Bushi No Te Isshinryu notes on kata SunNuSu (Sunsu)

Sunsu – SunNuSu – SuNSu (and all other variant spellings)

I put this together in 2008, though I could share newer videos I believe this is still sufficient.

I think Shimabuku Sensei’s vision for his Isshinryu shared several layers of development. (I’m not bringing his kobudo into this discussion at this time.) Over more time I acquired more knowledge about the history and development of this form. But I still feel these notes are sufficient for what I taught.

First were the style specific generalizations he chose:

1. He chose to use a variation of Sanchin Dachi for his front stance.

2. He chose to use vertical striking as his primary strike for much of his time, though he did return to the twisting strike for a number of years in the early 60’s, due to the influence of his older Okinawan students who had no desire to change from his Kyan days.

3. He chose to use flat ‘blocking’ strikes instead of twisting ones.

4. His kata often had the stamp of his thinking.

a. Seiunchin kata with technique reversals from Miyagi’s Seiunchin kata.

b. Naifanchi kata beginning in a left direction instead of a right direction used by most systems. Interesting Motobu taught it both ways (as shown in his son’s school), though his books showed it starting in a right direction.

c. Kusnaku Kata dropping to the floor with the side block, quite different from Kyan’s version.

5. Some of his kata were relatively unchanged except for the basic Isshinryu changes.

a. Seisan kata

b. Chinto kata

c. Kusanku Kata

6. I’d bet Wansu was one of his first test beds to try his ideas. His kata is a variation of Kyan’s but the last 1/3 of the kata is his own thinking.

7. Then there is SunNuSu

a. In the last century most of the instructors spent their time building beginners kata. Shimabuku Tatsuo did not do this as Itosu’s Pinan, Nagamine’s Fyugata, Miyagi’s Geseki kata and perhaps Tensho. Instead he created a complex fire breathing one, the Okinawan panel in the mid 30’s that created 10 basic forms documented in the 1938 Nakasone Encyclopedia of Karate, never formally used (but I studied through Shotokan).

b. Most instructors were content to play with the forms they studied, changing techniques, execution flow and timing, etc, but rarely touching the embusen of the kata (perhaps this was the true unchanging core as all of the Seisan variations seem to touch on the same basic embusen and additions).

c. SunNuSu is a combination of familiar Isshinryu kata techniques, techniques from Kyan kata not in the Isshinryu system, and most importantly unique techniques to Isshinryu alone, such as some of the raking kicks, or the elbow/forearm striking combinations not found in other systems kata.

Observations on the crafting of SunNuSu – How I source the kata’s technique acquisition.

Opening from Sanchin. In my practice Sanchin is designed for one purpose to break people up if attacked
Next section (knife hand and spear hand strikes and the turn) from Kyan Patsai Kata.
Chambering and Side Kicking from Shiambuku’s Wansu kata. Note there are number of kicking variations I’ve seen.

Goju Style side kicks to the knee
Front Front kicks to the side done with the ball of the foot.
Front Front kicks to the side done with the blade of the foot.
Knee strike front kicks to the side
Modern high side kicks

The flowing spear hands of Kyan Gojushiho Kata
Kusanku Kata turn, pivot and strike and front kick
Descending double strikes as from Patsai
Turn twist down side/front stomp kick as from Patsai. Motobu Chokoi included the application of same in his early 1930’s text on karate published in Japan. Joe Swift obtained a reprint copy for Harrill Sensei after he had pointed out Motobu did it.

The kick can be front or front raking kick or side stomp or AJ Advincula’s version (similar to the rare Tou’on Ryu version)

The U strikes from Kyan Patsai
Squat Kicks – IMO unique to Shimabuku Tatsuo. Possiblity they were a variation of Patsai Kata kicking.
Unique inside elbow striking sequence
Unique Outside elbow strike sequence
Turn with kamae, stepping double palm striking – could be variations of Kyan Kusanku kata technique.
Turning back elbow strike (unique to Shimabuku Tatsuo?)
Wansu dumping throw (reversed as to balance the version for the Isshinryu krarate-ka practice).
Bent forearm parry down – Pinan San dan parry
Backfist – step across double under hand grab
Raking Kick (variations)

Front raking kick toes down through the groin
AJ Advincula’s kick similar to the rare Tou’on ryu front stomp/kick
Front Kick

Double palm strikes, knee strike, reverse punch - ?unique to Shimabuku Tatsuo
Step away front kick – Kyan chinto variations?
Conclusion – Kusanku Kata.

Important the real thing isn’t the source of the techniques, but the process that the form added to Isshinryu karate. It is much more than the movements, the pattern flow, technique execution, etc. are very advanced study and in my experience are decades of work before you begin to understand the rhythm of the kata’s potential.
SuNuSu (Sunsu) Kata Notes from 1990

This kata was invented by Master Shimabuku to use the techniques he felt were strongest in the Okinawan Karate systems. Sunsu means ‘Strong man’ which was his nickname. He incorporates moves from Isshinryu kata Wansu, Chinto, Kusanku and Sanchin as well as techniques from Shorinryu’s Passai, Gojushiho and Gojuryu’s Katas Shioshin.

