistically. "
This seems to tie into my suggested use of technique for the 'shearing forces'
present, which are derived from the circular nature behind the techniques.
[Of course it may well be that I only want to throw in a great quote. Victor
-----
On the other hand, the flow of the circle now begins to strike me as a way of
explaining the basic shifting I prefer to execute most techniques. If you've
ever attempted to walk a circle you find the old adage about it being composed
of an infinite number of straight lines each touching the circle at one point,
It's making me rethink my entry against attacks as a very tight circling to
the 20 degree crossing of their line of attack.
More food for thought.
--
Back to Sanchin.
You've completed the Step forward into Right Sanchin Dachi and executed the
double outside blocks
Next you chamber the Left Hand and follow this with a left reverse punch.
In the Goju (and Isshinryu) version I've see two methods of chambering.
1) return the left hand directly to chamber
2) Circle the left hand in alongside the right arm as it goes to chamber
The Ueichi version of this circles the left hand in alongside the right arm as
it goes to chamber.
The first part of this motion can be
1) simply chambering preparing for the punch
2) grabbing and pulling the attacker into the chamber
3) A slashing descending backfist striking into an uke's punching arm or
kicking leg
4) A slashing strike into an opponents body
The second part of the motion is simply a punch with various targets
From the front
1) The solar plexus
2) The lower side of the abdomen
From the side
3) The side of the ribs
4) The armpit
From the back
5) The Spine
6) The Kidneys
Now to put some of these together.with Sanchin techniques 1 and/or 2.
Uke Left Foot Forward Left Punch
1. You step in with your right foot and use the cross hands strike into their
upper left chest. (an interior line of defense)
2. You then execute your double outer strikes, the right deflecting their left
punch out and the left striking into their chest (or the side of their head).
Uke then throws a right reverse punch
3. You slice your left backfist on the inside of their punching right hand as
you chamber.
4. You then punch into the lower side of their abdomen with your left hand
5. a. If you strike there with a vertical punch turned to 1 o'clock, the
strike will cause them to bend down
6. a. If you strike there with a vertical punch turned to 11 o'clock the force
of the strike will travel back to their kidneys.
Uke Left Foot Forward Left Punch
1. You step in with your right foot and slide your left foot over so your
center line will cross their attacking arm 20 degrees.
2. Your double outer strike has the right deflecting the left punch and the
left hand back knuckles striking into their chest.
3. You then Slice a left backfist into the side of their ribs as you chamber.
4. Your right hand turns over and grabs their left wrist and pulls down as your
left arm slices across their left ribs with the side of the arm. This will
cause them to sag forward allowing a spin down with your right hand.
Uke Right Foot Forward Right Punch
1. You step forward with your right foot using a crescent step, to the outside
of their punching arm. (an exterior line of defense). Then slide your left foot
over so your centerline will cross their attacking arm 20 degrees.
2. Your double outer strike has the right deflecting the right punch and the
left hand backfist striking into their chest (under the attackers arm).
3. You then slice a left backfist across the side of their ribs as you chamber.
4. You right hand turns over and grabs their left wrist and pulls down as your
left arm slices across their right ribs with the side of your arm. This will
cause them to sag forward allowing a spin down with your right hand.
Alternate ending
4. Your right hand stikes into their kidneys (or arm pit)
Uke Right Foot Forward Right Punch
1. You step forward with your right foot using a crescent step, to the outside
of their punching arm (an exterior line of defense). You crossing hands strike
into their armpit or the side of their right ribs.
2. You slide your right foot forward and execute a double outer strike, the
right arm strikes into their back because you begin swinging your leg clockwise
and end up in right sanchin dachi behind your attacker
3. You now shift to a posterior line of attack.. Your left arm slices down
across their spine as you chamber your hand.
4. You now punch a) their spine or b) their kidneys.
This covers some of the basic striking options I see with Sanchin through the
first three movements.
I know I haven't begun to exhaust this topic, and I await your responses.
