Kansetsu waza

Within the kata of Goju Ryu there are a number of kansetsu waza (joint locking techniques).  I was speaking with my Sensei a few days ago and he mentioned something which I think is important in relation to these techniques.

The kansetsu waza of Goju Ryu are not designed to be submission techniques, such as can be seen in the UFC.  The techniques such as arm bars, knee bars, wrist locks, elbow / shoulder lock etc are designed to be applied quickly and powerfully in order to break or seriously damage the joint which is being attacked.  Obviously this would only apply to a serious threat to your safety in a self defence situation.

In self defence, it is pointless using these techniques as pain compliance.  There will be nobody there to stop the fight when your opponent taps, and upon releasing the hold, you will undoubtably be faced with further attacks from your opponent.

In addition to this, there is the danger of multiple opponents.

When facing multiple opponents it is important to inflict the most amount of damage to your opponent, as fast as possible to then move onto the next opponent.  Kansetsu waza when used effectively, seriously affect the opponents ability to continue his attack.

However, there is a Ju side to every Go technique, and there are situations where it may be appropriate to use these techniques as pain compliance.  Kinjo Seikichi Sensei once told me how he used the arm bar from Seipai kata to detain a male who had tried to rob him.  Kinjo Sensei applied the arm bar and proceeded to drag the robber to the nearest police station!

For people such as police officers, the kansetsu waza can also be an effective tool in arresting people.

Go & Ju kata comparisons

Looking at the 4 kata said to have been originally taught by Higaonna, namely sanchin, sanseiru, seisan and suparinpei (peichurin), we can see a number of recurrent themes;

All begin with morote sanchin no kamae, and 3 punches. Emphasis on punching range techniques.

Main techniques only performed on one side of the body, emphasis on right handed techniques.

Many techniques repeated 4 times for no apparent reason.

Techniques focused upon striking the torso, lack of jodan techniques.

Unique use of double handed cranes beak posture, does not appear in other Goju kata.

Suparinpei contains a number of kicking techniques unique to that kata. Higaonna Kanryo Sensei was known by the nickname of Ashi no To’onna due to his exceptional kicking ability.

The applications for these kata are simple and direct, with an emphasis on striking the opponent in straight line attacks. The techniques suggest a very aggressive style of fighting, taking the fight to the opponent and dispatching him/her quickly with punches, elbows and low level kicks.

These kata can be considered to be the Go (hard) side of the Goju Ryu kata coin.

What these kata do not appear to cover in quite so much detail is what happens if the strikes do not defeat the opponent immediately, and the range breaks down into clinch or grappling range. Situations such as wrist grabs, clothing grabs, strangulations, take down attempts, headlocks and throws appear to be more the focus of the remaining Goju kata.

With this in mind it is worth looking at the theory that Miyagi Sensei introduced the remaining kata to Higaonna’s style in an effort to provide a Ju for the Go.

Whilst it is certain that Higaonna Kanryo Sensei laid the foundations for the Goju Ryu method, it is my opinion that it was Miyagi Chojun Sensei who was able to organise his teachers methods into a systematic teaching syllabus, and prevent his teachers legacy from fading into extinction.

Anyway, back to Go and Ju….

Relating to the ju kata introduced by Miyagi Chojun Sensei we can see a number of common themes.

The fighting range employed by these kata appears to be closer, with more emphasis on holding onto an opponent whilst striking.

There is an overtly more circular emphasis on the movements

There is less emphasis on kicking than in the Go kata

The striking techniques are more varied. Strikes with parts of the hand other than seiken tsuki are favoured eg; uppercuts, backfists, nukite, hammer fist, knife hand etc.

The footwork is less direct, often using a more evasive style.

The major movements are repeated on both sides of the body providing a symmetrical balance.

Whilst keeping in touch with the signature principles of the Nahate method as suggested in Sanchin kata, it is clear from the above that there is a definite difference in intent between the two sets of go and ju kata.

The go kata appear to emphasize keeping at a longer range and destroying the opponent with strikes before forcing them away.

The ju kata suggest getting closer to the opponent and using various strikes in order to weaken the opponents defences to finish in close with throws, locks or holds.

Seiunchin & Seipai

Following on from my last post, I’d now like to present some of my notes on Seiunchin and Seipai;

Both begin in Shiko Dachi, holding your ground and pulling your opponent off balance.

Techniques are designed to pull the opponent down into your centre of gravity.  Make the opponent move, don’t move yourself to fit the opponent seems to be the suggested idea?

Techniques appear to be more suited to be used against a physically weaker opponent.

