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1. What is Bunkai
2. Striking Into the Bicep.
3. My Principles of Bunaki I - Seisan Kata
4. My Principles of Bunkai II - Seisan Kata
5. My Principles of Bunkai III - Seisan Kata
6. Generating Power in the Isshinryu System
On the Cyber Dojo John Anthony asked, "what is your understanding of the meaning of "BUNKAI"?". I wish to add this post to ISSHNRYU-L and KYUSHO, too.
This does pose a number of different answers based on several instructors explanations of their systems.
What does Bunkai mean? Interesting question, so far I have the following answers.
1. My original training - None. It was a full system in its own way, but untroubled by bunkai issues.
2. Basic Bunkai - a device to help the beginner learn how and where to perform their kata spatially.
3. Bunkai - Specific application of the forms for specified attacks. No deviations permitted.
4. Bunkai (kakushite) - Specific application from the forms for specified
attacks. There are closed door
extra techniques inserted (kakushite). They tend to be logical missing pieces
of the kata during a specific attack.
5. Bunkai - A method to use the kata as a mnemonic device to hide techniques
at any point in time.
These techniques may well have nothing to do with the kata. I am aware of
one style
which does so and basically has one set of explanations for each Dan Level
(they only
have 5). In practice, the bunaki level is also privately performed as a
new kata, with the
bunkai techniques often replacing the original kata technique.
6. Bunkai - (movement flow analysis - Mine) Detailed analysis of the
movement for as many possible
possibilities. The techniques are performed for Interior and Exterior Line
of Defense, and
in each line, with as many different angles of insertion into the attack
as possible.
7. Bunkai - (take the next step - Mine) A specific analysis of kata technique,
not bound to the obvious
percussive aspects of the bunkai. You may perform the percussive technique
and then
use the next step in the kata, for the utilization of the lower body in
a takedown.
8. Bunkai - (micro analysis) - breaks the techniques down into their
smallest components and they are studied for application. This gets into
a very detailed study of the form. It is often combined
with principles I've mentioned above in 4. or 6. or 7.
9. Movement Application analysis as proposed by Dr. Yang, in Advanced
Tai Chi Chaun II
i. use of the technique to down the opponent
ii. use of the technique for cavity strikes, seal the breath, etc.
iii use of the technique for lock the opponent (chin na)
There are many variations of this analysis, with many breaking the components
down into
finer sub-categories, or addition of wrestling and/or ground techniques
inherent from the bunkai.
10. Another answer would be that provided to me by Ernest Rothrock, regarding Ying Jow Pai. (Eagle Claw) There are only 1 application given for the moves in the Kuen(forms) however the large number of forms, and the large number of 2 person sets, cover a very wide range of applications themselves.
11. From a post on CD several weeks ago, where John Anthony (anthony@dplus.net)
talked about Oyata Sensei defining bunkai as "breaking down the movements
to their most basic units and then recombining them to form usable techniques
appropriate for different situations."
Many of these bunkai definitions are not exclusive of each other, and surely others exist. But to date, I have experienced training, or developed technique bunkai based on the above principles.
I would suggest in a properly ordered system, of which I have seen several, the student should have one charge, to study the bunkai or applications proposed by their instructor. If they cover sufficient range of technique to provide for a very wide range of possibility, their technique execution would be the goal of practice.
IMHO, the role of the student should not be to determine bunkai possibilities, except as an exercise. Once technique execution was sufficient, the study of making choices, or selling the choices made can be undertaken. In such an ordered system, I conclude it would be the responsibility of the Seniors to continue analysis of bunkai for future inclusion.
Of course with an Infinite possibilities which can present themselves, this is but a drop in the bucket, so to speak.
Striking into the Bicep for an Interior Line of Defense September 14, 1998
Over the course of many studies and many years I’ve been able to focus on an interesting focus for the interior line of defense. That of striking into the attacking bicep.
The genesis of this did not come originally from my Isshinryu training, but as the occurrences accumulated I began to see directly where this line of investigation was leading.
First, at a training summer camp many years ago, a friend, Ernest Rothrock, demonstrated a little defense against a round house punch. He had his attacker, swing as hard as he could to land a roundhouse punch on him. <Its always wonderful when you can set them up in advance isn’t it.>
The defense was to turn 90 degrees counter clockwise and raise both hands into vertical shuto’s. The attackers arm impales the two knife hands in the middle of the forearm and the bicep. They stop the attack with the shock of the pain received.