Victor
The Sanchin - 4th Movement and 2nd Tnansition
Back to Sanchin.
Completing the reverse punch, you now do a left outer block with the
left arm.
Obviously this can be done as a Thumb knuckle strike from the fist
(block), or by using the forearm as a shearing plane of force.
This technique, while it can be used alone, to my mind seems strongest
as a follow up of 1,2,3. In that light I will continue with these
sequences adding the fourth technique.
Now to put some of these together.with Sanchin techniques 1, 2 and 3.
Uke Left Foot Forward Left Punch (Interior line of defense)
1. You step in with your right foot and use the cross hands strike into
their upper left chest. (an interior line of defense) [This step is
the first Transition.]
2. You then execute your double outer strikes, the right deflecting
their left punch out and the left striking into their chest (or the
side of their head).
Uke then throws a right reverse punch
3. You slice your left backfist on the inside of their punching right
hand as you chamber.
4. You then punch into the lower side of their abdomen with your left
hand
5. a. If you strike there with a vertical punch turned to 1 o'clock,
the strike will cause them to bend down
6. a. If you strike there with a vertical punch turned to 11 o'clock
the force of the strike will travel back to their kidneys.
7. Your left outer block is used as a strike into the left side of
their neck (or alternately into their left arm pit) (or into the left
side of their body in the floating ribs).
Uke Left Foot Forward Left Punch (Interior Line of Defense)
1. You step in with your right foot and slide your left foot over so
your center line will cross their attacking arm 20 degrees.
2. Your double outer strike has the right deflecting the left punch and
the left hand back knuckles striking into their chest.
3. You then Slice a left backfist into the side of their ribs as you
chamber.
4. Your right hand turns over and grabs their left wrist and pulls down
as your left arm slices across their left ribs with the side of the
arm. This will cause them to sag forward allowing a spin down with your
right hand.
5. As you are pulling down you can use the left outside block to strike
up underneath their arm and behind their elbow, causing hyperextesion.
Uke Right Foot Forward Right Punch (Exterior Line of Defense)
1. You step forward with your right foot using a crescent step, to the
outside of their punching arm. (an exterior line of defense). Then
slide your left foot over so your centerline will cross their attacking
arm 20 degrees.
2. Your double outer strike has the right deflecting the right punch
and the left hand backfist striking into their chest (under the
attackers arm).
3. You then slice a left backfist across the side of their ribs as you
chamber.
4. You right hand turns over and grabs their left wrist and pulls down
as your left arm slices across their right ribs with the side of your
arm. This will cause them to sag forward allowing a spin down with your
right hand.
5. As you are pulling down you can use the left outside block to strike
up underneath their arm and behind their elbow, causing hyperextesion.
Alternate ending
4. Your right hand stikes into their kidneys (or arm pit)
5. Your left outside strike srikes into their right armpit.
Uke Right Foot Forward Right Punch
1. You step forward with your right foot using a crescent step, to the
outside of their punching arm (an exterior line of defense). You
crossing hands strike into their armpit or the side of their right ribs.
2. You slide your right foot forward and execute a double outer strike,
the right arm strikes into their back because you begin swinging your
leg clockwise and end up in right sanchin dachi behind your attacker
3. You now shift to a posterior line of attack.. Your left arm slices
down across their spine as you chamber your hand.
4. You now punch a) their spine or b) into or across their kidneys.
5. You finish using the left outer block/strike into their back.
Without doubt this also is used in combination with the other
techniques as a 'grab' defense, too.
A Sherman Harrill 'SunNuSu Kata' Variations.
Uke Left Foot Forward Left Punch
1. As you step out with the first transition, your right arm blocks
across the attackers left punch.
2. At the same time your left hand thumb strikes into the inner elbow
area (just behind the elbow). These two motions will bend their arm.
3. Your right arm circles counter-clockwise down and then up into the
outer right middle block. The left arm circles clockwise down and up
into a left thumb strike into the left side of uke's neck.
4. As the right arm continues to cirle down and up (behind uke's
scapula), the left hand descending backfists across uke's chest.
