The Way of Sanchin Kata The Application of Power

KRIS WILDER
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in 2021 with funding from
Kahle/Austin Foundation
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Praise for Kris Wilder...
_ Many practitioners believe that Sanchin Kata holds the key to mastering tradition-
al martial arts. It is one of the simplest forms to learn pattern-wise, yet is one of the
most difficult to perfect. Those who truly understand its teachings find that it facili-
tates enormous quickness and power in any martial application. The challenge comes
in gaining that understanding, something we had to uncover by trial and error until
now. In his groundbreaking book, The Way of Sanchin Kata, Sensei Wilder lays out
step-by-step instructions for mastering this vital form. He covers every element of body
mechanics, movement, breathing, and application with clear writing, pertinent detail,
and informative illustrations. The “test it” exercises help readers internalize what they
have learned. Wilder manages to take the ancient wisdom of sanchin kata and make it
relevant for modern budoka today. If you want to develop real strength, speed,
endurance, and power for tournament competition or street survival you need to buy
this book. It should be required reading for any serious martial artist.
—Lawrence A. Kane, martial arts instructor; author of Surviving
Armed Assaults and co-author of The Way ofKata
I have heard (and failed to understand) that Sanchin is the core kata of Goju-ryu
Karate for 26 years. Mr. Wilder’s book has finally shed light on why Sanchin is impor-
tant. It has given me solid direction and guidance in pursuing Sanchin training for
myself. After 26 years in Goju, I am finally excited to study and practice this kata.
—Dr. Jeff Cooper, M.D., Tactical Medical Director of
the Toledo Ohio SWAT; Commander, US Naval
Reserve; 4% degree black belt in Goju Ryu karate.
Sanchin is one of the most important karate kata. Unfortunately it is also one of
the most misunderstood. This great book by Kris Wilder dispels the myths surround-
ing Sanchin and explains all aspects of the kata in a straightforward and accessible way.
This thoughtful and intelligent book also reveals how to put the lessons of Sanchin to
the test so you can experience their effects firsthand. The Way ofSanchin Kata is a truly
great piece of work that all martial artists should read.
—lain Abernethy, 5 Dan Karate (British Combat Association
and Karate England) and author of Bunkai-Jutsu:
The Practical Application of Karate Kate
This book has been sorely needed for generations! Mr. Wilder finally reveals the
sssence of Sanchin, the kata that is the cornerstone of Okinawan karate. This is truly a
fascinating book that explains more than just the “how,” but also the “why.” Moreover,
the concepts and principles presented in this text can be readily applied to many other
kata. Congratulations to Mr. Wilder on a masterful work that every serious karateka
absolutely must own!
—Philip Starr, [Inside Kung Fu Hall of Fame Member; Founder of Yiliquan

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The Way of
Sanchin Kata
The
Way of
sanchin
Kata
The
Application
of Power
KRIS WILDER
YMAA Publication Center

Boston, Mass. USA
iv THE WAY OF SANCHIN KATA
YMAA Publication Center, Inc.

Main Office
4354 Washington Street
Boston, Massachusetts, 02131
1-800-669-8892 * www.ymaa.com * [email protected]
© 2007 by Kris Wilder
All rights reserved including the right of

reproduction in whole or in part in any form.
Editor: Susan Bullowa

Cover Design: Richard Rossiter
Illustrated by Kris Wilder
ISBN-13: 978-1-59439-084-5
ISBN-10: 1-59439-084-3
LOMEO ES ee Cio ee ene
Publisher’s Cataloging in Publication
Wilder, Kris A.
The way of sanchin kata : the application of power / Kris Wilder. --

1st ed. -- Boston, Mass. : YMAA Publication Center, 2007.
p.;.cm.
ISBN-13: 978-1-59439-084-5
ISBN-10: 1-59439-084-3
Includes glossary, bibliographical references and index.
1. Martial arts. 2. Karate. 3. Martial arts--Psychological aspects.

4. Hand-to-hand fighting, Oriental. |. Title.
GV1114.3 .W55 2007

796.815/3--dc22 0704
Warning: Studying these materials may give you, or cause you to acquire, a certain degree of
power that you did not previously possess. The authors and publisher expect you to use that power
responsibly. Readers are encouraged to be aware of all appropriate local and national laws relating to
self-defense, reasonable force, and the use of martial techniques in conflict situations and act in accor-
dance with all applicable laws at all times. Neither the authors nor the publisher assume any respon-
sibility for the use or misuse of information contained in this book.
All martial arts are, by their very definition, warlike and dangerous. Training should always be
undertaken responsibly, ensuring every available precaution for the safety of all participants. No text,
no matter how well written, can substitute for professional hands-on instruction. Consequently these
materials should be used for academic study only.
Printed in Canada.
Table of Contents
PNG OMT CG CITC CGters Mir nV Uae mei: ate fae OX isandi pate hE Sees vii
Se TCC Oca) ata ae eR Nc em tA tag eC ix
Boer Oriya LUO |LOerg Pantha tas AM ecto age.0 crclaiearntaeas nate xi
Hous tsar ya LOos tO, SuWOLGS ces. eke ey acre ees RR te Ae ce eet XV
re (cere eee een ee re SVE AE ng ener casa! he ee erns a xvii
TOELOGUCHO RMN te ita ete a ath s Mh e get ote Maske lee ccscehilogdt xix
Chapter One: The ty OLOAMOM IIaCatena) ao Une osteo COME, ane es 1
Chaoret. Lworlcarmine by temulation and Repetition et
.:..4..
cme wee cane 5
Ghapter Vhree? LhetMechanics of Being in the Moment? 32,2425. 907.5 ii
GiaprerFour: Measurement, Persanal and-Uniduiews: “c... -4. tae 15
Grape tive lhe: Roots ofa strong [ree, the Feet. ag. ox. g.c2 ee es Z|
COLT
AD crcino (kcal L1G NGS reares wae eri Seceee sic dies « ese Sune teasPega toyedo teed At ee a
COAeece CV CIV SELIDS fire tate te ars ues 5huy Aneee a acs MO eee 33
Chapteatichtpihe Lranki@hasstrong rlreeiy,... cairn oe afte aes 35)
Cha breran Ie VlOVEMent NOtiSCEN, as.0n kee Fe Sete ctr we ne ae I,
@iapterelen Mereccentotep aww eet. ona hele Se a 43
NOtciel everiambee SOLE. eter mete aor cnst ens ace neokt auee 49
Petree mlinvicl ye: GNOUICETS 1472-5 tetramer ne ccs > ets ce IEEN SEaut gySree De
OTe NICOTIONNUINS So 09 t5s2 7 tts acd a Uaa wc oe mn stn a >)
TOTAL OU RCOR UC LISE o.oo) 3) cov Weeks, sos ee Fam dS Bees else aS 61
irarete Clr ee leg ees it isin Sty awed ows Re UAE Tw ow aE 67
pier stteet mine Soe NEED pecan ea Gche taneae a lela oe nha wh 69
Oy yeeseisrvestr Wit hte <0 i eat) 5 ree a 7D
Chapter Eighteen: The Energetic and Mechanical Structure, ...........- 83
vi THE WAY OF SANCHIN KATA
Ghapter Nineteen: The Iron. Shirts. 2: ie. eaenes erro, ee ee 21

(irapter bwenty OOUNG gai. 200) es snettnys biete aemain eernriee rea ae me ay)
Chapte lewenty<o.ne:. line=M tind sree a eer tae, 2 eee a ee eae 103
hapten Iwenty- lwo: len-Minute sanchin, Katawc ae.)
eee ee 107
Chapter Twenty-Three: Implements for Sanchin Kata Training........ 125
haptetel Wen
b Our DOLeAtIg sige, une svat botialte here gee a et ae [39
Chapters lventyebive:s Urine rnyawieee
oe ener ee eee 143
Whaptertl wenty-Sixcrl besata swicey sescmn.« eer Reet ees me 147
CEOTACLS
In tte i ee cet hrc ayereeran Peta EES tet taySa 167
ING REST earths. rita sve ay sere Rath Ma tit heap Martane et SABeret ee eaers San toe 169
CL OSSD. Peers ats SoS Ee gyor Pht oc (aa eae er rae 1s.
BibbOgra ply ces: cersty egCole a hace oii ois aah gee army eR eee em ae 17
[iSeXECacreee a Ms tiercny Wreath eases, Sylssac ene aseae eae 2 eee ee eee We)
Acknowledgements
Ifyou have knowledge, let others light their candles in it.
—Margaret Fuller :
Many teachers and associates have given freely of themselves asking little or
nothing in return making this book possible. Without the selfless giving of the fol-
lowing people, this book would simply not be possible. Whether teacher, friend, stu-
dent, or in some other role, each has contributed in their own ways. An immeasur-
able amount of appreciation goes to Hiroo Ito, a karate-ka, sensei, and seeker. It is
simply impossible to thank him enough for his teaching, knowledge, and friendship.
To Laura Vanderpool, for her reviewing of this book and bringing focus to the
words, a brief sentence hardly describes the effort and her help. To Lawrence Kane,
a friend, and fellow karate-ka who is always willing to give valuable encouragement
and even more valuable criticism. Moreover, to the students who have, through their
diligence, shown me more about myself and the art than I could have possibly
learned otherwise.
vil
Dedication
To my family who, with out exception, has

always been a strong keel in storm or calm.
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Foreword
by Hiroo Ito
Historic Background of Okinawa-Style Karate HMAFROHO

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The basic kata sanchin has existed a long time, and has developed into variations
called saifa, seiyunchin, shisochin, sanseiryu, seipai, kururunfa, and suparunpen, which
are still practiced. The Goju-Ryu karate formed by Chojun Miyagi created the tensho
kata, which is an open-fisted kata, as opposed to the gekisai kata.
Sanchin is the basic kata used to build karate strength (kanren kata), which is the
foundation for all of these kata. It has been an accepted historical fact that, “It is not
possible to do any other kata without first having mastered the basic sanchin kata.”
The Importance of Sanchin =O H3ett
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Karate is made up of movements that we do not ordinarily do in daily life. It is

therefore necessary to study the correct posture, the use of fixed poses, breathing
techniques and more, in order to develop physique necessary for perform karate.
The very basic kata in Okinawa-style karate is sanchin, and it has been under-
stood historically that you master karate only if you master this kata.
There is also a saying that karate begins with sanchin and ends with sanchin, and
karate fighters should practice sanchin every day, three times.
xil THE WAY OF SANCHIN KATA
Why is Sanchin Important? 7**fH 32>?
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Karate posture is created by the sanchin kata. \t is important to have a stable pos-
ture when fighting. A practitioner has to be able to stand firm when attacked, and
be ready to attack back. The most important aspect in the sanchin posture is the
power of Tanden, which is the central strength in a practitioner. A practitioner will
lose to a bigger fighter if only muscle strength is used, and not the Tanden power.
Power is created in a combination of correct respiratory breathing and correct
posture, which creates tension. It is therefore possible to continue fighting and prac-
ticing strong karate as you get older, when this kata is used. A physique strengthened
from karate is not created only from muscle strength, but from a flexible muscle
tone. It is not possible to perform strong karate without this characteristic. A body
strengthened with bodybuilding will have an adverse effect. There are no historical
documents describing weightlifting among samurai soldiers. Bodies with hard mus-
cles will slow the karate movements of the body.
Foreword xiii
Mental Preparations When Practicing Sanchin =R2#ATS KOO MEA
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BY TK LGR ZX DISA, FR TK
Important elements of martial arts (Budo) are the combination of mind, body,
and spirit. The mind should be in a stable normal state, and actions should always
be taken in a stable mental state. It is not possible for a peak performance if the mind
is unstable when preparing for a fight. The respiratory technique of sanchin is how
you learn to stay stable. The attempt to fight will be half hearted if the technical
aspect ofsanchin has not been mastered. The beginning of a correct technique is cor-
rect posture, which is to straighten the spine, pull in the chin, and tilt pelvis up.
This posture will enable you to receive blows from any angle. In order to build a
body for karate fighting, you do not only build muscle strength, but make use of the
bone structure in order to use logical movements and flexibility from muscles. It is
therefore vital to repeat training of sanchin in order to build a body for karate.
— by Hiroo Ito
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The spirit of karate

