As you may well know, the term 'Sensei' means teacher. In Japan it is a term that applies to a wide range of professionals from teachers to lawyers to doctors etc. Literally translated it means 'person born before another'. It implies therefore that a person teaches from experience, age and wisdom. It is a term that is also used to show or convey respect to someone who has achieved a certain level of mastery in their chosen field of study.
It is therefore reasonable to say that a Sensei as a teacher has a great deal of responsibility towards his/her student base and to society in general. I say this because a Sensei has to be more than just a teacher, he/she is a role model for their students and the public as well since this is the base that he or she will draw their students from. The amount of influence a Sensei has over his/her students is astronomical, but not always apparent.
About a year ago a friend of mine who trained at my first dojo revealed to me how I had influenced his career through the dojo. When he was a green belt I had asked him to assist me with our kids classes, to which he readily agreed. As it turned out he absolutely loved working with the kids, so much so that he decided to become a primary school teacher. When he contacted me , he thanked me for having given him the opportunity to work with the kids, and stated that I had influencd his descision to teach. Wow! Fifteen years had gone by and I had no idea how much I had affected his life!
If anything, that has shown me just how careful I have to be with the things I tell my students and what I ask them to do. I wonder how many other students I've influenced, and I wonder how many were influence in a negative way. So, I resolve to become a better Sensei than before in the hopes of fostering positive experiences for my students.
When dealing with children, the Sensei also assumes the role of Father or Mother figure, particularily with children from broken homes. Consider this: How many times has a little one come running up and spontaneously given their Sensei a hug? How many times has a child or teen approached their Sensei the minute they've arrived at the dojo to tell of their latest experiences or achievements? I routinely have kids coming up to me to tell me what they've done and they are usually quite excited about it. These examples are a perfect indication of how important a Sensei is in the lives of the kids. It is an indication of the enormous level of trust that they have for their Sensei. They obviously look forward to seeing Sensei and expressing themselves, all the teacher has to do is show interest and listen! Knowing this, imagine now, how damaging it must be to the child/teen's self esteem when they think or feel that they are not important enough for Sensei to listen to them! I am not proud to admit this, but there have been times when I have ignored the kids. It wasn't intentional, mybe I was tired, or distracted, whatever the case, it was inexcusable. It was brought to my attention one time by my wife. The child (a yellow belt) had just walked away from me. My wife looked at me and said "you know, that student just told how his day was and you ignored him. You should have seen the look on his face!" That was an eye opener for me. Now I take great pains to listen to my students (even the adults,) look into their eyes and ask them questions based on what they've told me.
Many times adults approach their Sensei as well hoping to unload their problems and worries. Sometimes they approach seeking advice or solutions to their problems. If the Sensei chooses to give counsel or offer up programmes for personal developement, then they are assuming an enormous responsibility for that students well being. These are decisions that a Sensei must not take on lightly. Great care must be taken! All in all a Sensei is much more than a Teacher, a Sensei is a guide, advisor, guardian, role model, friend, personal trainer, even a dicsiplinarian! I am reminded about one young man who trained at my dojo. One day he was joking about how a variety store owner had yelled at him and how funny he thought it was. As it turned out, he had been stealing newspapers from the store owner early each morning on his way to work. He would stop in front of the store, and seeing the papers in bundle by the door, help himself to one. This had gone on for close to a week. One morning the store owner was waiting for him, caught him and yelled at him. My student couldn't fathom why the shopkeeper was so angry. I asked the young man,"don't you think what did was wrong?", his response was no. He thought that because the papers were on the ground, that nobody owned them. So I asked him how he would feel if I helped myself to ten dollars a week from his wallet. His response was that he be really angry. I explained to him that he was essentially doing the same thing to the shopkeep. I then told him that the responsible thing to do would be to go to the shopkeeper, apologise and pay for the papers that he took. To the best of my knowledge he never did. He stopped training shortly afterwards. As his Sensei I explained to him that I could not tolerate that kind of behaviour, even if it meant losing the student. He stopped training shortly afterwards.
The right path is not always the easiest one.
Not too long ago a good friend and fellow Sensei made a statement in class that caught my attention. He said that a Sensei should be able to do what he asks his students to do in class. I realised that I had reached a point of complacency in my own training where I could not do what I asked my students to do. It made me think, what kind of role model have I become? It was a reminder to pick up my own training. I think sometimes martial arts instructor's focus too much on teaching classes and forget to lead by example.
There is a disturbing trend amoung many Sensei and dojo owners where the title of Sensei has become a status symbol, or a means to promote a dojo for financial gain. There seems to be this idea that in order to succed one has to be better than everyone else, or have a higher rank, or hold rankings in multiple styles. The example being given here is rampant egos and greed. All one has to do is go online, on facebook etc and see some of the profiles listing twenty or thirty year old 'masters' with ranks of fifth degree or higher. Many of them are sporting huge boilers (beer bellies) which begs the question, what exactly did they master? For people who claim to promote humility and fitness it borders on the ridiculous and obscene. Instead of espousing the virtues of budo, or fitness and self defense, they are promoting their own egos and setting an extremely poor example for their students. Remember, students emulate their teachers! Not only are they putting their own interests ahead of the students they are creating a generation of unfit, unhealthy students who are more likely to pass out from exertion instead of defending themselves. Dojo owners who are only interested in numbers are equally harmful. How can a Sensei truly do whats best for his/her students if they have hundreds and hundreds of them? No single person can give the attention that is required, what an injustice and for what, money? I'm grateful for their example because it is a reminder of what to avoid. On the other hand I feel bad for their students because they being given a false sense of security. They are effectively being cheated out of their training and money. What a horrible example to show ones community!
So, as a result I resolve not to become a buffet table master, or a master of a rampant ego. I will settle for less students, and do everything I can to teach them properly, guide them by my experience and example, listen to and admonish them, and to learn from my own mistakes and short comings.
I think 'Sensei' should be redefined as: person born before, ahead on the path and still learning.
A very good friend of mine ( Sensei Ken Jacobs) has been issuing monthly challenges to his students. To date, these challenges have been very insightful and I believe have helped everyone involved realize aspects of their behaviour, and habits that they might not have been aware of previously. It has certainly opened my eyes to my level of discipline and willingness to step out of my own comfort zone. I've had an idea for challenge for a little while now, I've been doing it myself, on and off over the last year, but since my dojo is comprised solely of kids under the age of 13 I haven't had a chance to try it out.
Fortunately, I have been given an opportunity to issue the challenge through Sensei Jacob's dojo, and so by extension via this blog to anyone else who might be interested. The challenge is to do the sanchin kata first thing in the morning every day for a month. My intention will be to climb out of bed do some light stretching and then do Sanchin. Now I know that we all practice sanchin on a regular basis, but thats usually at the end of the day when we attend class.
There is a reason and a purpose to this challenge that goes beyond just being a morning activity. I am interested to learn what, if any, benefits or detriments there may be to practicing sanchin first thing in the morning. I've already noticed some things myself but I would like to find out from others what they discover/learn. In this way maybe we can all contribute a bit to the body of knowledge that we call goju ryu. Part of my reasoning for this is that I've noticed a great many older people who have trouble with their health and breathing. Much of this is due of course to the abuse that many people place on themselves through smoking and other bad habits,as well from environmental sources such as pollution and extremes in weather. This concerns me because (as I've recently discovered) I am getting older too!!!. I would like very much to maintain my health for as long as possible and since I'm a goju ryu practitioner I would like to use my art towards this goal.