5. The right arm continues to circle counter-clockwise rolling the
attacker down. The left punch is used as a forearm strike into the left
side of the attackers neck.
6. In that the attacker has been rolled down and stunned with the neck
strike. As their going down the left outer block is used as a
descending elbow strike into the back of the attackers neck.
Caution is urged in training.
Sanchin - 2d Transition (stepping movement.
Now step with the left foot forward into left sanchin dachi.
In my analysis, I don't always define a kata's technique sequences as
ending on the striking. Another technique is to use the movement
following a strike as a lower body technique. Most often this is seen
as a sweep to assist in completing the motion to down the opponent.
BTW, there is an interesting variation of using the sequence to take
the opponent down. They punch, you do your strike thing, take the next
step to sweep their leg taking them down. Then take the following step
as a knee strike into the arm you've pulled down to demolish the arm.
Without saying, as this series of techniques is first done out of Right
Sanchin Dachi, then repeated in Left Sanchin Dachi and finally Right
Sanchin Dachi. The bunkai appears to be the same regardless of size.
--
Separate issue, why are things being done in three's?
The most interesting answer I've ever come across comes from Ernie
Rothrock's instructor Sheum Leung. He explains in Tai Chi Chaun the
reason a technique is repeated a third time has to do with the need to
have the moving energy within one's body in the right location to enter
the following movement.
Unfortunately my own studies (in karate or tai chi chaun) have not
progressed to the point that I can recognize the movement of my Chi in
technique execution
concept. But if that was the original reason behind doing techniques
in 'three's', it may explain why the concept is so prevalent.
Victor
Sanchin the Bunkai - 4th continues, 5th movement
After a brief hiatus on Sanchin Bunkai I'm back in the saddle. Some
days there are more things to address than I have hands to get to them.
SANCHIN the Bunkai - 4th Movement Continues
Rei and Opening
Sanchin Movement Review
1. Right foot forward and cross arms before your chest
2. Double outward middle blocks
3. Chamber left hand and then left reverse punch
4. Left outer middle block (both hand in double outward middle blocks)
Continues………
4.a. Now you repeat after stepping out with the left foot and using
the right hand to punch followed with a right outer block.
4.b. Now you repeat 3-4 after stepping out with the right foot and
using the left hand to punch followed by a left outer block.
4.c. Then right punch followed by a right outer block
4.d. Then left punch followed by a left outer block
While you can work out a bunkai analysis for the repetition of the
punch and block, I do not feel there is a clear advantage to doing this.
I expect the reason the techniques are being repeated is from the goal
of using the kata to increase the energy of the Sanchin adept.
I intend to discuss my thoughts on the Sanchin-Energy connection when
I've completed my Sanchin Bunkai Analysis.
SANCHIN the Bunkai - 5th Movement
After completing the last double outer block from section 4, both
hands open and parry/block down circling in and out as they move down
like this diagram
")(" .
Personal note - I find myself raising my center (hara) and chest as
the hands descend.
1st potential - Double descending parry/shove against an attack
(interior or exterior)
2nd potential [interior defense] - Attacker Right Foot Forward Right
Punch/Grab.
a. pivot somewhat to the left on the lead right foot.
b. The left hand parries the attackers punch down and out
c. The right forearm slices across the attackers lower ribs with the
same movement
I do not see this as much a knockout as an opening to damage your
attacker and leave room for another attack to follow
I also do not believe you are constrained to do both techniques at the
same time . Joe Swift and I have been having some conversations
regarding the concept that double techniques may actually be done 1-2
with varying effects.
Erle Montague does much the same thing with his analysis for Tai Chi
Chaun double hand technique. By changing both hands timing, on some
occasions they generate an entirely different sort of power. This can
be found in Passai, Seipai, Saifa and SunNuSu kata to name but a few.