Not to attack, and not being attacked
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Thoughts on Hiroo Ito’s Words
by Kris Wilder
The richness of knowledge presented in the sanchin kata is a treasure that has
been lost or limited to a very few for a long time. To discover this treasure, we must
challenge ourselves to participate in the kata as it was originally intended. As we do
so, we will certainly find that sanchin kata is a far cry from the modern form of karate
as practiced by most today.
The tradition was that a person learned one, maybe two forms, or kata, and then
sanchin kata or at least that is the legend. Each kata was examined from three per-
spectives—mind, body, and spirit. Using this method of examination with sanchin
kata, let us first consider the mind. The very act of practicing sanchin kata changes
the way the one looks at karate and fighting. Once the practitioner gains the realiza-
tion of what fighting truly is—the power and damage that can occur—the mind of
the practitioner changes. Now, let us consider the body, which experiences change
as well. This physical aspect of sanchin kata is the most sought after aspect of train-
ing in this kata. Oddly, it is the easiest of the three to achieve. The sanchin kata pos-
ture is not like that of the typical Western body, with its broad shoulders and tight-
ly strung muscles. It is, in fact, unattractive by Western standards—the crunched
down and rolled shoulders of sanchin kata at first glance imply an aged or infirm
body. However once the strength of sanchin kata is trained and understood, the body
will choose this physical position over the classic Western position of shoulders held
high, chest puffed out and leaning up on the balls of the feet. Finally, the spirit is
changed when the mind comprehends what it is truly doing with respect to fighting,
the body begins to adjust to its sanchin kata structure posture, and the resulting
increased power and speed begin to show themselves. This change can best be
described as the kind of spirit an adult would demonstrate to a child who was
attempting to fight or cause injury to the adult. The adult understands the situation
in a different way and as a result behaves differently—their intent, their spirit, is not
the same as the child’s.
To the classic practitioner of sanchin kata, none of these perspectives—mind,
body, or spirit—excludes the others. Some difficulty in understanding sanchin kata
comes from the source of the kata. Although there is no one fountainhead, the lan-
guage barrier is the largest of these founts of misunderstanding. Chinese, translated
to hogen, to Japanese, then to English, with regional dialects at each juncture and
translations of translations makes for a difficult transfer of accurate information and
knowledge.
The importance of what appears to be the simplest of kata should not be over-
looked because sanchin kata forms the hub from which all other kata radiate. It is not
xvi THE WAY OF SANCHIN KATA
important as to whether a fata was created before or after sanchin because sanchin
kata holds within in it certain undeniable truths. A useful analogy for the relation-
ship of sanchin kata to the other kata of a given system is that of a bicycle wheel—
with sanchin kata as the hub and the other kata as spokes. The hub must be precise-
ly at the center of the wheel or the wheel functions poorly. It must be made of very
good metal to withstand countless rotations over a lifetime of use. A poorly cast or
inferior quality metal will fail under stress and usage resulting in the feeble support
of the outer rim of the wheel and the eventual collapse of the entire structure. To
continue that analogy, when a person looks at a bicycle wheel, the main things they
notice are the tire and the spokes. The untrained person will just look at the tire, the
most basic and elementary aspect of the bike rather than the structure behind it, the
spokes and hub that makes the tire solid.” However, to the skilled craftsman who
makes a living tuning bicycle wheels, the spokes and the hub are the greatest con-
cern. A spoke that is too taut or too loose will, over time, create damage to the rim
on which the tire rests and cause undue stress on the hub. It is also clear that with-
out the hub, the bicycle wheel would turn into a jumbled mess of spokes, collapsed
wheel rim, and rubber tire.
Sanchin kata is given a place of honor and respect within the many karate sys-
tems that use it, yet it is often not explained, taught, or examined with the intensity
and depth required to gain better understanding. For those who practice sanchin
kata, the impact of the techniques inside this book will be immediate and positive.
For those who do not practice sanchin kata, there is still much to be gained in under-
standing body mechanics and application of techniques found within this most uni-
versal and comprehensive form. The Way of Sanchin Kata illustrates long-overlooked
techniques and principles that when applied will radiate throughout your karate,
making it more powerful and effective than you will have thought possible.
Preface
No one ever attains very eminent success by simply doing what is required of him; it is
the amount and excellence of what is over and above the required that determines the
greatness of ultimate distinction.
—Charles Francis Adams *
The Way of Sanchin Kata: The Application of Power, will set you on a new course
of sanchin kata practice. This path of training is overarching and will ultimately but-
tress your techniques at their very core, making your kata and fighting more robust
and effective regardlessof your level of experience, or kata practiced.
Sanchin kata is not like other kata in that it stands alone, different and unique.
It simply is not cut from the same cloth of other kata. In the past, karate masters
learned sanchin kata and maybe one or two other forms. This way of instruction
formed the core of the empty-hand martial arts from the Ryukyu archipelago. The
reasoning was clear and uncomplicated: understand the context of empty-hand fight-
ing through sanchin kata and learn the content of a fight with other forms.
Today’s understanding of the human body exceeds the knowledge of the past
immeasurably. Whether modern Western medicine with its magnetic resonance
scans, or the revisions and additions made in the East to Traditional Chinese
Medicine, the human mind continues to change and adapt increased physiological
understanding to today’s world.
The basics and practices contained in this manuscript in the past have been
buried in “family hands.” The techniques, methods, strategies, and tactics were held
closely and only passed down from father to son or trusted student. The reasoning
behind this veil of secrecy was that once properly trained and with practice, a person
could maim another in an instant changing their lives forever. In today’s world, a
torn medial collateral ligament means surgery and rehabilitation. In six weeks, the
knee is functional if not normal again. For most of human history, the same injury
may have meant death, or most certainly a diminished life. This helps to explain the
primary reason for the veil of secrecy and trust needed to impart this kind of knowl-
edge from teacher to student in the past.
The famous magician Penn Jillette has said to the effect that magicians do not
tell how a magic trick is done, which frustrates many people. However, if you really
want to know, you can go down to your local magic shop and for twenty dollars,
they will sell you the trick and even show you how to do it. Nevertheless, people do
not do that because it requires effort, and practice.
Although very different in their goals and methods, magic and sanchin kata share
XVil
xviii THE Way OF SANCHIN KATA
a commonality of efforr—they both take effort, discipline, and a discerning mind to

become good.
This book brings the worlds of modern information and ancient wisdom togeth-
er. By focusing on the methods of the past masters and proving that knowledge via
modern methods, the nature of sanchin kata can more readily understood.
This book is not about changing the fundamentals of sanchin kata, it is about
using the modern mind to gain understanding of the wisdom from the past and to
view the wisdom with a modern mind. No matter what the practitioner’s goals—
enhanced mechanical understanding, advanced mental practice, or a deep spiritual
discipline—this book explains it directly and points the way explicitly.
The Way of Sanchin Kata: The Application of Power, will ultimately put sanchin
kata in terms for the reader that not only dispels mistaken methods but also provides
an accurate methodology.
Einführung
There is a principle which is a bar against all information, which is proof against all
argument, which cannot fail to keep, and in everlasting ignorance. That principle is
condemnation before investigation.
—Edmund Spenser
The Separation of Body, Mind, and Spirit

This book will illustrate the complex and sometimes controversial aspects of
sanchin kata, a traditional karate form with a rich and varied history. To do that, it
is necessary to discuss the cultural precepts that lie in its core. Among these is a holis-
tic view of mind, body, and spirit, a view that is not typically held in the Western
world. It was not until recent times that people made such a distinction between the
three elements. This distinction or separation of body, mind, and spirit did not hap-
pen overnight. In the Western world, it can be traced to several sources, but the pri-
mary source in Western thought is René Descartes.‘
Descartes, the French philosopher, changed the relationship between philosophy
and theology when he exclaimed, “I think therefore I am.” At that point, Descartes
brought about the separation of the mind from the body. Allopathic medicine or
Western medicine is firmly rooted in this mind-body separation. To its credit, it is
arguably the most successful form of medicine ever known for treating trauma. It
achieves this success with a combination of many factors such as pharmacology and
a sophisticated physiological understanding of the body.
However, Western medicine, as a guideline, separates the injury from the injured.
If you look at a modern operating room, you can see that in many instances, the sur-
geon cannot see the patient’s face. In fact, the entire body except for the area of the oper-
ation is covered. Clearly part of this has to do with sanitation and focus, but the obvi-
ous representation of the separation of the body from injury should be noted. While this
is not a condemnation of Western medicine, it demonstrates a key difference from the
way medicine is practiced in the East. Having personally experienced great pain from a
viral infection and having modern medicine reduce the fever, deadening the pain in a
matter of moments, I would certainly vouch for the benefits of Western medicine.
Nevertheless, the understanding of the mind/body/spirit connection is critical in dis-
cussing and subsequently understanding sanchin kata because sanchin kata originated in
the East, from a community that used and still uses holistic medicine. Sanchin kata is
not well suited to being broken down in a Western, deductive reasoning method
because of the inherent interaction of the body, the mind, and the spirit.
X1x
xx THE Way OF SANCHIN KATA
Of course, these are broad statements used to illustrate a thought and not all
examples fit into neat boxes. The same is true of Traditional Chinese Medicine. This
discipline seeks harmony of the elements, as do other disciplines such as Ayurvedic
medicine, practices that have achieved growth in understanding and acceptance in
the West over the past years. Sanchin kata can bring these worlds, East and West
together. Sanchin kata offers a compelling illustration of these Eastern precepts, aid-
ing the practitioner in unifying the body, mind, and spirit, helping to connect with
the earth and bring a balance to one’s existence.
A simple example of this balance would be the feet. Most of the day, our feet are
inside of our shoes, save for when we are bathing or sleeping. Being in shoes is not
necessarily a bad thing, but it creates a physical separation from a part of your body,
which is not healthy in the long run. The feet become weak and function merely as
appendages rather than full participants in the locomotion of our bodies. While per-
forming sanchin kata in bare feet, tendons and muscles are activated that are simply
not exercised while wearing shoes. In addition, a connection to the earth is achieved,
especially when done on the bare ground or a wooden floor. Today it is possible to
go a day, even a month without touching the earth unless you seek it. Some people
live in an apartment, ride an elevator, walk on concrete ride in a car, park in a garage,
sit at a desk, and repeat the process at least five days a week. This is not the way the
human body is mean to exist. Movement, breath, and action are an important part
of the very existence of a person. Sanchin kata incorporates movement, breath, and
action, but does it in a way that focuses on self-defense as well.
Generally, the musculature of the body is moved during sanchin kata in ways
that are not common in the modern world. Taking control of amuscle group, active-
ly with your mind, and with deliberation moving that muscle group is not as com-
mon as you might think and is not done while watching television, sitting at a desk,
or riding in a car.
Because there are many versions of sanchin kata in existence, there are also
numerous differing opinions about the execution and meaning of its movements.
Opinions and interpretations are often influenced by such factors as ‘tribal thinking,’
where points of view are kept intact out of allegiance to a person or group, or some-
times an unrealistic adherence to preservation of a form that borders on stagnation.
Over the years, different versions of sanchin kata have arisen, many of which are in
use today. Even within the same systems or styles, one will find differences. Some
versions of the form include one-hundred-and-eighty-degree turns. Other versions of
the kata have no turns. The placement of hands, the speed, and rhythm vary from
teacher to teacher depending on what version of the form one chooses to practice.
Some of the versions are misplaced in their emphasis. Nobody, when given a choice,
would choose the second best when it comes to their karate, their church, or clubs
Introduction xxi
to which they belong. However, sometimes choices are exercised—not by free will,
but by example or pressure from peers. For example, my father preferred Chevrolets
when it came to cars and, influenced by my father’s preference, my choice was the
same for years. The reason he liked them was at that time he was able to work on his
car, a fact that with today’s sophisticated models would no longer hold true. Add to
this that in our small town the only dealership was a Chevrolet dealership, a ready
resource for parts and that my father worked for the dealership—the preference then
makes a world of sense. Following my father’s lead, if you had asked me as a young
man what I preferred I would have stated, “Chevrolet,” without hesitation or
thought. Moreover, if you asked me why, I would have said because, “They are the
best.” Today, while I have a car that I do not work on, live in a major metropolitan
city rife with every make and model of car, and do not owe any allegiance to my
employer, I still find I hold a preference for a Chevrolet. Tribal allegiances can be
very difficult to understand let alone break. The bottom line is it is hard sometimes
to break the ties of tribalism, history, and perceptions without deep thought and
sense of purpose.
Another factor influencing choice is “preservation.” Often times the word,
preservation is used in the world of karate leading people to feel like karate should
be placed in a jar and placed in the root cellar like fall fruit. Webster’s Dictionary
lists preservation as “To keep safe from injury, harm, or destruction.” Another story
from my childhood to illustrate a point is that of the fall ritual of preserving fruit and
vegetables. During my childhood, every fall my aunt and my mother would do the
season’s canning, or preserving, working in the kitchen over cucumbers, peaches,
pears and other fruits and vegetables as they came ripe in the garden. Preserving was
of course done in preparation for the winter to ensure that we had vegetables and
fruits for the winter months. However if given the choice between the fresh peach
off the tree that fall or the preserves, I think we would all choose the fresh peach.
A practitioner of sanchin kata should preserve the form, protect it from injury or
harm, but the student must also be balanced with keeping the form vibrant like the
fall peach. To continue the analogy, both the kata and the peach should be hanging
from the tree limb ripe and colorful. They should not be blanched of their color and
_ syrup added to create a false flavor to make up for the natural flavor now removed—
preserved, as fruit placed in a jar.
To that end, it is important to make the distinction between striving to gain the
skills of one’s teacher and trying to be the teacher. An adherence to just doing what
has been done before and presented to you, not having critical thought process for
and of one’s self will ultimately lead to disappointment. It is said that one may
choose to have twenty experiences or the same experience twenty times. At a certain
point, one must, without exception, find their own way. In the Goju Ryw system of
xxii THE Way OF SANCHIN KATA
which I am most familiar, the originator or person who standardized of what became
Goju Ryu karate, Chojun Miyagi’ made changes to sanchin kata. Miyagi took the
open hands of the form and closed them to fists. Miyagi then took out the turns in
the form his instructor Kanryo Higashionna‘ taught to create another version of the
kata. Miyagi also changed the breathing taught to him making it more direct and less
circulatory in nature.’ Jigoro Kano,’ the founder of judo took the principles of the
jiu-jitsu he had learned as a young man, removed the crippling techniques, created
rules for competition, and emphasized throws. Gichin Funakoshi’ changed his native
karate from an Okinawa tradition into a Japanese way to better suit the needs of the
Japanese mainland culture. Morihei Ueshiba" created aikido from his experience
with jiu-jitsu after an epiphany. Today all of them are cited as masters without ques-
tion. The list of people changing their art to suit their needs more closely and the
needs of their students extends well beyond these examples given. The changes made
by these three masters are profound. They were not made without going through a
very clear process of gathering the data, analyzing the information, and then making
the leap to wisdom. The path to wisdom in these instances has three phases: data,
information, and wisdom—each of which has their own unique attributes. In
describing those attributes, let us start at the smallest and initial phase: data. The
nature of data is that we have no perspective about what it is our how it relates to
anything else. Imagine the letter “V” with a line through the middle of the letter,
“M”. Now it is not a letter at all, it is a “MW”, it is data. We have no way to determine
value or meaning to this symbol. The data has no position in relation to anything.
It is not known where or from whom the data came, what made it, or how it relates
to anything. Information, the next piece in the progression, is based on context or
how the data relates to other data. Once you have determined the relationship
among the data, you have information, a pattern. Turn the “¥” upside down and
you have the letter “A”. Now we have relation. We can see that it is the first letter of
our alphabet and it makes sense to us now. Wisdom comes from observation of pat-
tern in context of experience, and then a judgment can be made. It is as if we were
in English class staring at the upside down letter “A” and someone turned the paper
right side up for us. The person turning the letter around for us used their wisdom
to recognize the letter and gave us means to comprehension.
Real World Example

