Kata
SITE UNDER CONSTRUCTION!!
HEISHU KATA SANCHIN AND TENSHO
Analyses by Sensei Bob Honiball. Please forgive any inaccuracies, my analyses are based upon what I’ve been taught, my experience of training and teaching over many years. Please note that any quotes given from Master Eiichi Miyazato to myself were also given in the presence of Tony Green, Paul Fretter Sensei, however for convenience only the terms “I or my” has been used.
INTRODUCTION
Outside of Okinawa today Karate Ka (Karate practitioners) from different Ryu (Styles) practice Sanchin Kata some of whom have no understanding as to its importance, the reasoning behind it and how it can be used as an effective tool to develop and refine their Karate Do. Sanchin is translated as “San” meaning “Three” and “Chin” meaning “To Fight,” “A Battle” or “Conflict.” Today the Masters of Goju Ryu express the meaning of Sanchin Kata as being the battle to forge and unify the martial attributes of Kokoro (Mind), Tai (Body) and Toukon (Spirit), which is essential for a true warrior. This goal can only be achieved through correct instruction, refined practice and Shugyo (Austere Training). Sanchin, Sanchin Dai Ni and Tensho Kata are therefore considered by the Masters of Okinawan Goju Ryu to be the foundation upon which the system rests.
There are two types of Kata to be found Okinawan Goju Ryu; these are known as Heishu Kata and Kaishu Kata. Heishu Kata refers to Sanchin, Sanchin Dai Ni and Tensho and translates as “Closed Fist Kata,” the meaning of “Closed” being that the Kata are performed with tension with power being continually concentrated in the Tanden (Seat of body power). On the other hand, Kaishu Kata translates as “Open Hand Kata” which relates to all the other Kata of Goju Ryu, here the meaning of “Open” refers to the more relaxed nature of the Kata, the muscles only being momentarily tightened on Kime (the point at which a technique is focused) together with the power of the Tanden.
The Founder of Okinawan Goju Ryu Karate Do, Master Chojun Miyagi taught “Coordinate the muscles as you inhale and exhale, to help you in your quest for mastery of offensive, defensive techniques and in achieving a sound mind and body.” Within Goju Ryu there is a saying “When struck, strike back! When striking, strike to destroy!” These basic but ironclad rules are to be found in Sanchin, Tensho Kata.
HISTORY
The original Chinese character for Sanchin meant “Spear Hand.” The Sanchin Kata first taught by Master Kanryo Higaonna (the founder of Naha Te and the Sensei of Master Chojun Miyagi) was performed with open hands as does the Sanchin of Uechi Ryu. It is said that Master Kyoda Juhatsu (a student of Master Kanryo Higaonna) maintained the original open handed Sanchin of Naha Te in the style he created, Toon Ryu.
I was told by Master Eiichi Miyazato that the major reason Master Chojun Miyagi changed the Sanchin of his Sensei was to develop the power of the Tanden. He demonstrated this by asking me to blow swiftly into the palm of my hand (the breathing technique employed in Master Kanryo Higaonna Sanchin); the breath felt cool, he described this as being Yin. He then asked me to breathe out deeply from the Tanden; the breath felt hot; he described this as being Yang. Therefore, Master Chojun Miyagi Sanchin differs in that Tanden breathing is emphasized. Master Chojun Miyagi Sanchin Dai Ichi also differs in that it involves three steps forward and two steps backwards, which is simpler than Master Kanryo Higaonna Sanchin; also, the Nukite Waza (open hand spear hand techniques) were changed to Zuki Waza (closed fist punches). However, Master Kanryo Higaonna Sanchin was retained by Master Chojun Miyagi with Sanchin Dai Ni, the sequence of stepping being the same, three steps forward, a 180-degree turn, three steps to the rear, a 180-degree turn, one step forward and then one back. As with Master Chojun Miyagi Sanchin Dai Ichi, Tanden breathing is emphasized and Nukite Waza was changed to Zuki Waza.
I was also told by Master Eiichi Miyazato that today Master Chojun Miyagi Sanchin is usually practiced with a set number of steps and Waza, but in the old days, there was no limit to the times one could advance or retreat while performing the Waza of Sanchin, considering the limitations of one’s body.
In Chapter Eight of An Outline of Karate Doh written by Master Chojun Miyagi in 1934, he describes the importance of Sanchin and Tensho thus: “Kihon Kata (Fundamental Kata): Sanchin and Tensho are known as Kihon Kata, these serve to cultivate a strong physique and encourage a Budo spirit. Without expounding on each specific Kata, one learns to regulate breathing while coordinating with it the use of one’s power in a correct posture.” In his Summary he states, “It is through combining the Kihon Kata with both the Kaishu Kata and Kumite Renshu (fighting applications of the Kata) that an even balance between body and mind is cultivated. Hence, it is through these offensive and defensive traditions that we seek to find truth and establish a Budo spirit.”
From a historical perspective, originally all Master Kanryo Higaonna Naha Te Kata began from the Yoi No Kamae (Ready posture), hands open left over right one fist in front of the Tanden in Musubi Dachi, the feet then opened into Heiko Dachi the hands making fists and drawing to the sides. Master Chojun Miyagi maintained this tradition but later in his life changed it so that all Kata started from a shortened version of Yoi No Kamae, hands open left over right one fist in front of the Tanden, in Musubi Dachi. However, I was told by Master Eiichi Miyazato it was decided to keep the original Yoi No Kamae of Master Kanryo Higaonna for Sanchin Dai Ni only, for the sake of tradition and to emphasise its root to Naha Te. Interestingly, those Masters (and the Ryu they created) who trained with Master Chojun Miyagi up until the end of his life kept his shortened version of Yoi No Kamae; on the other hand, those Masters who stopped training with him earlier kept the original Yoi No Kamae of Master Kanryo Higaonna.
