The End of Sanseiru

Now William of Ockham (1285-1349) must have been an interesting guy. I often think of him when I come across inventive interpretations of kata applications. A lot of explanations of bunkai stray pretty far from kata movement. Some may be quite effective, but I have my doubts about whether one should actually call them bunkai, if bunkai is the analysis of kata. Logically, if kata is a means of remembering technique, and in applying the principles to the movements of kata one can discover the bunkai or applications of technique, then straying from a strict interpretation of kata movement would seem to be wrong-headed or at least counterproductive. On the other hand, there are those who see everything overly simplistically--that is, their bunkai tends to always be on a beginner level: block, punch, kick. Goju-ryu employs many more techniques than this and often to far deadlier effect. For example: The bunkai for the last technique or combination in Sanseiru may not be readily apparent but illustrates the softness of Goju with the first absorbing "block," the simultaneous block and attack with the hooking palm strike to the opponent's head, the stickiness of following the opponent, the use of the forearm instead of a basic punch in what looks like a double punch, and then the simplicity and control of pulling the head in with the crook of the arm, stepping back to unbalance the opponent, cranking the chin around and attacking the throat with the fingers in the crane's beak hand position. To me, this follows kata technique exactly, and yet is simple, deadly and highly effective. That's Ockam's Razor--an effective principle to use when studying bunkai.

To get there: Though the illustrations show the opposite of kata side for the last technique/combination, using kata side you have just finished the first of the double punch techniques in a right foot forward basic stance, facing west (if we imagine the kata begins facing north). Imagine the opponent coming from the west and step back with the right foot, starting the block in the first illustration as soon as you begin to move. You are intercepting the opponent's right punch. As you block, you are also attacking the opponent's head, then the left hand/arm comes down into "changing gate" to take his right arm out of the way. You are stepping to the east in order to follow the opponent and, as you do so, you execute the double punch shown in the second picture. You are punching across the opponent's throat, clotheslining him if you will. Then immediately draw in the right arm, cradling the opponent's head. Step back with the left foot into shiko dachi, pulling the opponent off balance. The left hand comes up and around to grab and pull the opponent's chin to the left. The right crane's beak attacks to the throat.