Sanchin and stuff again

I recently came across this analysis of Sanchin kata.

http://www.youtube.com/watch?v=0qrGwPGku68

I'm not sure the link actually takes you to the right place, but it was a YouTube video called "Sanchin Basic Analysis."

Yang Chengfu standing
in the Wu Wei posture

Now I must admit that any analysis of Sanchin--that is, the attempt to find bunkai in Sanchin--baffles me. A number of principles certainly, but I don't believe Sanchin in Goju-ryu was ever meant to be seen as a bunkai kata in the same sense as the other Goju subjects. I've written about this before. It's my belief that it's a futile endeavor--it's a basic kata to study  posture, breathing, and a number of other basic things--or, at best, the techniques are so elementary that it begs the question of why one would spend time trying to "find" applications for Sanchin when the other classical subjects are so much richer with intentional bunkai. I suppose this sort of thinking comes from what seems to me to be a misunderstanding of the oft-repeated statement that Sanchin is the fundamental kata of both Goju-ryu and Uechi-ryu. What do we mean by fundamental? Surely that doesn't mean, as I have sometimes heard, that the root of all Goju/Uechi techniques can be found in Sanchin. If that's true, it's certainly putting too fine a point on it for me. That's like saying that all T'ai Chi postures can be found in the Wu Wei beginning posture. I suppose in one sense that's true, as Wu Wei is emptiness or non-action, and all things begin from non-action, but it doesn't really get you very far.

First technique in Saifa kata

But what did interest me about this analysis of Sanchin was that the person demonstrating the techniques was doing the same technique against a right attack or a left attack, moving to the inside of the attacker or the outside. I have heard the same thing from some kung fu practitioners (and other karate people)--that you should be able to execute any technique regardless of which hand the attacker is attacking with. The "logic" behind this, as expressed to me, was that you don't have sufficient time to figure out which hand someone is attacking with and respond with the appropriate hand. I think this is ridiculous for two reasons: one, all techniques do not work from either side; and two, while I may not have sufficient time to contemplate which technique might be an appropriate response in a split second, I certainly have time to move and raise a hand to either the inside or the outside of the attack. That is, though I may not have time to contemplate which "bridging" or "finishing" technique may be appropriate, I certainly have time to respond with a "receiving" (uke) technique. (If I don't, I get hit--which means responding to the inside or outside with the same technique makes no difference anyway.)
What I do from there is dictated by my initial movement or uke (receiving of the attack)--and Goju actually shows a limited number of ways to receive that initial attack--the attacker's movements, and which controlling and finishing techniques fit with my initial response. One thing leads to the other rather

Part of second technique
in Seiunchin

fluidly and without a lot of thought. For example, the opening or first technique of Saifa (a technique that is shown three times to show the other side) is against an opponent grabbing my right hand with his left hand. It doesn't work if the opponent grabs my right hand with his right hand. If that were the case, I would respond with the second sequence of Seiunchin kata. Sometimes techniques are shown multiple times in kata because the kata shows attacks from one side or the other; the message is not, on the contrary, that the same technique (done with the same hand that is) should be able to be applied against any attack. Most of the time in Goju-ryu, this response is fairly easy to see based on the principle that the safest place to be or the safest response is to move to the outside of the attack. Training and logic both provide us with this answer. The problem, I think, is that the training is often not real enough or logic has flown right out the window.

Seiunchin "uke" in pictures

Reversing the grab to use an arm-bar.

        


First Seiunchin entry or receiving technique against a wrist grab.

Trapping the hand to escape a grab.

Second Seiunchin entry or receiving technique against a wrist grab.

Dropping back to avoid the push
and control the arm.

Third Seiunchin entry or receiving technique against a two-handed push.

Side-stepping to block a push
and attacking at the same time.

Fourth Seiunchin entry or receiving technique against a two-handed push.