SHAOLIN ROOTS
The type of breathing method employed in Sanchin Kata is called Buddhist Breathing in China. Also, the number three is important in Buddhism and relates to the three poisons of man, delusion, hatred, and greed respectively. In Mawashi Uke the finish position of Ryo Shotei Ate is also a Buddhist Mudra (In Buddhist statues and art certain body and hand gestures are portrayed and these are called Mudra. Mudra are symbolic or ritual gestures which express Buddhist thought), the higher hand gesture signifies fearlessness and the lower hand gesture signifies compassion, this can also be seen as an expression of Yin and Yang, fearlessness being Yang and compassion Yin. These points suggest the historical connection of Goju Ryu to the Shaolin fighting tradition (The Shaolin Monastery following the Buddhist Way).
MASTER EIICHI MIYAZATO ADVICE ON SANCHIN KATA
This extract is taken from Master Miyazato book Okinawan Den Goju Ryu Karate Do, first published in 1978.
In Sanchin the most important things are correct posture and breathing. Humans are living beings and therefore cannot temporally stop breathing. Correct breathing depends upon correct posture. In a proper Sanchin Dachi (Stance), strength must be focused in the Tanden and the spine must be straightened correctly. The Tanden is often said to be just below the navel but in fact it is not an area that can be located by external references, it is in fact the place that tightens when one laughs or breaths deeply. The Martial Arts are expressed in short words (1) Eyes, (2) Legs, (3) Heart, (4) Strength, however the most important part of all these expressions is posture.
Correct posture consists of closing the mouth, drawing the chin in, straightening the neck muscles, tucking the tail bone which will pull the back muscles straight. Zazen (sitting meditation) instructs to bring the ear and shoulder together on one plane, the nose and navel in another plane. Choshin (Body control) and Chosho (Breath control) require rigorous training. By assuming a correct posture, the muscles running down both sides of the neck to the chest tense, this results in the correct extension of the back and spine. When the spine is correctly extended, strength is concentrated in the Tanden. Repetition of this movement will develop the abdominal and oblique muscles and this has a significant effect on the body.
When the muscles in the chest area tighten, it affects the muscles below it, lifting the stomach and intestines, which in turn stimulates them. As the abdominal muscles develop the abdominal region as a whole will naturally develop. Thoracic breathing becomes habitual and shallow breathing which causes shoulder movement will cease. Breathing with the shoulders is not a natural way to breathe. When thoracic breathing is continually practiced, what is natural will come, together with the spirit.
If the posture is not correct, it will impede the circulation of the blood. Unity of the spirit will be lost. This turbulence causes loss of strength to the hips and legs. There are Yin and Yang principles in the way of breathing. The Yin is breathing with the mouth partially open, exhaling in short sharp breaths. The Yang is opening the mouth wide and exhaling in long breaths that originate from the base of the abdomen. The Yin breath may be felt as cool air when the hand is held in front of the mouth when exhaling. The Yang breathing feels hot.
The way in which you breathe may be divided into five categories.
- Deep inhalation, long exhalation.
- Deep inhalation, short exhalation.
- Shallow inhalation, short exhalation.
- Shallow inhalation, long exhalation.
- Combination of 1, 2, 3 and 4.
Sanchin begins calmly and ends calmly. There is calmness in the movements and all the movements take place in a state of calm. Calmness and movement are dichotomies, in other words, calmness and movement are Yin and Yang.
Goju Ryu Karate Do is said to begin and end with Sanchin. The depth of Sanchin is immeasurable in the training of Ki, Soku and Tai; this is sufficient to develop an immovable spirit.
Techniques for attack and defence, with correct power are all possible with proper methods of posture and breathing. The training of Sanchin must be conducted within the limits of one’s body. There is no limit to the number of times one punches or the times one advances or retreats.”
Instructional points:
Sanchin Dai Ichi: Three steps forward then two steps back to return to the original starting position.
Sanchin Dai Ni: Three steps forward then turn and move three steps to the rear. Turn again and make one step forward, then one step back to return to the original starting position.
SANCHIN THE FUNDEMENTAL KATA OF OKINAWAN GOJU RYU
Why is Sanchin Kata considered to be so fundamental to Goju Ryu? Like the Forms of Tai Chi, Sanchin is performed slowly, the reason being that the practitioner has time to feel that they are applying the correct principles and dynamics needed. Also, since Sanchin Kata is simple in nature it is easier to refine these attributes. This should be considered as an ongoing process, whereby the continuing refinements cultivated in Sanchin Kata are taken into all the Kata of Goju Ryu. Therefore, Sanchin Kata is considered fundamental to Goju Ryu and lies at its heart; consequently, its practice must be continually polished and refined.
THE BATTLE OF KOKORO, TAI, AND TOUKON
As stated earlier the Masters of Goju Ryu express the meaning of Sanchin Kata as being the battle to forge and unify the martial attributes of Kokoro, Tai and Toukon which is essential for any true warrior.
KOKORO
Kokoro translates as Mind or Heart. If you compare your mind, body, and spirit to a battle then your mind is the General who job it is to makes decisions, adapt and direct his soldiers. A General must have calmness and clarity of mind to make the right decisions under pressure. Mushin (a Zen Term which translates as No Mind); the achievement of this mental state is not only vital for the practice of Sanchin but also to be an effective warrior. To reach the mental state of Mushin first the mind must be emptied of conscious thought, or to create in the mind known as “the thought of no thought.” Here the mind is free of thoughts of the past, present or future and the influences of fear and anger, happiness, and sadness, as well as other emotions, resulting in a mind that is relaxed, clam, focused. Such a mind is free from all distractions leading to concentration and the ability to react in an instant with calmness and clarity. One of the greatest warriors of all times was a Samurai named Miyamoto Musashi who fought in many kill or be killed situations. He strongly believed that the first basic principle in real combat is the ability to keep inwardly calm and to have a clear mind even in the midst of violent chaos. Therefore, Mushin is not to be considered some ambiguous, impractical state of mind that is confined to the pages of books. Quite the opposite, to be an effective warrior and survive the reality of combat; your mind needs to be clear and empty for you to react correctly and decisively, this must also be coupled with the ability to employ techniques and tactics effectively, without conscious thought. Consequently, if the mind is not concentrated and focused the body will not perform to its maximum.