In itself a nice technique, but I didn’t see the obvious lesson.
A number of years later, I received instruction on a two person Indonesian tjimande set, Juru No. 1. In the opening sequence The Attacker (left foot forward) began attacking in a Left Jab, right jab, Left Uppercut sequence. The defender (right foot forward) responded with a right outside Shuto, right inside Shuto left descending palm strike to counter the 3 attacks. [I’m ignoring the remainder of the Juru for this discussion.] While I was fully schooled in the technique involved, the why was not present in my training, (perhaps a common occurrence in many times and places).
I saw a great deal of benefit from the technique series itself, but when I and my students would train with it, everyone went all out, a great deal of pain ensued and as it is sometimes to get dans to listen and tone the strikes down, because of pain, I was not successful in getting them to really get into the training. {Minor note - sometime to discuss how the student really is the one in charge, and not the apparent instructor.]
Again I didn’t see the obvious lesson.
Many years later, on a whim I purchased a copy of Sanders video on Pentjac Syliat, he broke the sequence down in great detail (interesting he was doing the same sequence as tjimande...must be an interesting Indonesian Parallel there. [Also the attacking sequence is reminiscent of a boxer’s attack.] Here’s what he does.
Against Attacker (left foot forward)
i. Left Punch
ii. Right Punch
iii. Left Uppercut
Defender ( left foot forward)
1. Left Shuto kites into attacker left bicep
2. Left outer Shuto kites into attacker right bicep
3. Left descending Shuto into attacker left bicep and
Right descending inner
palm strike into attacker left forearm
This hurts a great deal....
Wm. Sanders then proceeds to do the same sequence but instead
of with
palm strikes he uses a leopard paw strike, using the ridge
of knuckles of
the bent fingers as a striking ridge, As this is harder
and sharper than
the palm (Shuto) it hurts more when striking the same areas.
1. Left Leopard Paw into attacker left bicep
2. Left outer leopard paw into attacker right bicep
3. Left descending leopard paw into attacker left bicep
and
Right descending leopard paw
into attacker left forearm
Wm. Sanders then proceeds to do the same sequence again
but this time
uses the closed fist and strikes with the large knuckle of
the fist As you
are now striking with the surface of one knuckle, there is
greater impact
and pain for the attacker.
1. Left Mid knuckle strike into attacker left bicep
2. Left outer mid knuckle strike into attacker right
bicep
3. Left mid knuckle strike into the attacker left bicep
and
Right descending leopard paw
into attacker left forearm.
Having seen Sanders example of what can be done with this, and understanding that the pain we were experiencing had a direct correlation to the technique (it sometimes takes this to put two and two together). Everyone was able to intelligently approach what Juru No. 1 was showing.
Later that year I has a Ueichi ShoDan training with my school for a few weeks. I noticed when punching with the closed fist, he was striking with the 2nd ridge of knuckles of the fist, and not the large knuckles. (hummmmm).
This all just perked around in the back of my brain, then one day driving to work, it struck me, kata Wansu.
Attacker (left foot forward) Left Lead Punch
1. Right foot forward, right outer circular Shuto strike
Attacker Right Reverse Punch
2. Right cross Shuto strike (changing the angle slightly
from the way I
was taught the kata.
with a simultaneous left palm strike
into the attackers rib (or pick
another target.
Attacker Left Uppercut
3. Right hand, returning to chamber smacks a back knuckle fist
into
the attackers forearm.
Part of No. 2 is inspired by a bunkai taught me by Sherman
Harrill for
the first move of Seisan
No. 3 is inspired by Sherman Harrill by a bunkai taught
for the first
section of Sunnusu.
Of course by changing the angles,, defender no. 2 could just be
the right strike
into the bicep...Then defender no. 3 could be the left
palm strike
into the attackers left uppercut bicep, and the returning right
hand
can still backfist strike into the attackers forearm.
In June I showed the first one to Sherman, at a clinic I hosted, and of course he rose to the occasion, by showing me how I could have just raised the arms in the initial strikes and used the bone of the forearm as the striking surface ( now Shuto, leopard claw, mid knuckle and boney forearm).
Being aware one of the basic premises of cjimande was to destroy the attacking limb, I then applied this to the first section of Kata Seisan.
Attacker Right Foot Forward with a Right Front Punch
1. Left foot forward, left Side Strike with hand mid knuckle,
hand angles from 12 o’clock to 11 o’clock, striking into
the bicep and not side blocking.