A real world example of data, information, and wisdom is the story of my father
and a marble. My brother and I were riding in my father’s truck up on a plateau
above a popular fishing lake in our hometown on a summer day. He pointed to a
grove of trees on the plateau. We drove over to the trees, the only ones that I could
see for any distance. If my father had not pointed them out, I would have thought
Introduction xxiii
nothing of them. When we got out of the truck, I could see old grey wood, which
had once been a house, collapsed upon itself. It became clear that it was a homestead.
I was in awe that someone had lived there. My mind went wild with the idea that
someone lived all the way up here with no roads and no stores. In amazement, I
asked my father as he began to walk around how he knew this was here. He explained
that a grove of trees in a circle when no other trees are around usually means water
and trees grow naturally around water, or somebody planted them. If you have a cir-
cular planting of trees, you usually have both water and a homestead because people
planted trees for shade. He continued to walk around looking at the ground, then
noticing something, knelt down, and called us over as he scratched the ground and
pulled out a small clay ball about the size of adime. Holding it between his thumb
and forefinger, he pronounced, “No holes in it.” He dropped it in his palm and
began to roll it around, noting, “It’s not a bead, boys, it’s a marble.” He went on to
say, “It was made by a kid, it is a hand-made marble.” My brother and I stood there
in the weekend summer sun mesmerized by this thought. A marble made by a kid
that has probably already lived and died. My father stood up and put it in his pock-
et. “These folks probably had a kid or more.” My father had applied wisdom based
on experience to see the trees, their unique structure, what they most likely meant,
and upon exploration found a small clay marble in the dirt made by an unknown
child who was part of an unknown family. This is the application of wisdom to
understand the context of a pattern and enter into that pattern to find the richness
that wisdom can provide.
Kano, Miyagi, Ueshiba, Funakoshi all applied wisdom and inspiration to the
information at hand and created living, growing arts.
It is important for practitioners to use the knowledge their instructors have
passed on, exercising wisdom and one’s life experience. Finally, one must preserve,
but not entomb a ata. Rather, look to what the ata is saying and act accordingly.
This book is not the complete and comprehensive work on sanchin kata, it can-
not be. The layers, versions and the very nature of sanchin kata make it impossible
to cover in one book because the form is both deep and broad. A person wishing to
integrate sanchin kata into their training and essentially their life will find the answer
--in the application of the principles herein. It is always in the doing. It is always in
the experience that true understanding takes place.
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CHAPTER ONE
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The History of Sanchin Kata *—
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History is the version ofpast events that people have decided to agree upon.
—LWNapoleon 7
The true history of sanchin kata is lost to time. Many will claim they know the
true and correct history of sanchin kata, but factors such as where one chooses to
begin and end can create one of many versions of the same history. The goal of this
book is to achieve a better understanding ofsanchin kata through the mechanics, his-
tory, and applications of the kata. However, the viewpoints between the versions of
the history of sanchin kata are difficult to make clear. It is only possible to touch
upon a handful of points on the timeline with reasonable assurance when looking at
the history of sanchin kata. Finding the root, or the clear origin, of sanchin kata is as
difficult as it was for the British and French in 1854 to find the headwaters of the
Nile River.
When a person chooses to begin in a different place or, say, with particular
instructor, and move backward a different length of time, you have a different his-
tory. Just as an explorer, seeking the headwaters of the Nile River, had to make
choices when the waters forked, changing the path of the exploration, every student
of sanchin kata serves as a fork in the flow of history.
For example, in the southern states of the United States of America the title,
“The War of Northern Aggression” is used to describe the Civil War. Was the west-
ward expansion in the United States truly a “Manifest Destiny” or a land grab com-
bined with genocide? Again, one’s perspective determines their outlook or conclu-
sion.
Oral history is by its nature fallible, the following is a version of the history of
sanchin kata; again, a history, not the only history.
A Buddhist’* holy man named Bodhidharma” is credited with leaving India in
539 A.D. to spread the Buddhist faith to China. He left his monastery in Southern
India not knowing that he was going to spread Buddhism in a most unique way.
Bodhidharma traveled enormous distances compared to the people of his time who
were born, lived, and died in and around their home village or city. He crossed the
2 THE Way OF SANCHIN KATA
Himalayan Mountains and the Yangtze River on his way to the capital of the Henan
Province, located in the eastern part of what is China today, halfway between the
northern border with Mongolia and the southern border of the South China Sea.
Bodhidharma arrived at the Shaolin Temple. It is unclear if the Shaolin temple was
his destination or simply a stopover to another place. Nevertheless, it became a pro-
found juncture in martial arts history.
During Bodhidharma’s time, people often would come to the temple for many
reasons, hunger and shelter to name a few. Many were turned away. After several
attempts to enter the temple, Bodhidharma, an Indian forgigner was finally admitted.
It is said that at this point he found the Shaolin monks weak from lack of physical
activity. It seems that the monks spent so much time in meditation that their bodies
had been neglected. Bodhidharma introduced his methods of exercise that began to
change the physiology of the monks and strengthen their bodies. These exercises
changed over time and became part of the now famous practice of Shaolin kung fu.
Now let us jump ahead some eight hundred years where, as Chinese tradition has
it, part of the sanchin kata history can be traced to a 13th century priest. Zhang San
Feng began his martial arts instruction with the Shaolin monks. He learned the
external, or hard, methods that involved strengthening the body through repetitions
of techniques and the use of other items like bags full of sand or rock serving as
rough dumbbells, striking poles, and other means to bring more power to his kung
fu. At some time in his training, Zhang San Feng left the temple. The reason given
is he felt he had learned all he could and needed to explore other means. Whatever
the reason, the story has it his next destination was on the Wutang Mountain at a
temple called the Purple Summit Temple. The Purple Summit Temple was said to
be among the most sacred Taoist Monasteries at the top of the Earth suspended
between Heaven and Earth.
At this time, he is said to have seen a snake and crane fighting and was moved
by their fluidity and power of their movements. With this inspiration, Zhang San
Feng set out to recreate what he had learned in this new environment. Over time,
the hard (external) methods of his previous training gave way to softer internal meth-
ods of training. His system was soon known as Wutang Lohan Chuan-fa," or thirty-
two pattern long fist. He taught this system to his students and over time, the forms
underwent a drastic metamorphosis into Tai Chi Chuan-fa, or Grand Ultimate.
Today there are many forms of Tai Chi Chuan-fa and the major forms Chen, Yang,
and Wu are named after the families who propagated their particular version.
Over time, the martial and health attributes of Tai Chi Chuan-fa became more
widely known. In the same fashion, Zhang San Feng had changed what he had
learned to suit his needs and the forms continued to change as his students changed
what they were taught to better suit their needs.
Chapter One: The History of Sanchin Kata 3
The next leap we make in time is from the 13th century to the 20th century and
some six hundred years where according to the history of the Goju Ryu lineage,
Kanryo Higashionna (1853-1915)” brought sanchin kata back to Okinawa. That is
not to say that sanchin kata had not been introduced to Okinawa before. It simply
means the version that Higashionna brought back was taught by him to students
who propagated the form by teaching it to others. Around 1918, Kanbun Uechi'®
brought another version of sanchin kata to Okinawa and began teaching what would
later be known as Uechi Ryu. As the reader can see, many paths for martial arts, as
well as many paths for sanchin kata can be identified. Tracing that history involves a
great deal of sifting through a rich mix of history, mythology, legend, and cultural
prejudices often indistinguishable from one another. That is why nobody knows for
sure about the origins of sanchin kata.
These many paths of course, are a result of change—both deliberate and acciden-
tal—to the practice of sanchin kata. Some might argue that in the case of martial arts
and its forms, change is bad. On the contrary, the key to the concept of change is
context. If change is a result of suiting the needs of the practitioner enacting the
change, it may well be credible. However, change can result from mistranslation of
a movement, or a misunderstanding of the intent behind a form or an element.
While some changes are credible, e.g., are made consciously to suit one’s needs, oth-
ers are accidental. An analogy might be the children’s game “telephone.” The game
is a simple one. While sitting in a circle, one person whispers a phrase into the ear
of the person next to them and the message goes around the circle until the last per-
son says what they were told and compares it to the originator’s words. With few
exceptions, does the phrase ever come out at the end in the same way it originated?
This phenomenon is not unique to this game nor is it unique to the martial arts.
Even some of our most sacred texts are misquoted. The Bible for example reads in
Ist Timothy 6:10 “For the love of money is the root of all evil.”'"” That phrase has
often been misquoted as “Money is the root of all evil,” a distinct difference. Then
there are just the accidental changes, the result of simply being human. A wonderful
example of this is “Spoonerism,”'* a term named after W.A. Spooner (1844-1900),
an English clergyman noted for the transposition of the letters of two words often
resulting in gibberish. An example of aSpoonerism is, “Sleepy time becomes Teepy
slime.” Iam confident that you have had many conversations where you have trans-
posed, left out, or added a word that may have made you all laugh at the result. The
point is that no means of information transference that involves the human mind,
with all its prejudgments, or assumptions, is exact.
As changes, accidental or deliberate, take place, in some instances the forms
become more simplified and in others more complicated. Soon many paths are cre-
ated. For example, there are versions of sanchin kata that face in only one direction
during the performance of the &af@ never turning. Some versions of senchin ate
turn. Some versions have opened hands and others have closed hands. Some submit
that closing the fist closes off the & (or cf) and others would say it makes the daz
stronger turning the & back into the practitioner.
The book, Five Ancestor Fist Kung-Fu, The Way of Ngo Che Kun by Alexander L.
Cho offers a straightforward path of senchin kata through the dung fe system, “The
kata taught by Miyagi~ are the sanchin Rata and tensho. The sanchin kata of Gofa Ryu
is notably similar in principles and movements to the sem chien ot New Che Kun. The
movements and principles of the tenshe &ata are also strikingly similar to New Che
Kun, and it seems the similarities are by no means coincidental. Verh? Ryw, another
major Okinawan karate style, also bears striking resemblance to Nee Che Kun.”
Taijiquan (Tai Chi Chuan), The Grand Ultimate Fist, is often considered one of
the three sisters of Aung fu: Hsing-I, Baguaxhang, and Tai Chi Chuan. Tai Chi is
often taught in the western world as a form of health exercise but it is also a devas-
tating martial art when employed in the hands of a knowledgeable practitioner. The
very beginning of one Tai Chi segment, “Grasping the Sparrow's Tail,” looks very
similar to the opening of sanchin kata.’ Ngo Cho Kun, the Five Ancestor Fist ung fi
uses a kata called sam chin and the similarities between the Okinawan version of
sanchin kata and the Chinese version of sam chin are not coincidental. The fact of
the latter is that the Okinawan version of sanchin datz, no matter what the school or
ryu, derives trom forms originating from mainland China.
Again, the work of uncovering, deciphering, and contextualizing historical infor-
mation is a task that must involved educated speculation where contradictions, lim-
ited and unreliable source material and other hurdles exist. The goal is to present
probable conclusions where possible, and to raise compelling questions where the
truth has been lost to time.
Regardless of sJenlen system one chooses, what matters is that certain constants
are necessary for success, ‘success’ being defined as:
1. Gripping the ground. This is interpreted as using the ground to generate

power in holding one’s position or striking power.
2. Skeletal architecture. The alignment of the bones to provide static strength,
3. Muscular tone. Using conditioned muscles to move the body swittly and in
a way beneficial to the technique being done.
4. Moving the ki (universal energy). Using intent and bioelectric ene rey to
assist in movement.
5. Calming the mind to mushin, or “no mind.” Removi ing internal chatter to
allow the mind to function more efficiently.
CHAPTER Two
Learning by Emulation and Repetition +
I hear and Iforget. I see and I remember. I do and I understand.
—Confucius ”
The two fundamental parts of learning are emulation and repetition. The way in
which these are done makes a big difference in the level of success that a person
acquiring a new skill experiences. Writing is an excellent example of this method of
emulation and repetition. The teacher writes on the board a letter and the students
copy the letter on their own paper. The letter when first shown is basic in its style.
In the case of the English language, the letter would no doubt be written in an upper
case and block fashion. The letter “A” would be explained with the first stroke as,
“Start at the top and move down like this and “/” the second stroke of the pen is the
other side, “\” and finally the horizontal line “-” all together comprising an “A”. The
next letter would then be introduced and so on until the entire alphabet was covered.
Lower case letters would follow the process then starting over. Once the letters are
learned, words can be introduced and assembled. Sentences are next, small ones at
that, and paragraphs, small to large and so on. After a while, as the student matures,
the writing becomes more personal and in some instances almost illegible. During
this process, nerve pathways are built, some re-enforced, and in some instances, other
old nerve endings are allowed by the body to atrophy as new connections supersede
and replace the old connections. This rewiring is often described as muscle memory.
Muscle memory is also what is needed in combat. The Romans spent an enormous
amount of time, upwards of two years, drilling new recruits in the use of the shield,
sword, and battlefield maneuvers before they ever saw real battle. This pattern of
training, systematic and standardized, created the greatest army known to man at the
time and sustained the Pax Romana for two centuries. The idea of muscle memory
and discipline are not new to man and in fact are as old at civilized man himself, only
the name is recent.
Sanchin kata provides the repetition in a mechanical form to achieve the muscle
memory needed to perform in a stress situation. The brilliance of sanchin kata from
the mechanical standpoint is that it slows down the movements of the body. This
6 THE WAY OF SANCHIN KATA
slowing down of the movements permits the practitioner to learn in a manner that
is known today as the demonstration phase of the education process. The student
can actually see what happens in the smallest detail. The student sees the demonstra-
tion, then begins to emulate the motion slowly improving on the action, and almost
without perception moves to the next phase of learning, integration. Through
demonstration, emulation, and integration, the motion and the student become one.
CHAPTER THREE
i
K The Mechanics of Being in the Moment iM

a 3]
That moves and that moves not,

That is far and the same is near.
That is within and all this and
That is also outside all this.
—Isha Upanishad”
In today’s films, a popular technique is to slow a motion down to give emphasis

to the action in the film. The point of slowing the scene down is that it allows us to
take in the nuances of the event. In the scientific world, super high-speed film is used
in experiments ranging from seeing how a hummingbird flies and to the impact of
an automobile into a test structure during impact safety studies. The creators of
sanchin kata knew of this learning process far before the invention of high-speed
film. Sanchin kata breaks down the movements into the incremental principles that
need to be understood to gain the skills necessary to become proficient at the art of
the empty hand.
Sanchin is translated as “three battles” or difficulties. The accepted three are
mind, body, and spirit. The difficulty is bringing these three together at one time
and in one place. A question that one might want to ask is why should I want to
bring these three together? The answer is that if a person is functioning at the phys-
ical level then they are nothing more than an animal. That is to say, they have no
ability to control what it is their instincts tell them to do.
- The Brain and its Elements