TAI
Tai translates as Body. If the mind is the General, then the body are the Soldiers that carry out the orders of the General. Relating to the right strategies, tactics, techniques to be employed and the strength of the Soldiers to carry them out. The battle of the body also refers to the constant practice needed to refine the principles of Goju Ryu, as well as the solidifying of the essential elements of Budo; Ki, Soku, and Tai. This goal can only be achieved through correct instruction, refined practice and Shugyo.
TOUKON
Toukon translates as Fighting Spirit or Indomitable Spirit. The most important aspect in any battle is the fighting spirit of the Soldiers. An army might have the best General, training and weapons but if it lacks fighting spirit then all may be lost. In any fight the deciding factor is usually the fighting spirit of one side or the other. If the fighting spirit is high the Soldiers will carry out the orders of the General efficiently and with enthusiasm. A strong fighting spirit strengthens the will, the ability to endure no matter the odds. History has shown us time and again that a small highly trained and motivated force can defeat a force larger that itself. In Okinawa Karate Spirit is known as an Indomitable Spirit. Master Eiichi Miyazato once told me “If you are true to yourself, even if you lose a battle, you will never be defeated.”
It is the balance, harmony and forging of the attributes of mind, body and spirit that makes the true warrior formidable in battle.
THE FORGING OF KI, SOKU AND TAI
Sanchin Kata is therefore considered to be fundamental to the practice of Okinawan Goju Ryu because it refines within the practitioner some of the elementary but deep-seated principles of Goju Ryu. Combining and forging the essential elements of Ki, Soku, and Tai.
The ultimate objective of training in Goju Ryu is to refine fighting skills, exercise self control and to create a strong mind and body. To this end Sanchin Kata is used as a tool to improve and refine one’s practice through the proper use of Dachi to develop a strong root with the earth, correct body structure, refined Waza, the breath control needed to develop the power of the Tanden, the correct use of concentrated muscular strength, endurance, Kime and Mushin or a clear unwavering mind. Of course, one must always train considering one’s physical limitations relation to both age and constitution.
When considering Ki, Soku and Tai in relation to Sanchin Kata and its refinement, we must first cultivate and refine the correct use of Tai, body posture or structure, this will in turn aid in the cultivation and refinement of Soku or breathing, consecutively this will aid in the cultivation and refinement of Ki or internal energy, only when this has been achieved can the ability to project ones Ki be realised.
TAI
Tai translates as Body and this relates to body structure, the capability to develop a strong root, the correct use of muscular strength and the ability to focus the full power of the body.
How Structure and Muscular Strength relate to Effective Dynamics
Structure relates to the alignment of the feet, legs, hips in Dachi, also the body, head, shoulders, arms, and hands. Correct structure aligns the entire body in such a way as to connect and employ, muscular and tendon strength in the most efficient way possible, through good dynamics. Nature tells us that the taller the tree the greater the need for deep and strong roots. This is also true in the development of martial power, in that firstly there is a need to establish a root or connection with the earth. It is important to remember when trying to establish a root, that the stronger the root the more, full body power is realised. Having a strong root establishes a strong foundation for the body which in turn allows for the formation of a central axis within it, leading to the creation of a balanced body. Good body balance means that muscular strength can be employed in the most natural, efficient, and effective way possible.
It is said “When there is balance, there is a centre, when there is a centre; there is a root, when there is a root the fighting spirit can be strong.”
Our first trip to train at the Jundokan under the watchful eye of Master Eiichi Miyazato and other Sensei was 1989. I had been training in Goju Ryu since the early 1970’s and thought my Sanchin Kata was strong. One of the first things Miyazato Sensei asked of myself and Tony Green Sensei was to demonstrate Sanchin Kata, during our performance it was a big surprise when he pushed and unbalanced me with ease. It was a big lesson, yes externally I guess looked powerful but I simply lacked the one of the fundamental principles of the Kata to have a strong root. We spent one month training hard every day that first time, the refinements we were taught were exceptional and we leaned so much.
Dachi
Chinese Martial Arts have a saying “Twenty years without considering the base (feet, legs and hips) is twenty years wasted training.” Sanchin stance is the most used stance in Goju Ryu. The Goju Ryu system is designed for medium and close-range fighting, in this way a stance is needed that provides a strong root, can protect and absorb punishment, create power through good dynamics, yet be pliable and can be adaptable and manoeuvrable, Sanchin Dachi fulfils all these requirements. Master Eiichi Miyazato Sensei told me that 70% of full body power is generated from the feet, legs, and hips; therefore, we should always employ the power created dynamically through Dachi in nearly every Waza we employ.
Structure of Sanchin Stance:
- The back foot points straight to the front, the outer edge straight.
- The front foot is turned in at a 60-degree angle for advanced practitioners, for beginners the foot is turned in slightly more (to initially cultivate a root).
- The width of the stance should be shoulder width. This is determined by the alignment of the outside edge of the back foot with the outside edge of the shoulder.
- The tip of the back foot big toe should be on a straight line with the heel of the front foot.
- The ankles and knees should be bent in such a way that the outside edge of the knees align with the inside of the big toes.