Punch follows..............news at 11.
The use of karate to destroy a limb. Fascinating thought. Is this everything, I doubt I’ve even scratched the surface.
The interesting thing is the harder they punch, the more PAIN they experience. The angle of crossing the initial lines of attack, IMHO is about 20 degrees. The operating principle is PAIN. I imagine there are specifics pressure points there but as long as those areas are struck, whether with shearing force or percussive force, PAIN results.
On the whole I prefer not to work the Interior Line of Defense, but there presents interesting possibilities for striking.
This process involved maybe 15 years of experience for the last two sections
to jell in the last year. I find thought doesn’t always process
linearly nor fast.
One of my students is a surgeon, Dr. Paul Harper, San-Dan GojuRyu.
He gave me the following comments on my recent post regarding striking into the bicep.
As this follows from his medical background I thought it might be a valuable addendum to my original post.
Dr. Harper comments, "re the results of the strike to the biceps
tendon. Physiologically what
happens when the tendon is struck in the manner describes is a reflex arc
is activated through the brachial plexus in the arm/neck through the spinal
cord and back down to the biceps muscle. This reflex arc is similar to the
knee-jerk reflex with which we are all familiar (what your doctor
does
when he bangs you on the knee with a rubber reflex hammer). The result is
to cause the same type of jerk (probably un-noticed as a "jerk")
and to stop the forward motion of the attacking arm for a split second.
The pain from the bicep being blasted by the strike plus the "jerk"
effectively stops the attack and allows for you to apply any number of responses
depending on the situation.
My Principles of Bunaki I - Applied to Kata Seisan September 14, 1998
I’d like to take some principals of Bunkai I’ve developed and apply them to Kata Seisan. I believe this will be helpful to direct your own researches. Of course I did not spring forth from a vacuum to develop them. Patient instruction by many people, as well as my own logical analysis was involved in their genesis. Most especially I owe debts to Ernest Rothrock, Tris Sutrisno and Sherman Harrill for their contributions to this process. They may find a piece of their own work reflecting in my studies, but I’ve tried to keep their concepts separate in my studies. I alone bear all responsibility to explain what I’m presenting.
Most especially I’d like to note the immense influence from Sherman
Harrill. I consider his bunkai exceedingly superior. But I believe
in taking things step by step and there is merit to what I’m showing
here. In that he conducts incredible seminars on Isshinryu and its
bunkai, I prefer to leave his explanations to him.
First Rule, any technique should be able to stop any attack. I know there are some exceptions to this, but basically if you really know a technique you should be able to stop anything with it, or you need to study/train harder.
Second Rule, Movement Flow Analysis. I see any technique from a ‘Bunkai’ Point of view, from the concept of movement flow analysis (my own term). I look at the entire flow of the movement to see what can be used and where.
Third Rule, Unlocking Principle(again my term). To understand a technique you should try and apply it under the minimum following circumstances.
Against a Grab/Punch <the punch and the grab are basically
the
same attack, one’s just a little faster>
Interior Line of Defense
1. Straight On
2. Turning 20 degrees into the line of attack
3. Turning 90 degrees into the line of attack
4. Turning 110 degrees into the line of attack
5. Shifting 180 degrees (either inside or outside shift)
Exterior Line of Defense
1. Straight On
2. Turning 20 degrees into the line of attack
3. Turning 90 degrees into the line of attack
4. Turning 110 degrees into the line of attack
5. Shifting 180 degrees (either inside or outside shift)
Now we take 1 technique and apply the above.
Seisan Kata Opening Section to ‘Bunkai’
1. Left Foot Forward, Left Side Block
2. Right Reverse Punch
3. Right Foot Forward
BUNKAI
A. Uke - Right Foot Forward - Right Grab/lead hand Punch
First shift about 20 degrees to the left
1. Left Foot Forward, Left Side Block
the Left Side
Block is a Left Middle Knuckle
strike to Uke’s Right Bicep.
2. Right Reverse Punch
The Vertical Reverse Punch is a Knuckle Strike
at any of a number of chest areas, ie.solar
plexus
Not hitting with the flat fist becomes a
more
punishing strike.
3. Right Foot Forward
The use of the crescent kick as a sweep against
uke’s right leg. The more exacting the
crescent
kick, the more devastating the sweep.
Of course this completes a takedown.