So, this is the challenge: Practice sanchin kata first thing every morning over the next month and record your experiences and thoughts. (you can choose to do this kata once or twice. you are in charge of how you conduct your practice). Share those thoughts by blogging it or commenting here on this blog. Full credit for ideas and thoughts will be given to their contributors and anything learned will be shared by all those who participate. My hope is that this information will be freely shared among all styles and schools.
I'll be posting every few days what I'm feeling, thinking and experiencing here on this blog. During the week I wake up very early, 4:00am, so i will stick to this time on weekends too (just for consistency). As soon as I get up, I'll be stretching then doing the sanchin kata. (even before I seek the love of my mornings: coffee!) Let's see what we discover!
The mission statement of our dojo: "Character building through diligent Martial Arts study and applications"
The idea of a strong character is an important one to me. I have found that in today's world there is a lack of moral standing, and a proliferation of negative character traits and behaviour. It is my belief that this break down of moral standing is due in large to today's media, movies and video games. It has become 'cool' to be rude to others, selfishness has become the new accepted norm for many people.
Karate is an excellent medium for re-introducing strong virtues and character to society. The idea of helping others, standing up for what's right,and maintaining high moral standards makes for people with strong character and leadership skills. In keeping with this idea I have chosen the name Kyou Toku Kan to represent my dojo and beliefs.
Kyou Toku Kan translates as House of strong virtues. 強 徳 館
The first character ( 強 ) means strong, the second character means ( 徳 ) means virtuous/virtue, the third ( 館 ) means house.
The definition of virtues is as follows: 1. moral excellence; goodness; righteousness. 2. conformity of one's life and conduct to moral and ethical principles; uprightness
A Facebook friend of mine has posted some excellent descriptions and information on the Goju Ryu kata. So rather than try to repeat what he said in my own words, I'm going to re-post his thoughts here on our blog site. The posts are from Atemi Gojuryu, on his open group page called Karate Goju Ryu. This is a great reference for those who are just starting out in Karate, and for those curious about Goju Ryu. Any comments you have will be accepted with open arms, and are greatly appreciated. Thank you to Atemi GojuRyu.
Gekisai Ichi / Gekisai Ni - "Attack & Destroy"The Gekisai Kata were formulated by Chojun Miyagi Sensei in 1940 as a form of physical exercise for high school boys and to help popularize Goju-Ryu among the public of Okinawa. In 1948, after WWII, Miyagi Sensei began to teach the Gekisai Kata in depth as a regular part of Goju-Ryu in his own dojo. Until this time, Sanchin was the first Kata taught in Goju-Ryu. Sanchin is physically and mentally a demanding Kata and requires a great deal of time and patience to learn and perform properly. The Gekiaai Kata however are easier to learn and perform, and contain dynamic techniques which are more attractive to young people. These Kata contain the same kanji for "sai" found in Saifa. This would suggest that even though these Kata were designed primarily as a form of exercise, Miyagi Sensei included his understanding of combat as part of their makeup.
Sanchin - "Three Battles/Conflicts"One of two "heishu " Kata of Goju-Ryu, Sanchin is probably the most misunderstood Kata in all of Karate. In contrast, it is probably the single most valuable training exercise in Goju-Ryu. Like the other Kata of Goju-Ryu, Sanchin can be found in several Chinese arts , particularly the southern styles including four styles of Crane Boxing, Dragon Boxing, Tiger Boxing, Lion Boxing, and so on.Sanchin has such aspects as deep, diaphragmatic breathing found in many internal arts as well as external attributes like mechanical alignment and muscular strength. Because many karatekas have little or no understanding of the true history and nature of the Chinese arts from which Okinawan Goju-Ryu has its roots, Sanchin has become little more than an isometric form performed with dangerous tension and improper breathing techniques. The original Sanchin that Higaonna Sensei learned from RuRuKo (1852-1930) was performed with open hands and with less emphasis on muscle contraction and "energetic" breathing. With the changes brought about by Emperor Meiji (Meiji Restoration Period 1888-1912), Higaonna Sensei changed the open hands to closed fists as the martial meaning was no longer emphasised.
Tensho- "Turning Palms"
Tensho was created by Chojun Miyagi in or around 1921. The kata focuses on the soft (Go) side of Goju Ryu and focuses on continueous flowing movements. Tensho is a completment, or soft version of Sanchin and includes the same dynamic tension and breathing control. The purpose is to offer a balance to Sanchin which is all Go (hard) with Ju (soft). Tensho is also know as "rotating palms", "revolving hands" and in some other systems as Rokkishu "six machine palm". There is some suggestion that Tensho was Chojun Miyagi's interpretation of Kakufa kata that was practiced by Kanryo Higashionna. Similarities and influences of White Crane style kunfu are evident in this kata. - * Tensho desciption from Simcoe Goju Ryu
Saifa - "Smash and Tear Apart"Saifa is the first of the classical combative Kata taught in Goju-Ryu. Goju-Ryu's Kata origins come from the martial arts taught in the Fuzhou area of southern China, largely Crane and Xingyi/Baqua as well as other internal and external martial arts. Kanryo Higaonna Sensei was taught this Kata, along with the other Kata of Goju-Ryu, while he studied in China from 1863-1881 under the direction of RuRuKo (Xie Zhongxiang in Chinese) and others. These Kata and martial strategies would become the basis of the the quanfa of Higaonna Sensei, which later Miyagi Sensei would call Goju-Ryu. From an understanding of the grappling and striking techniques of this Kata, Saifa can be interpreted to mean grabbing and tearing of tissue in close quartered combat.
Seiyunchin- "Control/Suppress and Pull"The name Seiyunchin implies the use of techniques to off balance, throw and grapple. It is this understanding that imparts the original intentions of the Kata of Naha-te before the sport alignment of modern Karate. Seiyunchin contains close-quartered striking, sweeps, take-downs and throws. Though the Kata itself is void of kicks, many practitioners make the grave mistake by missing the opportunity to apply any leg technique. Though almost invisible to the untrained eye, the subtleness of "ashi barai" and "suri ashi" can represent foot sweeps, parries and traps.
Shisochin translates as "Four Gates" or "Four Directions of Conflict".To leave it at that discounts a truer understanding. The third kanji is the same found in Sanchin and Seiyunchin, which translates as "battle" or "conflict". This lends to a deeper definition of its meaning. The idea of four directions can come from the performance of the four shotei in four directions. It can also represent the four elements represented in Chinese medicine (Acupuncture is one) of Wood, Fire, Metal and Water with man representing Earth. Since this was the science and culture of that period in China when Higaonna and Miyagi both studied in Fuzhou, it would be a great oversight to discount this aspect as a very probable explanation of the Kata's name and martial intent.
Sanseru - 36 hands
Sanseru is unique as Miyagi Sensei studied this Kata under a direct student of RuRuKo during his studies in Fuzhou, China beginning in 1916. Sanseru, from its numerical designation, would seem to have its roots in Buddhism. This is not to infer that there is a religious connection or implication with this Kata or Karate, but simply that Buddhism was a part of the culture of the people of that time. It should also be noted that numbers had a very important role in the language of the more ancient Chinese before the invention of kanji.A more realistic explanation of this and the other numerically named Kata is that they refer to a systematic method and understanding of certain groupings of vital acupressure points. It is this science that the martial arts was based upon and developed. Feng Yiquan, who lived during the Ming Dynasty (1522-67) developed this particular method of using variations of "36" forbidden points to defeat his opponents. Other disciples of Feng created other quans expanding the number to 72 and ultimately 108
Sepai - "18 Hands"The reference to "18" in naming this Kata has a couple of interpretations. Like Sanseru, there is suggested a connection to Buddhist philosophy. Another insinuates "18 guards for the King". The most apparent and most meaningful in the naming of Sepai is again from the martial arts development and the use of attacking pressure points. 18 is one half of 36 suggesting that perhaps an alternative set of attacks and defenses of preferred techniques and strategies from the original Sanseru 36.