- The hips should be seated and level with the tailbone tucked.
Muscular Strength, Weight Distribution, and the Root in the Feet:
- The alignment of the feet, legs and hips should be such that the whole of the soles of the feet is in contact with the ground.
- The ankles knees and hips should not be locked, instead they should be soft and this in turn increases the root in the feet. The root relates to the pressure felt under the feet, the more pressure the stronger the root or connection with the earth.
- The root is further increased by the intention of the shins being drawn in and the knees out creating a spiral effect in the legs. This has the effect suckering the feet to the ground.
- The alignment and softening of the ankles, knees and hips also cultivates a spring like quality in the legs. This coupled with the strong connection with the earth created through establishing a powerful root enables what Chinese Martial Arts call “To borrow the energy from the earth.” Here force is initiated through the feet and transmitted into the body through the springs created in the legs.
- The hip joints should be relaxed and seated; this allows for a strong connection to be created between the body and legs.
- The Tanden has a low and forward intention.
- The Tanden employed in this way adjusts the weight distribution in the feet so that 60% of weight is towards the big toe, 30% in the heel and 10% towards the smaller of the toes, allowing the toes of each foot to naturally grip the ground, the toes being spread as much as possible. The feet and their arches must not tighten but instead relax and spread to help in the rooting process. Importantly, the weight distribution should not be such that balance and the root are lost, instead it should aid in increasing the root.
Suri Ashi (Stepping)
Stepping Forward
From Migi Sanchin Dachi. Firstly, straighten the right foot maintaining its grip with the floor. Then slowly slide the left foot forward in a circular motion using Suri Ashi with the inside edge of the foot and the big toe sliding along the floor keeping the other toes raised, on reaching the correct position spread all the toes and grip the floor. Next turn in the left foot maintaining its grip with the floor making Hidari Sanchin Dachi. Have the intention of shins in knees out giving a spiralling effect and gluing the feet to the floor, establish a strong root with the earth. The muscles of the legs tighten with the buttocks remaining firm; however, ensure the joints remain soft to avoid locking up and so losing the root.
The same process applies performing Suri Ashi from Hirari to Migi Sanchin Dachi.
Stepping Back
Here the process of stepping forward is reversed. From Migi Sanchin Dachi slowly slide the right foot back in a circular motion using Suri Ashi with the inside edge of the foot and the big toe sliding along the floor keeping the other toes raised and the heel down, on reaching the correct position spread all the toes and grip the floor. Turn in the left foot maintaining its grip with the floor making Hidari Sanchin Dachi. Again, have the intention of shins in knees out giving a spiralling effect and gluing the feet to the floor, establish a strong root with the earth. The muscles of the legs tighten with the buttocks remaining firm; however, ensure the joints remain soft to avoid locking up and so losing the root.
The same process applies performing Suri Ashi from Hirari to Migi Sanchin Dachi.
Body
Here the body must first be put into a state of balance through the correct alignment of the body and head. Putting the body in balance enables the natural and most efficient use of muscular strength. This allows the force initiated from the feet and magnified by the springs in the legs to be transmitted into the body, the force is then transmitted from the body into the arms.
Alignment
To put the body into a state of alignment it is necessary to align two acupuncture points, the Baihui point at the crown of the head and the Huiyin point situated at the mid way point of the groin (between the anus and testicles). To do this the tail bone must be tucked inward and the chin drawn in, in such away as to lift the crown of the head. This in turn aligns the ears with the shoulders and the nose with the navel. Aligning the body in this way, the muscles running down both sides of the neck to the chest will tense; this will result in the correct extension of the back and spine. When the spine is correctly extended, strength is concentrated in the Tanden.
If the posture is not correct, it will impede the circulation of the blood, leading to a loss of strength to the hips, legs and feet affecting the ability to establish a strong root. On impact when delivering or absorbing force if body alignment is not correct it will result in an energy leak, that is some force will be leaked out (lost) through any weakness found within the structure. These factors will also lead to unity of the spirit being lost.
Muscular Strength
Correct alignment will put the body into a state of balance allowing the muscles of the body to be used in the most natural and efficient way possible. During Sanchin Kata the muscles of the body should be engaged in such a way as to develop and aid in the transmission of power into the arms and not restrict it. The power created in the body is therefore added to the power already formalised through establishing a root with the earth and the springs of the legs, enabling this increased force to be transmitted into the arms.
Repetition of this alignment, the tightening of the chest muscles, the extension of the back and strengthening of its muscles, will in turn develop the abdominal and oblique muscles allowing the abdominal region to develop naturally. The tightening of the abdominal region will also have the effect of lifting the stomach and intestines, which in turn stimulates them. Moreover, the strengthening of these core muscles will have a significant effect in supporting and thus benefiting the entire body.
Arms and Hands
The arms and hands must be considered as the result of the power first established through a strong root, magnified through the powerful springs created in the legs, which is then transmitted into the hips and body where it is further added to and refined, it is then directed into the arms, the arms then transmit the power into the hands where it is concentrated and focused. Therefore, the feeling should be that the entire body is aligned, connected and full body power is realised. However, Choshin requires rigorous training.
Alignment
This is hard to describe as there are many different arm positions within Sanchin Kata. The alignment of the shoulders, elbows and hands is vital in effecting a good Waza. For example, in Choku Tsuki (Fully extended punch) used in Sanchin Kata, the shoulder, elbow and fist should be on one straight line. The shoulder being sunk, the elbow at a 45-degree angle pointing down, the top of the fist being flat and parallel to the ground with the first two knuckles of the fist aligned with the forearm. This gives a spiralling effect in the arm which helps to direct and enhance the force being delivered. This spiralling effect should also be felt in Sanchin no Kamae and Kake Uke, here the shoulders are kept down the elbows are drawn in one fist from the body and the hands turned outward.