The harder they punch the harder they strike themselves in
the biceps. This came from Rothrock’s Shaolin and especially
Surisno’s Tjimande. Then Sherman Harrill suggested that you can
raise the arm higher and use the single bone of the side forearm for the
same purpose. Experiment to see which hits harder. Then apologize
to your uke.
The Vertical punch on an angle is unique to Sherman Harrill, in my studies. It changes the entire nature of my striking.
With this the 20 degree shift, I had already been working
on it to take advantage of the crescent sweep step. Mr.
Harrill just re-inforced it to the point that I believe it
is the true key to all bunkai, whether karate, aikido,
eagle claw, tai chi, etc.
I don’t want to forget the slicing/kicking techniques
contained within the front kick. You can slice their
shin with your instep as you move your foot forward to
complete the sweep.
B. Uke - Left Foot Forward - Right Grab/Reverse Punch
Same bunkai. Just sweeping the Uke’s left foot.
C. Uke - Left Foot Forward - Left Grab/Lead Hand Punch
First shift about 20 degrees to the left
1. Left Foot Forward, Left Side Block
the Left Side
Block is a Left Middle Knuckle
strike to outside of Uke’s bicep.
2. Right Reverse Punch
The Vertical Reverse Punch is a Knuckle Strike
at any of a number of side of the chest areas.
i.e. the armpit, the floating ribs, or even
a strike straight into uke’s left thigh
(even
a light strike into the bone will cause a
charley horse dropping them)
3. Right Foot Forward (if still necessary)
The use of the crescent kick as a sweep against
uke’s left leg. The more exacting the
crescent
kick, the more devastating the sweep.
D. Uke - Right Foot Forward, Left Grab/Reverse Punch
Same bunkai as above, except punches only to side of chest.
E. Uke Right Foot Forward, Right hand Grabs your left wrist.
Same Bunkai as A. except you use the 1. opening side block
to roll their arm up. Then Number 2 and 3 as before.
F. Uke Right Foot Forward, Right Hand Grabs your Right Wrist.
1. Left Foot Forward and left Outside Block as an opening
arm break is one possibility. Follow-up as
before.
G. Uke Right Foot Forward, Double Wrist Grab
H. Uke Right Front Kick
By proper angling, etc., the left hand back knuckle strike
into the bone of the thigh, creates an opening to continue
with the rest of the bunkai.
I. Uke Right Roundhouse kick.
Etc. Etc. I’m sure you can see how this can
J. Uke Right Foot Forward, Right Lead Hand Punch
Open as number A. But instead of punching the chest for 2.
instead use the Vertical punch thumb to strike across under
the attacker’s triceps....Then as the right foot steps forward
grab the attackers wrist with your left hand pulling down while
rotating the wrist away from you, then you raise up with your right arm.
In effect this places the attacker in a vertical arm bar, locking them up.
K. A separate issue would be ‘kakushite’ hidden strikes, and
where to
insert them. Of course the Shorin Seisan which goes
1. Lft. Foot For. Left Side Block
2. Right Reverse Punch
3. Right Side Block
4. Right Foot Forward
could have the right side block be considered a hidden strike in
Isshinryu Seisan.
L. Then there is the issue that from this bunkai, you can enter every
aikido lock and/or throw on the completion of the technique.
Now except for a concept or two, this is based solely on my own bunkai analysis. Sherman Harrill’s technique is even more interesting, etc. But beyond this initial discussion. The key to his analysis is when he finds his bunkai, he applies it, as I do, with my Unlocking Principle.
Fifth Rule - Many interesting bunkai exist starting in the middle of one basic technique, and goes to a the middle of the next technique.
Such as Right foot Forward (crescent Step)
Then Left Reverse Punch
Finally Left foot forward (crescent Step)
This is where the next section of the kata is broken down a little differently from where most people address it. Try to work this out on your own.
Take my word, when you get into this and develop many bunkai different things will happen.
Sixth Rule - ISSHINJUTSU (my own concept)..A Block(break) is followed by a strike (stop hit) is followed by a takedown(fall) to describe a complete technique. To fully look at a technique you need to see all these components.
Dr. Yang (YMAA) who writes so volumously on the Chinese martial arts, makes the point in his Advanced Tai Chi II, that a technique can be analyzed by 1) how it is used to lock <chin na> an opponent, or by 2) how it is used to down an opponent <levered takedowns through follow up movement> or 3) how it is used to strike pressure points, etc. And that every technique has these components. You can choose which to emphasize, etc.