3rd Potential - [Exterior Defense] Attacker Left Foot Forward Left
Punch
a. Right foot forward with both hands still in the outer middle block
position, deflecting the punch to the left. The right foot is past the
attackers side.
b. Pivot 180 degrees counter-clockwise on the right foot, both hands
parry/strike down with the palms. The right palm is striking into the
attackers left kidney
Likewise I see this as creating an opening for a following attack.
4th Potential - Against double grabs, straight grabs and cross arm grabs
By shifting and executing this movement, with the one hand on top
moving first, the movement can be used to free yourself from the grabs.
5th Potential - I believe this can be shown as the opening of a
throwing technique too.
As this comes from Joe Swift, I'll just describe the basic mechanics
of the movement, and perhaps Joe can fill in the details.
Attacker - Right Foot Forward right punch/grab
a. With your left foot forward your double outer middle blocks uses
the right hand to deflect the punch to the right.
b. You then pivot 90 degrees to the right on the lead right for,
keeping Sanchin dachi (stance). As both hands turn over your right hand
flows down to the attackers wrist and grabs it. Your left palm
continues to circle down and strikes into the groin.
c. As the groin is struck the right hand continues to pull down.
The struck groin and the descending punching arm cause the opponents
center to shift over your arm and effect a throw.
The movement of Sanchin continues to represent interesting bunkai
potential. And I believe the best is yet to come.
Victor
Sanchin the Bunkai - 6th Movement
After completing the double descending parry/blocks of Section 5, you
pull your elbows back, close your fists and rotate them palm up until
they finish resting against both hips.
Next you open the hands and thrust two spear hand (palm up) forwards
slowly.
On completion of the nukite strikes, with slow flowing movement, the
hands are turned over palm down.
[There is an alternative here, where after the nukite thrusts, the
hands grab and close and turn over (pulling over).]
While this may not appear the most interesting section of the kata,
there are some important tools to develop here, too.
1st Potential (interior defense/attack). Attacker is stepping in
with
a right hook punch to your head and their left hand ready to loosen a
2nd head punch with the right.
a. Right foot slides forward and strike into the armpits with both
spear hands (a double Heart 1 strike?). After the strike use version
two and grab the chest area from behind the arm pit with both hands,
dig them into the muscle and pull over and down.
It seems to me this is quite painful. Of f hand I'm not sure how
immobilizing it can be.
2nd Potential (interior line of defense) Attacker steps in with
their left foot and grabs your left wrist with their left hand.
a. Turn your right foot to the left, slide your left foot over to
re-orient your center line to cross the center line of the attackers
arm.
b. You pull your two hands back into chamber. This pulls the
attacker
forward, and overextends their arm.
c. You thrust your two hands out. Your right spears over their left
arm, bending their grabbing wrist and weakening their grab.
d. Your left haito strikes across their lower rib cage, the upraised
thumb knuckle the striking area.
e. When you turn both hands over, your right hand becomes a palm
strike to complete freeing your arm. Alternatively you might grab
their wrist as a result of your actions.
f. Your left overturning palm becomes the 2nd of a multiple striking
sequence, delivering a 2nd strike into the opponents ribs.
This Haito(RidgeHand) to Shuto strike is consistent with a Shotokan
stylist I know whose system replaces their outer knife hand blocks
with ridge hand then knife hand multiple strikes. On the other hand
there's nothing to stop you from using the left ridge hand strike
into
the opponents neck either.
Of the two strikes, the neck would obviously get a greater response,
on the other hand the use of the multiple strike across the lower
ribs
(or the solar plexus) gets a response creating an opening for further
exploitation.
3rd Potential (exterior line of defense) Attacker grabs both hands
a. Right foot Circles forward, you left foot swings out as you
change
your center line to the right. Your right open hand comes up
underneath your left grabbed arm. As you turn it turns over (of
course both hands are doing that) and effects a wrist grab release.
4th Potential - Offensive application for the overturning hands.
a. You execute this as the multiple strike (ridge hand turning over
to shuto strike) with both hands for inreased power although only one
hand is used.