Kururunfa - "Holding Ground"The name of this quick and fast kata literally means "to detain for a long time and suddenly rip apart", however a more accurate/contextual translation would be "to restrain and destroy". Kururunfa contains a wide variety of open-hand/hip coordination techniques that, depending on the circumstances, can either be interpreted joint locks, blocks or strikes or any combination of the three. The use of the hips to aid some hand techniques enhances both the power and effect of the joint locking and breaking techniques. Like SeisanKururunfa epitomizes the ideals of Go-"hard and Ju-"soft". Stance transitions are quick and explosive while the hands techniques are employed using "muchimi" or a heavy, sticky movement. As in the other kata of Goju-Ryu, it is quite evident that grappling and close-quartered fighting is the favored fighting style. The same kanji "fa"is found in Saifa. Again, this would suggest a strong emphasis on grappling. Where most other styles' Kata concentrate on "block/punch", it is obvious from the unique techniques that this is not the case with Goju-Ryu Orthodox history maintains that Kanryo Higaonna brought Kururunfa kata back from Fuzhou where he learned the form from Ryu Ryu Ko. However a comparison1, 2 with Goju-ryu's sister school, Tou'on-ryu (the school of Higaonna's most senior student Juhatsu Kyoda) suggests strongly that only 4 kata were brought back by Higaonna, namely Sanchin, Sanseiru, Seisan and Suparinpei.Accordingly it seems quite likely that Miyagi learned Kururunfa during his own travels in China or perhaps even that he synthesised it from techniques learned both in China and Okinawa.
Sesan - "13 Hands"Sesan, Sanseru and Sepai all share the kanji "se". This may well be a Chinese dialect of the Okinawan term "te" or "fighting hand", referring to life-protection techniques. To better understand these Kata requires a more defined understanding of the language and culture of the people from which these Kata originated.Sesan is believed to be the oldest of all Okinawan Goju-Ryu Kata. There is a version of Sesan practiced in the Shorin schools, but in comparison, the Goju-Ryu version is longer and much more complex. Sesan is practiced in the following styles of Chinese Boxing: Dragon, Lion and Monk Fist. Ryu Ru Ko taught Higaonna the kaishu ('open hand') kata: Sanseiru, Seisan, and Suparinpei as well as Chinese weaponry.
Suparinpei - "108 Hands"Suparinpei is the most advanced Kata in Goju-Ryu. It contains the greatest number of techniques and variations. Suparinpei is deceptive in that it appears simple in execution but when combined with transitions and changing tempos, it is only surpassed by Sanchin in technical difficulty and understanding.Once again, the number "108" is suggested to have origins in Buddhism and can represent the "108 sins of man". On the Chinese New Year, temple bells are rung 108 times to "drive away the evils of man". It is believed these named associations with Buddhism is based upon the lack of factual knowledge of the true nature of these quan. Secondly, with the cutural changes that took place in China during and after the Boxing Rebellion (1900) and the fall of the Qing Dynasty (1644-1911), little emphasis was placed on learning such complex arts. Most who learned the fighting arts astyles of Chinese Boxing: Dragon, Tiger and Monk Fist.fter this time, did so as a means of exercise, recreation or artistic performance. In additon, the wide-spread use of firearms reduced the need and effectiveness for hand-to-hand combat as a means to civil defense. Suparinpei is found in the following
Karate do is the way of empty hands, or self defense. We're trained to punch, kick, block etc. And I might add become very good at it. Now that we have the skill we need to know what to do with it and what the processess are in terms of self defense. Here's what I teach my students and the reasoning behind it. Now take your paticular self defense techniques, the standard ones or your favorites and put it and yourself through these five steps.
1. Perception / Awarness
This is your situation awarness. Taking stock of the surroundings, know where the exits are if you are indoors. What obstacles are around you? Should I go down that dark alley? Who is around me? Is there a potential for violence? Is there an immenent threat? If you venture outdoors are don't pay attention you may find yourself walking into potentially dangerous situations, therefore it makes sense that the first step to an effective self defense is knowing your environment and all who share it with you.
2. Response
Once it has been determined that there is a potential or immenent threat it's time for a response. Do I leave and avoid the conflict? This would be the best response as far as self defense is concerned. What if I can't leave? Do I yell for help? Do I go on the offensive and attack my opponent, do I take a defensive stance and draw them in? These descisions will be dictated by the circumstances surrrounding each defense situation. Determining factors will be location, number of assailants, number of witnessess, avenues of escape etc. Knowing what to do for each senario in advance makes for a quicker response.
3. Engagement
This is the time to cross hands with the opponent and implement your strategy, or plan of attack. It's important to have a clear objective for your defense/attack, otherwise you prolong the engagemet and increase your chances of injury. An example may be to clear your opponents hands and strike a weak point, such as the groin and then overwhelm them with a series of rapid techniques.
4. Resolution
Now that the opponent has been overwhelmed it's time to resolve the conflict. If I stop and fail to resolve the conflict, then my opponent can recover and attack again which will then prolong the engagement. Resolving means to prevent the opponent from attacking further. This could be a restraining technique, or as simple as taking out the opponents mobility. Either way it's vital to stop the engagement as quickly as possible.
5. Withdrawl
With the engagement resolved it's time to get away. If I wait around maybe my opponent recovers and then we're back at an engagement. The opponent may have had friends who fled but are about to return. What if they bring help? How many times has this senario played out at the bars and nightclubs? It's vital to a successful self defense to withdraw to a safe distance or location as soon as possible.
I was cleaning out my karate archives when I came across this exam I had to write for my nidan grading. Needless to say these were my thoughts early in my martial arts career. Now that I am older and wiser some of my views, understanding and opinions have changed. In order to grade I had to present these answers to my Sensei at the time, Chris Doyle. This was written and presented in 1995. Let me know what you think! It's a bit choppy because I scanned it from the original which was typed on a type writer lol......
1.What led to the development of Karate on Okinawa?
There are three main events which led to the development of Karate on Okinawa. The first of these events was the beginning of trade and diplomatic contact with China during the Ming Dynasty (1368 - 1644). The year 1392 saw the migration of36 Chinese families to the community of Kume-mura on the outskirts of Naha, Okinawa where they settled. Among the settlers were masters of Kung Fu and Chuan Fa who began to teach their arts to the Okinawans. The second event was the banning of weapons by King Sho Hashi who unified Okinawa in the year 1429. This weapons ban was later re-imposed by King Sho Shin the grandson of Sho Hashi in the year 1477. This began the trend of practicing Karate as a means of self-defence. The third event was the invasion of Okinawa by the Satsuma Clan of Japan in 1609. The invading Samurai also banned all weapons from the Island and in addition banned all forms of un-armed combat under the penalty of death. This lead to the training of Karate in total secrecy, not just for self-defence but for survival.
2. What is the original name by which Karate was known to the Okinawans?
The original name by which Karate was known to the Okinawans was Te. Te is the name of the indigenous fighting style of Okinawa which eventually evolved into what is now known as Karate.