With this type of understanding, any technique can be an ULTIMATE technique. Thereby Kata, really aren’t a technique repository in my mind. For there are more techniques than those shown in kata.
Seventh Rule. I look from the Chinese Point of View, and believe the real reasons for forms, is to develop the energy of the practitioner. The higher level of performance, the higher level of energy being developed. The role of bunkai is to learn how to take the energy being developed and then apply that to the attacker. (Again my concepts).
Eighth Rule. From a post on CD several weeks ago, where John Anthony (anthony@dplus.net) talked about Oyata Sensei defining bunkai as "breaking down the movements to their most basic units and then recombining them to form usable techniques appropriate for different situations." I am still working at incorporating this into my studies, and Expect many years will pass before I can understand this.
My Principles of Bunkai II - Applied to Kata Seisan September 14, 1998
Several other techniques from the first movement of Kata Seisan.
Uke - Right hand grabs your left wrist.
1. Shift left, execute the left side block to circle uke's
grabbing hand away. As he twists away, Right Punch
into chest.
or . Uke - Left hand grabs your left wrist.
1. Shift left, execute the left side block to circle uke's
grabbing hand away. As he twists away, Right Punch
into ribs.
or. Uke - Double hand grab to wrists
1. Shift left, execute the left side block outside of uke's
left hand and block across uke's arms, freeing your
right hand to punch.
or. Uke - Right Foot Forward Right Punch/Grab
1. Shift left, Execute Left side block (inside line of defense)
2. Right Reverse Punch to Solar Plexus
as left hand grabs uke's right arm and pulls forward
3. Right foot forward (crescent step/sweep) behind uke's
front leg
4. Left pulls down/ takedown (rotate uke's wrist counter-
clockwise) Uke ends on floor, his right arm held by
your left hand.
5. Left foot steps forward (crescent step) into uke's arm
trying to fracture it.
Seisan Kata, Row 1, 2nd movement section.
Right foot forward
Left Reverse Punch
Left foot forward
A. UKE - Left Foot Forward, Left Reverse Punch
1. Step out with the right foot, then kick the left foot
out forming right Seisan dachi while shifting
20 degrees to the right (crossing the line of attack)
2. While above, execute a Left Reverse Punch, into the chest
3. Step out with a left crescent step, crossing infront of
uke's left foot and use the stepping motion for the
takedown (Reap) <<of course concealed kicking is
there in the stepping motion too>>
Of course this works against any punch R/L and stepping L/R. However
instead
of blocking/striking, you just strike and step. A continuation of the concept
in the first series.
Seisan Kata Bunkai - End of 1st Row
You're Left Foot Forward and have just thrown a Right Reverse Punch
1. Pull Right Hand Back to Chamber
2.. Pushing off the back foot, side both feet forward, into and retaining
LFF Front Stance (we don't angle out as in Angi's version)
3. Execute Double Head High Block
4. Turn Head counter-clockwise to rear
5. Turn, pivoting on ball of left foot, finishing in Left foot forward front
stance to the rear
6. Double Descending Shuto Strikes
1. Uke RFF Rt Punch
1. Slide lead foot out, and kick out right foot to angled Seisan
2. Double rising punch, Left into side of bicep, Right into side of neck
3. Bring the Right foot in along side the left, step over in the turn as
you strike their neck, and they will fall over your right leg
2. Uke RFF Rt Punch
1. Same as above, but left Side forearm strike to uke's punching hand.
with Right Punch to Jaw (or under jaw).
2. Complete turn takedown as above.
3. Uke LFF Lft Punch
1. Same as above, but Left rising punch to their tricep, and right rising
punch to side of body/head.
2. Complete turn takedown as above.
4. Uke LFF Lft Punch
1. Left foot slides way out, then turn 180 counter clockwise ending up
in Left Seisan behind Uke
2. Double Rising strike to spine/neck/head
5. Uke RFF Rt Punch
1. Slide lead foot out, and kick out right foot to angled Seisan
2. Double rising punch, Left into side of bicep, Right into side of neck
3. Bring the Right foot in along side the left, step over in the turn as
you strike their neck,
4. Use the descending Shuto strikes to press their arm down and they will
fall over your right leg
6. Uke LFF Lft Punch (or a double grab, either foot forward)
1. Slide lead foot out, and kick out right foot to angled Seisan
2. Double rising punch, Left into side of bicep, Right into side of ribs
3. Bring the Right foot in along side the left, step over in the turn as
you strike their neck,
4. Use the descending Shuto strikes to press their arm down and they will
fall over your right leg
[In effect, your left hand hooks over their wrist, and your right arm rolls
up over the tricep, and then down.]
