Seisan

This article was a long time in the making. It started with a bit of research, which led to more and more reading, but I now have a much better understanding of a few things, which will undoubtedly come in handy. If you are interested in the results of my "more and more reading", you can view the on-going work  here.

I was recently told that Seisan is called Seisan because of Seisan Dachi. I'm pretty sure that this is not the case. I'm wondering if the person who said this was just a bit mixed up when they said it. If your sensei says this, just smile and nod.

Seisan is one of my favourite katas of all time!  When I studied Chito-ryu a few years ago (*cough*20*cough*), Seisan was taught at 2nd kyu. Now, Seisan is taught at 4th kyu. It was moved to a lower kyu belt as it puts emphasis on the basic forward stance that is so prevalent throughout Chito-ryu. It is also a great introduction to some more complex techniques, such as sabaki, proper transition from one stance to another, and more emphasis on the concept of ichi gan, ni suku, san tan, shi riki. As students progress through the ranks, they are expected to demonstrate a better understanding of Seisan. I know Shodans who still struggle with this kata because they are too focused on delivering the technique, and not paying enough attention to everything else that needs to occur before the technique. That's why I love this kata. It is easy to learn yet hard to master.

There is some discrepancy as to which kata O Sensei learned first. Some say Seisen, while others say Sanchin. I could quote Wikipedia, but the wiki article references O Sensei's book anyways, so let's just reference that, shall we? O Sensei learned Sanchin as his first kata, from Arikake Seisho sensei, who taught him Seisan as well, but that was after studying Sanchin for seven years.

What's that? You don't own a copy of O Sensei's book? Well here you go. Tell them Terry sent you. No, that won't get you a discount on the book. Just a blank stare or silence on the other end of the phone.

Seisan has two root versions in modern Karatedo: Naha-te and Shuri-te. The two versions are obviously derived from the same kata, as they have a large amount of similar patterns.

Naha (Practiced in Goju-ryu & Shito-ryu)

Shuri (Practiced in Issin-ryu, Chito-ryu and Shurin-ryu based styles, and is the inspiration for Shotokan Hangetsu)

SO, why the similarities and differences?  The two versions have very different paths through the Karate history, but the similarities hint at a common ancestor.  Let's work our way back.

Arikake Seisho was the teacher of Chitose Tsuyoshi, Funokoshi Gichin and Higaonna Kanryo (among others).

You can see the obvious similarities to the Shuri line of Seisan, but that signature ending is the same as the Naha version.

What about the Matsumura version?

That has a LOT of similarities to the version we practice in Chito-ryu, so we can see where O Sensei adapted his version of Seisan from.  There are similarities to the Arikake Seisan, but Arikake and Matsumura do not share any similar teachers, although both were considered Tote Masters (The 2nd and the 5th to be exact).

So where do the two versions originate from? I think it's safe to say that the ancestor of Okinawan Seisan is in White Crane Gung-fu somewhere. It is even theorized that Seisan originated from a style of White Crane called Yong Chun Bai He Quan (Yong Chun White Crane Boxing). I see no form from this style that looks obviously similar (not to say that I did an exhaustive search), but I did find a form called Shr San (Thirteen Treasures or Thirteen Defences).

The basic flow is there; three steps up, three steps back, some stuff happens and then it's over. But look at the "stuff happens" part at around 0:22, with the swooping blocks as the performer is moving backwards. Look familiar?  Look at the very end of the kata at 0:43. Is that a two-handed grasping block and a pull? Interesting. If you take this form and add a few turns, you have the basics of Seisan.

So if this form is where Okinawan Seisan originated from, how did it get to Matsumura? We know that Arikake Seisho learned Bai He Quan from Ryu Ryu Ko, and I found reference to the fact that Matsumura Sokon had learned Bai He Quan, but I'm not exactly sure where or when. Was it when he studied under Ason and / or Iwah in Fuzhou? Or maybe it was when he learned Chinto?

I have been completely immersed in searching for the roots of this kata for quite some time, and I have absolutely enjoyed the path this has taken me down. I can't wait to discover even more about this kata but in the mean time, I'll be learning the versions that I have outlined above, and looking deeper into the meaning and purposes of the steps. The one thing I can say for sure is that the research I have done for this article has helped bring me even further towards becoming a true Karate Nerd (TM).

