The
ideas contained in the opening movements of Seisan Kata. Now the different
variations of Seisan all contain what is some sort of left side block with a
following right strike. (Okinawan versions, Japanese versions). Some from my
logical analysis, from my experience with Sherman Harrill and John Kerker, some
from the Shotokan of Tristan Sutrisno. One movement sequence, many possible
uses.
This
focuses on Isshinryu technique, but is not limited to that either. It is no
attempt to show all of the potential applications.
As used on the Interior Line of Defense agaist a
right strike.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
1.
Shift to the left 45 degree angle and step in with your left foot in Seisan
stance. Strike their Solar Plexus with your right Reverse Punch.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
2. Shift to the
left 45 degree angle and step in with your left foot in Seisan stance. As you
do so parry across with your right hand with a motion to draw them forward.
Then continue that hand motion in a counter-clockwist strike (akin to a Jing Do movement) to strike
their Solar Plexus with your right Reverse
Punch.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
3. Shift to the
left 45 degree angle and step in with your left foot in Seisan stance. Left arm
blocks outside the strike and right Reverse Punch the solar plexus.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
4. Shift
to the left 45 degree angle and step in with your left foot in Seisan stance.
As you do this strike with your left lead punch into their lower ribs and at
the same time parry across your centerline with your right palm into their
striking arm. Then block out with your left arm into their striking arm, as you
do that your right hand slashes back across their core (which is a painful
slash) while it returns to chamber. Then deliver a right reverse punch into the
solar plexus.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
5. Shift to the
left 45 degree angle and step in with your left foot in Seisan stance. As you
do this strike with your left lead punch into their lower ribs and at the same
time parry across your centerline with your right palm into their striking arm.
Then block out with your left arm into their striking arm,
Then
they throw a Left Punch as a 2nd strike
as you do that your right hand slashes back
across left striking arm as use of a strike as a block (which is a painful
slash) while it returns to chamber. Then deliver a right reverse punch into the
solar plexus.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
6. Shift to the
left 45 degree angle and step in with your left foot in Seisan stance. Left
hand blocks outside the strike and right Reverse Punch the solar plexus, Then
continue that motion by striking up to their chin with the thumb of the right
fist into the bottom of their chin, where it is soft.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
7. Shift to the
left 45 degree angle and step in with your left foot in Seisan stance. Left
outside the strike and right Reverse Punch the solar plexus, Then continue that
motion with a right backfist to the side of their head. Following that strike
down into their arm with a right descending shuto (or a right descending
shocking forearm strike). Then reverse the motion and strike into their neck with
the back of the wrist with a right palm up ridgehand strike. Continue with a
right palm down ridgehand into the other side of their neck.
( this is a variation of the
multiple striking drill we use)
Against a RFF
Right Punch
(a simple attack for analysis purposes)
8. Shift to the
left 45 degree angle and step in with your left foot in Seisan stance. Left
outside the strike and right Reverse Punch the solar plexus, Then continue that
motion by striking up to their chin with the thumb of the right fist into the
bottom of their chin, where it is soft. Then step forward with a right step
behind their lead leg, which becomes a reap, striking calf to calf, taking them
down and you continue to hold their arm. Conclude the motion with another lff
crescent step into their arm elbow being held from their downing to the floor.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
9. Shift to the
left 45 degree angle and step in with your left foot in Seisan stance. Left
outside the strike and right Reverse Punch the left hip area where the leg
joins the hip (alternatively it might be a strike to the groin)
Against a RFF
Right Punch
(a simple attack for analysis purposes)
10. Shift to the
left 45 degree angle and step in with your left foot in Seisan stance ending
atop their right foot. Left arm blocks outside the strike and right Reverse Punch
the solar plexus. This pins their foot
to the floor, if they fall it affects their ankle.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
11. Inspired by
the Uechi. Shift to the left 45 degree and step in with your left foot in Seisan
stance. Parry their striking arm across your body with your open right hand.
Then block with the open hand left arm
while your right hand returns to chamber.
a. Conclude with
a right spearhand into their solar plexus
b. Conclude with
a right spearhand into their throat
c. Conclude with
a right spearhand into their solar plexus, which then flows into a right
descending single knuckle strike into the same solar plexus.
d. Your right
spear hand approaches their chest about 1” above their left nipple but before contact it turns
into a descending single knuckle strike to that point. The single knuckle done
with the wrist bent descending the knuckle into the opponents body at that
point.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
12. An
example how extra movement can be inserted into a
technique (as perhaps kakushite)
Step into the strike and execute a
left outside block to parry the
strike. Then the left hand becomes a
rising bent wrist strike to the opponents jaw. Next strike them with a right
reverse punch which then turns into a right backfist srike to their chest (or
perhaps their face.
An example of multiple striking. I
learned this as an application for the opening movement of the Shotokan
Hangetsu kata, a descendant from the Shorin Ryu Seisan Kata.
Against a RFF
Right Punch
(a simple attack for analysis purposes)
13.
Inspired by the Uechi. Shift to the left 45 degree and step in with your left
foot in Seisan stance. That foot is placed behind their lead foot. Then that
foot hooks back. The timing is such as the foot reaps them to fall. There are
no hand techniques necessary. It is all in smooth execution and the speed of
the step.