Signiture techniques are performed in a way that has you stood side on to your opponent, hiding your body’s centre line.

There are a higher number of throws and takedowns in these kata.  More close range, keeping tight into your opponent.

Redundant use of gedan barai uke whilst stepping back?  Why?  Is it just to get back onto the embusen?

Seiunchin – Strike/feint high to then attack low.

Seipai – Strike/feint low to attack high.

Both kata are slower moving with more emphasis on muchimi.

Lack of kicks?  Seipai uses only mae geri, and interestingly unique to this kata, does not step forward, but lands with the kicking leg to the rear.

Both finish stepping back with suri ashi into neko ashi dachi to finsh with a close range grappling application unique to that individual kata.

My next post will focus on comparing the two sets of kata of Higaonna Kanryo and Miyagi Chojun.

Saifa & Kururunfa

 

 I have a theory that some of the kata are more closely related than others.  There is a theory that the original kata of Higaonna Kanryo Sensei were Sanchin, Sanseiru, Seisan and Suparinpei (Peichurin).  These can all be considered Go kata. 

Miyagi Sensei is rumoured to have added Saifa, Seiunchin, Seipai and Kururunfa as Ju kata in order to ‘complete’ his teachers style.  Shisochin appears to be the odd one out?

I believe that the 4 ju kata are partnered as follows;

Saifa – Kururunfa

Seiunchin – Seipai

 As I stated in my last post, it is my opinion that saifa and kururunfa can be considered as sister kata.  The general ‘feel’ of the two kata is very similar, and when you look at the ideas and tactics used in the kata, there is a massive overlap.

Below are some notes which I have begun to compile regarding this theory as related to saifa and kururunfa;

Both kata begin with a suri ashi step to get off of the center line.

Both make use of a double chudan / gedan block simultaneously, covering the body’s centerline.

Uke waza are combined with suri ashi, meeting the opponents force with a ju response.  More suitable against physically stronger opponents?

Punches used in both kata are similar.  Punches finish palm up (ie uppercut).  Ju style close range punches which whip into the body, rather than impact driven seiken punches.

Kururunfa teaches the single leg takedown, saifa teaches the defense to this technique.

Both kata finish in neko ashi dachi (cat stance) with a tora guchi posture.

The general feel of both kata is light and quick.  There is a loose whipping feeling in the limbs as the techniques are executed.

My general opinion of these kata is that the techniques are designed to be used against a physically stronger opponent against whom it would be best to employ evasive techniques in order to avoid meeting force with force.

Thoughts on Goju kata

During my train journey to work today, I got thinking about the big 4 theory.  This relates to the school of thought that Higaonna Kanryo Sensei’s original form of nahate consisted of four kata namely; sanchin, sanseiru, seisan and suparinpei (peichurin).

According to this theory, Miyagi Chojun Sensei later introduced Saifa, seiunchin, seipai and kururunfa in order to provide a ju balance for his teachers go flavoured system.  Shisochin remains somewhat of a mystery, having possibly been demonstrated under the name of chishaukiun, along with seisan (jusanpo) and peichurin at the Ochayagoten demonstration in 1867?

Expanding on this theory, it is my opinion that the four ju kata are partnered as follows;

Saifa – Kururunfa

Seiunchin – Seipai

I will expand upon this idea in later posts.

Ashi no To’onna

According to oral testimony, Higaonna Kanryo Sensei was known by the nickname ashi no To’nna meaning ‘legs Higaonna’.  This was apparently due to his exceptional kicking ability and quick footwork.

Whilst this is fairly common knowledge amoung Goju practitioners, I’ve yet to come accross anybody who has been able to offer any detailed information about what it was that was so exceptional about Higaonna Sensei’s kicks?

In the Goju Ryu system, our kicks are simple and direct.  With the exception of furi geri in Suparinpei, none of the kicks come above the waist, and they are all linear, utilizing a quick pull back after the kick has struck its target.

Mr Mario Mckenna wrote the following on his blog regarding his experiences in To’on Ryu;

I was particularly intrigued by the kicking techniques found in the kata.  No snapping kicks at all.  All low thrusts, stomps, or straight legged kicks similar tho those found in Kung Fu styles.

My knowledge of the To’on Ryu is extremely limited, and the majority of my information about it comes from Mckenna Sensei’s writing.  To’on Ryu is the school founded by Kyoda Juhatsu who was  Miyagi Chojun’s sempai training under Higaonna Kanryo.  The To’on Ryu system practices sanchin, seisan, sanseiru and pechurrin as are also found in the kata of Goju Ryu.

