Opening Seisan Kata – Sho-Dan Study 101 continued

 

The third in a series of posts on this topic

 

Opening Seisan Kata 101.5.1 – The Old Standby

 

The time has come to look at our likely original answer how to apply Seisan kata’s opening. In fact as the oft quoted Harrill Sensei would say when explaining one of his applications, “when push comes to shove I’d probably just hit them.”

 

So let’s look at the basic Seisan Hit

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] You step out with a left crescent step and use a left side block to deflect their strike. Then chambering the left hand you strike them into their solar plexus with your right hand.

 

And of course using the Unlocking Principle.

 

The situation – Your opponent reaches out with their left hand.

 

Your response – [Exterior Line of Defense] You step out with a left crescent step and use a left side block to deflect their strike. Then chambering the left hand you strike them into the side of their ribs with your right hand.

 

See how simple it is, just real Isshinryu.  So now we can go home and back to bed?  Unfortunately, not!

 

There are an incredible number of variables that we need to address to begin to understand the application potential of what I’ve described.

So many answers in fact I’m going to only cover one set of them now with other layers to come.

 

Both of these examples describe a rather straight line movement into the attacker. We’re going to keep with that for now.

 

Principle No. 1 – Principle that Blocks can also Suck!

 

The beginning outside block I teach has the arm hinge across the body, pivoting on the elbow, to deflect a strike aside.  Talking as I teach a common flaw often presents itself. If my mind is distracted I don’t block fast enough and I get hit as I’m trying to demonstrate how to perform it correctly.  That doesn’t make the basic blocking principle bad, rather demonstrates you have to perform it correctly. But it does highlight a real issue if you don’t accelerate faster than the attack is being accelerated towards you, there is a problem in the offing.

 

There are other ways to compensate for some of the structural flaws within the hinging block [All techniques have structural flaws at some point] and we’ll be looking at them in the next section.

 

But Harrill Sensei showed a different answer to us, one also found in our Bando stick studies.

 

The outside block can be performed in a very different manner, to have the left hand reach out and form the block, drawing the blocking forearm back to finish the block (an inward side block instead of an outside block. The arm ends in the same position, but the inward drawing motion, besides forming a moving wall, helps draw the opponent in closer, where the outside block just bounces their arm away often leaving their center in place.

 

By drawing them in, or sucking them in, it makes them closer to strike into with your reverse punch.

 

So depending on how you block, will determine where they will be located for you counter. There are strategic reasons for both sets of answers, and it works for interior and exterior types of blocking.

 

Principle 2 – How to Step into Seisan

 

Even using the crescent step to explode into the block, there are other basic stepping concerns that can be addressed.

 

For one thing you can use the crescent step to step on top of their lead instep. This cements them to the ground and allows their more immobile body to receive a strike more soundly because they cannot get away.

 

But the crescent step can also be used to hook the front leg into a front leg press with their foot/leg between your lead foot and leg, to create a press down.

 

Immobilizing the opponent always offers strong answers.

 

 

Principle No 3 – The manner of striking is either hard or soft

 

For me this goes back to my beginning. Mr. Lewis used to describe the Isshinryu strike as tightening on the instant of impact, and then releasing immediately afterwards.

 

So leave it to Harrill Sensei to turn this into practice. The best way I can express this was that he implied there were two sorts of striking. The first sort the fist is compressed tightly throughout the strike. The second sort, the hand is somewhat looser composed during the strike, but the impact helps tighten the hand even further than it can do itself, and as the hand releases after impact, that release helps it get out of dodge, and creates an interesting secondary effect. That receding hand causes the abdominal wall to snap out after compression. This creates a secondary shock from the strike.

 

When Harrill Sensei would strike us in the abdomen this way you would feel a rising shock into your throat.

 

Private Note - Harrill sensei told us he only practiced this strike on Seisan’s Opening and SunNuSU’s opening.

 

I feel there is a sound tactical way to choose between the strikes. If having to respond instantly, the compressed fist makes most sense. You strike clean and hard.

