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#104749 - 05/06/02 03:51 PM Sanchin Kata, Part One
Anonymous
Unregistered


Okay, this is one of two posts I have about Sanchin Kata (Ironic title, nay?).

This is a question as to the combat applications of the Isshinryu version of Sanchin Kata.

First, I need to say I have learned one of two versions of this kata. I've been taught to use the vertical punch and Isshinryu forearm block. I am aware of some Isshinryuka who practice with the twisting punch and ulna block.

In my opinion, this kata has many basic (useful) techniques.

I would be extremely interested in hearing other, more experienced artists' opinions on this kata.

[This message has been edited by Vash (edited 05-06-2002).]

Top
#104750 - 05/06/02 04:09 PM Re: Sanchin Kata, Part One
Victor Smith Offline
Professional Poster

Registered: 06/01/00
Posts: 3220
Loc: Derry, NH
Rather than discuss Sanchin as a stand alone work, I currently see
Sanchin as 'Smash Mouth Karate'.

Thought I'd try and show a piece of my own Sanchin application
research.

Victor Smith
Bushi No Te Isshinryu

But to offer my beginning, lets start on the beginning movement.
[By personal preference, I'm not into Rei breakdown.]

------------------------------ Sanchin Kata

"Slide the Right Foot Forward in an inward arch into right Sanchin
Dachi, at the same time bring both arms up in front of the chest" -
precursor to the following morote chudan yoku uke.

I would add left arm out, right crossed on top.

---------- -------

The first thing this reminds me of is the use of the movement as a
stop hit. Sherman Harrill has a variation of this he's used on me.

As I see it, uke's coming out to punch me with his right hand (or to
grab me with his right hand).

I step forward with my right and used the crossed hands to strike
straight into his solar plexus as he's moving with my left. The
crossing right can also strike into the chest at the same time (a
double hit).

The throat can also be a target of opportunity. Especially used in
some Aikido as an Atemi strike into the throat. I cite Mitsugi
Saotome's "The Principles of Aikido" page 56 - 57. Shomenuchi irimi
with atemi to the throat, and with atemi to the solar plexus. Great
example. BTW works great, too.

Second opportunity, (from Harrill Sherman sensei), the left hand
strikes into the lower right abdomen, the same time the right strikes
across the body into the side of the attackers right forearm. (A
different double strike) This is an opening movement for the
following technique from the kata (Sanchin or Seisan).

Interesting strike. The lower abdomen of the punching arm is often
very unprepared for a counter strike, as the body is preparing to
deliver its own strike.

This ties into a thought of Rothrock Ernest (Faan Tzi Ying Jow Pai)
that the reason the Chinese chamber their punches on the side of the
body is to protect the lower abdomen area. So it's interesting to
find a reason to strike there.

Which ties into another story from Trevor Leggett's "Zen and the
Ways", where a kenjutsu school had 3 of their seniors massacred one
night, with single knife thrusts into the same area. But that's not
germane to this topic. Just a plug for a fantastic book, if you can
ever find a copy.

Sanchin – 2nd Movement

After we have stepped out with the right foot and have brought both
arms up in front of the chest, we execute Morote Chudan Yoku Uke
(Double Outer Middle Blocks).

Among the application opportunities are:

Percussive Defense

Grappling counters From the front
1. Uke LFF Lft Grab
You turn 20 degrees left. The Left outer middle block turns the
attackers grabbing arm over while The right middle block is used as a
strike to the attackers left arm triceps.

2. Uke RFF Rt Grab
You turn 20 degrees left. The Left outer middle block turns the
attackers grabbing arm over while the right middle block is used to
strike into the side of the attackers neck or chest.

3. Uke RFF Cross hand grab of your right hand
Defense as in 2.

4. Uke RFF Double hand grab of both hands.
Defense as in 1.

Percussive Offense

5. Attacking to the opponents back/spine from behind with the back
knuckle strikes.
6. Attacking to the opponents back/spine from behind or the side with
the elbow strikes in the double outer blocke

Takedown counters from the front

7. Uke LFF Left Punch
You turn in 20 degrees to the left as your left outer block deflects
the strike, your right foot hooks behind their left foot and at the
same time your right arm strikes up under their punching left arm
into their chest (upper pectorial area). The left deflection and the
right upper body strike combine with the trapping of their foot to
spin them down.