5th Potential - Defensive or Offensive
a. You strike upwards with both spear hands, into the opponents neck
area,
b. Then you grab their head and pull it down.
Looking forward to any suggestions from all of you.
Victor
Sanchin Bunkai the Seventh
The Kata Sanchin continues:
From Right Foot Forward Sanchin Dachi you:
1. Draw the right hand back to the center line (palm up)
2. Place the left hand (palm down) underneath the right wrist
3. Step back with the Right foot in a reverse crescent step, ending
in a left Sanchin Dachi
4. The left hand circles up and down (going counter clockwise) to
end
at the left hip, palm forward and fingers down.
5. The right hand draws back to the hip, and when the left hand has
rolled to 9 o'clock, begins rolling up to before the shoulder with
the
fingers facing up and the palm facing front.
6. Both hands are thrust forth (with tension) into left high. Right
low palm (or thumb) strikes.
Then you continue again:
From Left Foot Forward Sanchin Dachi you:
1. Draw the left hand back to the center line (palm up)
2. Place the right hand (palm down) underneath the left wrist.
3. Step back with the Left foot in a reverse crescent step, ending
in
a right Sanchin Dachi
4. The right hand circles up and down (going clockwise) to end at
the
right hip, palm forward and fingers down.
5. The left hand draws back to the hip, and when the right hand has
rolled to 3o'clock, begins rolling up to before the shoulder with the
fingers facing up, and the palm facing front
6. Both hand are thrust forth (with tension) into right high, left
low palm (or thumb) strikes.
Finally we arrive at what I consider among the most powerful
techniques in Karate. Goju's Tora Guchi (Tiger Mouth) or the
Mawashi
Uke (or perhaps Uchi). The Roundhouse block/strike combination.
Application 1 - Attacker Right Foot Forward Right Punch to the chest
You respond with an interior line of defense.
1. Your right hand parries across, moving their arm to the left.
2. As your right foot steps back, you left arm (palm up) slides up
your right arm and parries their arm further outside.
3. Now slide forward, keeping your left foot forward). Your left
arm
, now continuing the kata movement, pressing into the attackers
center, with their arm causes their body to rotate, which opens the
neck for a right attack.
4. Your right arm continuing the kata movement takes that opening to
strike into the neck (or alternately the lower ribs) with the palm
(or
thumb).
5. [Logical Continuation] You can always step forward with a right
crescent step as you turn slightly left, so your leg ends up behind
their lead leg and sweeps them down.
Variations involve using different tai sabaki (body shifting) to
change the angle of insertion of the defense, as well as stepping
forward instead of stepping away from an attack.
Application 2 - Attacker Left Foot Forward Left Punch to the chest
You respond with an exterior line of defense.
1. Your right hand parries across, moving their arm to the left.
2. As your right foot steps back, you left arm (palm up) slides up
your right arm and parries their arm further outside.
3. Your left hand hooks over their arm as it draws back to your hip,
then to press in first roll your left fist up.
4. Your right forearm strikes into their upper arm just behind their
elbow.
This variation came from Indonesian Pentjac Silyat, as a snake
strike. Essentially they throw a punch and you work very hard to
break
their arm.
Variations involve using different tai sabaki (body shifting) to
change the angle of insertion of the defense, as well as stepping
forward instead of stepping away from an attack.
Application 3 - Attacker Right Foot forward Right Punch to the Chest
You respond with an interior line of defense.
1. You step forward with your right foot, Your right hand parries
across slightly moving their arm across to the left.
2. As your left arm (palm up) slides up your right arm to parry
their
arm, you parry their arm with your left, and have it slide over their
arm as you pivot on your right foot 180 degrees counter-clockwise to
the left.
3. As your left arm presses down and in, your right arm continues
the
Tora Guchi technique and strikes behind their elbow into the triceps.
The motion of pressing and striking into the arm as you spin into
their attack will redirect them forward and continuing will cause
them
to spin forward and down.
Application 4 - Attacker grabs both of your wrists with their hands.
You respond with an exterior line of defense.