I mentioned in a much older post that Goju kata are composed of combinations or sequences that teach not only the bunkai (or imi-wa) of individual techniques but also the principles of the system. But in order to see any of this, you have to start with the "uke" techniques or the entry techniques. This, I think, may be what was meant by the saying: "Karate Ni Sente Nashi" (There is no first attack in karate). In other words, karate is a system of self-defense and does not initiate a violent or aggressive encounter. But it would also seem to go further than this--that is, the idea seems to be reflected in the techniques of kata. Each sequence or combination of techniques begins with an "uke" or receiving technique, regardless of which of the classical kata you are considering. From there it is easier to understand the "controlling" or bridging techniques, and finally the "finishing" techniques in kata, and in turn the structure of kata. There are, of course, some who dismiss this view of kata, and there are certainly many more who make their names and reputations on finding hundreds of applications for each subtle movement, an infinite variety of techniques or levels of bunkai, if you will. But one should always approach things with an open mind. So here are the five entry techniques of Seiunchin kata. 

Tying up the arms to escape a grab.

Fifth Seiunchin entry or receiving technique against a wrist grab.

The Fourth Principle of kata analysis...in no particular order

"Since Goju-ryu is a system of self-defense...it should seem effortless."

Even though you train to be stronger, faster, more flexible, or just plain tougher, self-defense techniques, or a self-defense system, should require little of this to work. You should put the effort into developing your strength and speed and flexibility when you are young; otherwise, you won't have much of anything when you are older it is sometimes said, but the techniques themselves shouldn't depend on strength or speed to work. In the first place, there will always be someone bigger or stronger or faster. But more importantly, your self-defense should work for you when you are old, when you may be least able to defend yourself.

Twisting the head in
Seipai kata.

Knee attack to the head
in Saifa kata.

Instead, Goju-ryu relies on technique, and that technique is based on principles of movement. This is what makes it seem effortless. For instance, we step off-line to "block," and most of these off-line movements may be accompanied by a spinal rotation in the trunk or core of the body. The receiving techniques ("uke") of Goju-ryu are, for the most part, "soft" because they can be, generally meeting the opponent's attack with circular "blocks" that deflect the attack. In addition, the position of the arms first encountered in Sanchin training is applied, in principle, to many of the receiving techniques in Goju, and when this "immovable arm" is used in conjunction with stepping off line and the rotation of the trunk, any effort or energy the defender uses can be saved for the counter-attack; though these counters can be just as effortless if the same understanding of stepping and rotation is used there as well.



Shoulder attack
to head in Seisan.

Lastly, so many of the techniques of Goju-ryu are effortless because Goju-ryu attacks vulnerable parts of the body. The finishing techniques of Goju are against the opponent's head or neck, either striking the neck with the fingers, the knife-edge, or the forearm, or grabbing the head and chin and twisting, as in Suparinpei. Or we attack the head with the elbow, as in Seiunchin. Sometimes the knee is used to attack the head, as in Saifa and Kururunfa, and sometimes even the shoulder is used, as in Seisan kata. 

Whatever the case, it should be effortless. And it is usually effortless because we have moved in such a way that the opponent is not given a second opportunity to attack, our first block/attack is often simultaneous, and we bridge the distance to attack the head or neck.

Relax, relax, relax...you'll be faster and stronger.

The Second Principle...in no particular order: kata analysis cont.

"Much of the stepping--particularly in the initial "uke"--indicates how the defender steps off line and consequently the direction from which the opponent's attack comes."

Taking Saifa--the first classical subject in the Goju-ryu canon--as an example, and imagining that one starts the kata facing north, the first sequence, repeated three times--a wrist grab release and arm bar, followed by a grab of the opponent's head, a step back and down into shiko-dachi, and a forearm strike to the back of the opponent's neck--shows the defender moving in along either a northeast tangent to the opponent (in the first and third repetition) or a northwest tangent to the opponent (in the second repetition).

The second sequence--beginning with the block of a two-handed push, followed by a front kick, and ending with the lower-level hammer fist--also shows an initial movement in along the northwest tangent.

The third sequence--the turn around to the south which again ends with a lower-level hammer fist--shows a 90 degree off-line initial movement with the attacker stepping in from the west with a left upper-level punch.