7* Original Application Given against the Double Head/Neck Grab
1. Slide up with a double rising blocks
2. Step through and turn counter-clockwise 180
3. Double Descending Shuto, Inside one to Groin.
My Principles of Bunkai III - Applied to Kata Seisan September 14, 1998
Several other techniques Kata Seisan.
Seisan Kata - Beginning of 2nd Row
From Left Foot Forward Double Descending Shuto Strike
1. Right Foot Forward, Left inner circling descending open hand strike/block
Right outer circling hook block
Both hands cross in the middle, wrists facing
1.a.* Right Outer Shuto Strike (optional version)
2. Right hand Reach out and Grab, then pull back to hip
1. Uke, RFF Rt Punch
1. Right foot steps forward, left hand circles down, locking palm on
back of uke's wrist
2. Right hand circles up with hook block under wrist
3. Left hand bends uke's wrist, and Right hand reaches up, rolls over into
small wrist
wrap.
** As found in Sil Lum's Peng Tsu Dune De Kuen
2. Uke, RFF Rt Punch
1. Right foot steps forward, left hand circles over and down, parrying
the punch to the
outside
2. Right hook ridge hand strike into uke's neck
3. Right Shuto Strike into uke's neck
4. Right hand hooks behind uke's neck, pulling forward and down
5*Take the next step in the kata as a knee strike into uke's face.
3. Uke RFF Rt Punch
1. Right foot steps forward, left hand circles over and down, parrying
the punch to the
outside
Uke Lft Punch
2. Right hook ridge hand strike into uke's arm
2.a. (opt) right nukite strike into uke's throat
3. Right Shuto Strike into uke's neck
4. Right hand hooks behind uke's neck, pulling forward and down
5*Take the next step in the kata as a knee strike into uke's face.
4, Uke RFF Rt Punch
1. Right Foot Forward, turning 45 degrees left
2. Left Hand circles in and parries uke's arm down
3. Right Hand circles up with palm under uke's tricep
4. Step up with the left foot, push uke's wrist down, and lock the arm by
raising
the right hand up. (this can be performed interior or exterior Line of Def.)
5. Uke RFF Rt Punch
1. Right Foot Forward, turning 45 degrees left
2. Left Hand circles in and parries uke's arm down
3. Right Hand circles up with a ridgehand strike under uke's armpit
4. Right foot steps forward behind uke's leg and
Right palm strike to shoulder or throat for takedown
6. Uke RFF Rt Punch
1. Right Foot Forward, outside of uke's punching arm
2. Right hand circles palm up over uke's arm, deflecting it
3. Right Strike and Grab to Uke's throat
4. Right Hand Pulls Uke Forward and down
5** the right foot may step across infront of ukes foot, for a trip
7. Uke Double Horizontal Punches/Grabs
1. Double Blocks, Left Down and Right Up as Right Foot Steps Forward,
outside Uke's
side
2. Right hand reaches behind uke's neck and grabs his jaw from the other
side
3. Pull Uke's jaw clockwise, with a neck rotation to lock uke and effect
takedown
8. Uke RFF Rt Punch
1. Right Foot Forward, outside of Uke's punching arm
2. Left foot kick out shifting clockwise 20 degrees into Right Seisan
<this bunkai uses the ascending then descending palm - as in Goju Supreimpe.
3. As Right arm rolls up and rt palm shifts toward your face, it rolls uke's
punch outside.
4. Turn Right arm over and bring palm down, This completes the deflection
of uke's arm
5. Then Left Foot forward, on the 20 degree angle, behind uke's lead
leg
6. Left arm rolls up and lft palm shifts towards your face, it rolls uke's
neck outside <the target is the neck of uke>
7. Turn Left arm over and bring palm down, This continues the turning
of uke's face and goes into a twisted neck lock.
<<more than a trace of BaGua Chaun in this one>>
This is one of my favorite bunkai. So much so that I have changed my Seisan kata itself to utilize the Goju Ryu jodan shodan shotei oshi with the gedan shotei barai as used multiple times in Supreimpe. It is my opinion this is probably closer to possible Chinese origins of this technique. This is not what I teach, but what I practice. The use of this technique with the correct angling and turning invoke BaGua power within Isshinryu in my mind.