In Chinese Martial Arts it is said “The shoulders always go where the hips tell them to go,” this refers to the fact that the shoulders should always be aligned with the hips when performing Waza. If this is not adhered to there will be a twisting of the body, this is unnatural and will create an imbalance and disconnection of the body, affecting the capability of the body to refine and further add strength, reducing the power transmitted into the arms.
Muscular Strength
A further saying, states “The elbows direct the force into the hands.” This means that when force is delivered into the elbow, the elbow further refines the force, dynamically directing the force into the hand, usually affected by the turning of the elbow as in Kake Uke.
A continuous flow of power is therefore created, emanating with the shoulders through the elbows and into the hands where it is concentrated and focused.
On another visit to Okinawa, I had the privilege of Master Koshin Iha correcting my Seisan Kata. After my performance Master Iha went into detail of how to improve the dynamics of my arms, hands by refining how to use the shoulders, elbows, hands to give more power. This principle in turn helped to refine the dynamics of all my Waza. This one correction alone was worth the visit to Okinawa and the Jundokan.
SOKU
Soku translates as Breathing. In China there are two types of breathing methods employed in the Martial Arts, they are called Buddhist and Daoist, the Buddhist method being the technique we use in Goju Ryu and is more commonly known as Tanden Breathing in Goju Ryu. It is believed that the real Tanden is situated at the centre of the abdominal area at the body’s physical centre of gravity.
The breath and Ki or intrinsic energy is inextricably linked. In Sanchin Kata internal power is realised and refined through the development of the Tanden. To cultivate and refine the power of the Tanden, Tanden Breathing is employed.
During the in breath, the breath is firstly inhaled strongly and smoothly through the nose, the feeling being that it is being drawn into the lower abdomen and Tanden. This is achieved through the expanding of the lower abdomen and the drawing down of the diaphragm to fill the lower lungs with air. Here it is important not to over fill the upper part of the lungs, the reason being that it will lift the shoulders disconnecting the arms from the body and its force. As the lower abdomen expands the muscles stretch but remain firm, if hit the feeling should be that of hitting an inflated ball. At the completion of the breath the power is focused in the Tanden.
During the out breath, it is visualised that the breath is pushed out strongly and smoothly from the lower abdomen and Tanden. This is achieved by the gradual tightening the Tanden, the drawing in of the lower abdomen to its natural position and the diaphragm driven up strongly to expel the air from the body. As the exhalation is near completion and the last drop of air is expelled powerfully, the Tanden is tightened as strongly as possible focusing power there, if hit the lower abdomen should be strong enough to withstand the power of a blow.
During the performance of Sanchin Kata, the Waza being employed must be in synchronisation with the inhalation and exhalation of the breath, some Waza being shorter or longer than others. Master Eiichi Miyazato told me that the power of the breath is realised on the out breath, as when a Tiger roars and that the out breath should always be slightly longer than the in breath. Therefore, if breathing in for a count of three, the out breath should be for a count of four; if breathing in for a count of one the out breath should be for a count of two, depending on the technique being employed.
Chosho requires rigorous training as well as continues refinement.
KI
Ki is translated as energy. It is believed that there is Ki in the air, Ki within the earth and Ki within all living beings, living beings having a particularly strong Ki or energy field circulating within them. In animals and man this energy is often translated as intrinsic or internal energy. Ki also relates to air we breathe and it is believed that breathing replenishes and enhances the Ki produced in the body. The Tanden is the area where the bodies Ki is cultivated and stored; once cultivated Ki can then be directed into the body. To direct the Ki, the mind is employed, it is said “The Mind is the emperor, the bones and muscles the subjects.” To build up the Ki within the Tanden abdominal breathing must be engaged.
It is said that in external martial arts Ki supports the power of the muscles and tendons; in the internal martial arts Ki supports the sinews. Goju Ryu being classed as an external martial art, Ki is used to enhance the power of the muscles and tendons in performing technique and in the cultivation of what the Chinese call an Iron shirt, this being the ability of the muscles to resist strikes as in Shime (Sanchin Testing).
Therefore, in Sanchin Kata, external dynamics and Ki (also an expression of Go/Ju or Yin/Yang) work in harmony to give power to the Waza being employed. In Chinese Martial Arts Ki is directed in two ways, Small and Grand Circulation. Small circulation is the first stage. Here, as the breath is inhaled, it is visualised that the breath and Ki are drawn in through the nose and guided to the Tanden where the Ki is accumulated and focused. During the exhalation it is visualised that the breath and Ki are guided from the Tanden through the groin to the tailbone, it then travels up the spine, over the top of the head and exhaled through the mouth. Grand Circulation is considered as a more advanced technique. Here, as the breath is inhaled it is visualised that the breath and Ki are drawn in through the nose and guided to the Tanden where the Ki is accumulated and focused. However, during the exhalation it is visualised that the breath and Ki are guided from the Tanden through the groin, down through the legs and feet into the earth increasing the power of the root. At the same time the Ki is guided from the groin to the tailbone, it then travels up the spine, when it reaches the point between the shoulder blades it is then guided down the arms and into the hands, at the same time it is guided over the head and exhaled through the mouth.
Only when the principles and elements of Ki, Soku and Tai are balanced and forged with the attributes of Kokoro, Tai and Toukon will Karate Ka truly embody the true power and spirit of Karate Do. However, Sanchin together with the principle and attributes contained within it must be continually polished and refined, in other words there is no end to the practice of Sanchin.