 

If you have a moment of time to choose where to strike and the abdomen is a good target choice, then the looser fist to compress on impact makes sense too.

 

As I practice this Seisan Kata uses both striking techniques.

 

Principle No. 4 - Where to Strike

 

Interior Line of Defense against a Right Strike

  Opponents Solar Plexus

  Opponents Face

  Opponents Left External Oblique

 

Exterior Line of Defense against a Left Strike

  Opponents lower side below the ribs

  Opponents side ribs

  Opponents head below the ear

  Opponents thigh, striking directly into the bone.

 

The Interior Line of Defense against a Right Strike, offers another possibility. You can strike it with the vertical hand canted to about 1 o’clock and have the strike pass straight through their body so they feel it in their kidneys.

 

The other possibility is to strike into their Left External Oblique and have the vertical hand canted to about 11 o’clock. This strike causes the opponent to bend forward. In fact if you combine this with the sucking block, the block draws them forward, the strike to the left external oblique canted to 11 o’clock, causes them to draw forward further, and then you can pop them with your left.

 

There are certainly other areas to strike, but I think this is a good sampling for this time.

 

Principle No. 5 – How to Strike

 

Continuing the application analysis, you can strike with the two vertical knuckles flat fist, or you can strike with the two vertical knuckles striking in on an angle so you are using the vertical ridge of knuckles.

 

Principle No. 6 – The Add-on

 

Previously mentioning there are no real limits to what a kata technique application potential can be, one of the nice things you can do to a technique, is add something else on, the Add-on.

 

In my book, one of the nicest add-on’s to the reverse punch is a following vertical thumb strike underneath the tip of the opponents jaw, especially if you also stepped on their instep as you moved into them.

 

In fact after the reverse punch a whole series of thumb strikes make sense. Depending on how you slingshot off, you can strike either side of their neck with a rolling thumb strike (clockwise (as in a thumb hook) and counter-clockwise (as a reverse ridgehand strike)).

 

At the other range of add-on’s I like here came from some Indonesian training. After the reverse punch, just raise your hand so it flows across the sides of the eye orbit, this causes their head to move away from the touch, and in turn flow your open hand across their eyes in that direction. The resultant neck rotation will put them into extreme disadvantage or into a takedown.

 

This face flow works because we are all conditioned to turn our face away from pressure into the eyes ( for this to work its not on the cheek, but directly across the eyes from either side ) [Warning do this soft for practice, it can lead to the whiplash effect if not careful.]

 

While extreme counter training can train someone to turn into that flowing motion across the eyes, to almost everyone else as you touch the face you lead their focus. It also provides you with a less violent answer to stop an attack, if the circumstances warrant this option.

 

Principle No 7 – Use of the Block as a Strike

 

There no restrictions keeping us using the initial as a strike. Among the options.

 

Interior Line Answers against a right strike

1. LFF and Left rising strike into the solar plexus or the jaw.

2. LFF and left rising strike into the attacking shoulder.

Exterior Line Answers against a left strike

3. LFF and left rising strike into the upper ribs under their arm

4. LFF and left rising strike into the left side of their throat (under their striking arm)

5. LFF and Left rising strike into their left armpit

 

Principle No 8 – Grab and pull

 

In the grab and pull, the pull is as sharp as the kata practice can make it to drag the opponent closer.

 

Exterior line of Defense.

1. LFF Left outside block, then grab their biceps and yank them into the punch.

2. LFF Left outside block, then grab their shoulder (shirt/coat) and yank them into the punch.

 

Principle No 9 – Defense from the Rear

 

You’re standing alone outside and all of a sudden somebody jumps you from behind and places you in a bear hug. Another or Harrill Seisei’s answers was to just step forward with a left outside block (to help release the grab) and you chamber our right hand striking them sharply into their ribs at the same time.

 

Grab defenses are important to keep in the art. Yes many of us would not find ourselves being grabbed, but depending on location, or size of the attacker, if you’re a woman or child, being grabbed can and will be very real possibilities.