3.Who was considered to be one of the original propagators of Karate on Okinawa?
Tode Sakagawa also known as Karate Sakagawa is considered to be one of the original propagators of Karate on Okinawa. It is believed that Tode Sakagawa was the first
Okinawan to combine Chuan Fa and Tode1 to form Okinawan Te which was the forerunner of Karate. A quote from the Weaponless Warriors by Richard Kim says; "Without reservation, we can say that Karate Sakagawa was the first teacher and master of the style that is commonly called true Okinawan and Japanese Karate." Since it is the Master of the style or art who propagates it by passing it on to the students we can therefore conclude that Tode Sakagawa was indeed one of the first propagators of Karate on Okinawa.
4.The original forms of Karate came from Fukien Province, China.
Due to trade and political connections with China various founding fathers of Okinawan Karate found themselves in Fukien province China. Masters such as Chatan Yara, Kanryo Higashiona (1853-1915) and Chojun Miyagi (1888-1953) all travelled and studied
5. What were the names of the first forms taught on Okinawa?
With the introduction of different Martial Arts and techniques to Okinawa came new forms, or Kata. The Kata carried the secrets of the art and the embodiment of a particular method or style. The names of the Kata were generally passed on with the form but if the name of the form was not known the custom was take the name of the teacher and apply it to the Kata. In 1683 a form was introduced to the inhabitants of Tomari by a Chinese delegate named Wanshu. This Kata became known as Wanshu. A kata named Kusanku was introduced to Tode Sakagawa by a master named Kusanku between 1756- 1761. Although specific dates are not known many other Kata were introduced to Okinawa between 1692 up until the late 1800's. Many Okinawans travelled to China and learned from such people as Saifa, Seiunchin, Ananku, and Chinto. These names coincidentally are also the names of some of the Kata from both Shorin and Shorei lineage. Two other Kata, Passai and Sesan were introduced to Okinawa in the mid 1800's. These were among the first forms taught on Okinawa.
6. What were the two styles which evolved on Okinawa to form the basis for all other Karate systems and what was the base form and difference between the systems?
The two styles that developed out of Okinawa were Shorin Ryu and Shorei Ryu.Shorin Ryu was developed from the styles of Shuri te and Tomari te. Shorei Ryu was created in Naha. These two styles share the same philosophical base as well as many of the basic stances, strikes and blocks. The main differences are stylistic and begin with the technique. Shorin Ryu is characterized by its long stances, quick movements and linear motions. The style of Shorei on the other hand is noted for its shorter but deeper stances, fast and powerful movements and circular motions. Shorei Ryu places emphasis on centering, sliding the feet together and apart while travelling in the stance whereas the steps are straight and linear in Shorin Ryu without any emphasis on centering. The chamber hand is also a point of difference in that the Shorin stylist will pull their fist to the hip as opposed to drawing the elbow of the chamber hand back as is done in Shorei Ryu. Another difference is that of breathing. Shorei Ryu makes use of specialized breathing done for power and efficiency of technique. The breathing allows for maximizing of power and speed. Shorin Ryu follows the concept of natural breathing and makes no attempt to emphasize specialized breathing. In terms of dealing with an attack, the Shorin stylist will block as soon as possible meeting the opponents force with equal force. Shorei Ryu takes a softer approach in that an attack will be met at the last possible moment in order to deflect and conserve energy. It has been suggested that Shorin Ryu is better suited to smaller more agile people whereas Shorei Ryu is better suited to larger more powerful people. These are the differences between Shorin Ryu and Shorei Ryu.
7. Who were the men of Shaolin and what were they noted for developing?
The men of Shaolin were Buddhist monks and scribes. Their main purpose was the study of Buddhism and the translation of the sutras from Sanskrit to Chinese. The arrival
of Bodhidharma in the 6th century shifted their emphasis to C'han (Zen) Buddhism. The study under their new Patriarch Bodhidharma proved to be too rigorous for the monks. As a result, Bodhiharma introduced 18 exercises based on the movements of animals in order to improve the strength and stamina of the monks. With the passage of time came the development Shaolin temple boxing based on the exercises. The Shaolin are believed to be the first to systemize the Martial Arts.
8. Who was Dhrama ?
Dhrama, known to the Chinese as P'u-t'i-ta-mo, by the Japanese as Tashi Daruma and among Buddhists as Bodhidharma was the 28th Patriarch of Buddhism. Dhrama lived in the 6th century AD. (448-527) and was the third son of a Brahman King from Kamchipuran near Madras India. Dhrama as a Buddhist priest left India following his predecessor Bodhiruchi to the Song Shan mountains in China's northern province of Hunan. His mission was to spread C'han or Zen Buddhism to the Chinese. Dhrama is credited with introducing a series of eighteen exercises to the monks of the Shaolin Temple which led to the development of Shaolin temple boxing. He is also known for being the first Patriarch of C'han or Zen Buddhism.
9. Explain balance, breathing, kime and energy leaks as related to the Martial Artist (mind, body and spirit).
A leak in the balance, breathing, kime and energy of a Martial Artist occur because of improper technique and thought. The mind, body and spirit of each person is closely intertwined. As a result any leak that occurs will affect the other areas. For example; a mental leak will affect the body and the spirit the same is true for a leak in the body which will then affect the spirit and the mind. This is why it becomes so important to unify the mind, body and spirit.
If the mind , body and spirit are not unified then it means that there is an imbalance between the three. As an example lets take a Martial Artist who is an expert technician. If this person believes that he/she is incapable of defeating an aggressor and defending themselves the result will be the loss of the fight. This is because of low self esteem or confidence and displays a weakened spirit, out of balance with the mind and body. A leak in breathing will directly affect a Martial Artist's power and speed as well as endurance because of the fact that our muscles require oxygen in order to function. Mentally breathing affects clarity of thought, perception, and the ability to analyze situations. Spiritually breathing is the link between life and death. More breath means more ki which means a stronger spirit. Kime is focus. A leak in the kime physically will detract from blocking and hitting power. A mental leak of focus means that the mind is distracted and this will affect judgement. Energy leaks are the result of the interaction of the mind, body spirit. Physical energy is directed and controlled by the mind which is motivated and controlled by the spirit which relies on the body as its vessel. Eliminating these leaks will bring the mind, body and spirit into unity and conversely by bringing the mind body and spirit together into balance the Martial Artist can eliminate leaks in the balance, breathing, energy.
10. What effect does the kiai have both physically and physiologically on an opponent?
The kiai is a valuable tool to the Martial Artist because of it's shock value. A proper kiai will set up a vibration which will physically ring the eardrums and contract the solar plexus. Physiologically the shock to the eardrums and solar plexus sets up an overstimulation (overload) to the brain distracting the opponent and unbalancing them. In addition, the ki shockwave or vibration that strikes the opponent will disharmonize or alter their energy level. For example, take a bowl of still water and let a drop of water fall into the centre of the bowl and watch the rings that form. Now take another drop of water and let it fall of centre of the bowl and see the resulting change in the rings or if two colours are mixed together such as yellow and blue the result is green. If the opponent's energy is lost or altered which is what the kiai is designed to do they will be rendered ineffective and open.
11. Why is the full surface of the fist not used in punching?
The full surface of the fist is not used in punching for a number of reasons, they are as follows. The structure of the hand determines how we will strike with a fist. This is due to the fact that the first and second metacarpal bones of the hand are the largest and strongest and also line up straight with the arm to the shoulder (figure 1). When these two knuckles (#1, #2) are lined up this way the other two knuckles (#3, #4) angle away from the line of impact. Striking with these knuckles (#3, #4) would lead to a loss of power and possible fracturing of the metacarpal bones in the hand.