As used on the Exterior Line of Defense against a
right strike.
1.
Shift the right 45 degree angle (outside their strike) Your hands
Cross and the ‘<’ of that crossing
hands is used to parry their strike to your right. Then you chamber your right
and strongly block into their upper arm with your left outside block (but being
used from outside their attack). Conclude with a reverse punch into their ribs.
As used on the Exterior Line of Defense against a
left strike.
Against a LFF
Left Punch
(a simple attack for analysis purposes)
1.
Shift to the left 45 degree angle (outside their strike). Parry their left
strike across your body. You chamber your right as you left outside block their
strike. Conclude with a right reverse punch to their lower ribs.
2.
Shift to the left 45 degree angle (outside their strike). Parry their left
strike across your body. You chamber your right as you left outside block their
strike. Conclude
with a right reverse punch to the middle
of their thigh (giving them a charley horse in their leg and
dropping them)
As used on the Interior line of Defense against a
left strike.
Against a LFF
Left Punch
(a simple attack for analysis purposes)
1. Shift to the
right 45 degree angle (inside their strike). Using the ‘<’ of your crossing
hands parry their strike outside your left. Then with your left hand backfist
into their face to stop them moving forward. Conclude with a right single
knuckle strike into their side.
Through use of
appropriate body shifting techniques can also be done from both sides of the
opponent, and also from their rear.
Guiding Principles
1. The motion known as the side block
can be done within several modes. Either by itself or perhaps in tandem with
the other(s)’
a. On the close interior the
motion might be a descending elbow strike.
b. The motion of the block might be done
‘hard’ to strike into the attacking arm and damage it or deflect it away from
the centerline in a big way, moving the opening in the process to a more
advantageous position.
c. The motion of the block might be done
soft to deflect the strike to the outside.
d. The motion can be done with a
downward force to force the attacker down to the ground. This is osae.
2. Use of breathing can be inhalation or
exhalation.
(The manner of breathing may be either hard or soft)
a. Inhalation when it is more
advantageous to adhere to the attackers centerline.
b. Exhalation when it is more
advantageous to increase the force of the following blow.
3. The attacking limb may be attacked when it
moves through a point about 6 inches before the shoulder. It is moving more
slowly then, instead of with greater speed
at the strikes end.
(The time to strike is when the opportunity presents itself)
4. The speed that kata is practiced with
should be the speed of the defense. There is no need to increase the speed.
Knowing where you will intercept the attack makes the job easier. Remember that
Slow is Smooth and Smooth is Fast.
5. Your tools for striking are as
follows. The vertical flat fist, the
vertical fist as a vertical ridge of
knuckles, the knifehand fingertip
stroke, the knife hand fingertip
stroke that collapses into a vertical strike, The single knuckle strike, striking
with the thumb of the fist (inward and
rising). The backfist, a descending knifehand, a descending forearm, the rising ridgehand, a palm down ridgehand, a side of the hand open hand strike. At different times they may be
interchangeable for differing effects.
5.a.
Use of Jing Do striking where the block
becomes a strike, as in the left outside block after contace circling
counter-clockwise and then becoming a left palm strike forward (as to the jaw,
or shoulder, or ribs)
6. The timing of the knee release and chinkuchi are force enhancers to be used.
7. The manner of stepping might represent a step, a
shift to 45 degrees, stepping on a foot, stepping inside behind a foot,
stepping outside behind a foot, a shin kick, a front kick to the leg, hip joint
or groin, a dynamic reap or sweep. Each
use changes the potential effect of a technique series.
8.
While
all of these movements work exactly as done in the kata, you gain more time to
perform your defense, as well as removing yourself from the direct line of
attack, by shifting to a 45 degree
angle. The
advantage is you are outside their line of attack but in optimal position to
respond to them.
These movements can also be performed by
stepping in reverse, or the reverse 45 degree angles. Stepping away does yield
more time, but also gives them more time to gain more speed behind their
attack. You must consider tactically why you want to place yourself in these
positions.
9. Of course this is the easy part.
I have shown some of the
potential within one movement. Consider,
you have to work out
every possible potential for every
movement of the kata you know.
It very much becomes a lifetime study.
You obviously do not need every
variation possible. But what you will
gain in this attempt is an understand how an attack presents a space that you
can utilize as needed. Also, you will how any movement can theoretically defeat
any attack. As the studies grow in number the greater underlying knowledge will
manifest itself.
10.
The larger part is not what Application Potential exists. Rather the training necessary
to move from Application Potential to Application Realization. That is what
this is about.
Start slowly and learn the Application
Potential. Then have the attacks come with increased speed. Then the attacks
start coming from different angles. Then from varied attacks, forcing you to
choose potentials to conclude them. Work to standing with no fixed position
that could give away your intended response. Then work against multiple
attackers (following the above pattern of gradual attacks). Work toward Maximum
Unpredictability.
There are certainly more aspects to
consider than I have expressed here. This is just the starting point.
I have been working on this for some time, This is
part of the study a new Sho Dan would undergo. The following video is from
1991. On it you can see my son who was very young, but it was not a reason to
stop training. It might help understand these concepts more clearly. There are
also more suggestions here than I have included in this work.
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