 

Principle No 10 – Defense against a right grab.

 

Whether they’ve grabbed your right arm with their left, your right arm with both their hands, or have grabbed both your hands, you have the same counter. You step out and reach your left arm underneath their arm(s) and then you deliver a left outside block and sharply chamber your right, then strike them. A very effective set of grab defenses using Seisan’s opening section.

 

But if that’s not good enough for you how about the Brillant Answer from Isshinryu’s creator.

 

To close this section, and give us pause, lets return to Shimabuku Sensei’s own answer for using this section of Seisan.  “Left hand holds right wrist. From Seisan, pull the hand back to the release position and strike to the solar plexus.”

 

Yep, he liked Seisan too.

I believe you will see this range of variables is not an everything goes sort of training.  I did not go into every basic variable, but enough to make the point. You can mix and match all of this with almost everything discussed to date. It’s why trying to describe all of these options would take forever.

 

And if this is basic Seisan, can you imagine what’s coming next?

 

 

 

 

 

Opening Seisan Kata 101.5.2 –   Moving Along or basic Angling for an Answer

 

Having looked at applying the kata as it’s design first suggests, moving forwards (and perhaps backwards), we must look into the spatial relationship of the kata movement to the attack.

 

I remember Joe Swift sharing a translation he made of Mabuni Kenwa describing how to interpret kata movement, from the 1938 book “Karatedo Nyumon”.  Mabuni’s point was it was a mistake to interpret the kata movements application potential just by the way the form moved. I would interpret that to mean just because the kata goes forward the only possible interpretation of that movement isn’t just straight ahead.

 

In fact you can use a movement to enter an attacker’s total 360 degree sphere of focus. While the attacker may be attacking you from the front, they could be attacking somebody else and you may be standing anywhere in relation to that attack and choose to enter it with your technique.  That really forms an entirely different sort of application analysis.

 

But the attack I’m interested in at this moment is still coming in straight at me.  Perhaps at a time one is fast enough to fairly move directly into the attack, or directly away from it, but one does not always stay young, and/or the attack might involve a weapon, and you most definitely want to be in the plane of such.

 

There is another answer, that of moving to the side, angling away from the attack.

 

Whether an Interior Line of Defense movement, or an Exterior Line of Defense movement, angling into your front stance removes you from the intended target zone, and in turn makes your response faster as you’re closer to your target.

 

Principle of the 20 degree shift

 

There are a number of different ways to shift. For myself I most often prefer shifting to a 20 degree angle across the attack.  You can shift both feet into that ‘angled’ front stance, but most of the time I use Replacement Stepping. If I wanted to angle to the right, as the attacker strikes, I’d move my left foot alongside my right, but instead of continuing to step out, I would step back with my right foot, to swing into that angled front stance.

 

Shifting the angle you are no longer where their grab/punch was intended and your hand to strike back is closer to them.

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] Your left foot begins the crescent step by drawing the foot in alongside the right foot, but then you step back and over with the right foot, forming a Seisan Stance facing across their striking arm at a 20 degree angle. You then use your outside block to parry their strike away from you, while you chamber your right hand (and perhaps slash it back alongside their chest as you do so).

 

If they are throwing the grab following punch, you can always strike across it with the bottom of your striking arm, deflecting it downward, and still hit them faster as your right hand is closer than it was originally.

 

And the Exterior Line of Defense works the same way, with just a different set of target opportunities, as the ribs or side of the head may offer.

 

As to how to use the movement, sliding your stance is as effective as replacement stepping. The goal is just to get into the position.

 

Offensive use of the Seisan LFF Left Outside Block

 

In a related issue, there are other uses of entering an attack on the angle, in this case using the 20 degree exterior line of offense, to stop an attacker directed elsewhere.

 

The situation – Your opponent RFF reaches out with their right hand to attack somebody else.

 

Your response – [Exterior Line of Defense] You’re standing on the exterior of the attack. You use your stepping crescent step to step in behind the opponents lead leg.