Some resources:

• History of Chito-ryu - http://www.calgarychitoryu.com/history.html
• History - Issin-ryu katas - http://www.fitzgeraldisshinryu.com/contentpages/Kata.html
• History of Seisan - http://avengersdantai.net/SeisanMeaning.htm
• History of Okinawan Karate - http://www.karateblogger.com/stari/articles/forms_of_okinawa_karate.htm
• Karate and Chinese Martial Arts - http://dandjurdjevic.blogspot.ca/2008/05/karate-and-chinese-martial-arts-part-1.html
• Seisan History - http://www.karateblogger.com/stari/articles/kata_seisan.htm
• White Crane Education - http://www.whitecraneeducation.com/academics/martialarts/index.php?id=010
• Karate History - http://www.angelfire.com/ak4/tw/Karate_History.html

A brief history of Chinto

If I had a favourite kata, Chinto would not be it.  I really like it, but the spinning jump gets me, especially since one of my Senseis decided to tell me that I could throw a Mawari-ushiro-tobi-geri in there as part of the bunkai.  Now, when I get to that part of the kata, I'm thinking "Mawari-ushiro-tobi-geri", but what actually happens is most definitely not a possible mawari-ushiro-tobi-geri, and now I am never happy with the jump.

There are two root versions of modern-day Chinto; Shuri-te (Matsumura Sokon Sensei) and Tomari-te (Matsumora Kosaku Sensei). Whether these two versions originated from the same source is yet to be determined, but there are a large number of similarities between the two katas, which would hint at the idea of a single source.

The most common base story behind this kata can be found all over the internet, but I figured I might as well post it here as well, because the same story can never be told too many times (or in too many different ways) on the Internet.

According to legend, Chinto is named after a Chinese sailor, sometimes referred to as Annan, whose ship crashed on the Okinawan coast. To survive, Chinto stole from the crops of the local people. Matsumura Sōkon, chief bodyguard to the Okinawan king, was sent to defeat Chinto. In the ensuing fight, however, Matsumura found himself equally matched by the stranger, and consequently sought to learn his techniques. The kata is said to be the embodiment of the techniques learned from Chinto.

I find it hard to believe that the chief martial arts instructor and royal bodyguard to the King would be sent to take care of a thief hiding in the countryside.  My theory is that Chinto (which, by the way, roughly translates to "Fighter from the East" or "Fighting to the East", and I'm pretty sure is not the correct name of the person, although the name Chintou has been thrown around a bit as a possible name, but that's a pretty big coincidence) was part of a trade envoy who stayed on Okinawa for a period of time and taught gung-fu to a select group of locals, which included Matsumura Sokon and Matsumora Kosaku.  Chinto is also often referred to as Annan in some of the history I found, but I'm wondering if Annan is actually a reference to An Nanxiang, which is a village along the southern border of Fujian Province, and is often referred to as Annan. It's possible that the name of the gung-fu master and the name of the place where the gung-fu master was from were mixed in the passing down of the legend.

That's my theory.  Remember.  It's a theory.  Be nice.

Chitose Sensei derived Chito-ryu Chinto from the Chinto kata taught to him by Chotoku Kyan Sensei, who in turned learned Chinto from Matsumora Kosaku.  Chotoku's Chinto is almost exactly the same as Matsumora Kosaku's Chinto, except that Matsumora's Chinto has an east / west embusen, and Chotoku's Chinto has a north-west / south-east embusen.  Matsumura's Chinto has a typical north / south embusen.  Chitose Sensei's Chinto is a stripped down version of Chotoku's Chinto (with a few added extras), but with a north / south embusen.  The Shotokan kata Gankaku (Crane on a Rock) is derived from Matsumura's Chinto.

Clear?  Thought so.

Here is a great video of a karateka performing Chotoku's Chinto.

See the similarities to Chito-ryu Chinto?  If not, then let's take a look at Chito-ryu Chinto for comparison.