12. Should the striking components be hardened ? Why?
Yes ! The striking components should be hardened. Hardening the striking components reduces the chance of injury because the components are made harder and stronger. In addition, if the striking components are harder then they will be more effective in the transmission of kime, or energy. This is because there is less compacting of the muscles, bones, tissues and spaces in the striking components upon impact. Energy travels better through a hard medium as opposed to a soft one.
13.What is the main purpose of makiwara training?
The main purpose of Makiwara training is to harden the striking components, develop focus and power. Hardening the striking surfaces develops strength and reduces the chance of injury. This allows the Martial Artist to develop focus and accuracy of technique by striking the wooden post and dealing with the resistance involved. This teaches the Martial Artist to strike through the target and not stop just at the surface. Striking the post will also reduce the discomfort that is felt from striking which will eliminate the fear or apprehension of pain. This will increase the mental focus since there is one less distraction to deal with, and it will allow for the Martial Artist to punch harder. The makiwara training will also increase fine muscle control which will allow for greater accuracy, speed and focus.
14. What are the four primary kicking techniques of Karate on which all others are based?
The four primary kicking techniques of Karate on which all others are based are; the front kick, the side kick, the roundhouse kick and the crescent kick.
15. What part does centrifugal force play in the delivery of a technique?
Centrifugal force - The inertia of a body moving in a circle which causes the body to move in a tangent to the circle or which, acting in opposition to the centripital force, keeps the body moving at a constant distance from the centre of the circle2.
If a ball is tied to string and swung around in a circle and suddenly released it will travel in a straight line along it's last tangent. The faster an object travels the more force it will have upon impact. Force is a product of mass times acceleration 3. Keeping these facts in mind we can define the role that centrifugal force plays in the delivery of a technique. The rotating motion that is used in centrifugal force is done to generate speed and to propel a mass ( fist,body etc.) in the direction of or towards a specific target. The speed and mass combined generate the force for impact. This tells us that centrifugal force is used to increase speed and to propel the warhead towards the target with greater power.
16. In comparison, what are the advantages and disadvantages between the twist and vertical punch?
The main difference between the vertical punch and the twist punch is the twisting action of the fist. The twist punch begins in the chamber position with the back of the hand facing the ground. Upon completion of the technique the back of the hand is facing upwards, making a 180 degree rotation. The advantage of this punch is that it is very focused. The focus is developed by the rifling action of the fist as it strikes the target. In terms of a hand gun, rifle and cannon there are grooves cut into the barrel of the gun which cause the projectile which is fired to rotate upon its axis. This allows for a farther range, a straighter path and better penetration. This is also true for the twist action of the twist punch. The twist also allows for a more focused delivery of kime which means that the twist punch is highly accurate and can disable a very specific point. The disadvantage of the technique is that it is not well suited for in close fighting.
The straight punch on the other hand does not twist as it approaches it's target. The fist position remains the same throughout the punch with the fist in a sideways position, that is, with the thumb side of the fist facing upwards. Its advantages are that it is suited for in close fighting because it is not limited by a twisting action. It is also a very powerful technique well suited for uprooting an opponent and unbalancing them. It is powerful but not very focused because it lacks the twisting action. An advantage however is that this punch can shock and damage a larger area than the twist punch.
17. Does a snap kick have an advantage over the thrust kick?
Yes, the snap kick does have an advantage over the thrust kick. The thrust kick is more powerful and can easily disable an opponent. The disadvantage is that the kick requires total commitment and if the opponent blocks the kick or moves out of the way the kicker ends up off balance and exposed to attack. The advantage of the snap kick is that it does not require full commitment to execute. This allows the kicker to recover immediately if the kick is blocked or avoided.
18. Can a Karate ka train his body to withstand certain blows that would usually disable a lesser man?
Yes. A Karate ka can train himself to withstand certain blows that would disable ordinary men. This is accomplished in a variety of manners. It is done by being struck repeatedly in certain areas starting off softly and allowing the body to adjust to the new demand, then repeating the process a little harder until, over time, the body has been strengthened. It is also accomplished by redirecting the energy of a blow through the use of rooting and dissipating the energy into the ground. The body itself learns how to take energy from an impact and spread it out over a wider area. Control of the mind can control the body's reaction to the shock of impact and the use of ki helps to create an invisible shield against incoming force and thus protect the Karate ka from harm. This is augmented by the indomitable spirit possessed by all true Karate ka who will persevere against all odds. All of these qualities combined enable the Karate ka to withstand blows that would disable the lesser man.
19. Why does the Karate ka train with various weapons?
Training with various weapons is done to teach the Karate ka greater control and dexterity by dealing with an extension of the hands. It also teaches the difference between life and death. It quickly becomes apparent to Karate ka how easy it is to cause physical injury with a weapon. There is also the historical significance to the use of weapons which must be maintained. When all forms of conventional weapons were banned from the Island of Okinawa it prompted the inhabitants to improvise what they had for self defense. This teaches the modern student of Karate that anything, with a little thought, can become a weapon. In addition to this, if a Karate ka has knowledge as to the use of a variety of weapons and then encounters an armed opponent he will have a better chance of disarming him.
20. Of what use is training with the bo and sai ?
Training with the bo serves an important purpose aside from what was discussed in # 19. The bo is essentially a long six foot stick or pole. The techniques of the bo can be adapted and used with a shorter stick such as a jo. This opens up a wide variety of implements in modern society which can be used to defend against a larger or armed attacker. Such items may include a broom handle, pool cue, branch from a tree, a tall lamp, handle of shovel, hoe, rake or whatever is available. The sai is also essentially a stick with two prongs or wings attached. This means that any stick or rod can be adapted to the same techniques as the sai. Use of the sai will also train the Karate ka on the strategy or principles of fighting with and/or disarming an attacker with a long weapon such as the bo.
21. What is the greatest benefit derived mentally and physically from kumite ?
The greatest benefit derived from kumite mentally is the ability to clear the mind. With enough practice the practitioner will develop and establish a state of mushin (no mind). With a mental state of mushin the practitioner can simply react to the movement with whatever technique is appropriate at that moment. Physically the greatest benefit derived from kumite is Ma ai. By learning where to step and what distance to be from the opponent the Martial Artist can perfect his attacks and defenses.
22.What is the greatest benefit gained from jiyu-kumite?
The greatest benefit gained from jiyu - kumite is learning how to find and create openings in the opponents defenses and how to successfully land an effective technique while still defending oneself
23. What is the meaning of the three techniques repeated three times in Seiuchin ?
The Seiuchin kata is based on the motions and instincts of the Tiger. It is therefore n as the Tiger kata. This kata is also interpreted as Attack, Conquer and Suppress. .arching any Cat after it's prey it quickly becomes evident that when hunting or fighting cats will Attack, Conquer and Suppress their prey. This then is the spirit of Seiunchin and the goal of the kata. The meaning of the techniques repeated three times in Seiuchin is in relation to human adversary whether it is to oneself or an opponent. The significance of three is that the human being is Attacked, Conquered and Suppressed in his three components, the mind, body and spirit.
24. In it's most basic form karate is pure Ju-.1itsu .
25. The final goal of karate training is Perfection of character and great spirit
26.If you enter combat without reason and emerge undefeated, who is the victor?