This kata is a unification of all the Okinawan systems Shimabuku Sensei studied. It has unique moves such as the squat kicks and the obi wazza (belt grabs) before the elbow strikes.

12:00 . Rei

. Hide weapon, close down

. Cross arms, open

. Step forward with the left foot into front stance while executing a double outside block

. the right hand chambers and then executes a lower right strike to the centerline

. the right hand then slides up the opponents body to conclude in its opening outside

block

. the left hand remains in the opening block position

. Step forward with the right foot into front stance while executing a double outside block

. the left hand chambers and then executes a lower left strike to the centerline

. the left hand then slides up the opponents body to conclude in its opening outside block

. the right hand remains in the opening block position.

. Step forward with the left foot into front stance while executing a double outside block

. the right hand chambers and then executes a lower right strike to the centerline

. the right hand then slides up the opponents body to conclude in its opening outside

block

. the left hand remains in the opening block position

. Remaining in left foot forward front stance, both hands open and slide down in an “)(“ motion

For a double lower outer palm strike

. Pull both open hand s back into chamber

. Step out with the left and slide the right along into left front stance as you perform a double palm

Up spear hand strike to the lower ribs, then turn both palms over and press down and out

[Note. This can be done with a grab after the spear hand strike.]

. The left foot steps back forming a right front stance as you execute a right outside block, follow

With a left then right strike.

09:00 .Turn head 90 degrees to the left (9:00).

. Pivoting on the ball of the left foot, you turn to 9:00 as the right foot slides in alongside the left

And then steps out with the right foot into horse stance . Double open outside palm strikes, the

Palms are facing out as you drop your elbows. (could be interpreted as breaking a choke hold)

06:00 . Turn 90 degrees to the left (6:00)

. Pivoting on the ball of the right foot, the left foot steps in and then out in a crescent step to form

A left front stance while performing a left descending open palm strike to 6:00.

. As the left hand chambers, the right open hand (palm in) strikes in an inward knife hand, then

Presses down on the left side. This is followed with a left spear hand, over the right hand, to the

Opponents throat.

12:00 . Pivoting on the ball of the left foot, turn 180’ clockwise to 12:00, ending in a right front stance.

As you turn throw a right descending palm strike, followed by a left spear hand strike to 12:00

Palm up (now done as a straight spear hand strike)

. Stack both hands on the right side chamber, and left front kick to 9:00, ending placing the left

Foot down in front (still facing 12:00)

. Stack both hands on the left side chamber, and right front kick to 3:00

. ending placing the right Foot down, remaining in a left front stance facing 12:00, and raise both

Hands in a left on guard (kamae).

. step right foot forward into a right front stance as you thrust to 12:00 with a right spear hand

. Slide forward with the right foot and deliver a staggered left then right spear hand thrust to 12:00

06:00 . Pivot left 180’ on the right foot into left front cat stance while chambering both hands stacked on

the right fist.

. Step forward with the left foot into horse stance while throwing a left back fist to 6:00

[this has been changed to step forward with the left foot into front stance]

.pivot counter-clockwise on the left foot into cross stance while twisting into a left high open hand

Block (thumb down) and a simultaneous right knife hand to the opponents neck (this section is

The same as in Kusanku)

Right front kick to 6:00, step down in right front stance while executing a simultaneous right

High Block and left descending strike.

. slide forward, with a simultaneous leftt high block and a right descending strike, then follow with

right high block and a left descending strike

[This has been changed. The blocks have been reversed. After the front kick we now use a

left high block and a Descending right strike... then reverse the following two sequences

(the last being a left high block and a right Descending strike).]

12:00 . Turn 180’ to the left, pivoting on the right foot, into a left foot forward front stance. Both hands

Are raised on guard in kamae.

. Twist on the left foot into left foot forward cross stance, while the left hand blocks a punch

Inward and the right hand parries down over the left (both hands in closed fists) as the left hand

Moves to guard the solar plexus

[ This section opens a sequence Harrill Sensei found in Motobu’s self defense techniques.

Harrill Sensei uses this section to stop a horizontal elbow strike.]

{Viewing AJ Advincula’s kick it strongly resembles the Tou’on Ryu leg technique, more a

strong stomp – more Isshinryu variation}

. From the left foot forward cross stance, execute a right thrust kick towards 12:00

. Place the right foot down into right front stance as you double strike, right to the face, left to the

Groin

. Right foot steps back alongside the left

. Step left foot forward to front stance as you double strike. Left to the face, right to the gorin

[ The shuffle back with the right has been dropped. Now we step with the right and strike,

And then step forward with the left and strike.]