The fourth sequence, which shows an initial left hand block and right hand hammer fist strike and is repeated on the other side with a right hand block and left hand hammer fist strike, again shows a 90 degree off-line movement with the attacker again stepping in from the west.

The fifth and last sequence, the step and mawashi uke, again shows a 90 degree off-line movement with the attacker again stepping in from the west.

Saifa kata shows two of the directional off-line movements found in the Goju-ryu classical subjects. One can see an example of stepping back directly to the south in Seiunchin kata (with the defender facing north and the attacker stepping in from the north). One can see an example of stepping back at an angle to the southwest or southeast in Kururunfa kata (again facing north with the attack from the north).

Last sequence in
Seipai showing 90
degree step off line.

So what one should see in kata is a demonstration of how one steps off line. The pattern of kata doesn't show turns because one has run out of space but because it shows both where the attack is coming from and how one should avoid it in applying the technique. What should be apparent then is that in analyzing kata (bunkai) one should always start from the end of the previous sequence, because it is the movements and steps between sequences that show how to move off line, and, consequently, the application of the techniques may be different from what one previously imagined.



End of throw in last
Seipai sequence.

For example, in the last sequence of Seipai kata, if we begin from the undercut in shiko-dachi which ends the previous sequence, one steps and turns in a clockwise fashion to face the original front. But the off-line movement shows us that the attacker is not coming from the north or original front but from the west. This changes the way we might see the hand techniques applied. In this case, as one steps off line with the left foot, the left arm blocks an opponent's right punch. At the same time the defender's right hand comes across the opponent's face to the right side of his head. Then, turning towards the front, as both arms move in a clockwise fashion, taking the opponent's arm and head with them, the opponent is spun around and thrown. The sequence finishes with the low hammer-fist.

The First Principle...in no particular order: or, a basic primer on kata analysis

"If there is no first attack in karate, look for the block or uke at the beginning of each combination or sequence of moves."


Seisan block and attack
that begins all three bunkai
sequences only this is on
the opposite side.
 

I read someone once--a very senior karate practitioner--who said that Seisan kata showed 13 kamae postures. What does that even mean? I assume by kamae postures he meant "ready positions," which implies to me that these techniques were viewed not as uke or receiving techniques or for that matter application techniques at all!!! Well, what the heck?! But perhaps that's a rant for another day.

For me, each kata (of the classical subjects in Goju-ryu) is composed of combinations or sequences of moves. Not counting repetitions, therefore, Saifa has five combinations. Seiunchin also has five combinations. But Sanseiru only has three combinations, though it does show some variation within them. Seipai, on the other hand has seven. Most of these combinations begin with a block or uke and simultaneous attack, followed by a bridging or controlling technique, and ending with a finishing technique or techniques. In Seisan, each of the combinations begins with a sweeping semi-circular right-hand block and a left open-hand palm strike. At the beginning of Seipai kata, we see a left open hand block and right open-hand attack with the controlling or bridging technique being the left step forward and the left hand clasping the right hand. The finishing technique comes with the drop into horse stance. It is, of course, obvious that Seipai kata begins with a bunkai combination, whereas Seisan begins with basic punches and other techniques that appear later in the kata as part of actual bunkai sequences, as if the creators of Seisan were suggesting that it was important to practice these individual techniques on their own prior to applying them in bunkai.

Bridge technique in
the first sequence
of Seipai kata.

Since each of these combinations begins with a distinct receiving technique, block, or uke, if you will, there are a fairly limited number of ways Goju uses to "block" an opponent's attack, and that is perhaps as it should be. But because of stepping shown in kata and directional changes, each uke should leave the defender in a relatively safe position, with the attacker unlikely to be able to easily launch a second attack before the defender can move in to control or bridge the distance.

But the first step is to study the receiving techniques--how to move, how to step, how to block. I remember talking to a good friend in Okinawa once. We were looking at a book with a formal portrait of Miyagi Chojun sensei. He pointed to the inscription in kanji underneath the picture and said it was very important since these were the words of Miyagi sensei. When I asked him what it said, he said, "Don't get hit..."

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