The person who is victorious is the one who physically lost the fight. Despite the physical defeat that is suffered this person in spirit fought for the right reason, self defense. The person who emerged undefeated has lost because of the negative energy and karma that he has created by his actions which will ultimately return to this individual.
27.Karate is invincible. True or false? Explain your answer.
True. Karate is invincible because of it's goals which are self defense and self mastery.
Every technique if executed perfectly will have the desired effect. Every precept if followed dilligently will lead to self mastery and therefore mastery of others. If karate as an art is perfected and used correctly then it is invincible. This invincibility is reflected by the fact that although the masters and students of karate may pass away the art of karate lives on.
28. The karateka is invincible. True or false? Explain you answer.
False. The karateka is not invincible. This is because pure perfection is an ideal that is not attainable. No matter how much practice of technique and principle there will always be room for improvement. If there is room for improvement then there is also room for the exploitation of the karateka's vulnerabilities. Therefore the karateka is not invincible.
29. "Distance is the single most important factor to control in combat". Support or refute this statement.
Distance is the single most important factor to control in combat. If your opponent cannot make physical contact with you then he cannot attack you. So by staying out of the reach of the opponent you can control the fight. Where you place yourself and how far you are from your opponent will dictate what you can or cannot do to the opponent. By remaining at the leading edge of an attack you can block and counter instantly. Distance will determine whether or not in close techniques are used or if long range techniques are used. By manipulating distance you can make yourself appear closer to or farther away from your opponent than you really are. Your distance and direction will control where the attack is going or where it is coming from. Distance can be used to commit an attack lead to off balancing the opponent. Distance will affect reaction time and speed. For these reasons distance is the most important factor to control in combat.
30.What is the basic difference between Jujitsu and Goju Ryu Karate Do?
The basic difference between Jujitsu and Goju Ryu Karate Do is one of emphasis. A Jujitsu stylist will use striking and kicking techniques to distract the opponent and focus primarily on joint locking and grappling techniques. The Goju Ryu stylist will focus primarily on immobilizing the opponent with a strike or kick and will follow up with joint locking and grappling only if necessary as a secondary application.
31. Rearward retreat from a strong charging opponent serves your opponent's interests. Explain.
A rearward retreat from an opponent will serve the opponents interests simply because the human body is designed to move forwards, not backwards. By retreating backwards the practitioner severely limits his range of motion and balance. In addition to this , the rearward motion mentally puts the practitioner into a purely defensive frame of mind and thus eliminating offensive opportunities. Retreating straight back can also lead to being trapped with the back up against the wall or obstacle eliminating possible escape routes. The charging opponent has the advantage of moving forwards faster than his opponent can retreat backwards.
32. Trace the development of the system that you are studying and your instructor's background and give a family tree sketch.
Our system of Goju Ryu began in China with a master named Lui Lui Ko who was the teacher of Kanryo Higashionna, a native of Okinawa. Upon his return to Okinawa, Kanryo Higashionna formulated his own style of Naha Te. This style was passed on to Chojun Miyagi who formally gave it the name of Goju Ryu. On one of his trips to Japan Chojun Miyagi met and taught Gogen Yamaguchi who became the Japanese head of Goju Ryu. Among his many students was his son Gosei Yamaguchi and an American named Peter Urban. Both of these men at one time or another had taught a Canadian named Bob Dagleish. From Bob Dagleish Goju Ryu was passed on to Don Warrener of Hamilton Ontario and the taught to his student Wallace Platt and from him to Sensei Chris Doyle.
33. In the study of MartiaJ Arts, as in other studies or ventures in life, what three character traits are most important for successful mastery ?
The three character traits that are most important for successful mastery of Martial Arts and other studies are a sense of humour, humility and perseverance. A sense of humour keeps us from taking all of our problems and mistakes too seriously and helps us to maintain a positive view on life. Humility gives us the ability to admit to our mistakes. It allows the individual to take a good hard look at themselves in order to improve upon their weaknesses as well as to learn from their mistakes. The third is perseverance. This keeps us going when things don't our way or while we wait for goals to be achieved. If you are knocked down seven times, get up eight. These three qualities will lead to success in ventures and studies that life presents.
34.Explain, in relation to combat, "A mind like water. "
"A mind like water" in relation to combat means to conform to the situation. Water is very fluid and has the quality of adapting to the shape of whatever container or surface it comes in contact with. In a combat situation your mind needs to be able to conform to any variables which may occur, react to sudden attacks and flow with the opponents motions. "A mind like water" also refers to the reaction of water against an obstacle for example, the ocean surf pounds constantly against the unyielding shoreline. The surf is constantly yielding to the shore but in the end it is the shoreline that is pounded into sand and manipulated by the sea. This is an approach to combat that can be taken when facing a larger or stronger opponent.
35. Explain, in relation to the character of self-mastery, "a mind like the moon".
When the moon is full it becomes a jewel shining in the night sky. This jewel is so bright that it grabs the attention of man, so much that when it is full man behaves differently and seems to lose sight of the world around him. If a person has "a mind like the moon" he too will miss out on the world around him because-he has become too full of himself, too sure of his knowledge and is captivated and wrapped up in himself.. Since the world without is a reflection of the world within this person will miss the details of what is occurring around him every day. A person with "a mind like the moon" cannot achieve self-mastery because he is blind to the strengths and weaknesses of his own character and cannot recognize the lessons of life around him.
36.Define yin and yang.
Yin and yang are the Chinese concept of duality between the positive and negative which exists in all things. From male to female, hot and cold, yin and yang represents the interdependent qualities which make the parts of the whole. Yin and yang are not essarily opposites but rather parts of the same thing. For example, night and day can be ibed as yin(night) and yang(day) and yet one cannot exist without the other. Day in only a brighter form of night, and night a dimmer form of day. This means that despite the fact that something may be yin in nature it will possess a small part of yang and that which is yang will posses a small part of yin. Mathematically yin and yang becomes 1 and 0 which is the basis for the binary code that is applied to computers and can relate to all things from DNA to the nature of the universe.
37.Explain, "raindrops pierce the stone".
Water can exist in three different states, gas, liquid or solid. It cannot be compressed and it will take on the form of whatever it comes into contact with. If stone such as bedrock is exposed to water in the form of a river over time the stone will be worn away leaving a deep canyon in the stone. The water will seep into every crack, pit and hole and in time the cracks become crevices, the pits become holes and the holes become caves. If the water freezes and becomes solid it will split stone apart. When dealing with any problems or challenges in life an approach of "raindrops pierce the stone" is the most effective way. Be persistent and wear the problem down into a manageable size. Be unyielding when dealing with a challenge just like water piercing a stone and in time any obstacle can be overcome.
38. Explain, in relation to self-knowledge,"Say not "I have found the truth, but rather 1 have found a truth' ".
Truth is a circumstance or set of circumstances that are based solely on fact. When the facts are tangible and in plain view it is easy to find the truth. If the facts are intangible and can only be found through philosophical debate or introspection then the truth becomes more ambiguous. Under these circumstances an individual or group cannot say "I have found the truth". The reason for this is that every individual will find there own unique set of facts based on their interpretations. For example if two people have a dispute there will be three sets of facts. There are the facts according to person A, person B and the actual facts. In this instance there will be a truth for person A, a separate and different truth for person B and then a non partisan truth. This means that for any individual there can be a truth but that truth is subjective to the individual and differ to varying degrees from one person to another. To say that "I have found the truth" is to ignore the possibility of error or differing opinions. This restricts the learning process and closes the mind. To say "I have found a Truth" is leave open the mind to other possibilities and interpretations which is the way to self-mastery.