1. You step forward with your right foot, Your right hand, palm up,
parries across moving their arm to the left.
2. Your left arm (palm up) slides up your right arm, to turn out and
parry across that arm, pressing it into their other arm on your left.
3. That press allows you to pull your right hand free.
4. You continue the mawashi uke movement into the back of their left
arm as their hands are tied up by your left which continues its
movement too.
5. This is a takedown/arm break combination.
Application 5 - Attacker throws a right Round house kick towards your
head.
You respond with an interior line of defense.
1. You step for forward with your right foot, Your right hand, palm
up, parries across their leg moving it to the left.
2. Your left arm (palm up) slides up your right arm, to turn out and
parry across the leg.
3. As your left hand flows across their leg, your right hand circles
down and strikes out into their solar plexus.
4. You complete the technique by sliding forward with your right
foot to hook behind their standing leg. That trapping movement as
well as the strike to the solar plexus will drive the opponent down.
Depending on the angle of insertion and the body shifting (Tai
Sabaki)
utilized, you have a wide range of possibilities to address.
The ending section of Isshinryu's Seisan kata can be interpreted as a
version of Mawashi Uke, likewise it can be found throughout various
Goju kata, (including Sanchin), Shotokan Unsu kata, and even in some
version of Matsumura No Hakutsuru (name pending ??), to name a few of
its possible ailities.
Among the variations possible are shifting from Right Mawashi Uke to
Left Mawashi Uke, as well as doubles, such as Left Mawashi Uke
followed by Left Mawashi Uke.
I hope I've expressed some of the potential of Kata Sanchin with this
bunkai analysis.
Victor Smith
Bushi No Te Isshinryu
Sanchin - Three Battles within me
Sanchin - Three Battles within me (Historical, Utilization and Personal)
When I began my Bunkai analysis of Sanchin Kata (following the Miyagi Chojun
version, passed down through Shimabuku Tatsuo and then Lewis Tom and Murray
Charles to me), it was driven in many ways by the often repeated statement,
'Sanchin has No Bunkai.'. To my mind I have satisfied that is not the case.
But there is a larger question, 'Why Sanchin?' which still drives my thoughts.
My own three battles revolve around trying to understand the historical
development of Sanchin, How it may be utilized in my current teachings and my
Personal Battle over this training.
1. Historical Development Considerations
Sanchin Kata apparently came from some original form of Chinese training.
Originally taught by Hiagonna Kanryo with Open Hand techniques, Miyagi Chojun
changed the form to using Closed Fists, in his Goju Ryu. The form also uses
a unique stance, Sanchin Dachi and unique breathing patterns.
The Higaonna's Sanchin incorporated turns and moving in several directions,
in addition to the open hand version.
Miyagi reportedly changed the open hands to closed fists. Later he created
a 2nd version of Sanchin that was done without turns. The form simply moves
forward and moves backward.
A separate version, Ueichi Sanchin retains Open Hand techniques.
Whether both forms came from the same source is an open question, although
both Hiagonna and Ueichi trained in the same section of China.
It is believed that the Chinese form Happoren was the source from which
Sanchin developed. While I see some similarity in some of the movement
concepts between the two forms, I do not believe there is a clear case for
this to be made.
In my opinion, the link to the Chinese origins of Sanchin remains only
another hypothesis.
Taught by Hiagonna, it was transmitted to Miyagi who founded Goju Ryu. It
was also transmitted to Mabuni Kenwa, founder of Shito-ryu.
In 1933 Mabuni first communicate Sanchin to the wider Japanese audience in
his book 'Goshin Karate Kenpo - Defense and Attack'. In that he trained
with both Hiagonna and Miyagi, I believe that his words are important in our
understanding of the role of Sanchin kata. In there Mabuni writes:
"This basic exercise is very important in the practice of Karate.
This kata serves as the basis of all karate kata and it gives the opportunity
to learn the practice of the open hand.