I find it very interesting that the Chinto Kata, with respect to Chito-ryu, is said to be from shuri-te, despite the evidence to the contrary.  Chotoku Kyan Sensei was from Shuri, but Shuri is not the birthplace of this kata.  Neither is Tomari, for that matter :)

References (for further enjoyment)

• History of Chinto kata - http://shitokai.com/newsletter/chinto.php
• History of Chinto / Gankaku kata - http://iainabernethy.co.uk/article/chinto-gankaku-kata-history-application
• White Crane Education - Kata Chinto - http://www.whitecraneeducation.com/academics/martialarts/index.php?id=006
• Mississippi Isshin-Ryu Karate - http://www.msisshinryu.com/kata/empty/chinto.shtml
• Origins of Chito-ryu Kata - http://www.mairs.biz/bergen/kata.html
• Masters of Shorin-Ryu Part 3 - http://seinenkai.com/articles/noble/noble-shorin3.html

Higashi Sensei Clinic

There are only two or three times a year that members of Chito-Ryu clubs in the Maritime Provinces get an opportunity to see Higashi Sensei and train with him, so I plan on taking advantage of every Higashi Sensei Clinic I can over the next thirteen months. I'm told that it really helps if he sees your face often, as people have a tendency to let their nerves take over during their Shodan grading, and if he sees you often enough, he is aware of what you are capable of under "normal circumstances".

These clinics also give the senior belts (kyu levels and dan levels) a better understanding about certain techniques and how we should be teaching them. One of my major complaints about KV Karate is the lack of consistency in teaching techniques. One Sensei will teach a technique one way and then another will tell you it's wrong when you're asked to demonstrate it at another class.

Frustrating.

On April 16th, several members of KV Karate (among others) attended the Higashi Clinic in Charlottetown, PEI. Typically, these clinics include a Chito Bo clinic, as well as separate time for Junior and Senior students. We arrived shortly before the junior students were completed, which gave us an opportunity to get changed and then mingle with some of the other attendees who were waiting to begin.

After a brief warm-up with Sensei Golz, Higashi Sensei had junior belts pair up with senior belts, and we went straight into gohon-kumite,sanbon-kumite, and then finally kihon-dosa-ichi and kihon-dosa-ni bunkai. It was a great opportunity to fine-tune those blocks for the junior belts as the senior belts tend to not pull their punches as much, and there was more than a few bops on the end of a nose.

After lunch, the clinic moved to the Charlottetown Chito-Ryu Karate Dojo where we continued on with Kata, bunkai and goshin-jutsu.

Seisan

There are two points in this kata that need clarification. I have been aware of these points for some time, but I run into students from time to time who are unaware of these details, and I think they should be mentioned as often as possible.  These points are:

1. After the initial gyaku-zuki soto-nagashi-uke repetitions and turning, the next four techniques are NOT tekube-kake-uke, but rather kote-uke (wrist block) and then hiki-otoshi (pull down).
2. After the kote-uke hiki-otoshi repetitions, the karateka must perform a soto-uke, jodan-zuki-uke (high punching block) and then shift into shiko-dachi. When shifting into shiko-dachi, pivot on the ball of your foot instead of the heal. If you pivot on the heal of your foot, you actually move slightly away from your target, and you should never move away from your target when striking, always forward.

Niseishi

I covered Niseishi before, and all of the information in that article, I'm proud to say, is accurate. Check it out.

Rohai-sho

There was only one technique discussed in Rohaisho that caught quite a few people by surprise. After everyone thought about it for a moment, it makes sense. When twisting into shiko-dachi after the migi-kyusei-kamae, you should shift in the direction of your attacker when throwing the gedan-uchi (which is actually a gedan-kentsui). Other than that, Sensei Higashi wants to see a KIAI on the mae-empi.

After going over the katas, we went over the bunkai for each, and moved into Goshin Justu (tehodoki-no-waza, tai-sabaki and ju-ni-ko). Fortunately, the partners I had for bunkai and goshin justu were senior belts (1st kyu and up) and we didn't have to spend any time teaching each other the techniques, only perfecting them.

During a couple of points during the clinic, Higashi Sensei would demonstrate the technique he wanted us to fine tune, and he would throw a punch or perform a block. It really is quite a sight to see someone 70 years old throw a punch that is the crispest and one of the fastest you've ever seen.

I really wish I had taken pictures or video.  I'll remember to take pictures at the next clinic in May at the New Maryland Karate Club, and I'll update this post.

More to come later.

Twenty-four

Niseishi translates to "twenty-four" in English. If you take a look at all of the steps in Chito-ryu Niseishi-dai, some of them can be a little hard to imagine that they are a single step, while other steps are simply just that; a step. I remembered reading an article a while back that said "Every move in Okinawan karate has purpose, no matter how small or trivial it appears". I'm paraphrasing, but you get the general idea.