8. Uke RFF Right Punch
Your turn in 20 degrees to the left as your left outer block deflects
the strike, your right foot hooks behind their right foot and at the
same time your right arm strikes up under their punching right arm
into their upper back just behind the armpit area. The left
deflection and the right upper back strike combine with the trapping
of their foot to spin them down.

Important to note, the double outer blocks create a plane of force
between them to increase the power of both strikes. The simultaneous
timing becomes very important to generate full power into these
strikes. When the trapping of the opponents foot is used with the
blocks, the opponents center of gravity is overtaken with your own to
spin them down off balance.

Of course this is an incomplete analysis of this movement and I hope
this spurs discussion to aid us on our quest.


Sanchin – 3rd movement

Before I begin my analysis of this movement, today (02/15/00) on the
Cyber Dojo Paris Janos made a great point about the circular nature
of all movement. I quote from Paris with his permission.

"I agree with what Rusty and others are discussing about circular
motion.

"Elliptical might be a good description too, but we all get the idea.
The good thing about circles is that they contain the possibility of
power issuancealong the whole curve, not at only one point. Circles
also allow for more smooth transitions between techniques as they
eliminate stop-and-goactions that are counter- productive in a
martial sense. "

"There is no pause in power and technique as they merge into one
continuous flow and circles are present in all techniques even when
not visibly apparent.Knowing how to best exploit and utilize these
curves and arcs is learned through correct kata practice and
application. They are natural movements but require training and
thought in order to maximize their effectiveness."

"Often times, kata techniques are studies in describing different
circular directions at the same time while developing the ability to
issue power in different or opposing directions. Compounded circular
motion is difficult but paramount in our study of real fighting
ability and attributes. "

"As we improve (hopefully) we learn how to decrease the size of our
circles soas to retain the inherent concept and utilize it most
realistically. "

This seems to tie into my suggested use of technique for
the 'shearing forces'present, which are derived from the circular
nature behind the techniques.

[Of course it may well be that I only want to throw in a great quote.
Victor<g>]

-----
On the other hand, the flow of the circle now begins to strike me as
a way of explaining the basic shifting I prefer to execute most
techniques. If you've ever attempted to walk a circle you find the
old adage about it being composed of an infinite number of straight
lines each touching the circle at one point, It's making me rethink
my entry against attacks as a very tight circling to the 20 degree
crossing of their line of attack.

More food for thought.
--
Back to Sanchin.

You've completed the Step forward into Right Sanchin Dachi and
executed the double outside blocks Next you chamber the Left Hand and
follow this with a left reverse punch.

In the Goju (and Isshinryu) version I've see two methods of
chambering.
1) return the left hand directly to chamber
2) Circle the left hand in alongside the right arm as it goes to
chamber
The Ueichi version of this circles the left hand in alongside the
right arm as it goes to chamber.

The first part of this motion can be
1) simply chambering preparing for the punch
2) grabbing and pulling the attacker into the chamber
3) A slashing descending backfist striking into an uke's punching arm
or kicking leg
4) A slashing strike into an opponents body

The second part of the motion is simply a punch with various targets
From the front
1) The solar plexus
2) The lower side of the abdomen

From the side
3) The side of the ribs
4) The armpit

From the back
5) The Spine
6) The Kidneys

Now to put some of these together.with Sanchin techniques 1 and/or 2.

Uke Left Foot Forward Left Punch
1. You step in with your right foot and use the cross hands strike
into their
upper left chest. (an interior line of defense)
2. You then execute your double outer strikes, the right deflecting
their left
punch out and the left striking into their chest (or the side of
their head).
Uke then throws a right reverse punch
3. You slice your left backfist on the inside of their punching right
hand as
you chamber.
4. You then punch into the lower side of their abdomen with your left
hand
5. a. If you strike there with a vertical punch turned to 1 o'clock,
thestrike will cause them to bend down
6. a. If you strike there with a vertical punch turned to 11 o'clock
the force of the strike will travel back to their kidneys.

Uke Left Foot Forward Left Punch
1. You step in with your right foot and slide your left foot over so
yourcenter line will cross their attacking arm 20 degrees.
2. Your double outer strike has the right deflecting the left punch
and theleft hand back knuckles striking into their chest.
3. You then Slice a left backfist into the side of their ribs as you
chamber.
4. Your right hand turns over and grabs their left wrist and pulls
down as your left arm slices across their left ribs with the side of
the arm. This will cause them to sag forward allowing a spin down
with your right hand.