HOJO UNDO
Masters Kanryo Higaonna, Chojun Miyagi and Eiichi Miyazato emphasised the importance of Hojo Undo (Supplementary Training involving exercise tools, including specialised lifting and impact equipment) in the development of a Karate Ka. Hojo Undo lifting tools help in refining structure, aid in the synchronisation of the Tanden with Waza to realise Kime and to strengthen the body in such a way as to serve in the refinement of correct dynamics and consequently the power needed for Goju Ryu. Relating specifically in the refinement of Sanchin Kata two lifting tools are employed, Nigiri Game and Ishi Sashi. To gain maximum benefit, the performer needs to train to exhaustion, this means that the exercise routine is performed as long as possible with good form and technique, however, when this begins to fail it is the time to stop. This is important as the aim of the exercise is to improve the performers form and strength of technique.
NIGIRI GAME (GRIPPING JARS)
Nigiri Game are traditionally weighted ceramic jars and are used in the development of the gripping power and the Tanden but also in the refinement of Dachi, and Sanchin Kata by the enhancement of a strong root and good structure. Because of the weight and the technique employed the performer must adjust their structure accordingly to optimise their ability to lift and carry the jars. Also, the weight of the jars enables the performer to naturally feel their root through the pressure created with the feet and the floor, given time and through correct training with Nigiri Game the performers root can be refined and improved. Nigiri Game is specifically used in the refinement of Sanchin Kata by performing Suri Ashi in Sanchin Dachi as with the Kata. Either by stepping forward as far as possible, then stepping back returning to the original start position, as with Master Chojun Miyagi Sanchin, or by performing the sequence of steps as in Master Kanryo Higaonna Sanchin. With each step a strong root is first established then power is focused strongly in the Tanden though the breath as with the focusing of the Waza within Sanchin Kata. As the strength and ability of the performer increases, repetitions of the exercise can be increased or more weight can be added to the jars to gain further development.
ISHI SASHI (STONE LOCKS)
Ishi Sashi is traditionally made of stone and come in the form of ancient locks that were used in Okinawa. Where Nigiri Game emphasises the development of Sanchin Dachi in relation to Sanchin Kata, Ishi Sashi emphasises the development of the upper body and arms. Here the Waza of Sanchin Kata are strengthened and refined, including Hiki Te (Pull back), Chudan Zuki (Middle area punch), Kake Uke (Pulling block) and Osae Harai Tsuki (Sweeping pressing block). As with Nigiri Game the exercise routine is performed either by stepping forward as far as possible, then stepping back, returning to the original start position as with Master Chojun Miyagi Sanchin, or by performing the sequence of steps as in Master Kanryo Higaonna Sanchin. With each step a strong root is first established then Hiki Te, Chudan Uke and Kake Uke are performed together with Sanchin breathing, power being focused strongly in the Tanden on the completion of each Waza.
SANCHIN DAI ICHI SHIME
TESTING AND ITS FUNCTION
The testing of Sanchin is known as Shime and is art in itself; consequently, it should only be conducted by experienced Sensei. The purpose of the testing process is to assist in the refinement of the Karate Ka in the battle to forge and unify the martial attributes of Kokoro, Tai, and Toukon together with the principles of Ki, Soku, and Tai which is essential for any true warrior.
One of the reasons Master Chojun Miyagi created Sanchin Dai Ichi was for the purpose of refining Sanchin through sustained Shime. Here the number of steps forward and back, as well as techniques employed can be increased to enable the performer to be tested to the limit of their physical strength, stamina, and spirit, taking into consideration age and physical condition.
BODY ALIGNMENT
If the foundation of a tall building is not strong enough to support it the entire structure will be weak. The same is true of us; here the feet and legs are considered the foundation that supports the body. Therefore, when performing Shime, it is vital to check and adjust alignment where necessary, starting with the feet, legs, hips, back, body, head, shoulders, arms and finally the hands.
TANDEN AND THE BREATH
During Shime it is essential to check that abdominal breathing is used, utilising the lower lungs and ensuring that the shoulders do not lift on the in breath. To ensure that the breath is synchronised with the techniques being employed to realise external and internal power, as well as the ability to develop a strong root. It is important to press the lower abdomen to ensure the area of the Tanden (in this case three fingers below the belly button) are being used correctly. Throughout the in breath the area of the Tanden should expand, here the feeling is like a taught, expanding ball. During the out breath the feeling should be that the area of the Tanden remains taught but is continually tightening, until with the expelling of last drop of air the Tanden is tightened as strongly as possible. The Tanden can be tested throughout the Kata by continually applying pressure with the fingers or fist (a Kon can also be used); here the area of the Tanden must not give way to the pressure being applied. This helps the performer to concentrate on the Tanden and its power and aids in the development of a strong root.
RESISTANCE
The purpose of resisting the techniques of the Sanchin Kata is to aid in the development of a strong root and the connecting of the whole body, resulting in the ability to channel full body power.
It is vital that Sensei performing Shime must offer the right amount of resistance. Too little resistance and the whole experience will be a waste of time. Too much resistance and the experience will be counterproductive, in that the root and the ability to connect the whole body will be affected or lost altogether, resulting in an inability to channel the force of the whole body. Here Sensei must continually asses that the resistance being applied is enough to make the Karate Ka exert themselves strongly but not too much that it disturbs their ability to maintain a strong root and the structure of the body and arms. Karate Ka should be allowed to perform the Kata with the same speed and smoothness as they would normally. Sensei should feel that Karate Ka are like an unmoveable mountain, yet the whole body is being employed to channel and direct its force into the arms and hands.