 

As you do this, you use your crossed hands to strike with the right hand into the opponents triceps, striking back towards their body. This will move their arm somewhat to your left.

 

Then as you step behind their leg, your left arm reaches down and then to your left in the left outside block.

 

The timing is such you trap their leg, and execute the left outside block underneath their outstretched arm into their chest. This ‘blocking’ motion steals their balance and your block downs your opponent.  In fact this is a variation of a standard Tai Chi theme, now to enter an attack with a strike/throw.

 

Even fractals of that outside block/strike are available, that outside block could always be turned into a descending elbow strike if the opportunity is right.

 

Principle of Seisan with no movement

 

At one of the last clinics I attended with Harrill Sensei, I remember him talking about applying some technique as if your back was against the wall, you could not move backwards, and with the opponent before you, you could not move forewords.

 

To see this with Seisan Kata, take a neutral high parallel stance, with your arms hanging down.

 

The situation – Your opponent RFF reaches out with their right hand to attack you.

 

Your response – [Interior Line of Defense and pinned down] Standing in parallel stance all you do is use your knee release effectively, don’t take a step and still outside draw side block and then reverse punch for effect.

 

Learning how to shift your center to match the technique can approximate the stance from the kata in question, and you don’t have to move your feet at all.

 

In fact you can do the entire Seisan Kata without stepping and still learn how to make each technique series work. The focus must be on learning how to shift your center appropriately with your knee release.

 

I’m not going to describe this further, just state I teach it and make it work.

 

So we see Seisan still has more opportunities to be considered, beside standard application study.

 

 

Opening Seisan Kata 101.5.3 –   Redefining the Opening or moving beyond the boundaries

 

One interesting principle underlying kata technique application study is there is no defined lines what constitutes a kata technique step. Sure there is the definition used for a new student as a training device, but there are no rules that says that has to define the technique as you work technique application potential.

 

It is for this fact alone, that the topic of how to define a section may be almost infinite in potential. It all depends on where you draw the lines. Taking the step and block then punch, then step and punch and then step and punch and making it a defined practice is as logical as just taking the first aspect, block and then punch.

 

I don’t intend to make this an infinite study, but there is one underlying principle that I find works everywhere, in every kata, in every system of study, every time. The Principle – Take the Next Step

 

The way I see using karate’s potential is to keep somebody from hurting me (or someone else). If I train very, very hard and have a very, very, very good reverse punch, what happens when I unload my perfect punch and ‘Arnold’ just stands there and takes it.  The possibility exists that there is always somebody that my best won’t work against, especially if you consider, age, size, amount of training, etc.

 

But what if there was a way to maximize that you could use your karate technique and put the attacker on the ground. Just that, put them down, with no other guarantees. Is that worth the effort?

 

To me it certainly is, and my study found a very logical answer. When I complete a standard kata section, I just add the next stepping movement in the kata, and use it as a sweep to take the opponent off their feet.

 

Thus they try and strike me, and I step in and block them then strike them, and then step around their leg and sweep them to drive them down.  Certainly this is more involved and requires training on the warp of the stepping process, but it is a very effective answer.

 

For example:

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] Your left foot steps in alongside our right, then your right foot steps out to create Seisan Stance with the 20 degree shift across their striking arm, as you block and deflect their arm with your left.  You immediately reverse punch their solar plexus and as you connect you step forward with a perfect crescent step that ends with your leg bouncing into their calf from behind, and you continue the punch as a press to drive them down.

 

Or you consider a Shimabuku Sensei option expressed by Harrill Sensei. That immediately upon striking with the fist, compress the elbow and turn it into an elbow strike, and then step forward with the sweep.

 

And being an equal opportunity employer it works equally well if you use the unlocking principle and use the same defense against their LFF Left grab defense.

 

A more abstract use of the entire originally defined sequence is as follows, it works as above but you take the third step and get a really different answer.