The hemispheres of the cerebral cortex are divided in half from front to back into
the right hemisphere and the left hemisphere. Each hemisphere specializes in some
tasks and behaviors. The hemispheres communicate with each other via the corpus
callosum, a thick band of 200-250 million nerve fibers. The corpus callosum serves
as the telephone company that services these two sections of the brain allowing com-
munication.
The right side of the brain controls muscles on the left side of the body and the
left side of the brain controls muscles on the right side of the body. In general, sen-
sory information from the left side of the body crosses over to the right side of the
brain and information from the right side of the body crosses over to the left side of
the brain. Therefore, brain damage to one side of the brain will affect the opposite
side of the body.
In 95% of right-handers, the left side of the brain is dominant for language. Even
in 60-70% of left-handers, the left side of brain is used for language. In the 1860s
and 1870s, two neurologists Paul Broca and Karl Wernicke observed that when peo-
ple had damage to a particular area on the left side of the ‘brain, they had speech and
language problems. They noticed that people with damage to these specific areas on
the right side usually did not have any language problems. The two language areas
of the brain that are important for language now bear their names: Broca’s area and
Wernicke’s area.
Arming the Body

It is important to understand the communication between the two hemispheres
of the brain during a threatening event. When a threat is perceived, the amygdala
goes to work. The amygdala is the part of your brain located approximately at the
underside of the temporal lobe. The amygdala’s job is to sound a siren call to action.
This means the central nervous system is activated to the threat with an all systems
alert. The hypothalamus, which regulates the vitals of the body, triggers the pituitary
gland. The pituitary gland, located around the bottom of the brain, produces thy-
rotropin to stimulate the thyroid gland and adrenocorticotropin (ACTH), a chemi-
cal that fires up the adrenal cortex. In other words, the adrenal system shoots adren-
aline throughout the body. Non-essential body functions are shut down or reduced.
Think of it this way: The body is saying if we do not get through this, nothing else
may matter so everything goes to arming the body, and all long-term projects are
shut down.
When the adrenaline hits the body, the pupils dilate. They open up to let as
much light in to facilitate threat recognition. The eyes, the only exposed part of the
brain, relay information to the thalamus. The thalamus acts as the mixing and incor-
poration superhighway of sensory information blending the sights, sounds, and other
sensory intake into terms the brain can understand. The thyroid gland pours thy-
roglobulin, an iodine-containing protein that increases metabolic rate, into the body
and the resting metabolic rate rises. The result is more energy is now available to the
body to use as it sees fit.
In the lungs, the bronchioles dilate. The walls of the air pipes in the lungs in
essence become larger to allow more air to pass into the lungs. Hair stands on end to
give the body a little larger area of sensory reception. The liver breaks down glycogen
Chapter Three: The Mechanics of Being in the Moment 9
which is the main form in which carbohydrate is stored in liver tissue. This break-
down of glycogen provides instant energy and helps to keep up with the higher meta-
bolic rate the thyroid has initiated. The spleen, which is an organ located in the left
of the abdomen near the stomach concerned with final destruction of red blood cells,
and filtration and storage of blood, contracts while pumping out white blood cells to
fight infection and_platelets that assist in blood clotting. The skin vessels constrict
causing sweat and cooling the body as it works above its normal operating limits.
Meanwhile the adrenaline has hit the heart and blood pressure rises there as well. The
body system is ready to perform, almost.
When the body goes on high alert, all bodily activities that do not have direct
association with the fight or flight situation are reduced. The bladder that holds the
urine and the colon that holds the feces prepare to void. The body does not need any
extra weight and needs to reduce any infectious waste that could present a problem
to the body if injured. The stomach and the gastrointestinal tract constrict redirect-
ing blood to the muscles.
Now the body is, to use a military phrase, locked and loaded.”
The Hemispheres of the Brain

The right and the left hemispheres of the brain appear to be mirror images of one
another, but they have different structures and different roles.
The left hemisphere does an excellent job of seeing words in order and making
sense of letters. The left hemisphere deals with logic and the analytical thought
processes such as retrieving the number inside the cell of a spreadsheet, but has trou-
ble understanding how that number relates to the spreadsheet in its entirety. The
right hemisphere specializes in the recognition and understanding of space, shapes,
and forms. The right hemisphere is the creative side of the brain. It can assemble the
puzzle and give a number on a spreadsheet meaning.
The point is clear that smooth communication between the two hemispheres of
the brain together provides the best viewpoint of the world. When information is
absent or communication between the two hemispheres is impeded, the context of
_the information is destroyed and incorrect decisions can result.
A former military officer and martial artist explained to me one time what he
called the “pucker factor.” Oddly enough, the pucker factor that takes place is the
constriction of the corpus callosum. Because the chemicals that are released into the
body during a stress situation, the corpus callosum shrinks in size, contracting mak-
ing communication between the two hemispheres less easy. The reason for this con-
striction is as stated before; the lower brain is in charge of fight or flight. The lower
brain wants little interference with the process of survival because instinct and action
are the markers of the moment, and thinking is for later.
Corpus Callosum
Training of course is the best means ofinsuring the negative aspects of the puck-
er factor—the restriction of creativity and logic to interact—has a smaller effect on
the body. One of the ways to ensure minimum negative affect of the pucker factor
is stimulating the corpus callosum. The corpus callosum, the brain’s telephone com-
pany, needs to be as communicative as possible. This can be done by using the body
to activate the brain.
A good example of where the corpus callosum comes into play can be found in
sambo, which is a Russian form of combat designed for and by the Russian military
to use in close-quarters combat. One day when I was having a conversation with a
former world sambo competitor and United States Marine Corps combat instructor,
I commented that from what I had seen on television (since I had never seen
Russians compete in sambo live) that they were tough customers. They also seemed
to have a genetic predisposition not to feel pain at the same level that others seemed
to have. He quickly and calmly looked at me and said, “No, it is just the way they
train.” After some conversation, it became clear that it was about the way they
trained their body, but also the way they trained their minds.
Controlling the brain is important whether you are involved in sanchin kata, the
military, or any other form of martial arts. There are many forms of controlling and
training the brain. One of the most fundamental means of doing this training is
understanding the split between the two hemispheres.
Why is this split in the brain important to a practitioner of sanchin kata? It has to
do with marching, walking, and the way the body operates the brain during these two
activities. One activity allows for unification of the brain, walking. The other action,
marching, tends to separate communication in the brain and reduces thinking.
Marching is used in today’s military as a training tool more than as a practical
means of moving an army from one place to another. However, during the majority
of military battles prior to the industrial revolution, marching was the chief means
of moving an army because efficiency was essential. Marching is different than walk-
ing in that it is a same-side body action, left arm, left foot, and then the right arm
and right foot swing forward on the other side of the body. When the left side of the
body, arm, and foot swing forward, they activate the right side of the brain and the
right side activates the left side as discussed earlier. The corpus callosum, the brain’s
telephone company, is little used. The end result is there is reduced contact between
the two hemispheres of the brain. Again, active thinking takes both sides of the brain
communicating about the issue before it. Think of thinking as cooking a good stew;
it involves meat, potatoes, other vegetables, and the right seasonings. To continue
the analogy, marching restricts the making of stew. Marching keeps a group of men
in a fixed order while covering distance and also, premeditated or not, keeps them
from thinking too much. Walking on the other hand is counterbalancing when it
comes to the physical body. Walking is left arm, right foot and right arm left foot.
These motions stimulate the opposite side of the brain that is communicated via the
corpus callosum.
In applied kinesiology, the Hetero-lateral Neurological Cross Crawl or just Cross
Crawl” is used to facilitate the communication between the two sides of the brain.
The method is as follows: standing naturally facing forward, the subject lifts the right
arm so the bicep is parallel to the floor the hand of the same arm is point skyward
giving the right arm a ninety-degree bend at the elbow. The opposite leg, the left leg,
lifts to mimic the same ninety-degree bends as the arm. The thigh is level with the
floor and the calf hangs vertical to the floor. Then the process is switched in a
smooth manner as if walking in place. This is repeated some fifteen times. The Cross
Crawl fortifies the corpus callosum and tones the connections between the hemi-
spheres of the brain. An analogy would be the difference between an old road and a
beautiful new four-lane highway. The new highway allows more traffic at a faster rate
because of a better surface and efficient use of passing lanes and High Occupancy
Vehicle Lanes (HOV) that the old two lanes simple do not have.
Moving in sanchin kata, because it is a walk and not a march, helps create better
communication between the two sides of the brain. Often it is said by practitioners
Cross CRAWL POSITION ONE - RIGHT ARM AND LEFT LEG Cross CRAWL PosiTION Two - LEFT ARM AND RIGHT LEG
and instructors of sanchin kata that the kata is a form of moving meditation. That in
doing sanchin kata a means is built to bring the three battles, of mind, body, and
spirit together and unifying the mind is the ground, the base, the very beginning of
the process of unification.
British golfer Tony Jacklin describes the “cocoon of concentration” he some-
times finds himself in: “When I’m in
this state, this cocoon of concentration,
I'm living fully in the present, not
moving out of it. | am aware of every
half inch of my swing ...’m absolutely
engaged, involved in what I am doing
at that particular moment. That’s the
important thing. That’s the difficult
BETA— Actively Awake 14 to 21 pulses per second
state to arrive at. It comes and it goes,
and pure fact that you go out on the
first tee of the tournament and say,
‘must concentrate today, is no good. It
will not work. It has to already be
there.””®
Brain Cycles
As all of the above-mentioned ALPHA— Relaxed Awake 7 to 14 pulses per second
aspects come together, the practitioner

enters into the alpha brain wave state.
There are four levels of brain activity:
beta, alpha, theta, and delta. Brain
waves are recorded scientifically by
measuring the fluctuating electrical
impulses in the brain. Beta waves range
from 14 to 30 cycles per second. Such THETA
— beginning ofsleep 4 to 7 pulses
per second
pulses are indicative of a person who is

fully awake, alert, excited, or tense.
Alpha waves run from 8 to 13 cycles
per second. They are characterized by
deep relaxation, passive awareness, or a
composed state of mind. Theta waves
range from 4 to 7 cycles per second. DELTA
— Deep sleep 0.5 to 4 pulses
per second
They are indicative of a person who is
drowsy, unconscious, or in a state of THEIFOUR BRAIN. FREQUENCIES
deep tranquility. Delta waves run from 0.5 to 3.5 cycles per second. They are char-
acterized by sleep, unawareness, or deep unconsciousness.
The first two levels, beta and alpha, are the ones we are concerned with in mar-
tial arts. The brain discharges the beta wave when we are awake and intentionally
focused. We are alert, ready for action, even irritated or afraid. This is because we are
looking at the active mind. Beta is not as useful as alpha is to the martial artist. In a
nutshell, beta is about thinking and thinking quite frequently gets you hit.
The alpha state is indicative of physical and mental relaxation, the relaxed, but
alert mind. It is usually achieved during meditation. In the alpha state, we are aware
of what is happening around us yet ultra-focused in our concentration. The profes-
sional athlete would call it being “in the zone,” or being “in the flow.” We have all
heard of athletes who while facing great impediments to their games, such as the flu,
an injury, or another tragedy, have excelled beyond what was expected. A large part
of their success and performance directly results from an ability to shift into the
alpha state of consciousness during competition.
One of the benefits to training in martial arts is the ability to switch between beta
(waking brain waves) and alpha (“the
zone”) brain waves. Multiple studies have
shown that world-class athletes, no matter
what the sport, have the ability to move
their brain waves almost instantly from
beta to alpha. This is also frequently
demonstrated by martial artists. Board-
breaking techniques are a good example.
Concentration begins as the hand moves
into chamber. By the time a practitioner’s
fist strikes a board or the brick, his or her
mind is fully in an alpha state. The target
shatters effortlessly.
_Zanshin
Zanshin means continuing mind. It is
a state of enhanced awareness that should
exist just before, during, and after combat.
A practitioner in this state should be
hyper-aware of his or her surroundings
and prepared for anything.”
Unconsciousness is illustrated in a
famous explanation of just how important KANJI FOR ZANSHIN, CONTINUING MIND.
is this mental state. In his efforts to study Zen archery, German philosopher* Eugen
Herrigel’s Zen master who taught him insisted, “the shot will only go smoothly
when it takes the archer himself by surprise...you mustn’t open your hand on pur-
poser.
This moving meditation, this continuing mind of zanshin, is part and parcel of
sanchin kata.
CHAPTER FOUR
A Measurement, Personal and Unique 7+ ¥