Uke Right Foot Forward Right Punch
1. You step forward with your right foot using a crescent step, to
the outside of their punching arm. (an exterior line of defense).
Then slide your left foot over so your centerline will cross their
attacking arm 20 degrees.
2. Your double outer strike has the right deflecting the right punch
and the left hand backfist striking into their chest (under the
attackers arm).
3. You then slice a left backfist across the side of their ribs as
you chamber.
4. You right hand turns over and grabs their left wrist and pulls
down as your left arm slices across their right ribs with the side of
your arm. This will cause them to sag forward allowing a spin down
with your right hand.

Alternate ending
4. Your right hand stikes into their kidneys (or arm pit)


Uke Right Foot Forward Right Punch
1. You step forward with your right foot using a crescent step, to
the outside of their punching arm (an exterior line of defense). You
crossing hands strike into their armpit or the side of their right
ribs.
2. You slide your right foot forward and execute a double outer
strike, the right arm strikes into their back because you begin
swinging your leg clockwise and end up in right sanchin dachi behind
your attacker
3. You now shift to a posterior line of attack.. Your left arm slices
down across their spine as you chamber your hand.
4. You now punch a) their spine or b) their kidneys.

This covers some of the basic striking options I see with Sanchin
through the first three movements.

Sanchin – 4th movement and 2nd transition

Completing the reverse punch, you now do a left outer block with the
left arm.

Obviously this can be done as a Thumb knuckle strike from the fist
(block), or by using the forearm as a shearing plane of force.

This technique, while it can be used alone, to my mind seems strongest
as a follow up of 1,2,3. In that light I will continue with these
sequences adding the fourth technique.

Now to put some of these together.with Sanchin techniques 1, 2 and 3.

Uke Left Foot Forward Left Punch (Interior line of defense)
1. You step in with your right foot and use the cross hands strike
into their upper left chest. (an interior line of defense) [This step
is the first Transition.]
2. You then execute your double outer strikes, the right deflecting
their left punch out and the left striking into their chest (or the
side of their head).
Uke then throws a right reverse punch
3. You slice your left backfist on the inside of their punching right
hand as you chamber.
4. You then punch into the lower side of their abdomen with your left
hand
5. a. If you strike there with a vertical punch turned to 1 o'clock,
the strike will cause them to bend down
6. a. If you strike there with a vertical punch turned to 11 o'clock
the force of the strike will travel back to their kidneys.
7. Your left outer block is used as a strike into the left side of
their neck (or alternately into their left arm pit) (or into the left
side of their body in the floating ribs).


Uke Left Foot Forward Left Punch (Interior Line of Defense)
1. You step in with your right foot and slide your left foot over so
your center line will cross their attacking arm 20 degrees.
2. Your double outer strike has the right deflecting the left punch
and the left hand back knuckles striking into their chest.
3. You then Slice a left backfist into the side of their ribs as you
chamber.
4. Your right hand turns over and grabs their left wrist and pulls
down as your left arm slices across their left ribs with the side of
the arm. This will cause them to sag forward allowing a spin down
with your right hand.
5. As you are pulling down you can use the left outside block to
strike up underneath their arm and behind their elbow, causing
hyperextesion.


Uke Right Foot Forward Right Punch (Exterior Line of Defense)
1. You step forward with your right foot using a crescent step, to the
outside of their punching arm. (an exterior line of defense). Then
slide your left foot over so your centerline will cross their
attacking
arm 20 degrees.
2. Your double outer strike has the right deflecting the right punch
and the left hand backfist striking into their chest (under the
attackers arm).
3. You then slice a left backfist across the side of their ribs as you
chamber.
4. You right hand turns over and grabs their left wrist and pulls down
as your left arm slices across their right ribs with the side of your
arm. This will cause them to sag forward allowing a spin down with
your right hand.
5. As you are pulling down you can use the left outside block to
strike up underneath their arm and behind their elbow, causing
hyperextesion.

Alternate ending
4. Your right hand stikes into their kidneys (or arm pit)
5. Your left outside strike srikes into their right armpit.