So what are the steps? There are countless videos on YouTube to guide you through the steps, but a large majority of them are not for Chito-ryu. Even the ones for Chito-ryu are a little off. Granted, the performer is demonstrating the kata as a 4th kyu should practice it, and that is probably who the video is meant for. I'm a bit of a visual learner, but I still need the explanation to go along with it for better understanding. There is only so much you can learn from a video.

So, I present to you, in glorious Technicolor, my step-by-step guide to Niseishi-sho/dai. I'm assuming that you are starting the kata from the standard uchi-hachiji-dachi, with your right fist covered by your left hand at belt level.

1. Inhale through your nose, and then exhale through your mouth while performing kakewake-uke. Make sure to tighten your tanden muscles on the exhale. (Niseishi Bunkai, steps 1 through 6)
2. Move your right foot into migi-seisan-dachi (2nd kyu and above - sanchin-dachi).
3. Inhale through your nose, exhale through your mouth. Inhale through your nose again, and at the same time, draw your fists back to your belt. Exhale through your mouth, and push your fists out into chudan level haiko-zuki. Your fists should be approximately one inch apart, which puts the contact points of your fists at about the same width as your eyes.
4. Move your left foot up into uchi-hachiji-dachi.
5. Inhale through your nose, and then exhale through your mouth while performing kakewake-uke.
6. Move your right foot into migi-seisan-dachi (2nd kyu and above - sanchin-dachi).
7. Inhale through your nose, exhale through your mouth. Inhale through your nose, and at the same time, draw your fists back to your belt. Exhale through your mouth, and push your fists out into chudan level haiko-zuki.
8. Slowly draw your left fist back to your belt.
9. Oi-zuki (kiai).
10. Gyaku-zuki.
11. (Niseishi-dai) Turn your head 180 degrees to the right and look over your right shoulder, and shift back into shiko-dachi, uraken-uchi.
12. (Niseishi-dai) Turn your head 180 degrees to the left, move your right foot to the right into hidari-seisan-dachi, mae-te-zuki. When you perform the mae-te-zuki, shift backwards so that you thrust your ushiro-empi into the opponent behind you.
13. (Niseishi-dai) Gyaku-zuki.
14. Move your left foot over to the right so that your is almost directly in front of your right foot. This takes you off of the line of attack. At the same time, open your hands, draw your right hand back to prepare for a shuto-uchi, and bring your left hand to the center of your chest for a tekubi-kake-uke. Twist your whole body so that you end up in a kosa-dachi, shuto-uchi to the temple. The twisting action is what gives your shuto-uchi power. This all must be performed as a single action. (Niseishi Bunkai # 7)
15. Mae-keage with your right leg.
16. Step through the kick, and after landing, draw your left foot up into a kosa-dachi that is perpendicular to your line of attack (but keep your focus in front, on your embusen). Kosa-uke beside your right hip to grasp your opponents punch. (Niseishi Bunkai # 8 & 9)
17. Pick both hands up into an arc to draw your opponent off balance while moving your left foot back along your embusen into shiko-dachi. Once securely into shiko-dachi, and your hands are now on the left side of your body, heito-uchi with your right hand to your opponents ribs.
18. Turn your head 180 degrees to the left and move your right foot out so you can get into hidari-seisan-dachi (2nd kyu and above - pivot on the heel of your right foot into hidari-chokusen-seisan-dachi) and shuto-uchi to the temple.
19. Mae-keage with your right leg.
20. Step through the kick, and after landing, draw your left foot up into a kosa-dachi that is perpendicular to your line of attack (but keep your focus in front, on your embusen). Kosa-uke beside your right hip to grasp your opponents punch.
21. Pick both hands up into an arc to draw your opponent off balance while moving your left foot back along your embusen into shiko-dachi. Once securely into shiko-dachi, and your hands are now on the left side of your body, heito-uchi with your right hand to your opponents ribs.
22. Turn your head 180 degrees to the left and move your right foot out so you can get into hidari-seisan-dachi (2nd kyu and above - pivot on the heel of your right foot into hidari-chokusen-seisan-dachi) and shuto-uchi to the temple.
23. Bring your right foot up into musubi-dachi and slowly perform haishu-uke with your right hand. Your focus still remains straight ahead. The haishu-uke should finish slightly behind your head. The purpose is to move off the line of attack and slightly push your opponents punch behind your head. (Niseishi Bunkai # 10)
24. Cross both hands (still open) in front of your face. (Niseishi Bunkai # 11)

That's it. The twenty-four steps of Chito-ryu Niseishi-dai (or twenty-one steps to Niseishi-sho, whichever floats your boat).