39. Explain tbe quote: "No man can reveal to you aught which is lying half asleep in thbe dawning of your knowledge. The musician may sing to you of the rhythm which is in all space, but he cannot give you the ear with which to arrest the rhythm, nor the voice that echoes it".
The only way to learn is in the act of doing and by experience. Another person can explain to you how to do something but the only way to really, truly, know is to do it for yourself. No two people are exactly the same and no two people share the same life experience. We are all, as individuals a product of our own experiences and surroundings. For this reason no two people will interpret and process the same piece of information the same way. This makes the learning process a distinctly unique, deeply personal experience. Every time we do something we discover new and more efficient ways to do it. Every time we commit an act we become more familiar with our own bodies. Less thought is required every time we repeat an experience because we are now more familiar with it and know the expected outcome. This frees up the mind and allows for more time to be devoted to analyzing what we are doing and learning exactly how we as individuals can accomplish what we are doing. It is in this way that we build up our own references against which we will compare and analyze all of our lessons and experiences. This is why "No man can reveal to you aught which is lying half asleep in the dawning of your own knowledge. " We do not possess the same experiences or references. "The musician may sing to you of the rhythm which is in all space, but he cannot give you the ear with which to arrest the rhythm, nor the voice that echoes it". The musician cannot give us his experiences so we must do it ourselves, he can guide us but we must build upon the skills by doing and that is how we may echo it .
The topic today, breathing in sanchin, goes hand in hand with the movements of the kata and muscle contractions. Since sanchin is an isometric exercise and places large demands on the body, it is vital to provide the body with sufficient amounts of oxygen. If performed correctly you should not be out of breath or fatigued.
The type of breathing employed in sanchin is called ibuki and incidentally, you will use it extensively through out your karate, not just in the sanchin kata. Ibuki breathing is a method of deep breathing that utilizes the diaphragm and abdominal muscles to maximize the capacity of the lungs. Most people use shallow breathing, they draw in air by raising their chest, but this only partially fills the lungs. It is not enough to provide the oxygen necessary for more rigorous training or strenuous activities. There is also a direct relationship to the speed of movement vs. the speed of breathe. What I mean to say is that if you want to move quickly, you need to breathe quickly. If you want to hit hard, you have to breathe hard. Try for your self, run two blocks and while doing so breath at the pace you would while walking…………..well? How’d it go?
Breathing: start by breathing in through your nose, a quick breath in, push out you belly while doing so. Pushing out your belly will draw you diaphragm downwards, this in turn will help to draw air into your lungs, filling them from the bottom up. Now breathe out by contracting your abdominal muscles until you have no air left. Now breathe in again fast while pushing out your belly (distending) etc. repeat. Keeping your back straight while you do this, posture is extremely important. Bad posture will restrict you air intake. Now for the fun part, co-coordinating the breathing with the movements and muscle contraction, I’ll focus on the punch to illustrate this. You’ve done the opening and are in sanchin dachi, legs tight, buttocks tight hips tilted up. Fig.1
Breathe in quickly through the nose, as you do draw the punching arm back into the chamber position. Make sure that when the breath starts the arm starts, and that the arm stops in chamber when the breath in finishes. Fig.2
The lungs should be full of air, now as the punch starts, breathe out and start contracting the abdominal muscles and upper body muscles in time with the breath and arm movement. Fig. 3 & 4
At the halfway point of the punch you should be halfway out of breath and you should have 50% contraction. Keep breathing out and tightening up, relax you face, keep you throat open and don’t worry about the noise you’re making! This is the sound of the air leaving you lungs. It should sound like a light hiss. Don’t try to vocalize the sound like some do, this just strains your vocal chords and does not help develop to develop the kata. Fig. 5
As you reach the end of the punch give an extra bit of contraction, and force out the last of the air in your lungs. At this point you should be fully contracted from the neck down.
Now you have to release the contraction just enough for a partial breath in. Fig. 6 & 7
It’s a quick breath, then power out the block contracting as tight as you can, stopping when the breath out finishes. The breath out is quick and hard. Once again you should be fully contracted from the neck down. Before the next step, release 80% of the contraction. Then repeat it’s the same process all the way through the kata. There are some minor differences in the schematics of the kata between different goju schools, but the process is the same.
It is very difficult to focus on that’s going on in sanchin, theres so much, then add the distraction and discomfort, like shime or practicing in the snow………….
It is my current understanding that the goal of sanchin is the unification of the mind, body, and spirit. Trying to reach that place where I can do the kata without thinking about it. I know when I’ve done it because I can’t remember what I was doing in the kata, but it doesn’t happen all the time. More often than not I get stuck on breathing, what muscles to use. Not to worry though, this is a lifelong adventure, journey of discovery. I don’t claim to have all the answers on sanchin, only my understanding of it. I would urge anyone who has not done sanchin before to find an instructor. This blog is only for reference and sharing of thoughts and ideas.
Join us on our voyage of discovery! Our understanding and knowledge of karate is constantly growing. If you'd asked me about karate 20 years ago, and then again today you would undoubtedly receive two different answers. Furthermore each individuals interpretation of karate, in this case goju ryu, will be different. This is because we all different levels of understanding, our bodies are different so we have different ways of moving etc. We've had different teachers who emphasized different areas of study or had their own unique specialities. I'm on my own voyage of discovery and this blog is my interpretation and understanding of goju ryu karate do. It is hoped that current and future students of karate will find this to be a good source of study and/or reference. I am therefore asking if any one has comments about the blog that may be a different point of view or could add to the body of knowledge to please add them. I will of course accord full credit to the contributor! Our goal is to improve own own karate, that of our students and anyone else who may find this blog useful. I am by no means a master, just a sensei trying to provide good karate instruction and since there is an incredible wealth of martial arts knowledge out there we like to share!
So, we talked about what I think defines goju ryu. My first though is Sanchin kata and all of its aspects so now we have to get down to basics and that’s the sanchin stance. In order to have good karate you must have a good stance. Proper rooting is the key to keeping us from falling down, being off balance and generating power. If you look at the buildings around us, they all have strong foundations, known as footings. The ones that don’t will collapse. When we start construction on a new building we always start with the footings!
We do the same thing with karate, start with the footings. Bye the way, what we learn from the sanchin stance is largely applicable to all of our other stances!
Getting started
Building up the strength and flexibility of the feet: Some simple exercises will go a long way to accomplishing this. Some of them might even be fun!
Start by placing your feet shoulder width apart. Now raise your big toes off of the floor (only your big toes), place them back down and raise all of your small toes off of the floor (keep the big toes down). Your fingers will probably try to emulate your toes, this is good for a laugh! Keep alternating big toes and little toes, do this ten times to start. Shift your weight to the blade of your foot first on the right side then on the left. This will stretch the muscles of the ankles. Stretching your muscles will increase your flexibility and add strength. Now shift your weight to your insteps by raising the blade of your foot of the ground. If you’re not sure what I mean there is a short video accompanying this blog for reference. Next raise up onto the balls of your feet, now drop back down and rock back onto your heels.
Ok, grab the floor with your toes, shift your weight and pull yourself forward using your toes, try that across the dojo floor! The pinching game is a good one too! This will increase the strength of your toes as well as your range of motion which in turn will help you grip better. Pick up objects with the toes. If your outside in the grass, try grabbing the grass with your toes and pulling it up (an environmenta way to mow the lawn…..). In short if you have an exercise that will strengthen feet and ankles do them, there are lots to choose from.