Uke Right Foot Forward Right Punch
1. You step forward with your right foot using a crescent step, to the
outside of their punching arm (an exterior line of defense). You
crossing hands strike into their armpit or the side of their right
ribs.
2. You slide your right foot forward and execute a double outer
strike,
the right arm strikes into their back because you begin swinging your
leg clockwise and end up in right sanchin dachi behind your attacker
3. You now shift to a posterior line of attack.. Your left arm slices
down across their spine as you chamber your hand.
4. You now punch a) their spine or b) into or across their kidneys.
5. You finish using the left outer block/strike into their back.

Without doubt this also is used in combination with the other
techniques as a 'grab' defense, too.

A Sherman Harrill 'SunNuSu Kata' Variations.

Uke Left Foot Forward Left Punch
1. As you step out with the first transition, your right arm blocks
across the attackers left punch.
2. At the same time your left hand thumb strikes into the inner elbow
area (just behind the elbow). These two motions will bend their arm.
3. Your right arm circles counter-clockwise down and then up into the
outer right middle block. The left arm circles clockwise down and up
into a left thumb strike into the left side of uke's neck.
4. As the right arm continues to cirle down and up (behind uke's
scapula), the left hand descending backfists across uke's chest.
5. The right arm continues to circle counter-clockwise rolling the
attacker down. The left punch is used as a forearm strike into the
left
side of the attackers neck.
6. In that the attacker has been rolled down and stunned with the neck
strike. As their going down the left outer block is used as a
descending elbow strike into the back of the attackers neck.

Caution is urged in training.

Sanchin - 2d Transition (stepping movement.

Now step with the left foot forward into left sanchin dachi.

In my analysis, I don't always define a kata's technique sequences as
ending on the striking. Another technique is to use the movement
following a strike as a lower body technique. Most often this is seen
as a sweep to assist in completing the motion to down the opponent.

BTW, there is an interesting variation of using the sequence to take
the opponent down. They punch, you do your strike thing, take the next
step to sweep their leg taking them down. Then take the following step
as a knee strike into the arm you've pulled down to demolish the arm.

Without saying, as this series of techniques is first done out of
Right
Sanchin Dachi, then repeated in Left Sanchin Dachi and finally Right
Sanchin Dachi. The bunkai appears to be the same regardless of size.
--
Separate issue, why are things being done in three's?

The most interesting answer I've ever come across comes from Ernie
Rothrock's instructor Sheum Leung. He explains in Tai Chi Chaun the
reason a technique is repeated a third time has to do with the need to
have the moving energy within one's body in the right location to
enter the following movement.

Unfortunately my own studies (in karate or tai chi chaun) have not
progressed to the point that I can recognize the movement of my Chi in
technique execution <grin> so I can not attest to the validity of this
concept. But if that was the original reason behind doing techniques
in 'three's', it may explain why the concept is so prevalent.

SANCHIN the Bunkai - 4th Movement Continues

Rei and Opening

Sanchin Movement Review

1. Right foot forward and cross arms before your chest
2. Double outward middle blocks
3. Chamber left hand and then left reverse punch
4. Left outer middle block (both hand in double outward middle blocks)

Continues………
4.a. Now you repeat after stepping out with the left foot and using
the right hand to punch followed with a right outer block.
4.b. Now you repeat 3-4 after stepping out with the right foot and
using the left hand to punch followed by a left outer block.
4.c. Then right punch followed by a right outer block
4.d. Then left punch followed by a left outer block

While you can work out a bunkai analysis for the repetition of the
punch and block, I do not feel there is a clear advantage to doing
this.

I expect the reason the techniques are being repeated is from the goal
of using the kata to increase the energy of the Sanchin adept.

I intend to discuss my thoughts on the Sanchin-Energy connection when
I've completed my Sanchin Bunkai Analysis.

SANCHIN the Bunkai - 5th Movement

After completing the last double outer block from section 4, both
hands open and parry/block down circling in and out as they move down
like this diagram
")(" .

Personal note - I find myself raising my center (hara) and chest as
the hands descend.