9. Uke RFF Rt Punch
1. Left Foot steps out to side while left hand parries down moving their
arm
away - and turning 20 degrees to the right
2. Right rising palm strike to solar plexus area
3. Right hooked ridge hand strike behind uke's neck
4. Pull Right hand back so arm crosses tricep of uke
5. Bring Left hand up and also cross uke's tricep (both hands scissoring)
6. Turn to right 180 degrees, your scizzored arms trapping them in an
armbar effecting takedown. <<Sherman Harrill>>
10 Uke RFF Rt Punch
1. Right Foot Forward, outside of Uke's punching arm
2. Left foot kick out shifting clockwise 20 degrees into Right Seisan
<this bunkai uses the ascending then descending palm - as in Goju Supreimpe.
3. As Right arm rolls up and rt palm shifts toward your face, it rolls uke's
punch outside.
4. Turn Right arm over and bring palm down, This completes the deflection
of uke's arm
5. Left Foot steps up behind uke's leg
6. Left Arm comes up under uke's arm (at the armpit), raises up to
the sky
7. Then the left hand turns counter-clockwise under the armpit and
forces Uke down over your leg.
There are many other versions. Most shown will equally y work against
any attack. Punches, kicks, grab
,single, cross, double>
11. Uke grabs your chest from behind, Uke 2 stepping in with a punch
1. Strike back with descending Shuto into uke's groin.
2. Right foot forward, with Right Hook Block to deflect Uke 2 stepping in
punch
3. Right hand reaches out and grabs uke's throat.
<This is also a Harrill bunkai>
Then there is a neat version based on how I teach the kata to beginners.
From Lft Foot Forward, Double Descending Shuto's
1. Take the Left hand and grab an imaginary arm clutching your chest.
2. Right Foot forward, Hook Side Block (to break that arm - ok ok it isn't
a break per say but it helps the beginners to get the motion)
3. Left Hand pulling across while the right rises, performs a descending
Shuto
4. Right reaches out and grabs at the throat, then pulls back to the hip.
I have beginners learn that modified form, because I got tired of them flapping their hands in the air. After Yellow Belt, they are changed to a more standard version.
Bunkai where Uke grabs your shoulder, Uke Right Foot Forward, Right Lead Hand Grab
1. Take your left hand and grab their hand and rotate counterclockwise
2. Turn 20 degrees to the left and execute the rising hook block (or whatever
you call it)
3. As your right arm comes up, you roll uke's elbow up increasing the angle
of their lock
4. Right Foot Circles in and forward as Right Hand reaches out to the neck
of Uke
5. Lock Uke's neck and pull back
Shades of Yin Jowl API, This is very close to one of Ernie's locks. I've
been teaching Seisan
For beginners this way for almost 20 years, but only took the time to understand
the bunaki a few months ago.
This is far too much, and I know I don't have everything as well as every application of these moves here. Notice I use some locks, takedowns as well as pressure point strikes.
It is my opinion that first you should perform the movement flow analysis of the technique. Second you need to practice it with partners, to get into the flow and execution correctly. Once progress is made to feel it, the next step would involve micro-breakdown of the moves as to possible pressure points, angles, etc. I've given you a few notes on that in my earlier notes as applied to the first movement section. I've really been concentrating on the first two components of the bunkai at this point in time.
I think I'll stop the more formal details of Seisan Bunkai for a while. I've thrown a lot out and I don't want to totally confuse you.
Generating Power in the Isshinryu System September 14, 19988
When a new Sho Dan, I immediately found myself on my own and forced to make my own way training myself. I searched everywhere took the good and the bad and worked hard to understand what Okinawan Te was about.
While competing at a tournament, in the Black Belt kata division, a senior Goju Ryu dan gave me a very low score. Later I questioned him as what I could do to improve. This instructor turned out students who where exactingly crisp in their own technique. He basically told me "Your Stances ******!", then proceeded to elaborate on his thoughts as to what Isshinryu was doing wrong, in general.
I started observing the best Isshinryu whenever I found it. Universally, all great Isshinryu practitioners had great stances. I don't know how they were trained, or how they trained their students, and was too humble to ask my Sensei about why his own stances were so good, so I just began to concentrate on developing stronger stance.