According to some sources, the methods followed in To’on Ryu may be closer to those originally taught by Higaonna Kanryo.  If this is the case then it would appear from the above source that the kicking methods of Higaonna Kanryo Sensei may have included mostly low straight legged kicking techniques with no snap back.

It is also interesting to note for followers of the jundokan that this is the kicking method favoured by Taira Masaji sensei with regards to the bunkai.

The legacy of Higaonna Kanryo Sensei can be found in the methods preserved in the Goju Ryu and the To’on Ryu respectively.  It is through a study of these methods that we may be able to catch a glimpse of what it was that was so special about Ashi no To’onna.

If anybody knows of any information relating to the kicking and footwork methods of Higaonna Sensei, I would be very interested to hear from you.

Gambatte!

50th Budosai

Over the weekend of the 3rd – 5th August, I was lucky enough to attend a Budosai to commemorate 50 years of English Karate.  The event took place at the Bisham Abbey National Sports Centre in Buckinghamshire, which provided an ideal setting for training.

Teachers from Okinawa, Japan, China and Europe were invited to teach at the event, with top class teaching being provided by Higaonna Morio Sensei, Gushi Sensei (Uechi Ryu), and a team of White Crane masters from Fuzhou China.

Throughout the weekend I made a point of trying to spend as much time training with Higaonna Sensei as I could, and spent time training in Sanchin kata, body conditioning, kakie techniques and bunkai.  The highlight for me was training in a small group on the banks of the river Thames, recieving in depth tuition about Tensho kata.

I love training with Higaonna Sensei, and he never fails to inspire me to try harder.

Over the course of the weekend I also got a chance to train in the Uechi Ryu version of Sanchin, and the Fuzhou White Crane version of Sanchin, and was able compare the differences, and many similarities between the three versions.

On the evening of the 4th August, there was a demonstration by the various teachers, with all three schools of Goju, Uechi and White Crane performing their versions of Sanchin at the same time, alongside each other.

There was also a wonderful demonstration of kakie by Eric Higaonna, whom I was also fortunate enough to spend some time practicing body conditioning and bunkai with.

The event was organised by Terry Wingrove Sensei who promises even better things next year! 

The official site for this event can be found at http://www.cyberbudo.com - which is scheduled to be updated with a full report, and photographs from the event over the next few days.

New Karate Film – Kuro Obi

Just for fun –  Kuro Obi is a Japanese made movie featuring karatedo, which actually looks very good!  The trailer can be found at http://www.youtube.com/watch?v=v9-vI4HxRmI

For particular interest to practitioners of Goju Ryu will be the fact that Akihito Yagi (grandson of Meitoku Yagi), plays a starring role.  Unfortunately I have no idea when the movie is scheduled for release, but it may be one worth looking out for!

Below is the blurb for the film;

—Set in the early years of the Showa Era in Japan, this story revolves around three men who aspire to receive the ‘kuro-obi’ that can go only to the rightful successor. —

The year is 1932. Three men are zealously engaged in karate training at the dojo of Eiken Shibahara. Their names are Taikan, Choei and Giryu. Eiken suddenly dies, but the ‘kuro-obi’ black belt that will designate his successor has not yet been passed on.
“Karate is not about fighting.” Who will be the one to heed Eiken’s words of wisdom and receive the coveted ‘kuro-obi’ to carry on as his successor? In a related development, the Military Police Headquarters takes note of the exceptional skill of these martial art practitioners, and the three men are commanded to join their forces.
Then, the three that have left the dojo are thrust into a terrible encounter with fate…

Countdown to 50th Budosai

It’s now only two days to go to the budosai at Bisham Abbey to celebrate 50 years of karatedo in England.  It never ceases to amaze me when I think about how popular our humble art has become, emerging from it’s days being taught in secret on a small island on the other side of the world, to now having huge international events such as the budosai.

Although I am still a baby in terms of my experience in karatedo, I find it an honour to be part of the tradition and hope that I too can do a good job of one day passing on the torch in an honest and dignified way.

I truly feel that part of our obligation as serious practitioners of karatedo is to pass on what knowledge we have, as too much has already been lost.  We are fortunate in that our tradition is still fairly new, and that there are still teachers around who have grown with the tradition and are still able to point us in the right direction.

I sometimes feel ashamed that I did not pay enough attention to what I was being taught.  Sometimes we allow tiredness to block our ears, or are so busy wondering what we will learn next that we forget to listen to what our teacher telling us at that very moment! 

Some experiences only occur once so it is important to value the moment, and commit it to memory as best as you can.

I hope to meet some of you at the budosai!

Gambatte!