Bb
Everything is arranged according to a number and mathematical shape.
—Pythagoras *°
A friend of mine whom I have known for some twenty-five years is a tracker, that
is to say he goes out into the woods and spends time simply observing the wilderness
and tracking animals. Having grown up around mountains, creeks, and rivers, it was
not a large jump for him to get training in the ways of tracking by Tom Brown, Jr.,”
the author of many books on the subject.
Looking to experience this myself, I spent three days in and around the woods
in eastern Washington with him. After tracking deer and bear, finding dead animals,
and learning their stories, we found ourselves on the last day, a Sunday morning, on
the edge of aman-made dike. The sandy road that ran alongside of the dike allowed
the state access along the river. It had also turned into a wonderful entrance to nature
for the locals. We crouched in the early morning sunlight as it broke through the tall
pine trees and the lesson began. He pointed to some tracks in the sand. The size and
width of the footprint told him it was a woman, the length of the stride and the way
the sand kicked up inside the print told him she was exceeding her natural stride. He
pointed to the dog paw prints next to her footprints. It was unlikely they were unre-
lated prints, he explained. Domestic dogs and people take a straight path because
they have a destination. In contrast, coyotes and stray dogs, because they are always
searching for the next meal, rarely move in a straight line. He again looked at the
-woman’s footprint and stride. He estimated her height, and, pressing his hand into
the sand, pronounced her estimated weight. He then repeated the process with the
dog tracks. He stopped and said, “Follow me,” and we quickly got off the road to
stand in a grove of trees. He stood ramrod straight and out of the corner of his
mouth he said, “Be a tree.” I copied him. Seconds later, to my amazement, a woman
matching the description given, walked by us with her dog.
My friend knew that the length of a person’s foot corresponds to the length of
shin plus a proportion more. As an example, my foot is ten inches long, my shin is
fourteen inches long, and my thigh is seventeen inches long. The measurement of
15
the foot, shin, and thigh show they become increasingly larger by about three or four
inches or roughly twenty-five percent. This example of the measurements is not a
strict adherence to the Fibonacci Ratio” because few people have perfect propor-
tions, but is close to the ratio. This demonstrates how my friend, the tracker, upon
knowing a person’s foot size was in turn able to determine the unseen person’s shin
measurement. He then related that measurement proportionally to the thigh and
other parts of the body allowing him to determine the woman’s approximate size and
weight. Without my knowing it, I had been introduced to an application of the
Fibonacci Ratio via Native American tracking methods.‘
As a culture inherently in tune with nature, Native Americans are familiar,
though not in name, with the Fibonacci Ratio and use it as a tool to make sense of,
and to live successfully within, their environment. The creators of sanchin kata also
applied this ratio to create a training form that was in tune with nature. In both
instances, an understanding of this ratio as an underlying principle of nature and
applying it to life is critical; failure to do so is a formula for failure.
Fibonacci Ratio
The Fibonacci Ratio was discovered by Leonardo Pisano Fibonacci
(1170-1250)* Living in Pisa, Italy, he researched and discovered that nature had a
structural formula. The formula was named after him and is called the Fibonacci
Ratio today. This ratio is found in every natural structure on the planet—plant, ani-
mal, and your body as well. It regularly appears in the growth patterns of many living
things, such as the spiral formed by a seashell or the curve of a fern. It is, in fact, the
only growth pattern that, if continued, is not doomed to failure. Thus, it is a princi-
ple of structural integrity. The basics of the ratio can be understood by starting with
the number 1. You then add the number 1 by itself, 1+1=2. Then take the result, in
this case the 2, and add the preceding number to it so 1+2=3 and begin to repeat the
addition so that your number line looks like this, 1, 1, 2, 3, 5, 8, 13, 21, etc.
Another way to understand the Fibonacci Ratio is with shapes. Start with two
squares the same size and place them next to each other. These squares represent the
number 1. As we did earlier, we started with two 1’s and we need to do so again. On
top of these, we then draw a square of size 2 where the 2 is equal to 1+1. Now draw
a third square on top of the two smaller ones. The third square is equal to the next
number in sequence, or 2, 1+1=2. To make the fourth square take the length of the
2 and a | square and copy it three times making another square. This fourth square
is equal to the 3 number in the number line, 1, 1, 2, 3. Repeating this process cre-
ates a visual representation of the Fibonacci Ratio.
The Fibonacci Ratio can be found in your body as well and can be easily found
in your hand. Lift up your hand and make a fist. Then lift your index finger up into
Chapter Four: Measurement, Personal and Unique 17
FIBONACCI SQUARE #1 FIBONACCI SQUARE #2
3 3
FIBONACCI! SQUARE #3 FIBONACCI SQUARE #4

the shape ofa hook and look at the tip of

your finger to the first knuckle. Consider
this tip of your finger to be equal to the
28 primary unit of the Fibonacci formula,
ll eee 1+1=2 the 1. The second joint, slightly longer, is
equal to 1+1=2 part of the formula, and
the next joint is 1+2=3. The metacarpal
bone (any bone on the back of the hand
between the wrist and the fingers) is equal
geg-5 to2+3=5.
This ratio is intimately connected ~*
with the Golden Mean, a concept derived
by the ancient Greeks and used by them as
well as the ancient Egyptians in the design
of buildings and monuments such as the
Parthenon and the Great Pyramids. While
employing the concept of the Golden
THE FIBONACCI RATIO IN THE HUMAN HAND.
Mean, the ancients discovered they could
create a feeling of natural order as well as
structural integrity in their works. Human creations of the Golden Mean are simple
to see and prevalent. To see where the ratio shows up in everyday life, all you need
to do is open your wallet or purse and look at any credit card and you will see the
Golden Mean. Even the design of playing cards is based on the Golden Mean.
Again, because this ratio is among the basic mathematical formulas upon which
nature builds, it is important that we acknowledge this and work in harmony with
nature, and not against it. Think of it this way; close your eyes and imagine you
have everything you need to build a ten-foot-tall pyramid—the stone, the mortar,
and a crane. In your mind, take a few seconds and build the pyramid. Now look at
it. The point is at the top, correct? Clearly, you cannot build an upside-down pyra-
mid and have it stand. It simply is not stable and tips over to seek a balance point.
If you did build a pyramid upside down, you would need supports to hold it in the
upside-down position. Those supports, of course, would not be needed if you build
the pyramid correctly to begin with. It follows then, that in sanchin kata, one
should adhere to the ratio. Not to do so is the equivalent of building an upside-
down pyramid.
In the martial arts, we do not use feet or meters, we measure using our own body.
We use finger widths, fists, and feet (the kind you stand on, not the twelve-inch
kind). This allows a person to measure the widths, depths, and heights necessary for
the martial arts against their own body. This form of measurement is the same way
Chapter Four: Measurement, Personal and Unique 19
SUPER CREDIT CARD
1234 5678 9101 1112
oo Ml
John Doe
THE FIBONACCI RATIO IN A CREDIT CARD. THE FIBONACCI RATIO IN A PLAYING CARD
(AcE oF DIAMONDS).
my tracker friend was able to determine
these elements of height, weight, and
depth of a person he had not yet seen.
Using a personal form of measurement
allows the practitioner to tailor the move-
ments of martial arts to suit their physical
needs. In Chinese, or Traditional Chinese
Medicine, an example of such a form of
measurement is a kua, the size of your
closed fist. The term ua is used in the
title of Pa Kua Chang, or Eight Hand
Changes. A tsun (pronounced “soon”) is
the width of your index and middle fin-
gers placed together. Because these meas-
urements are based on a specific body part
and not a standard external form of meas-
urement, such as an inch, this is precisely
the method that allowed my tracker friend
to look at a footprint of a woman he had KUA, CANTONESE FOR FIST.
never seen and determine what her entire

body might look like.
We use this Chinese form of measure-

ment when doing sanchin kata and, for
that matter, any kata. Sanchin kata teach-
One TSUN
es the fundamentals of karate that can
then be extended over the entire syllabus
of karate. This extension of this principal Ve
gives the practitioner the structural
integrity of the basics throughout their
martial arts techniques.
TSUN, CANTONESE FOR WIDTH OF TWO FINGERS.

CHAPTER FIVE
The Roots of a Strong Tree, the Feet i
Sticks in a bundle are unbreakable.
—Kenyan Proverb™
A tree grows from the ground up and a practitioner should grow his or her
sanchin kata in the same way. To continue the analogy, a tree that has strong roots,
‘strong’ in this case meaning ‘deep’, will not give way when a storm comes along.
Shallow roots or diseased roots guarantee the tree will be blown over in a storm. The
same is true in the martial arts. Therefore, it is essential to have a powerful, ‘rooted’
stance, one that will serve you well today and in later years as well.
The feet should have as much surface area on the ground as possible without
rolling the foot to place the arch on the ground, hence collapsing the arch. The foot
FOOT ROLLED INWARD TOWARD FOOT ROLLED OUTWARD AWAY

CENTERLINE OF BODY. FROM CENTERLINE OF BODY.
21
Fy (= hb fy Yow
TOES OF THE FOOT OVERLY TOES OF THE FOOT GRIPPING THE GROUND.
GRIPPING THE GROUND.
must remain natural and flattened. Flattening the arch rotates the foot inside and
lifts the outside of the foot, reducing the power of the contact to the ground. The
foot must be placed on the ground as if it is made of wet clay. It should feel heavy
and as if it is gripping the ground, though the toes should not actually be in a grip-
ping position such as if trying to pick up a piece of paper from the floor. To do this
uses too much physical power and creates rigidity, and rigidity is easily displaced.
Instead, the toes should come into firm contact with the ground and not overly grip.
When you want to move your foot, you simply do it. Moreover, when you need
to be rooted to the ground, you are. As simple as that sounds, people can stay root-
ed during their entire movement. The result is not good—a step that looks as if the
practitioner is pulling their foot out of deep mud and slogging it forward to place it
in more mud. The goal again is straightforward: when you need to be rooted you are,
and when you need to move, move.
The line of the pressure on the foot needs to be from the heel of the foot through
the center of the foot. Severely rotating the foot or twisting the foot to gain traction
is potentially damaging to the knee farther up the leg. It supinates the foot, placing
pressure on the inside of the foot, and taking the weight off the centerline.
Where the circumstances of, or the choices made in, one’s life results in the
reduction of key body functionality, the body will make compensations. Often, these
Chapter Five: The Roots of a Strong Tree, the Feet 23
compensations do not become known

until later in life. A man I know who has
worked in the music business has signifi-
cant hearing loss. Years of rock-and-roll
concerts and loud music have taken their
toll. He always says in a half joking half
serious way, “Kids, take care of your hear-
ing.” Now his body compensates for his
hearing loss by increased reliance on
vision. It is helpful to him to look direct-
ly at a person when they are speaking to
understand what is being said. A body will
make numerous similar compensations if
it is required.
When performing sanchin kata, poor
structure in stances will eventually catch
up with a person. Just like years of loud
FOOT SEVERELY TWISTED INWARD
rock and roll, the damage may not be
VIA KNOCK-KNEED STANCE.
apparent at the beginning but it will,
without a doubt, manifest itself soon
enough. Among the easiest places to see
potential damage arising is in the knee
joint.
On the positive side, a great example
of this kind of innate grounding skill is
found in every judo dojo in the world.
Skilled judo practitioners are able to con-
trol their weight and balance easily. It is
especially apparent when a practitioner is
pitted against one of a significantly lower
rank. The junior ranks are simply not able
‘to throw higher ranks even when it appears
that the junior has set the technique well
against the senior. The senior often coun-
ters the juniors technique explosively
throwing the junior to the mat.
Clearly, the overmatch of skill is the TENBONS OFT REE TRESSED
key here, but the ability of the senior to DURING KNOCK-KNEED STANCE.
simply hold their position—in essence
gripping the ground and then separate

from the gripping action to become swift
and explosive instantly—is the point of
this example. This is not unique to karate
or judo. The ability to control this
grounding and explosion is found in
many contact sports, in one form or
another, and at various levels of intensity
in the martial arts.
The footing in sanchin kata can be
deceptive in its placement. This first illus-
tration shows the foot placement some-
times used by some schools where the rear
foot is turned acutely inward, an exagger-
ation of the twisting inward sensation.
The second illustration shows the foot
placement that allows for a refined body
structure higher up the body. The center- KNEES PINCHED WITH TOES TWISTED INWARD EXAGGERATEDLY.
line of the rear foot is placed forward with

the centerline running from the heel to the index toe, the largest toe on the foot.
From a front view, it would appear the same right triangle would be used—run-
ning down the femur straight down to the ground and then forming the triangle
with the shin. This, however, is incorrect because it can compromise the knee. A
forensic archaeologist, upon studying a skeleton, can tell a great deal about a person
and how he or she lived his or her life. If a person who lived thousands of years ago
made their living as a mason, their skeleton will likely show some lower back wear
and the arms will have deeper grooves in the bones for larger and much-used mus-
cles. Today the term for such things is a “repetitive stress injury.” We use ergonom-
ics to study and eventually create a better, safer work environment. Repetitive stress
injury is very indicative of what is taking place—a person whose body is placed in a
less than natural position repeats a particular motion thousands of times. Improper
alignment of the body during sanchin kata can bring on or aggravate injury to, in this
instance, a knee by twisting and placing improper pressure on it.
Rotating the foot

Rotating the foot outward is not done in sanchin kata for several reasons.
Splaying the foot outward does not give the strong footing necessary. This position
is simply weak. A person who stands this way can be pushed or pulled off balance
quite easily. In addition, stepping forward with the foot splayed out takes the foot
PLACEMENT OF FEET ALLOWING REFINED REAR FOOT SHOWING PLACEMENT OF CENTERLINE.