1st potential - Double descending parry/shove against an attack
(interior or exterior)

2nd potential [interior defense] - Attacker Right Foot Forward Right
Punch/Grab.

a. pivot somewhat to the left on the lead right foot.
b. The left hand parries the attackers punch down and out
c. The right forearm slices across the attackers lower ribs with the
same movement

I do not see this as much a knockout as an opening to damage your
attacker and leave room for another attack to follow

I also do not believe you are constrained to do both techniques at the
same time . Joe Swift and I have been having some conversations
regarding the concept that double techniques may actually be done 1-2
with varying effects.

Erle Montague does much the same thing with his analysis for Tai Chi
Chaun double hand technique. By changing both hands timing, on some
occasions they generate an entirely different sort of power. This can
be found in Passai, Seipai, Saifa and SunNuSu kata to name but a few.

3rd Potential - [Exterior Defense] Attacker Left Foot Forward Left
Punch

a. Right foot forward with both hands still in the outer middle block
position, deflecting the punch to the left. The right foot is past the
attackers side.
b. Pivot 180 degrees counter-clockwise on the right foot, both hands
parry/strike down with the palms. The right palm is striking into the
attackers left kidney

Likewise I see this as creating an opening for a following attack.

4th Potential - Against double grabs, straight grabs and cross arm
grabs

By shifting and executing this movement, with the one hand on top
moving first, the movement can be used to free yourself from the
grabs.

5th Potential - I believe this can be shown as the opening of a
throwing technique too.

As this comes from Joe Swift, I'll just describe the basic mechanics
of the movement, and perhaps Joe can fill in the details.

Attacker - Right Foot Forward right punch/grab

a. With your left foot forward your double outer middle blocks uses
the right hand to deflect the punch to the right.
b. You then pivot 90 degrees to the right on the lead right for,
keeping Sanchin dachi (stance). As both hands turn over your right
hand
flows down to the attackers wrist and grabs it. Your left palm
continues to circle down and strikes into the groin.
c. As the groin is struck the right hand continues to pull down.

The struck groin and the descending punching arm cause the opponents
center to shift over your arm and effect a throw.

The movement of Sanchin continues to represent interesting bunkai
potential. And I believe the best is yet to come.

After completing the double descending parry/blocks of Section 5, you
pull your elbows back, close your fists and rotate them palm up until
they finish resting against both hips.

Next you open the hands and thrust two spear hand (palm up) forwards
slowly.

On completion of the nukite strikes, with slow flowing movement, the
hands are turned over palm down.

[There is an alternative here, where after the nukite thrusts, the
hands grab and close and turn over (pulling over).]

<At this point the section repeats 3 more times.>

While this may not appear the most interesting section of the kata,
there are some important tools to develop here, too.

1st Potential (interior defense/attack). Attacker is stepping in
with
a right hook punch to your head and their left hand ready to loosen a
2nd head punch with the right.

a. Right foot slides forward and strike into the armpits with both
spear hands (a double Heart 1 strike?). After the strike use version
two and grab the chest area from behind the arm pit with both hands,
dig them into the muscle and pull over and down.

It seems to me this is quite painful. Of f hand I'm not sure how
immobilizing it can be.

2nd Potential (interior line of defense) Attacker steps in with
their left foot and grabs your left wrist with their left hand.

a. Turn your right foot to the left, slide your left foot over to
re-orient your center line to cross the center line of the attackers
arm.
b. You pull your two hands back into chamber. This pulls the
attacker
forward, and overextends their arm.
c. You thrust your two hands out. Your right spears over their left
arm, bending their grabbing wrist and weakening their grab.
d. Your left haito strikes across their lower rib cage, the upraised
thumb knuckle the striking area.
e. When you turn both hands over, your right hand becomes a palm
strike to complete freeing your arm. Alternatively you might grab
their wrist as a result of your actions.
f. Your left overturning palm becomes the 2nd of a multiple striking
sequence, delivering a 2nd strike into the opponents ribs.

This Haito(RidgeHand) to Shuto strike is consistent with a Shotokan
stylist I know whose system replaces their outer knife hand blocks
with ridge hand then knife hand multiple strikes. On the other hand
there's nothing to stop you from using the left ridge hand strike
into
the opponents neck either.

Of the two strikes, the neck would obviously get a greater response,
on the other hand the use of the multiple strike across the lower
ribs
(or the solar plexus) gets a response creating an opening for further
exploitation.