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] Your left foot steps in alongside our right, then your right foot steps out to create Seisan Stance with the 20 degree shift across their striking arm, as you block and deflect their arm with your left.  You immediately reverse punch their solar plexus and as you connect you step forward with a perfect crescent step that ends with your leg bouncing into their calf from behind, and you continue the punch as a press to drive them down.

 

As they’re on the floor, and you’re holding their right arm in your left hand, take the third crescent step, pulling your left hand into chamber and rotating their arm in the process so the knee of your third step smashes behind their elbow. Which equates to a broken arm or a dislocation of the elbow.  [I suggest this be practiced very, very carefully.]

 

Principle – the Manner of Stepping

 

This leads us into the potential uses of stepping in kata technique.

 

We’ve already suggested you can step on top of their lead foot to immobilize them, or you can step behind their foot from the front, hooking the foot to trap their leg between your instep and your shin, for a pressing leg takedown.

 

But each stepping movement has other potential answers. The stepping can be a low kick into the ankle to force the opponent down.

 

Each stepping movement may be a knee strike into a groin or the inner thigh.

 

Each stepping movement may be a stomping strike into their lower leg.

 

Consider the following answer.

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] Your left foot steps in alongside our right, then your right foot steps out to create Seisan Stance with the 20 degree shift across their striking arm, as you block and deflect their arm with your left.  You immediately reverse punch their solar plexus and then you step forward, but when your right leg reaches your left, the leg rises and instead you stomp kick across their knee/lower leg, as you continue your step.

 

A rather final answer to a defense.

 

Opening Seisan Kata 101.5.4 –   Seeing Aikido Potential in Seisan

 

When I discussed the opening of Seisan kata I showed a locking technique crafted by Harrill Sensei.

 

I don’t find that kata can contain locks and or throws unusual for I’ve found many obvious ones in my own study. But Seisan’s opening section offers a unique glimpse how one art may be present in another. I’m going to describe several direct links to aikido technique.

 

I must hasten to add, this does not make Isshinryu aikido, rather using the Isshinryu technique with it’s aikido principle, is a very different answer than what aikido most commonly works for. The results tend to be more final.

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] Your left foot steps in alongside our right, then your right foot steps out to create Seisan Stance with the 20 degree shift across their striking arm, as you block and deflect their arm with your left.  You immediately reverse punch their solar plexus and as you connect you step forward with a perfect crescent step that ends with your leg stepping under and past their arm keeping that 20 degree orientation.

 

As your leg passes through you’re going to extend the normal chambering motion of the right hand from the kata.  What you’ll do is press your right arm underneath their right arm, and then raise it up as you step through.

As their arm raises, your left foot slides out and you rotate right 90 degrees on the balls of both your feet.

 

The right arm is completing its rise and as you rotate, you slide your right arm (fist closed) down the outside of their right arm, and finally open your hand, turn it over palm down and slide into their wrist for the grab as you complete the chamber.

This rolling motion rotates on their shoulder centerline, and they’re helpless to stop it, and then your chamber grab pulls them forward.

 

The percussive option is to then strike into their (ribs, neck, or behind their elbow. The Aikido option is to strike across the top of their arm behind their elbow as you chamber. The motion of the bottom of your arm rolling across their triceps insertion rolls them right over.

 

But using the kata power and focus, this isn’t gentle, rather you chamber you hand and your striking arm actually slingshots their head into the ground, unless you chose to do it softer and use it as the Aikido Ikkyu (first) Lock or an amrbar.

 

On the other hand you can use aikido option No. 2.

 

 

 

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] Your left foot steps in alongside our right, then your right foot steps out to create Seisan Stance with the 20 degree shift across their striking arm, as you block and deflect their arm with your left.  You immediately reverse punch their solar plexus.

 

Then to extend your punch you roll it back to your left shoulder and grab their right wrist from on top.

 

Next you chamber your right hand, and in this case we’re going to keep our LFF stance.

 

As the left hand chambers, shift 45 or so degrees to the right on the balls of both feet and throw a left reverse punch sliding the bottom of your left hand across their triceps insertion. Carefully of course because this is a really good way to break their arm.