From the point of view of physical education, this kata allows first to
reinforce all the muscles while preserving the balance and to form the sturdy
body and the will that are necessary for the practice of budo, second it
allows one to learn to harmonize the breathing, the contraction and the
relaxation, and third it is very effective in developing tension resistance.
From the mental point of view, this kata permits augmentation of the vital
spirit and practices the capacity of observation, of decision and of
reflection. It contributes to form the value of being human.
This initial practice takes on a large importance for those who aim to go
further into it, and practice with a calm and quiet spirit. " [Preliminary
translation by the author March 2000]
2. Personal Development Considerations
It is my opinion; Sanchin is a derivative of Chinese Chi Kung (Energy
Development) Forms and Training. In this context I would place Happoren,
too. While the movement can be applied, that was most likely not the purpose
of the training.
Now the question will be does this training actually carry over into improved
martial practice?
I do not believe there is a clear causal link that the Practice of Sanchin
kata will develop superior martial arts ability. Consider the many systems
who do not utilize that training.
This is not to belittle the difficulty of correct Sanchin practice. Learning
the correct sequencing of the tension, the correct tension itself and the
unique breathing practices are not a simple study.
It is just my belief (and practice) that those practices do not necessarily
develop superior fighting ability.
I think what did happen is the influence of the instructor. If Hiagonna's
original instructor drove home extreme Sanchin training, who then in turn did
the same to Miyagi and so forth, the profound influence of an instructor who
was not to be questioned. And as the way was forged the students followed.
I passed through that causal instructor link. Murray Charles (Reverend and
Lt. Col USAF) taught me Sanchin as he had studied it under Lewis Tom and
Shimabuku Tatsuo. The version would be in the Miyagi Chojun Sanchin version
lineage.
Several years later when I began my studies in Tai Chi Chaun I found those
practices in conflict with my Sanchin Practice. As I was totally on my own
in my Isshinryu practice (an event which has continued for the past 22 years
or so) I decided to set regular Sanchin practice aside so not to cause
conflict with my Tai Chi Chaun studies.
And except for instructing my students to give them the same choice, I have
not wavered from that decision. I do not believe my students or my own
abilities have suffered as a result of that decision.
Yes this becomes subjective, but that is my main contention. If our
instructor tells us this is important and then we practice it as if it is
important, it will so become.
While I fully recognize correct application of power in kata practice remains
necessary to develop the adept, at the same time I feel it is the movement
flow which overrides all, supported by correct alignment and power. I do not
find Sanchin practice (in the Goju lineage) compliments this practice.
[Of note, the Ueichi Ryu practice of Sanchin, done at relatively normal
karate speed and relatively normal breathing practice, does not follow those
Goju traditions as they follow their Chinese source version of Sanchin Kata.]
3. Utilization Development Considerations
Having described how I set aside the normal practice of Sanchin Kata
(Isshinryu version) decades ago, my current work on the Bunkai of said
Sanchin has caused me to rethink this issue.
I currently see Sanchin as a basic exercise of traditional Okinawan karate
technique. Where I had just been teaching it as a historical form to my
students (alongside sporadic Ueichi Ryu Sanchin studies with Chan Tom of my
dojo, a former Ueichi student) of late I have begun using it again, abet with
some slight modifications.
First I am working the kata at normal karate speed.
Second, I have eliminated some of the repetitions (which I do not believe add
a great deal to the bunkai potential of the form). Thus I have a somewhat
streamlined version of the form.
I feel this is necessary to develop the bunkai abilities I've previously
discussed. Most importantly the Circular roundhouse strikes which finish the
form.
I admit this is subjective and perhaps controversial, but it does describe my
own approach to Sanchin kata.
Respectfully submitted.
Smith Victor
Bushi No Te Isshinryu
References:
'Goshin Karate Kenpo - Defense and Attack' by Mabuni Kewnwa 1933
'Unante - the Secrets of Karate' by John Sells 1995
'The Kata of Okinawan Isshinryu Karatedo - an Informal Discussion on their
Possible Origins' by Joe Swift 2000
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