3rd Potential (exterior line of defense) Attacker grabs both hands

a. Right foot Circles forward, you left foot swings out as you
change
your center line to the right. Your right open hand comes up
underneath your left grabbed arm. As you turn it turns over (of
course both hands are doing that) and effects a wrist grab release.

4th Potential - Offensive application for the overturning hands.

a. You execute this as the multiple strike (ridge hand turning over
to shuto strike) with both hands for inreased power although only one
hand is used.

5th Potential - Defensive or Offensive

a. You strike upwards with both spear hands, into the opponents neck
area,
b. Then you grab their head and pull it down.
The Kata Sanchin continues:

From Right Foot Forward Sanchin Dachi you:
1. Draw the right hand back to the center line (palm up)
2. Place the left hand (palm down) underneath the right wrist
3. Step back with the Right foot in a reverse crescent step, ending
in a left Sanchin Dachi
4. The left hand circles up and down (going counter clockwise) to
end
at the left hip, palm forward and fingers down.
5. The right hand draws back to the hip, and when the left hand has
rolled to 9 o'clock, begins rolling up to before the shoulder with
the
fingers facing up and the palm facing front.
6. Both hands are thrust forth (with tension) into left high. Right
low palm (or thumb) strikes.

Then you continue again:

From Left Foot Forward Sanchin Dachi you:
1. Draw the left hand back to the center line (palm up)
2. Place the right hand (palm down) underneath the left wrist.
3. Step back with the Left foot in a reverse crescent step, ending
in
a right Sanchin Dachi
4. The right hand circles up and down (going clockwise) to end at
the
right hip, palm forward and fingers down.
5. The left hand draws back to the hip, and when the right hand has
rolled to 3o'clock, begins rolling up to before the shoulder with the
fingers facing up, and the palm facing front
6. Both hand are thrust forth (with tension) into right high, left
low palm (or thumb) strikes.

Finally we arrive at what I consider among the most powerful
techniques in Karate. Goju's Tora Guchi (Tiger Mouth) or the
Mawashi
Uke (or perhaps Uchi). The Roundhouse block/strike combination.

Application 1 - Attacker Right Foot Forward Right Punch to the chest

You respond with an interior line of defense.

1. Your right hand parries across, moving their arm to the left.
2. As your right foot steps back, you left arm (palm up) slides up
your right arm and parries their arm further outside.
3. Now slide forward, keeping your left foot forward). Your left
arm
, now continuing the kata movement, pressing into the attackers
center, with their arm causes their body to rotate, which opens the
neck for a right attack.
4. Your right arm continuing the kata movement takes that opening to
strike into the neck (or alternately the lower ribs) with the palm
(or
thumb).
5. [Logical Continuation] You can always step forward with a right
crescent step as you turn slightly left, so your leg ends up behind
their lead leg and sweeps them down.

Variations involve using different tai sabaki (body shifting) to
change the angle of insertion of the defense, as well as stepping
forward instead of stepping away from an attack.

Application 2 - Attacker Left Foot Forward Left Punch to the chest

You respond with an exterior line of defense.

1. Your right hand parries across, moving their arm to the left.
2. As your right foot steps back, you left arm (palm up) slides up
your right arm and parries their arm further outside.
3. Your left hand hooks over their arm as it draws back to your hip,
then to press in first roll your left fist up.
4. Your right forearm strikes into their upper arm just behind their
elbow.

This variation came from Indenosian Pentjac Silyat, as a snake
strike. Essentially they throw a punch and you work very hard to
break
their arm.

Variations involve using different tai sabaki (body shifting) to
change the angle of insertion of the defense, as well as stepping
forward instead of stepping away from an attack.

Application 3 - Attacker Right Foot forward Right Punch to the Chest

You respond with an interior line of defense.

1. You step forward with your right foot, Your right hand parries
across slightly moving their arm across to the left.
2. As your left arm (palm up) slides up your right arm to parry
their
arm, you parry their arm with your left, and have it slide over their
arm as you pivot on your right foot 180 degrees counter-clockwise to
the left.
3. As your left arm presses down and in, your right arm continues
the
Tora Guchi technique and strikes behind their elbow into the triceps.

The motion of pressing and striking into the arm as you spin into
their attack will redirect them forward and continuing will cause
them
to spin forward and down.

Application 4 - Attacker grabs both of your wrists with their hands.

You respond with an exterior line of defense.