 

You end up with a RFF and Left Reverse punch as if you did the second portion of the Seisan sequence, but not by stepping but by shifting.

This technique is a variation of Aikido’s Gokyu (5^th) Lock. IMO in Aikido this is a very simple technique, but so dangerous it is not taught to beginners.

 

Or another variation.

 

You’re standing in neutral stance:

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] Your left foot steps in alongside our right, then your right foot steps out to create Seisan Stance with the 20 degree shift across their striking arm, as you block and deflect their arm with your left.  You immediately reverse punch their solar plexus.

 

Then to extend your punch you roll it back to your left shoulder and grab their right wrist from on top.

 

Now you step back with you right foot into LFF, and chamber your right hand, This pulls their wrist over and extends their arm because of the wrist lock.

 

This is Aikido’s Nikyu (2^nd) Lock. Here we varied the footwork and direction but it still can be seen as a potential within the Seisan opening.

 

FYI, one variant of Matsubayshi Ryu I know uses a variation of this as their primary self defense lock for their students to practice.

 

And all of these locks can be countered, but if you’ve really nailed them first its rather unlikely they’ll be thinking about countering the lock.

 

Still another option in Seisan’s opening is an Aikido projection as opposed to a lock.  [Note, a lock can be extended into a projection, but a projection is primarily just that.]

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] You step forward with a left outside block to parry their strike outside. Then you grab their arm with your left (from underneath0 and you immediately reverse punch your right arm across the side of their neck (your left, their right).

 

This will cause their neck to roll to your right.

 

Immediately hook your hand behind their neck and begin to chamber your right hand holding their neck, at the same time you rotate your left arm clockwise, spinning them on the center of their trunk.

 

This variation is Aikido’s Rotary Throw.

 

Sure these aikido variations involve some minor changes of kata technique. You might classify them as extensions or even add-ons. But the Aikido principles, when used with  identical kata performance power and focus, becomes something much stronger to effect into their person.

 

And additionally the reverse punch often used, is identical to the way Usheiba documented his Aikdio examples in his pre WWII books. Strike first (called atemi in their art) and then aiki them.

 

Opening Seisan Kata 101.5.5 –   Some favorite add-ons

 

This sequence of techniques might be considered favorite add-ons or even odds and ends that I personally like.

 

Cut ‘em Down

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] You step forward with a left outside block to parry their strike outside. Then you grab their arm with your left (from underneath) and you immediately reverse punch.

 

Comlete with a right front kick into their Left inner thigh (above the knee) to buckle their rear leg. Then complete the leg movement by a Naifanchi style cutting kick into the rear/side of their right knee.

 

They strike, you finish!

 

Step on By

 

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Exterior Line of Defense] You step forward with a left foot on the outside of their grabbing arm. No block, just strike their ribs with your right. Then you crescent step forward with your right leg behind their right calf, but when they meet, your keep drawing your leg back as your hand presses in. This is a fast sweep takedown.

 

Elbow Power

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Exterior Line of Defense] You step forward with a left foot on the outside of their grabbing arm. No block, just strike their ribs with your right. Then you crescent step forward with your right and chamber your right hand, which becomes a rear elbow strike into their kidney..

 

Next slide your left foot to the left, pivot on the balls of both feet turning to the right, striking the back of their neck with your left fist, then grab their collar.

 

Next turning about 45 degrees to the left, step forward with your left and chamber your left hand. Between the kidney shot, the hit and the pull down you drop them on the ground, perhaps to step again onto their neck.

 

Something borrowed - Ernest Rothrocks Jing do

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] You step forward with a left outside block to parry their strike outside. Then you strike into their right side with a left palm strike. Next you immediately reverse punch, and follow up as required.

 

This combination left side block immediately followed by a left palm strike to the ribs, is done in one continuous circular flowing motion. The circular parry/block keeps moving on.

 

Guaranteed to get their attention.

 

 

Something borrowed – Tris Sutrisno Hangetsu Application

 

The situation – Your opponent reaches out with their right hand.