CONDITIONING THE BODY AND MIND
Here the Karate Ka is struck in various ways to test their capability to absorb punishment and their ability to have an unwavering mind or Mushin. It is vital that Karate Ka are not injured during testing by sticking joints or vital points. The muscles of the body should be considered as body armour and it is these areas that should be struck. As with testing through resistance the right amount of force must be employed. Too little force and the experience will be worthless. Too much force and the experience will be counterproductive, in that the Karate Ka root will be lost and injury might occur. The force of the strikes should be strong enough to test the limit of capability to resist strikes at the point of contact, as well the ability to absorb the force through their root into the earth. If muscles of the body are correctly tensed the feeling should be that of sticking an inflated ball, when slapping the hands of the Sensei should sting. During Shime the Karate Ka should be allowed to perform the Kata with the same speed and smoothness as they would normally. The mental state of Mushin should be strived for during the Kata, here the mind should be in a constant state of awareness but undisturbed by the force of the strikes.
THE PROCESS OF TESTING
During Shime it is important that the process does not interfere with the Karate Ka ability to perform Sanchin Kata at their normal speed or flow. It is also essential to look for and highlight any weakness in relation to the following order:
- The correct structure of the feet, legs, body, and arms.
- The capacity to root with the earth.
- The ability to connect the whole body.
- The correct use of the Tanden.
- The synchronisation of the breath and technique to realise power.
- The correct use of muscular tension.
- The channelling of full body power.
- The capability to absorb and withstand strikes to the legs and body.
- The development of Mushin.
The intensity of testing relates to the ability and condition of the Karate Ka and as with all conditioning should be seen as a gradual process to development. Sometimes it is advantage to concentrate on testing a particular area exclusivity that is seen as a weakness for example structure.
During Shime it is important to always start with the feet, the feet, legs, and hips being the foundational strength of the body as a whole.
From the rear
The following points to be tested should only be done when the Karate Ka is in a fixed Sanchin Dachi.
- The ankles should be felt to ensure that the performer structurally strong and rooted to the floor.
- Check the structure of the legs.
- Prod the calf muscles to ensure they are tensed correctly.
- Place the palms of the hands on the thighs, slap the thighs with medium force first to ensure the performer concentrates power there, then slap strongly to check for stability, the ability to absorb force and maintain a root.
- Slap or kick the buttocks with Haisoku to ensure they are tightened correctly.
- Check the structure of the back (that it is stretched and straightened) by running the edge of the hand or fingers from the top of the spine to the bottom of the tail bone, this enables the performer to feel if their back is straight or not. Ensure that the tail bone is tucked to straighten the lower back and the chin is drawn in to straighten the upper back and align the ears with the shoulders. If the back is not correctly aligned adjust it accordingly.
- Place a hand on the top of each shoulder this is done so that the performer can feel that the shoulders don’t lift during the pulling back of the arms. Also, that the performer can feel that the shoulders sink when delivering force into the arms during punching and striking.
- Place a hand at the back of the elbow during Hiki Te to offer resistance.
- Place the palms of the hands on the trapezius, slap the trapezius with medium force first to ensure the performer concentrates power there and then slap strongly, followed by strong slaps to the latissimus dorsi and thighs in rapid succession to check for stability, the ability to absorb force and maintain a root. The slaps to the trapezius must be done heavily with body weight (the feeling of sending the force of the slaps into the feet) to test the stability of the structure. This sequence of slaps should be performed several times during the whole testing process. It is important to deliver the slaps at the point the performer focuses their technique.
- Occasionally feel that the Tanden is tightened as strongly as possible when focusing a technique by pressing it with the fingers.
- The latissimus dorsi should be struck with Hiji Ate using the forearm to strike. This is done at a 45-degree angle to the performer with the other hand holding the performers arm (in Kamae) to aid in stability. The strike should be given when the performer focuses his Zuki.
From the front
During Shime it is important that the process does not interfere with the Karate Ka ability to perform Sanchin Kata at their normal speed or flow. It is important to always start with the feet, the feet, legs, and hips being the foundational strength of the body as a whole.
- The feet should be felt to ensure they are glued and pressed into the floor. The toes should also be spread and gripping the floor.
- The tibialis anterior (muscles that protect the shin bones) should be kicked with Josokutei (ball of the foot).
- The thighs should be kicked with the shins using Furi Geri.
- The muscles between the legs should be kicked with the Kinteki Geri to ensure the groin area is protected.
- Occasionally feel that the Tanden is tightened as strongly as possible when focusing a technique by pressing it with the fingers.
- The abdominals should be stuck with Zuki. Only to be done when the performer focuses their Zuki. The Sensei other hand should hold the performers other arm (in Kamae) to aid in stability.
- The pectorals should be punched. Only to be done when the performer focuses their technique.
- The upper forearms should be struck with Shuto Uchi with the other hand stabilising the wrist. Only to be done when the performer focuses their Zuki.
- When possible, resistance should be given to the performers pull back, Zuki and Kake Uke. The Sensei other hand should hold the performers other arm (in Kamae) to aid in stability.
- When possible, resistance should be given to Harai Zuki and Morote Tsukami Hiki (double pull back). During Harai Zuki resistance should be given with either an inward, outward, and upward intention especially on the completion of each technique.
- When possible, resistance should be given to Ryo Shotei Ate.
Sanchin Dai Ni Shime
Here the practice of Shime is the same. The only difference being that the turns in the Kata are also to be tested. This is done by the Sensei standing behind the Karate Ka. As they turn 180 degrees performing Chudan Yoko Uke the Sensei also performs Chudan Yoko Uke, smashing arms together as in Kote Katie (arm pounding) to test that the Karate Ka establishes a quick balanced root and their structure and Uke is strong.
TENSHO KATA
It is reputed that Master Kanryo Higaonna studied Fujian White Crane during his stay in Fujian Province in China, it is also said that Gokenki a Fujian White Crane Master who lived in Okinawa had a major influence upon Master Chojun Miyagi. In 1915 Master Chojun Miyagi visited Fujian Province in China to study Chinese Martial Arts. While there he researched the Fujian White Crane Kata Rokkishu. It is said that this research that inspired him to create the Kata Tensho.