1. You step forward with your right foot, Your right hand, palm up,
parries across moving their arm to the left.
2. Your left arm (palm up) slides up your right arm, to turn out and
parry across that arm, pressing it into their other arm on your left.
3. That press allows you to pull your right hand free.
4. You continue the mawashi uke movement into the back of their left
arm as their hands are tied up by your left which continues its
movement too.
5.
This is a takedown/arm break combination.

Application 5 - Attacker throws a right Round house kick towards your
head.

You respond with an interior line of defense.

1. You step for forward with your right foot, Your right hand, palm
up, parries across their leg moving it to the left.
2. Your left arm (palm up) slides up your right arm, to turn out and
parry across the leg.
3. As your left hand flows across their leg, your right hand circles
down and strikes out into their solar plexus.
4. You complete the technique by sliding forward with your right
foot to hook behind their standing leg. That trapping movement as
well as the strike to the solar plexus will drive the opponent down.

Depending on the angle of insertion and the body shifting (Tai
Sabaki)
utilized, you have a wide range of possibilities to address.

The ending section of Isshinryu's Seisan kata can be interpreted as a
version of Mawashi Uke, likewise it can be found throughout various
Goju kata, (including Sanchin), Shotokan Unsu kata, and even in some
version of Matsumura No Hakutsuru (name pending ??), to name a few of
its possible ailities.

Among the variations possible are shifting from Right Mawashi Uke to
Left Mawashi Uke, as well as doubles, such as Left Mawashi Uke
followed by Left Mawashi Uke.

I hope I've expressed some of the potential of Kata Sanchin with this
bunkai analysis.

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#104751 - 05/11/02 05:14 AM Re: Sanchin Kata, Part One
omegapoint Offline
Member

Registered: 02/24/01
Posts: 150
Great post Victor!!!

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#104752 - 07/16/02 06:02 PM Re: Sanchin Kata, Part One
NAUMatt Offline
Member

Registered: 07/16/02
Posts: 68
Loc: Flagstaff, AZ, USA
I found this post rather odd, as in my training I have never been told of any relation between combat and sanchin. In fact, quite the opposite (well, besides the fact my sensei would hit/kick us a lot while we were doing it [IMG]http://www.fightingarts.com/forums/ubb/smile.gif[/IMG]). Of course, finding the bunkai (application) of any kata is key to mastering it, and obviously there is physical bunkai in sanchin, but I have been taught (and believe) that sanchin's focus is in building ki, kime, haragei, and kokyu chikara (spirit, focus, belly focus [or center], and breath power, respectively). Through nurturing these traits during the practice of sanchin, you can get closer to ai, or union, of mind, body, and soul, effectively letting you defeat your opponents before the battle has begun. There is MY bunkai for sanchin.

Peace and Love

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#104753 - 07/20/02 04:48 AM Re: Sanchin Kata, Part One
Victor Smith Offline
Professional Poster

Registered: 06/01/00
Posts: 3220
Loc: Derry, NH
NAUMatt,

My exploration of Sanchin is the result of decdes of working the kata as you describe and a quater century of Yang Tai Chi Chaun.

From what I've read, when Hiagonna Sensei originally taught Sanchin it was done a full speed and apparently Miyagi Sensei was involved in its 'evolution' into the form you describe.

When I got the chance to experience Ueichi Sanchin (also done a normal speed with normal breathing), I couldn't believe how focused my energies became in practice.

It is only when after long years of waiting, that I began to do my Isshinryu Sanchin (essentially Miyagi's version) full speed did I find the same energy release as the Ueichi. And felt the full force of its power.

Hence my study of the application of Sanchin.

As for the other values you mention, I'm dubious. The more I reflect, I don't see that tension does more than promote immobility, which is not where I see my art going.

The interesting thing is many attribute similar opinions of your Sanchin training to Tai Chi, too. Such as you're building Chi and doing moving meditation. But in reality you're not meditating if you're doing it correctly. Instead you're focusing on execution as in any martial art. And BTW, Tai Chi is meant to be studied (eventually) at faster and faster speeds, too.

The full value of Sanchin (either fast or slow) likely needs more study.

I'm not too concerned about value, I just continue to get the best rush I've experienced when I cut my Sanchin loose, and the application potential is where it's all about IMVHO.

Victor

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