 

Your response – [Interior Line of Defense] You step forward with a left outside block to parry their strike outside. As you complete the block your left hand then drops and rises to the front in a rising bent wrist strike into their jaw.

 

Next you reverse punch their solar plexus, following that with an immediate right backfist strike.

 

Instead of a One-Two, you turn it into a One-and, Two-and. Multiple striking sequence to off balance your opponent.

 

Against a Kick

 

The situation – Your opponent kicks out with their right leg.

 

Your response – [Exterior Line of Defense]  You step forward with your left foot, the lead toes pointed inwards on a 20 degree angle and you use your left outside block to sweep underneath their kicking leg, and then complete the blocking motion as an outside throw. When they go down, you step forward to stomp into their groin.

 

Without research I’m not sure where but I know Harrill Sensei used a similar kicking defense, and Tris Sutrisno in turn used this as an advanced application for his Pinan kata.

 

I’m not particularly keen on doing such kick defenses, but if you’re in control of the situation it is effective. Of course that can be a big ‘IF’ if you’re really pressed.

 

 

Opening Seisan Kata 101.6 –   In Closing

 

This beginning Kata Application Potential study was prepared to introduce you to the life long potential kata can provide.

 

If these 30 or so pages are just for one kata section, consider how much potential exists within the rest of our bushi no te Isshinryu study.

 

I certainly haven’t given everything I can see in this section, much less have even come close to mastering all the rest. But I believe this study will present an honest look at where your future studies may leave.

 

There are potentials for Seisan’s opening I haven’t mentioned. Either I’ve forgotten them at this moment, or I’ve purposefully left them out for a later date. Feel free to pick an answer.

 

This study represents some of the material Harrill Sensei shared with us once upon a time (and in on way describes his full Seisan answers). It also represents 30 years or so of my own practice, and some thoughts from my friends too.

 

Be assured, you will spend many years getting adequate at all these answers, and we haven’t begun to describe the Opening of Seisan kata 101.7 the integration of breathing with application, the Opening of Seisan 102 training structure. When you move beyond application analysis and go into application delivery against random attack, or the Opening of Seisan kata 103, learning how to choose more appropriate answers.

 

Seisan’s opening, while filled with potential, is not a very complex study, there are far more complex studies along our path. In the long run how you personally choose to own up to these studies will define your path.

 

But this study alone with work will make it impossible for anyone to anticipate how you will respond with Seisan’s opening.

 

A minor goal we all can ascribe to.

 

 

Appendix

 

Translation by Joe Swift (12/20/98) on bunkai to Pinan Nidan in Mabuni Kenwa and Nakasone Genwa’s 1938 book ‘Karatedo Nyumon’ pages 138 to 140.

 

 

Kata and Directions:

 

The meaning of the directions in kata is not well understood, and frequently mistakes are made in the interpretation of kata movements. In extreme cases, it is sometimes heard that ‘this kata moves in 8 directions so it is designed to fight 8 opponents’ or some such nonsense. I would like to specifically address this issue now.  Looking at the embusen for Pinan Nidan, one can see that karate kata move in all directions, forward and back, left and right. When interpreting kata, one must not get too caught up in those directions. For example, do not fall into the trap of thinking that just because a kata begins to the left that the opponent is always attacking from the left. There are two ways to look at this.

 

The kata is defending against an attack from the left.

Angle to the left against a frontal attack.

 

At first glance, both of these look alright. However, looking at only number (1), the meaning of the kata becomes narrow, and the kata, which in reality must be applied freely, in any situation, becomes awfully meager in its application.

 

Looking at an actual example, the 5 Pinan kata all start to the left, and then repeat the same series of techniques to the right. Looking at interpretation (1), the opponent must always attack form the left, and while fighting that opponent, another opponent comes from behind so the defender turns to fight that opponent. This type of interpretation is highly unreasonable.

 

Looking at interpretation number (2) however, the 5 Pinan kata show us that against an attack from the front, we can evade either left or right to put ourselves in the most advantageous position to defend ourselves.