BODY STRUCTURE FURTHER UP THE BODY.
completely out of the movement. The rear

foot when splayed outwards becomes a
dead weight and the initial movement to
step forward is generated in the hip, not
the foot. This gross hip movement simply
makes the step awkward, large, and clum-
sy. Conversely, rotating the foot too far
inward, or ina pigeon-toed manner, goes
too much the other way and again move-
ment is generated from the hip when step-
ping forward.
As described earlier, the centerline of
the foot is the line the rear foot uses, a
very important factor for correct stepping. ~<a
In nature, the higher the heel on an ani- ee
mal the faster it is and the longer it can
sustain its speed, whereas the lower the
heel the slower the animal. The lower the Fe ei iven CUntOne RDG AOD GOT,
heel, the heavier the load it can bear.
Examples of low-heeled animals include
LINE FROM HEEL THROUGH CALF LINE FROM HEEL THROUGH CALF
SHOWING IMPROPER ALIGNMENT. SHOWING PROPER ALIGNMENT.
elephants and hippopotamuses. Although a hippopotamus can be very fast, they have
difficulty sustaining their speed over long distances. The placement of the heel sim-
ply is not high enough or efficiently placed for speed over distance.
The rear foot in sanchin kata should be placed with the same intent as that ofa
high-heeled animal. By placing the rear foot on the centerline, one is able to use the
calf muscle to move the foot forward and not generate movement in the hip. This
results in less motion, more efficient use of stronger muscles, and increased speed.
The Feet: Test It

To do this test, you need to have
someone stand in zenkutsu dachi, or front
forward-leaning stance. This method will
make the movement larger and easier to
see than in sanchin dachi. Stand in front of
your partner as if readying to fight, and
have them turn the toes out on the back
leg. Then ask them to kick at you with
their back foot. What you will see is that
the hip corresponding to the back foot
will have to move first. This large move-
ment can easily be spotted by both skilled
and non-skilled martial artists. Have your
partner reset their stance and place the
toes forward on the back leg, which may
require shortening the stance a little. Then
PREPARATION FOR FRONT KICK (MAE GERI)
have them kick again by lifting the heel of FROM FRONT STANCE (ZENKUTSU DACHI)
WITH REAR FOOT TURNED OUTWARD.
INITIAL MOVEMENT FOR KICK IS OBVIOUS COUNTERATTACK.

BECAUSE OF LARGE HIP MOVEMENT.
PREPARATION FOR FRONT KICK (MAE GERI) COUNTERATTACK CANNOT BE MADE.

FROM FRONT STANCE (ZENKUTSU DACHI)
WITH REAR FOOT TURNED FORWARD.
the kicking foot first by using the calf

muscle. This method makes the need for
initiating hip action unnecessary and
makes the kick swifter. Ifa kick is an over-
emphasized step, then reverse engineering
should make it clear that the same actions
are needed for a kick in zenkutsu dachi and
a step in sanchin dachi. The results are the
same two items: little motion and struc-
tural integrity.
Squats are a common weightlifting
activity. A weightlifter holds an iron bar
behind their neck on their shoulders with
weights on each end, then squats down
and returns to standing. Pick up any mus-
cle magazine or weightlifting book and
you will see a constant theme that the WEIGHTLIFTING EXERCISE CALLED SQUATS
knees should track over the toes when WITH GOOD KNEE TRACKING.
doing squats. The knees should not splay

PATELLA
ACL
LATERAL LATERAL
MENISCUS MENISCUS
MEDIAL
MEDIAL
COLLATERAL
COLLATERAL
LIGAMENTS
LIGAMENTS
TIBIA FIBULA
THE ANATOMY OF THE KNEE. THE KNEE TRACKING INCORRECTLY TO THE

INSIDE PLACING STRESS ON THE LIGAMENTS.
out nor should they collapse toward the center. Both of these are a formula for injury
to the knee.
The knee should be above kidney point #1. The location is the center of the foot
directly behind the two large pads that cover the ball joints of the foot. When the
knee is placed at this angle, a right triangle is formed. This is important because it
follows the Fibonacci Ratio.
A slight outward rotation of the knee allows the femur and tibia bones to track
as nature intended, preventing undue wear on the outside contact points on the two
bones. This alignment also makes a direct step forward easier because it does not
involve any unnecessary motion.
THE KNEE TRACKING INCORRECTLY TO THE

OUTSIDE PLACING STRESS ON THE LIGAMENTS
KIDNEY #1 POINT
THE KNEE TRACKING CORRECTLY MAKING FOR SIDE PICTURE OF THE KNEE CORRECTLY PLACED OVER
SMOOTH AND STRESS-FREE MOVEMENT. ACUPUNCTURE POINT KIDNEY #1 ON THE FOOT.
CHAPTER SIX
+ Thighs r
Wealth unused might as well not exist
—Aesop ae
The thighs, which are composed of the largest muscle and muscle group in the
body, are a rich source of power. If one looks at the human body and tries to deter-
mine the center point, it would appear to be somewhere around the stomach area.
In fact, it is located below the navel. The lungs, stomach, and large and small intes-
tines that make up the abdomen are organs that do not possess the same density as
muscle. The thighs are made up of many muscles. However, the most significant on
the front of the leg is the rec-
tus femoris sitting directly on
top of the thigh, the vastus
medialis on the inside of the
thigh just above the knee, and |
its larger counterpart on the (
outside of the leg, the vastus \
lateralis. These muscles are
among the most important
‘MI
ones for sanchin kata. iN
ADDUCTOR LONGUS
REecTUS FEMORIS. ADDUCTOR MAGNUS

\ \
\ 4 GRACILIS
VASTUS LATERALIS
} VASTUS MEDIALIS
\
PATELLA }
THE ANATOMY OF THE THIGH.
eM
el
TAPPING THE TOP OF THE THIGH TO FEEL TAPPING THE SIDE OF THE THIGH TO FEEL
THE TIGHTNESS OF THE MUSCLES THE TIGHTNESS OF THE MUSCLES.
Thighs: Test It
Standing in sanchin dachi with your same arm as your lead leg, reach down and
poke the top of your thigh with your index finger. It should be firm but not hard.
Now reach around the outside of your lead thigh, the vastus lateralis, and, using your
finger, again poke your thigh. The difference in intensity should be great. The top
of the thigh will remain firm but not tight while in sanchin dachi and the outside of
the thigh, the vastus lateralis will be strong, firm, and tight.
CHAPTER SEVEN
i Hips K
Moto, Moto, Moto

(Translation: More, More, More)
—Judo Sensei to his student as he turns

his hips in preparation of a throw. *°
The hips are to be square to the form. If a person is facing a wall while doing
sanchin kata, the hips should remain square to the wall. When stepping, it is impor-
tant to be attentive to not leaving a hip behind. As one steps forward, oftentimes the
hip that does not move gets left behind and is brought forward after the fact, and set
after the stepping has finished. Even slightly doing this delays the setting of the tech-
nique and disrupts the architecture of the form. There is a tendency among some
practitioners to leave the side of the hip with the rear leg slightly back while stand-
ing still. Standing with one hip back should be avoided because it makes the stance
weak, requires the hip to be moved prior to the leg, and segments the body, not all
of which are advantageous to swift, powerful movement.
33
34 THE WAy OF SANCHIN KATA
FACING IN SANCHIN DACHI WITH THE REAR HIP HELD BACK. FACING IN SANCHIN DACHI WITH THE REAR
HIP HELD FORWARD IN PROPER ALIGNMENT.
Hips: Test It
Stand in front of a mirror in sanchin dachi, \et one side of your hip fall, or slip
back a little. This position takes less effort and opens up the hips. Now step forward
while watching yourselfinthe mirror. You will find that a large movement originates
in the hip. The reason for this gross movement is that the hip needs to travel further
and it needs to move first prior to the step. Opening the hip, or having the hips
twisted so one is back of the other creates a bigger ski. A larger ski, or opening is not
desirable because it makes the practitioner more vulnerable. Now reset your position
and this time twist the hip on the rear leg side forward bringing the hip square to the
mirror. Again, step and notice as the hips and the body move as one unit. This uni-
fied movement gains the practitioner structural integrity and speed because all parts
move as a single unit.
CHAPTER EIGHT
The Trunk of a Strong Tree

nm
oe
_<t
Me
In union there is strength.
—Aesop ef
The sacrum is a bone shaped like an inverted triangle that sits at the end of the
lumbar region. The sacrum also forms the back of the pelvic girdle. To make the
spine as straight as possible, it is necessary to tilt the sacrum. When a person is
straightening their spine, it can appear the person is thrusting their hips forward.
Because the sacrum is attached to the rest to the pelvic girdle including the hipbones,
when the sacrum is straightened into a vertical alignment, the whole pelvic girdle
moves forward, giving the illusion the hips are the key to correct position of the
pelvic girdle. The fact is the hips are not the object of attention but merely an indi-
cator of the sacrum being in the correct position. Oftentimes a thrusting of the pelvis
forward on the step is done by the practitioner of sanchin kata to the extent that the
obi, or belt, actually does a little flip from the thrust. While this is a good training
aid for the beginner, for the more skilled practitioner it is an unnecessary overem-
phasis. This kind of thrust is actually an
attempt to move the sacrum at the base of
the spine to align with the spinal column
as needed for the correct posture for
sanchin kata. The tucking under of the
pelvis and the little flip of the 067 put the
-mind in the front of the body when it <4— = SAcRUM
should be focused on the sacrum and

downward, not up and out.
THE ANATOMY OF THE SACRUM.
5
(oP
BELT FLIP SEEN FROM THE SIDE. THE PELVIC GIRDLE.
SACRUM
PELVIS HELD VERTICAL BY PULLING THE COCCYX DOWN PELVIS TUCKED UNDERNEATH. VIEW FROM THE SIDE.
STRAIGHTENING THE SACRUM.
CHAPTER NINE
T Movement Not Seen +

LA.
SE
y
When you decide to attack, keep calm and dash in quickly, forestalling the enemy.
—Miyamoto Musashi 8
The Parallax
Parallax is a word common to astronomy; it is also called triangulation. Parallax
allows astronomers to judge distance or a military radio operator to find another
radio. In nature, it allows predators to judge the distance to their meal. As a rule, a
predator has their eyes in the front of their head for stereoscopic forward vision that
allows for triangulation. To provide peripheral vision, predators turn their heads.
STAR A Star A see
STAR A cchij Star A
PARALLAX MOTION
=
PARALLAX MOTION
PARALLAX ANGLE
PARALLAX ANGLE
NEAR STAR
NEAR STAR
DISTANCE er a DISTANCE
SUMMER WINTER
SUMMER WINTER EARTH'S ORBIT AROUND THE SUN
EARTH'S ORBIT AROUND THE SUN
PARALLAX #1 PARALLAX #2
7,
Herbivores have their eyes on the sides of their heads giving them a much wider
vision, yet they cannot see well directly in front of themselves. When a bird tries to
look closely at something on the ground, they turn their head and place one eye on
the subject. Each form of eye placement has an inherent advantage and disadvantage.
Humans, who like predators, have front-set eyes, use parallax to judge distance.
Simply put, given three points, one can judge their distance from an object. The
first two points, in this instance would be the eyes, the left eye being the first point,
and the right eye the second point. The third point of the triangulation would be the
object at which one is looking. Naturally, using this information, one is able to judge
distance because of the movement of the background.
Movement: Test It 1
Hold your thumb up at arm’s length and look at a wall with just one eye. Then
close that eye and look at your thumb with your other eye. Your thumb will seem to
shift its position against the wall. Viewing an object from two different perspectives
makes it to seem to move between two positions, at least compared to its back-
ground.
Now move your thumb closer to your face and repeat looking at the wall with
each eye. The shift of your thumb will be greater. The closer the object the larger the
shift allowing you to judge distance in the same way the astronomer does when look-
ing at the stars.
Another example of this parallax shift occurs while sitting in a moving car and
watching a fence go by. The fence close to the road moves quite quickly, whereas the
house set back from the road moves more slowly. This is one reason that sanchin kata
does not cock a punch by pulling the hand back to get power as in a Hollywood
movie. The pulling back, or cocking, of the hand gives the opponent an opportuni-
ty to see the strike coming, find the strike in space, and judge the distance and the
momentum. Cocking the punch in the classic chamber position makes the parallax
shift more difficult to detect by making it more acute. As the star viewed in the par-
allax shift part of the illustration, the star in the background that is used to judge the
distance has a very small shift. In a situation where a strike is a surprise, the Oppo-
nent is unable to judge the distance or speed and their amygdala, sometimes called
the lizard brain, brain goes into flight reflex.
Think of the owl shifting its head back and forth multiple times while it judges
its prey from a tree limb. The owl is augmenting its natural forward eye parallax with
several other positions all designed to get a better judgment on the distance of its
next meal. Humans do the same thing. For example, a person driving in snow, rain,
and fog or having a hard time seeing what is taking place up the road—maybe an
accident has happened. In this situation, one will naturally do what the owl does,
Chapter Nine: Movement Not Seen 39
Oo ©)
LOOKING AT A SPOT ON THE WALL LOOKING AT A SPOT ON THE WALL

WITH THUMB AT ARM'S LENGTH. WITH THUMB AT HALF OF ARM’S LENGTH.
crane the neck up, down, and side to side in an effort to get as much information
about how far away your subject of focus is from you. This is a natural and instinc-
tual behavior that humans often do unconsciously.
Movement: Test It 2
An excellent way to demonstrate this shift is to take a bo and swing it like a base-
ball bat toward the head of a person. The person who is having the 40 swung at them
will easily be able to discern the timing of the swing and lift their arm to block the
swinging 60 with confidence. Now hold the 40 with the tip pointed at the face of the
other person. While sliding the 40 through the lead hand, thrust the tip of the bo to
their face. The swifter you move and the less motion you make, the more the other
‘person’s reaction will be to flinch away from the thrusting tip.
In the first scenario, the 60 swinging from the side allows the upper brain to be
active and wrest control from the amygdala, or lizard brain. In the second example,
the lizard brain is engaged in deciding two actions—fight or flight—due to the lack
of a parallax shift. This lack of shift means decisions need to be made instantly.
Oftentimes, the decision made is to retreat, to accumulate more information.
When we move in sanchin kata, our goal is to deny our opponent the ability to
use parallax shift to gauge distance or speed, or both. The second part of the action
PREPARING BO SWING TO SIDE OF HEAD. SWINGING BO AT SIDE OF HEAD WITH BLOCK RESPONSE.
PREPARING BO THRUST TO FACE. THRUSTING BO TO FACE WITH RECOIL REACTION.