Stepping in Sanchin dachi
I’ve included a video for this part as well. Start in musubu dachi, heels together, toes apart making a 90 degree angle (the formal attention stance). Keep your big toes where they are and move your heels out until the feet are straight, you should now be standing in heiko dachi (natural stance) with your feet shoulder width apart. Now step! I tell everyone to move there lead foot forward until the heel is in line with the toes of the back foot. As this is being done spread the toes and grab the floor and make sure to “close the gate”. By this I mean keep the front foot turned in, this keeps your hips closed. If your front foot is turned out you will have the urge to fall forward. We use that to our advantage by straightening the foot before we step thereby “opening the gate” and moving forward. As I step forward I include a slight circular motion with the feet. It helps to keep you balanced and can be used to place the foot beside or even behind an opponents foot. To sum up: when you’re in the stance your feet should be shoulder width apart, front foot turned inwards and back foot straight or slightly turned in. That should cover the details of the step. Now we have to root and develop power.
Rooting and power development:
Rooting is a complex process involving the feet, leg muscles and the order in which you tighten the legs and hips and how you pull your feet against the grip you have on the floor.
Once you’ve made a step grab the floor with the toes. The next thing to do is tighten up the calf muscles (this will increase your grip on the floor). Now tighten up your thighs and hamstrings. Do this by pulling the feet together against your grip on the floor without actually bringing your feet together. You should feel torque on your lower legs as the feet will want to turn outwards (straighten up).Next, tighten up the buttocks and abdominal muscles, this will cause your hips to tilt upwards and lock up the stance.
It’s important to follow the order as described, because when this is done fast it will draw power up from the ground that you can then focus into your strikes etc.
Draw power up from the ground? Think of it like this. As you flex your muscles you create energy and it adds up from the feet to the calves then to the thighs, hips and then to where ever you need it. It’s cumulative effect and so it’s important to learn how to tighten up in a sequential order. A side note to this, don’t raise yourself up as you do this. Maintain the same height! As soon as you increase you’re height above the ground you decrease you stability. To sum up: step forward “close the gate” and grab the floor, flex the calves, then the thighs, then the buttocks and abs. Now before you step, relax everything! (Other-wise you won’t be able to move…) now do it again, and again, and again, and good luck.
I would suggest practicing sanchin stance and doing foot strengthening exercises on a regular basis, especially for beginners as a prelude to learning the sanchin kata. And since sanchin dachi is the most commonly used stance in goju ryu I’d say it’s extremely important.These principles will go a long way to developing all the stances as well. If anyone has any comments to contribute I’d love to hear them.
If someone were to ask me what defines the style of goju ryu I would probably say sanchin. This kata embodies the core principles that define Goju Ryu Karate do. The influence of sanchin kata can be found in the beginnings of 5 other goju kata as well as the use of the sanchin dachi (stance) that is found in almost every aspect of goju ryu.
The concepts that are presented in the sanchin exercise are fundamental to the system, and are essential to the proper execution of goju ryu Karate.
So what does sanchin teach us?
Stance development: Sanchin dachi is found in every single kata of goju ryu. So proper development is extremely important!The technique for rooting, developing power in the legs, directing and locking the hips will be used extensively. The slow practice of this in sanchin will translate into strong stance and power in all of the other kata. This is where I learned how to sequentially tighten my muscles for proper power transmission.In physics we’re taught that every action has an equal and opposite reaction. We experience this when undergoing shime (testing pronounced she-may). Slow punch with resistance will develop your stance or you will stumble, absorbing a strike to the shoulders, lats, thighs, etc. will impact your stances. Proper form and muscle contraction in the legs and buttocks will also serve to protect the practitioner from in close kicks to the groin (those that come up between the legs). I will even go so far as to say that the correct leg structure of the sanchin stance will help to protect the knees from a frontal attack. The stance can even be used for some trapping techniques!
Muscle control: That starts with the stances. Learning what muscles to contract and when and in what order. The muscle contractions go from the feet all the way up to the shoulders and neck. The trick is to tighten them in the right progressive order that will develop the most power and sharpest focus. It must also be timed correctly with the breathing and with the movements of the body. Each part of the body has to be tightened correctly because it’s not only for power development but also protection. Our muscles can serve as shields to protect some of the vital areas and weak points of the body such as the arm pits and groin. Learn muscle control in sanchin and it’ll serve you well in all the other kata.
Breathing: Breathing is in my opinion the most important aspect of, well everything! Hold your breath for a couple of minutes and see what happens. Our breath is our life. To power our muscles and brain (the thing that controls our muscles) we need oxygen! So, it’s important that we get oxygen. The way we do this is to use the total capacity of our lungs when doing the kata. Incidentally it’s a good idea to employ proper breathing in everyday activities as well. We refer to this as ibuki breathing. Breathe in through the nose, employing the diaphragm to draw in the breath to the bottom of the lungs and filling them up to the top (completely), then employing muscle contraction to exhale all of the air from the lungs. You’ll hear a distinctive sound from the breathing almost like a hissing, this is not vocal but a product of the process of exhaling. What makes it interesting and difficult in sanchin is that the breathing must be timed with the muscle contractions. The force of exhalation will vary depending on the technique and focal point as well. The pace at which you breathe determines your speed as well, so learning how to breathe will greatly improve the speed at which you can move. Consider this, the breathing employing the diaphragm actually massages the internal organs, you can guess the rest!
Focus: I’ll combine this for now as physical and mental. Through the muscle contraction discussed earlier sanchin will teach physical focus, to channel power developed through the stance, breathing and muscle contraction to a single focal point. This is called kime (key-may) and it is used everywhere in goju ryu. Mental focus comes into play as concentration. Anyone who has ever practiced sanchin will tell you that it takes intense mental concentration to put all of the aspects of sanchin together. Concentration is further developed by distraction. This can be achieved through physical discomfort such as sanchin in the snow or through shime (testing). The shime serves multiple purposes, one being to remind the practitioner of their posture, contraction body positioning etc. Another is to distract. The goal then is to completely ignore the physical discomfort of the shime, this takes concentration and single minded focus!
Body Conditioning: The end result of all this isometric exercise (sanchin) is that you will build physical strength. The shime will also build tolerance to strikes and physical discomfort. This can be very useful where self defense is concerned. If you are forced to deal with extreme circumstances then you must be physically and mentally conditioned to do so. Body conditioning helps to remove the fear of being struck, it provides the mental capacity to deal with pain and discomfort.
The sanchin kata looks simple at first glance, but the more you explore it the more complex it becomes. It is not a form that can be mastered in a short period of time. It is a form that can be practiced over a lifetime. Over time as a practitioner learns more about themselves they will discover new things about sanchin. Many of these revelations can only come through the diligent practice of the kata. In the next post I will describe in further detail the “how to” on these subjects. The videos are for reference to the topics discussed. The intention of this post is to give beginner and intermediate karate ka reference to the many aspects of Sanchin.
My name is Peter St-Onge and I have been studying Goju Ryu Karate do for 24 years. I currently am ranked as a 4th dan. I started training under Sensei Chris Doyle from 1987 until 1995. From 1995 to 2002 I trained under Sensei Carl Wheeler in the Meibukan. I am currently affiliated with Sensei Ken Jacobs and the Kyobukan Dojo studying the Jundokan system. Our dojo is located in the south end of Barrie and in Innisfil, Ontario. Karate is not just a fun exercise, but a way of life full of rewards to found along the way. KyouTokuKan Dojo innisfilkarate.com