. Slide backwards into left foot forward cat stance [now a front stance] with a double rising block

. Step out deep to the right, chamber both hand stacked on the right hip, then left squat kick to 12:00

. step out deep to the left, chamber both hands stacked on the left hip, then right squat kick to 12:00

03:00 . Pivot 90’ to the right on the left foot ending in a right cat stance. The right open hand parries

Alongside the head (palm out), while the left spear hand (palm up) strikes towards the groin

. Shift to right front stance while you deliver a right outside horizontal back arm strike

. Slide forward with a left horizontal forearm smash, followed by a right horizontal forearm smash

09:00 . Pivot 180’ to the left on the right foot, ending in a left cat stance. The left open hand parries

Alongside the head (palm out) while the right spear hand (palm up) strikes towards the groin

. Shift to a left front stance while you deliver a left outside horizontal back arm strike

. Slide forward with a right horizontal forearm smash, followed by a left horizontal forearm smash.

06:00 . Pivot 90’ to the left to left foot forward front stance. Both hands rise in kamae

. Right foot forward with a right horizontal forearm smash

. Slide forward with a left horizontal forearm smash followed by a right horizontal forearm smash

12:00 . Pivot 180’ to the left, ending in left foot forward cat stance, both hands open in chamber, fingers

Down

09:00 . As the right foot steps foward into horse stance facing 9:00, the left open hand grabs a punch

(sliding Down as you’re ½ way through the movement), as the right hand slides up underneath

And behind their elbow while you’re concluding the movement

03:00 . Spin 180’ left on the right foot, into horse stance facing 3:00. both hands perform throw as you

turn, retract the left hand to execute a left backward elbow strike as you conclude the turn

12:00 . Pivot 90’ to the left on the right foot, shifting the left foot back in a left foot forward cat stance.

The left open hand at Chamber fingers down, the right open hand blocking at the head

03:00 . Step with the left foot to 12:00 into horse stance facing 3:00, as your left open hand strikes the

Opponents groin and your right hand strikes their throat, then both hands grab

09:00 . Pivot 180’ to the right, pivoting on the right foot, concluding with the right hand in chamber

And the left hand pressing downward (this is the reverse of the Wansu ‘throw’)

. turn head to 12:00, then the right arm, the hand staying in chamber, begins an inward right

Elbow block. To do this the right knee is released and the body sags counter-clockwise to

Parry inward with the bent arm/elbow.

. After the parrying motion reverse back to the initial position and execute a right backfist

Strike to 12:00

12:00 . The left foot steps over the right (towards 12:00) into left foot forward cross stance, while

Grabbing the opponents belt, and then the right foot does a scrape kick.

[ Today I would describe this as a double grab of the opponents arms during grappling.

There is no change to the technique, just the underlying description.]

[ the Scoop kick is a variation of the front thrust kick. Beginning as a front kick chamber

The foot thrusts out so the ball of the foot strikes into the groin, and then concludes with

The toes raking down in a pawing motion across the groin. This is a circular technique

That concludes with the kicking foot coming to knee chamber. ]

{Viewing AJ Advincula’s kick it strongly resembles the Tou’on Ryu leg technique, more a

strong stomp – more Isshinryu variation}

09:00 . Pivot 90’ to the left on the left foot, and place the right foot down to form left front stance

As the stance is formed you execute a right ridge-hand thrust to the groin, followed by

A left palm strike to the head

. the left hooks around their neck as you execute a right knee strike to their groin.

. As the right foot returns to the left front stance, conclude with a right thrust strike into their

Abdomen

03:00 . Pivot 180’ to the right on the left foot, and place the right foot down to form right front

Stance. As the stance is formed you execute a left ridge-hand thrust to the groin, followed by

A right palm strike to the head

. the right hooks around their neck as you execute a left knee strike to their groin

. As the left foot returns to the right front stance, conclude with a left thrust strike into their

Abdomen

04:30 . Step back with the right foot into left cross stance. While you do so execute a right low block

To 4:30 With the left hand at solar plexus

. right front kick to 4:30 (on the inside of the right groin block)

10:30 . Place the right foot down then Pivot 180 to the left on the right foot,

. Step back with the left foot into right cross stance. While you do so execute a left low block

To 10:30, with the right hand at solar plexus

. left front kick to 10:30 (on the inside of the left groin block)

12:00 . Place the left foot down in left front stance facing 12:00, raise both hands in guard kamae

. Step right foot forward into front stance, both hand in guard kamae

. step the right foot back alongside the left

. close down and rei

Addendum:

As all of the notes with these kata came from my 1990 understanding of it’s origins.

The origins aren’t terribly important, except for the fact Shimabuku Sensei was tying together various studies he along with his own ideas. Perhaps this is a continuation of the process that began in Wansu’s additions. Perhaps not. It is unique in that most of the Okinawan systems focused on crafting beginner kata in the past 100 years as opposed to a senior kata.

Major souces outside of Isshinryu appear to be Kyan’s Passai and Gojushiho kata. One of the sections from Passai also can be found in Motobu Choiki’s writings, showing the application of that section.

The timing is complex and takes many years to understand from my experience.

The changes, to the kata described above, were done in 1995 to prepare for a clinic that Sherman Harrill was doing in our school, and subsequently remained the way the kata is practiced. They were done to move closer to his version of the kata allowing the application analysis study to be more productive for the group.