Chapter Nine: Movement Not Seen 41
STANDING OVER BO DEMONSTRATING CENTERLINE. WALKING WITH OVEREMPHASIS ON THE CRESCENT STEP
DEMONSTRATING SIDE-TO-SIDE WOBBLE.
of denying them this ability is that the lizard brain takes over and you elicit a flinch
reaction from the opponent as they react to the incoming threat. This flinch reaction
can be as large as leaning back and lifting the arms to a simple “brain burp” as they
control their flinch reaction and the higher brain audits the moment’s events. The
flinch reaction can be trained out of a person but is very difficult to do because it
requires the mind to override the basic fight-or-flight instinct. This is the moment
of advantage, the opening, or the si in Japanese.
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CHAPTER TEN
a Crescent Step
Sometimes a cigar is just a cigar.
—Sigmund Freud 22
The crescent step is used in stepping in sanchin kata. It is called a crescent step
because the path that the advancing foot traces on the floor resembles a crescent
moon. Overthinking the crescent step can cause a practitioner to spend too much
effort on a movement that is fundamental and simple at the same time. Often the
focus is on the step and the feet, and, although this is important, this focus places
the emphasis on the end of the action and not the root movement. When the focus
is placed on the end action, the fundamentals can be lost and the crescent step is no
exception. In an effort to deny the opponent the opportunity to detect parallax shift
via any extraneous movement or to give them a cue to your actions, it is important
to make no lateral movement. When executing the crescent step, the action is direct-
ed forward to the opponent and not to the sides.
There is a distinct difference between walking and the kind of stepping one does
in sanchin kata. A walk is a controlled fall. That is to say that for a moment, when
walking, one is literally falling a short distance. One balances on one foot for a
moment and leans forward as the other foot is picked up and placed in front. For
that brief moment, one has moved from being balanced on one foot to shifting their
weight forward and falling onto their other foot. Stepping in sanchin kata is differ-
ent from walking in that the first motion of the step is not to shift the weight to one
leg like in walking, but to move forward by bending the forward knee and pulling
with the lead foot. In this manner, the practitioner moves forward not sideways,
which avoids a parallax shift and controls their balance by having the moving foot
remain in contact with the ground.
The difference between sanchin kata stepping and natural stepping is shown in
the graph below. While not scientific, the graph is useful as an illustration of the loss
of power in walking. Walking, because it is a controlled fall, is based more on grav-
ity than muscular power. Sanchin kata stepping is based on muscular power and less
in gravity. The first illustration shows the power line dipping severely while the per-
43
SANCHIN DACHI STEPPING PREPARATION. SANCHIN DACHI STEPPING WITH

INITIAL FORWARD KNEE MOVEMENT.
son is balanced on one foot and preparing to fall into the next step. This weakness
comes first from the falling involved in the stepping action and secondly from the
rear foot first orientation. A lean of the upper body is required to un-weight the rear
foot. During sanchin kata stepping, the power line stays straight. This is because the
initial stepping action is one of pulling with the front foot so the body does not lean
and stays vertical and balanced.
Chapter Ten: Crescent Step 45
2
STAGE 1. WALKING USES A CONTROLLED FALL. LITERALLY STAGE 2. COMPLETION OF WALKING CONTROLLED FALL.
BALANCING ON ONE FOOT AND FALLING ONTO THE OTHER.
STAGE 1 SANCHIN KATA STEPPING BEGINNING POSITION WITH STAGE 2. COMPLETION OF SANCHIN KATA STEPPING.
INITIAL MOTION OF FORWARD FOOT PULL.
Standing Pushing On one Standing

with base foot
Standing Pulling On one Standing
foot
with front foot
foot
i)
=
a
[4 Power
as: a
Distance
Distance
is ia ———
Power GRAPH: WALKING. POWER GRAPH: SANCHIN KATA STEPPING.
Chapter Ten: Crescent Step 47
PARTNERS BEGIN FACING EACH OTHER WITH THE TESTER ATTEMPT TO “WALK” INTO THE TESTER’S FIST.
PLACING A VERTICAL FIST ON THE CHEST OF THE PERSON WHO
IS HAVING THEIR CRESCENT (SANCHIN KATA) STEP TESTED.
Crescent Step: Test It 1

After your partner places a vertical fist on your chest giving pressure, attempt to
walk into the fist. You will not be able to move forward because you have leaned into
the fist and are trying a controlled fall, a walk. Stop and reset the test. Now this time,
step with sanchin kata stepping, pulling with the front foot instead of walking as you
did before. You will move forward easily.
RQ ®
Hig oe
ak
eS
7 1
PARTNERS BEGIN FACING EACH OTHER WITH THE TESTER PLAC- FACING MIRROR STANDING OVER A BO.
ING A VERTICAL FIST TESTING SANCHIN KATA.
Crescent Step: Test It 2

Stand in front of a mirror, the larger
the better. Using tape, make a straight line KEEPING SIDE TO SIDE
on the floor or have somebody else watch SHIFTING AS SMALL AS
POSSIBLE
you step forward in sanchin dachi. If your
first move was to lean to one side, putting
all your weight on one leg, you are not
moving toward your target. To lean to
one side and then the other as you step is
a waste of motion and of time. To remove
this lean, bend with the lead leg at the
knee making your first motion a forward
motion. Then let the other leg draw up
naturally and in a crescent step pass the
other foot on its way to the next position.
This method makes all motions go for-
ward and reduces side-to-side leaning to a
FACING MIRROR AND STEPPING FORWARD
minimum. WHILE NOT SHIFTING FROM SIDE TO SIDE.
CHAPTER ELEVEN
1 The Spine A
One thousand days to learn; ten thousand days to refine.
—Japanese Proverb
The spine, the vertebral column, or the backbone, which is part of the axial
(upper body) skeleton, forms a strong but flexible shaft that supports the upper
body, the ribcage, shoulders, and head. Because ofits flexibility, the spine needs sup-
port, which is provided by ligaments and muscle. It also houses the spinal cord, the
neurological highway of communication between the brain and the rest of the body.
The intervertebral discs or simply, disks, serve the role of the body’s shock absorbers,
protecting the vertebrae, brain, and other structures. The bones of the spine are
grouped into three major sets: the cervical vertebrae, the thoracic vertebrae, the lum-
bar vertebrae, the sacrum (five fused vertebrae) and the coccyx (four fused vertebrae).
For our purposes, we will discuss the last two sets of fused vertebrae as the sacrum
and the coccyx and the other three sets by individual numbers in descending order
from the base of the skull.
The cervical vertebrae are numbered one through seven starting at the base of the
skull.
The next set are the thoracic vertebrae, composed of twelve vertebrae, then the
final set of non-fused vertebrae, the lumbar, composed of five. These three sets make
a total of twenty-four non-fused vertebrae.
Curvature
Each one of the three sets of vertebrae has a curvature moving front to back.
Curvature from side to side causes problems on many levels. One well-known con-
dition of this kind is scoliosis, a chronic form of lateral side-to-side curvature. The
seven cervical vertebrae have a curve toward the front of the body at the throat. The
next twelve vertebrae, the thoracic, curve the other way away from the solar plexus.
The last five, the lumbar curve back to the center of the body, moving into the body.
The most acute curves are in the fused vertebrae the sacrum and the coccyx, which
curve in the opposite direction of each other, forming the sacral curvature.”
49
The practice of sanchin kata straightens the spine taking some of the natural cur-
vature of the spine away. In many schools when the basics of sanchin kata are taught,
one of the techniques is to tell the student to pull their buttocks together tightly.
This action forces the lower part of the sacrum forward giving it the desired vertical
position. This can create issues later in the practice of the kata because the overly
tight buttocks restrict a free-flowing stepping ability. By pushing the pelvis forward
too much, a domino effect of undesirable results is created. This negative effect can
be seen most easily in the abdominal area. When the buttock is pinched together and
drawn underneath, the pelvis is rocked upward and thé sternum, or breastbone, is
dropped forward, shortening the stomach area. When the pelvis is rolled forward,
and the sternum is rolled forward and down in an attempt to shorten and create
muscular tension in the abdomen, the diaphragm is restricted. A restricted
diaphragm is similar to a birdcage. If you put a balloon in a birdcage and blow up
CERVICAL VERTEBRAE (COUNT 7)

THE NECK
THORACIC VERTEBRAE (CouNT 12)

THE Mioote Back
LUMBAR VERTEBRAE (Count 5)

THE Lower Back
SPINE ANNOTATED WITH NAMES OF SECTIONS. SPINE ANNOTATED WITH NUMBERS OF VERTEBRAE.
Chapter Eleven: The Spine 51
SPINE WITH NATURAL CURVE. SPINE WITH CURVE REMOVED.
the balloon, it only has so much room in which to expand. This version of the bird-
cage is similar to the case of a pelvis rocked forward and the sternum pulled down.
The expansion of the lungs or balloon is restricted by the ribs, or birdcage. Removing
the bottom of the birdcage allows for the expansion of the balloon downward unre-
stricted. Continuing the analogy, the lungs, with the bottom of the birdcage
removed are then limited only by the movement of the diaphragm. The diaphragm
is in turn restricted by its range of movement and other physical restrictions. When
keeping the proper structure in the alignment of the sacrum, the stomach is opened
up allowing the diaphragm the greatest freedom of movement.
A second feature resulting from the pinching of the pelvis and sternum together
is the shoving of the entrails up in the abdominal cavity thus reducing the room in
the stomach area. This shoving of the entrails upward also restricts the ability of the
diaphragm to move freely and expand downward, decreasing inhalation capacity.
The Coccyx
To achieve the proper alignment of the sacrum, it is important to focus on an
even smaller part of the body, the coccyx, commonly called the tailbone. Pointing
the coccyx downward the sacrum becomes more vertical without creating a problem
higher up and in the abdomen as previously mentioned. It is not necessary to thrust
the sacrum down or the pelvis forward. Simply moving the sacrum into as much of
a vertical position as is needed to form the alignments further up the spine is all that
BIRDCAGE AND BALLOON ANALOGY BIRDCAGE AND BALLOON ANALOGY

SHOWING RESTRICTED BREATHING. SHOWING ROOM FOR MORE BREATH.
SACRUM
Coccyx
PULL
COCCYX TILT IN NATURAL POSITION. COCCYX TILT IN SANCHIN KATA POSITION.

is required. When focusing on the coccyx,

the placement of the entire pelvic girdle
achieves the necessary natural balance and
the proper alignment without affectation
and exaggeration.
Thoracic Vertebra Number Eleven DIAPHRAGM
As already pointed out, the beginning

of this process of straightening begins
with the coccyx and sacrum, and moves DIAPHRAGM ATTACHED
up the spine to the vertebra called thoracic To THoracic #11
number eleven (T-11). It can also be

found a little more easily by counting up
seven vertebrae from the sacrum. T-11 is
significant in that the diaphragm makes
contact in this region. The spine at T-11
serves as the point of origin for the
diaphragm. Sanchin hata requires the DIAPHRAGM WITH CONNECTION TO THORACIC
spine’s natural curvature to be countered bupoe Aames, a,

here at T-11, pushing this vertebra oppo-
site, or backward, from the way it normally rests.
The Spine: Test It 1

One way to begin to experience this is to stand against a wall and place the back
of your pelvis and your shoulder blades against the wall. Slowly start to straighten
your lower back trying to touch the wall with the lower curve of your back. It is dif-
ficult if not impossible for many people to keep their sacrum in a vertical position
and push T-11 back so far as to touch the wall as well. The key here is balance, moy-
ing T-11 as close as possible to touching the wall while also keeping the sacrum ver-
tical. Because each person is unique, the essence of this exercise is for you to gain
insight as to how your spine feels when these come into alignment. Once you are
able to feel the alignment and begin to become familiar with it, feel free to move
away from the wall and attempt to gain the same sensation of having this alignment
without the support of the wall.
Next, cervical vertebra number seven (C-7) needs to be brought into line with
the sacrum and the T-11. C-7 is located seven vertebrae below the base of the skull.
To bring this into line with the coccyx, sacrum, and T-11 is a far different process
than the previous actions. To begin, it is important to have the lower parts of the
spine already in place. Standing straight, use your chest muscles to bring the shoul-
? 7
/ J
[ {
| \ | rN \
| | | {
|\ / i\
\ | |
\ | \
\
|{ ;i GaP BETWEEN WALL
GAP BETWEEN WALL | J j AND LOWER SPINE
AND LOWER SPINE \ \ H REDUCED
\ \ \
| \ \
\ i \
M d \
PLACING BACK AGAINST WALL SHOWING PLACING THE BACK AGAINST THE WALL AND
GAP BETWEEN WALL AND SPINE. REMOVING THE GAP BETWEEN WALL AND SPINE.
ders slightly forward of the center of the midway point of the torso. The shoulders-
back military attention chest posture during sanchin kata should be avoided.
Holding the shoulders back can create incidental lifting of the shoulders toward the
ears, creating a position of tension that is not beneficial. Instead, a natural position
is achieved by letting the shoulder relax to their normal resting position. The shoul-
ders now set, naturally in the front half of the torso body, do not split the difference
between the front of the body. Pulling the shoulder too far forward can cause a
caved-in chest. The practitioner needs to be mindful to avoid this collapsed chest
position. This chest position also closes, but does not cave. It is important to note
here that when breathing the chest and shoulders should not move.
Cervical Vertebra Number One