Things to watch out for?

1. Know your embusen. If not, then there is a lot of places where a small error in your line of attack will result in stances being off more and more.
2. When you kick after the shuto-uchi (steps 14 & 18), make sure to bring your knee up on the inside of your elbow. I know it only makes sense, but you would be surprised how many people don't, and then all of a sudden, the elbow is an obstacle for the kick.
3. The kosa-uke, in my opinion, should be performed like you're grasping a punch, not like you're gently laying your hands in flowers, one after the other.

Niseishi is the first kata learned in Chito-ryu where the karateka demonstrates Zanshin. You could read the Wikipedia article on Zanshin here, but I prefer this write-up at FightingArts.com. You know that part in the kata where you block a punch without even looking? Yeah, that part. That's Zanshin, which, by the way, is step number twenty-three out of twenty-four.

The many faces of Bassai

I'm a huge fan of Kata. I remember how I felt when I first learned Ne-Sei-Shi-Sho/Dai (recently renamed to Ne-Sei-Shi in the new Canadian Chito-ryu Technical Manual). It was the first kata I learned in Chito-ryu that did not involve a lot of repetition, like Kihon-dosa-ichi/ni or Shi-Ho-Hai, and it required much more attention to detail than previous kata.

One of the requirements for my 1st Kyu is the kata Bassai. The kata is quite difficult with respect to feet positioning, as well as the block and strike techniques at the beginning of the kata. While searching for more information about Bassai on the Internet, I found that the Chito-ryu version is a little different from the other styles of Karate, so I decided to research the kata more, and document what I discovered.

Passai (later renamed to Bassai when Karate was brought to Japan due to the different pronunciation of the kanji) is thought to be at least 400 years old. I won't get into the specifics of the kata as you can just read the Wikipedia article here.

Below is a video of Matsumora no Passai as done by Sensei Bud Morgan (USSKA). I especially like this version as it is slowed down and you can see the finer detail in the kata.

Matsumura no Passai, as you can probably guess, is the kata Passai as envisioned by Matsumura Sokon, who is the maternal grandfather of O'Sensei Chitose. This version of Passai is said to be very close to the original (if not the same), although I am having trouble finding anything that verifies that with the exception of some various comments around the Internet. More on this later. Matsumura Sokon is said to have brought this kata back after training Chuan Fa in China.

Kokan Oyadomari envisioned Passai slightly different. Oyadomari no Passai, also known as Tomari no Passai, has many similarities to Matsumura no Passai, which some say it is based on. Another theory is that Kokan Oyadomari learned Passai from a Chinese living in Tomari, possibly from someone with the same Martial Arts training as the Chuan Fa teachers of Matsumura (Anan?). Kokan Oyadomari's version of Passai has more "local flavour"  that Matsumura's.

Anko Itosu, a student of Matsumura Sokon, brought Karate to the education system in Okinawa. Itosu no Passai is another variation of Passai which is based on Matsumura no Passai.

Finally, here is Chito-ryu Bassai, as performed by Sensei Glenn Euloth from the Atlantic Karate Club in Halifax, NS.  There are a few minor errors in this video, but I believe it's mostly due to the fact that the kata has been refined slightly since Sensei Euloth learned it. You can see many similarities between Chito-ryu Bassai and Tomari no Passai.

While searching the Internet for Passai, I came across this video. Before you continue, let me just say that if you are not already reading the blog Karate by Jesse, you should be. OK, my fanboy plug is done. You may now continue.

You can see the similarities to Chito-ryu Bassai in the sequence of steps. This is an older version of Tomari no Passai, but Chito-ryu Bassai is said to have originated from Shuri-te. Well, it seems that the above video is of a Shurinji-ryu student demonstrating the Old Tomari no Passai for Nakazato Joen Sensei, who was a student of Chotoku Kyan, and in case you're forgetting, Chotoku Kyan was one of O'Sensei's teachers in Shuri.

I believe that Chito-ryu Bassai is as close to the original Passai as we're going to find in Karate today. When I began training in Chito-ryu last year (after a bazillion years away from it), I began to ponder on the possible origins of a lot of the kata in the style. Seeing so many kata with the same name but performed so differently, I thought that O'Sensei changed the kata to fit the style he was perfecting. It appears that O'Sensei preserved them, and the other styles changed things so much to fit their needs.

Yet another reason I love Chito-ryu.