Likewise to my students I concentrated on any stance imperfections. Harped on it, in a friendly manner of course, but never permitted bad stance to continue. As time passed my stances got better and my students consistently were doing a better job.
Of course there are offensive and defensive reasons for SUPER Seisan Stances, et. al. Just commenting on Seisan, Offensively if the front leg is too straight (a very common Isshinryu Black Belt situation in my years of observation) you can't use the power of you legs and hips for power generation. Instead you use only your arms, and that weakens the power tremendously. Defensively, a straight front leg in Seisan is a target of opportunity waiting to happen. I love to train my Dan's to look for that and attack that point as a structural way to drop someone.
From this beginning in structural observation I've developed further principles which affect the generation of Isshinryu Power.
In the use of the crescent step, I observe, most people use a constant acceleration throughout the entire stepping process. I eventually began to see another opportunity. The Crescent Step if done correctly by my way of training, draws the back foot up alongside the front foot. It moves the foot into the centerline, and then pushes off the centerline to move forward to complete the step.
I saw an opportunity here. If you take 2/3's of the stepping movement time to draw into the centerline, and then explode from there with 1/3 of your movement time, you are gathering your energy into your center and then exploding out of there. Your kata movement become more powerful.
Then I began using the centerline for everything. When making a turn, such as 90 degrees to the left. The left foot draws into the center line (2/3's of the movement) and explodes 1/3 from the centerline, again.
So far I've commented on stance and movement. Next comes the role of breathing and timing.
Originally the only instruction on breathing was the use of Ibuki breathing in Sanchin and the way we practiced Seiuchin. But I have been working on a different use of breathing to control the timing of the kata.
I now define breathing as INTRA TECHNIQUE SERIES BREATHING and as INTER TECHNIQUE SERIES BREATHING. Sounds like a mouthful doesn't it.
A Kata TECHNIQUE SERIES, is an instructor designation. It may be one move (such as step forward and Block) or it may be a series of moves (such as Block, Punch Front Kick, Double Punch). There are various ways to break any kata down as a series. That isn't good or bad, just one of a number of options to consider.
INTRA Technique Series, means what happens during the series in question. Inter Technique Series, means what happens between the different Technique Series.
INTRA TECHNIQUE SERIES BREATHING, I've found for speed enhancement, this should be done as one continuous exhale. This is regardless of whether a single technique, or a series of techniques. Inhalation during the technique series (T.S.) will slow the series down. Never a good idea for power development.
INTER TECHNIQUE SERIES BREATHING, Is where I inhale between Technique Series. This is for air replenishment as well as the means to control the timing of the kata.
By exhaling INTRA TECHNIQUE, you can concentrate on increasing speed in the series of technique(s). By controlling inhalation for INTER TECHNIQUE, you can control the timing of the kata, and not let the speed get away from you. Did you ever loose it in CHINTO and finish faster and faster. I've found concentration on INTER TECHNIQUE breathing will help control the speed of the entire form, yet still permit blasting on the techniques themselves.
There's nothing to say my principles are correct or the only answer. However I and my students have been following them for the past 20 years and I'm more than satisfied that I can make them work.
So you have Stance, the method of stepping, the method of breathing and control of timing affecting power generation. How to make them an effective training device.
Just jumping into a kata such as Seisan, can be a very daunting task with so much to consider. What I suggest is to take a basic H type pattern kata (I use Fugyata Sho myself, but which one doesn't matter).
A basic kata allows for good training in these principles. You can change where the sequences start and stop (Is it A - Low block then B 0 Stepping Punch or is it A-Low Block Stepping Punch). You can concentrate on this stepping movements themselves. Stress driving off of the center line. Look at the regulation of breathing and timing. Then when you start seeing progress, they can begin to take the same principles and concentrate on One Isshinryu Kata. Then work through the kata one at a time. Only when a kata is perfect, go to the next and so forth. This is not a fast process and will take years. But I am certain it will increase power.
Is this everything? No, of course not. Can you get the rest? That's an
interesting question.
I don't know if this is the answer. Truthfully it just works for me and
mine. Unfortunately no one gave me this, I had to work it out on my own
piece by piece.
Why should you address this issue. Well I see the study of kihon and kata, as the practice of karate. Then I see the practice of Bunkai as the DOING of Karate. If you can develop more and more energy in the practice, and correctly perform the DOING of Karate, you will learn how to tap that larger amount of power and utilize that when you DO Karate.