The name Tensho translates as Ten (To rotate or turn) and Sho (Open Hand). As with Sanchin Dai Ichi and Ni, Tensho Kata is classified as Heishu Kata (Closed Fist Kata), “Closed” in this case meaning that the Kata is performed with tension, power being continually concentrated in the Tanden, to train Ki, Soku and Tai. Tensho Kata can be seen as a higher or more refined Heishu Kata employing various open handed Uke, Uchi Waza through correct posture and breathing.
As I stated earlier Master Iha went into detail of how to improve the dynamics of my arms, hands by refining how to use the shoulders, elbows, hands to give more power. A continuous flow of power is therefore created, emanating with the shoulders through the elbows and into the hands where it is concentrated and focused. The Kime points in Tensho are more refined in that they are shorter and sharper but still strong.
As with Sanchin Kata, the Waza being employed in Tensho Kata must be in synchronisation with the inhalation and exhalation of the breath, some Waza being shorter or longer than others. As stated earlier Master Eiichi Miyazato told me that the out breath should always be slightly longer than the in breath. Therefore, if breathing in for a count of three, the out breath should be for a count of four; if breathing in for a count of one the out breath should be for a count of two, depending on the technique being employed. This applies in most cases apart from the Waza Age Ko Uke (Rising bent wrist block); Chudan Shotei Otoshi Uke (Middle area palm heel dropping block); Chudan Yoko Ko Uke (Middle area side bent wrist block); Chudan Shotei Yoko Uke (Middle area palm heel side block). Here the timing of the breath is the same. The feeling in Tensho Kata is that the power of the Tanden is more refined in that it acts more in a pump like way. This in turn produces more Ki. It must be remembered that Chosho requires rigorous training as well as continues refinement.
Most fighting traditions from Fujian Province in China that have their roots in the Shaolin fighting tradition, employ some sort of Kata like Sanchin or Tensho Kata to develop the fundamental principles of their tradition. In Fujian White Crane, Happoren is the fundamental Kata of the system, contained within it are 3 steps involving various hand Waza and this section is called Sam Chien (meaning 3 steps). Being a Fujian White practitioner interestingly I have found the techniques of Sam Chien although not the same have a similar feeling to those used in Tensho Kata.
THE INFLUENCE OF THE BUBISHI
The Bubishi (A manual of military preparation) is a Martial Art classic from the province of Fujian in China. The book contains information and advice on philosophy, strategy, medicine, and technique from the fighting traditions of Monk Fist and White Crane (Refer to the excellent translation into English by Sensei Patrick McCarthy). As a result, it was treasured by the Masters of Okinawan Karate Do including Masters Kanryo Higaonna and Chojun Miyagi. It is reputed that Master Kanryo Higaonna studied White Crane during his stay in Fujian province in China, it is also said that Gokenki a Fujian White Crane Master who lived in Okinawa had a major influence upon Master Chojun Miyagi. It was from this text that Master Chojun Miyagi derived the name of Goju, this being taken from the third precept of Article 13: The Eight Precepts of Quanfa (Martial training) which reads “Inhaling represents softness (Ju) exhaling characterises hardness (Go).” For these reasons the importance of the “Bubishi” and Fujian White Crane relative to Goju Ryu cannot be underestimated. Within the Articles on History and Philosophy the following extracts relate directly to Goju Ryu and the practice of Sanchin and Tensho Kata: “In the White Crane fighting tradition an instructor must teach according to the student’s own individual ability. Learning the Quan (Kata) one can progress at one’s own pace. Subsequently, the more earnestly one trains, the more swiftly inner strength develops. As in the case of Zeng Cishu, who through the relentless practice of the Quan Happoren (also known as Pah Pu Lian) developed his inner strength so that it ultimately manifested itself and flowed inward and outward through his Thirty-Six Vital Points, invigorating his body so that he could at will, summon his Qi (Ki) to any of his vital points. Zeng Cishu made this Quan a popular tradition, which was perpetuated and passed down.
Developing Inner Strength through the Quan
- Eliminate external distractions and concentrate only upon intention.
- Coordinate breathing and synchronise it with muscular activity. When you extend your arm, exhale, and strike but conserve 50% of your air of your air, be sure never to expel all your air at one time (this applies specifically to the Kaishu Kata only and not Sanchin or Tensho Kata). When you inhale, your body becomes light; when you exhale your body becomes rooted (this is an expression of Yin/Yang).
- Listen to your breathing and become aware of every part of your body.
- There must be constant but pliable contraction in the deltoid, trapezius, latissimus dorsi, serratus and pectoral muscle groups.
- To encourage perfect diaphragm breathing, the spine must be parallel to the stomach.
- Techniques must be executed forward and back from where the elbows meet the waist.
Principles of Movement
- Foot movements must be similar to walking. One initiates the step naturally and concludes it with firmness.
- Smoothly make each step identical to the last, with the big toe of the rear foot aligned with the heel of the other (shoulder width apart).
- Foot movements both in a forward and backward direction should correspond to the crescent shape of a quarter moon, with the knees slightly bent, moving quietly.
- Leg muscles must be firm but flexible to engender mobility.
“Immeasurable self-conquests are made possible through a peaceful mind and inner harmony. The strength and resilience gained from Quanfa training fosters an inner force with which one can overcome any opponent and conquer worldly delusion and misery. Even when just walking, you should always be conscious of combining your breathing with your movement. In this way, should you be attacked, you will not lose your balance. The relationship between your legs and body is similar to that of the wheels of a wagon. What good is a sturdy wagon without the wheels to move it? Hand techniques must be supported by the legs to foster both stability and mobility.”