Working on the back of the head is the next step to ensure that the spine is in
the correct alignment. By pulling the back of the head backward and over the spine,
the chin is pulled in. In many traditional methods of instruction, the chin is empha-
sized because it is the fastest means of putting the skull into the right position. Often
when a person is asked to move their head backward to align the top part of the
spine, a person will tilt their head backward. So to avoid this natural reaction,
the
chin is emphasized. This means of instruction is actually about the back of the head,
not the chin and is not to protect the

throat as often said. No advantage in pro-
tecting the throat is gained by pulling the
chin in. The body when under stress or ZY
——_
HEAD ROTATED
BACKWARD ON TOP
preparing for conflict protects the throat OF SPINE
by rotating the head downward, exposing

the front skull, and reducing the exposure \
of the throat. This motion is called, “bow-

ing the neck.” This bowing of the neck is HEAD RIDING NATURALLY ON TOP OF SPINE.
a common body preparation prior to
attack. People skilled in violence will use
bowing of the neck as an indicator of
imminent attack.
HEAD RESTING
Pulling the chin too far into the throat —_— NATURALLY ON TOP
is actually detrimental to the structure of OF SPINE
the form because it restricts breathing and

places undue emphasis on constriction of
breathing that result in a harsh raspy
sound as if the practitioner is clearing HEAD TILTED BACKWARD.
their throat.
The goal of pulling the chin backward
toward the throat is to place the skull over
H
cervical vertebra number one (C1), at the CERVICAL VERTEBRA
very top of the spine without rolling the oh,

NUMBER ONE (C1)
head backward. a~
Na
The Spine: Test It 2

Stand in the opening movement of Y
sanchin kata with double chest blocks
(morote kamae). Have your partner place a HEAD POSITION AFTER CERVICAL VERTEBRA NUMBER ONE (C1)
IS PULLED INTO SANCHIN KATA POSITION.
vertical fist at the top of your sternum.
Slide your chin slightly forward, just a fin-
ger width, or two. Then have your partner press their fist into your sternum in an
attempt to push you back. After feeling the experience, reset yourself into the same
position and this time move the Cl at the base of your skull back and over the rest
of your spine. It is important to keep your jaw line level. Rocking the head is detri-
mental to sanchin kata and this test as well. With your head and Cl in place, your
partner now presses into your sternum with their fist in an attempt to push you off
your base. You will feel a distinct difference in the amount of pressure you are able
MOROTE KAMAE WITH VERTICAL FIST GIVING MOROTE KAMAE WITH VERTICAL FIST GIVING PRESSURE
PRESSURE ON CHEST WITH CHIN FORWARD. ON CHEST WITH Cl PULLED INTO PLACE, PULLING THE
CHIN BACKWARD.
to withstand. Experiment with different

positions and you will find that the cor-
rect position for sanchin kata, chin down
and Cl pulled back offer the strongest
position.
C1 IN SANCHIN KATA POSITION MAKES STANCE STRONGER.

CHAPTER TWELVE
& Shoulders ‘¥
I will master something, then the creativity will come.
—Japanese Proverb
The shoulders should sit naturally on top of the ribcage slightly forward. During
most of the day, we roll our shoulders forward caving in the chest to varying degrees.
Some people roll their shoulders so far forward they create an arched back in com-
bination with a caved chest. These are excellent examples of precisely what you do
not want to do.
Again, to emphasize this unnatural combination of rolling the shoulders slightly
forward, yet still lifting the clavicles or collarbones and dropping the sternum is very
important. Be mindful not to roll the sternum forward, resulting in the top of the
sternum being forward of the bottom of the sternum, because this causes the chest
to cave inward and a hunching of the back. Instead, pull the sternum down, keep-
ing it vertical. Again, this is about locking in the bones via muscle tension in an
unusual position. It takes practice to avoid hunching the back while crunching the
chest down and closing the solar plexus.
Shoulders: Test It
The most basic form of testing the sanchin dachi stance is to simply press into
the sternum, the chest, of a person who has rolled their shoulders too far forward.
The instability of their stance is easy to see and their balance can be displaced with
little effort.
oes
MOROTE KAMAE WITH VERTICAL FIST GIVING PRESSURE ON SHOULDERS ROLLED FORWARD RESULTS IN
CHEST WITH SHOULDERS ROLLED TOO FAR FORWARD. BROKEN STANCE, PUSHED OFF BALANCE.
MOROTE KAMAE WITH VERTICAL FIST GIVING PRESSURE ON SANCHIN KATA POSITION WITH SHOULDER HELD
CHEST WITH SHOULDERS HELD FORWARD SLIGHTLY AND SLIGHTLY FORWARD AND IN DOWN POSITION RESULTS
DOWNWARD IN SANCHIN KATA POSITION. IN STRONGER STANCE.
CHAPTER THIRTEEN
a Arms
Coming together is a beginning, staying together

is progress, and working together is success.
—RHenry Ford «
The point of origin of the arm is the shoulder. The shoulder is an inherently
unstable ball joint dangling from the side of the chest. The shoulder trades stability
for mobility as the support for the joint comes from muscles. The largest muscles
holding the joint in place are the pectoralis major and minor, the latissimus dorsi,
and the deltoid muscle.
Understanding the interplay of these muscles is important to executing a power-
ful sanchin kata. As noted in Chapter Four, in Traditional Chinese Medicine as well
as in martial arts including 7ai Chi Chuan and karate, the measurement of a kua,
which is equal to the size of an individual’s fist, is used. The measurement is used to
determine the proper distance of the elbow from the rib cage. This distance allows a
person to tighten their pectoral and latis-
simus muscles, holding the deltoid firm SCAPULA
but unflexed. By reaching across one’s
body and pressing into the deltoid muscle, { =~ CUAVICLE
one should be able to feel it in a relaxed

HUMERUS ‘a
state. By lifting the elbow out from the
body slightly, one should be able to feel
the deltoid muscle contract. This contrac-
tion of the deltoid muscle is not correct
because it slows down the strike. The
tightening of the deltoid indicates that the
first motion of the strike is not directed
forward toward the target, but instead is
directed laterally away from the striker’s
own body. In addition, the tightening
increases the time it takes to strike as the ANATOMY OF THE SHOULDER.
52
motion becomes larger. By tightening the

pectoral and latissimus muscles, the shoul-
der is stabilized. The deltoid muscle is
removed from the process, speed is
increased, and finally, the strike is direct-
ed at the target in the most expedient way,
relaxed and swift.
Upon impact of the strike, the bicep
and triceps as well as the forearm muscles,
should snap into full tension upon com-
plete extension, and then relax to a toned
readiness.
\
DEMONSTRATING THE CORRECT DISTANCE (ONE KUA)
OF BLOCKING ELBOW FROM RIBCAGE.
STRAIGHT CHEST PUNCH FORWARD WITH SLIGHT ELBOW LIFT STRAIGHT CHEST PUNCH FORWARD WITH NO ELBOW LIFT
TIGHTENING THE DELTOID (SHOULDER) MUSCLE. TIGHTENING THE DELTOID (SHOULDER) MUSCLE.
CHAPTER FOURTEEN
a The Fist rt
When pure knuckles meet pure flesh, that’s pure Karate,

no matter who executes it or whatever style is involved
— Ed Parker ®
Some versions of sanchin kata use a rotating fist and others an open hand. These
versions do not challenge the core essentials of the form and in some instances pro-
vide more color and variety, allowing a student to choose what system best suits their
needs. If a system uses open hands or nvkite, then that is what should be done, if a
closed rotating fist, then that is what should be done. The rotation of the fist follows
the Fibonacci Ratio as well. The fist does not begin the rotation from palm up to
palm down until the fist enters into the second section of the ratio.
ROTATION
No ROTATION
CHEST PUNCH HOLDING ROTATION. CHEST PUNCH SHOWING FINAL ROTATION

IN LAST PART OF FIBONACCI RATIO.
61
OVERHEAD VIEW OF STRIKING ARM NINETY DEGREES TO BODY. OVERHEAD VIEW OF STRIKING ARM MOVING
DOWN CENTERLINE OF BODY.
This twisting in the second section of the ratio allows for a greater snap. More
importantly, this rotation point prevents the elbow from flying out from the body,
keeping the path of the fist linear and the arm structurally sound for the duration
of the motion. The fist should come out from the shoulder to a person’s center-
line. This allows one to generate power via body mass as well as to tighten the pec-
toral muscle, giving support to the shoulder as discussed earlier. Just as the elbow
should not be bent at contact, because it becomes a shock absorber, nor should the
shoulder move.
Creating a ninety-degree angle between the chest and the arm allows the body to
twist away from the strike upon impact. This ninety-degree chest-to-shoulder angle
is not preferred—not only because of the already mentioned impact twist, but also
because it does not allow for the use of the muscles in their strongest manner. By
watching a serious weightlifter working with free weights, one can see the use of the
contracted pectoral muscle. Using dumbbells, a weightlifter lies down on his back
and begins a “fly” by moving the dumbbells from a spread-wide position to vertical
in front of their chest. This last position, vertical, allows the pectoral muscle to be
contracted to its maximum amount. This is similar to the final position of a chest
punch or chudan tsuki. The shoulder comes forward from the tension of the pectoral
muscle and should not move forward any more than is necessary to tighten the mus-
Chapter Fourteen: The Fist 63
SHOULDER TOO
FAR FORWARD
SHOULDER ROLLED TOO FAR FORWARD SHOULDER HELD IN POSITION BY PECTORAL

AT COMPLETION OF PUNCH. (CHEST) AND LATISSIMUS (BACK) MUSCLES.
cle and anchor the shoulder. Any more forward movement weakens the position of
the latissimus muscles.
To roll the shoulder too far forward creates imbalance by placing too much
weight forward and causes a person to be in a leaning, thus vulnerable, position.
The Fist: Test It 1

This can be tested by grabbing the wrist directly behind the fist with two fingers.
You will find it easy to unbalance the striker with little effort. A severely hunched
back conspires to create a weak spine at the area between the scapulae, or the shoul-
der blades. This also pushes the chin forward, which, as already discussed, is a poor
structural position. Have your partner then reset the shoulder into the ninety-degree
position as described above and attempt with the same grip to try to pull the strik-
er. The result will be very different.
When retracting the striking hand, the same Fibonacci Ratio applies here as well.
When pulling back, it is important that the hand be held in the striking position for
the first inch or so during retraction. Just prior to contact when punching, the hand
completes the rotation. This position is repeated in reverse as you retract the hand.
This movement can often be overlooked. After the initial pull, the rotation then
begins and not before. The elbow of the arm then rests against the first attached rib.
SHOULDER ROLLED TOO FAR FORWARD AT COMPLETION OF SHOULDER HELD IN POSITION BY PECTORAL (CHEST) AND
PUNCH AND USING TWO FINGERS TO PULL STRIKER OFF LATISSIMUS (BACK) MUSCLES ATTEMPTING MOVEMENT WITH
BALANCE. TWO FINGERS.
The Fist: Test It 2

To demonstrate the reason for this action is to omit the punch out and having
your training partner grab your wrist. Without pulling the little inch or so, try to
rotate your arm into the chudan uke position or the chest block; it is difficult but
achievable.
Now repeat the test with a slight pull first, and then with the rotation to the chu-
dan uke position. The second one is easier because you have used kugushi, or imbal-
ance. This kuzushi breaks the other person’s position on the ground and allows you
to pull them into a very favorable position for you and a very poor one for them.
The Fist: Test It 3

The first punch of the kata takes place in sanchin dachi stance. Have your part-
ner place their open hand over your punching fist while still in chamber. Move your
punching fist ahead about one fist distance (kua) from chamber, and then rotate
your fist completely over so that your fist is palm down and the thumb is toward
your body. Now have your partner give enough pressure to your punching fist to
slow it to a stop. At this point, it is rare that you will not splay your elbow outward
away from your body to compensate for the pressure. Moving your elbow outward
sets off a series of events that destroys the integrity and the power of your strike as a
Chapter Fourteen: The Fist 65
ELBOW ATTACHED TO RIBS DURING GRIPPING WRIST AND ATTEMPTING TO MOVE TO CHEST BLOCK
PUNCHING PROCESS. POSITION USING SWEEPING MOTION AS INITIAL MOVEMENT.
result of moving the energy of the strike

outward and not toward the target. When
the elbow splays outward, the power and
weight of the entire body is lost. To com-
pensate for this loss, the deltoid muscle is
activated, making your strike slower than
it should be.
Repeat the same test, but this time
keep the elbow in next to your body and
the fist palm up until the elbow passes the
ribs. This technique in combination with
a solid stance should result in a strong
punch that will withstand the test of your
partner’s pressure as they try to stop your
punch.
GRIPPING WRIST AND ATTEMPTING TO MOVE TO CHEST BLOCK

POSITION USING PULLING MOTION AS INITIAL MOVEMENT.
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CHAPTER FIFTEEN
Knuckles
A pint of sweat saves a gallon of blood.
—George S. Patton sy
Our two hands alone contain one-quarter of the bones of the adult human. They
are able to perform a broad range of tasks, from removing a sliver from a child’s hand
to smashing boards. The hands are a means of communication, with simple gestures
to full-blown languages. They communicate a range of emotions from anger to love.
The striking surface of the seiken, or fore fist, is the two first knuckles of the
hand, the index and middle finger knuckles. They do not share the weight of the
strike evenly. The index finger takes seventy percent of the strike while the middle
finger takes the remaining thirty percent.
Final rotation of the fist lifts the little finger slightly above the level plane. This
emphasizes the rotation, insuring that the first two knuckles make primary contact.
It is a tendency of a practitioner to put so
much emphasis into the first knuckle that
focusing the mind there commonly results
in the little finger knuckle, as well as the
other knuckles, to be positioned well
below the level plane.
I once met a young martial artist who,
with all the conviction in the world,
explained to me how students in his
school struck a metal pole to create “micro
fractures” in their knuckles to make the
bones stronger. A most misguided idea,
certainly. An instructor who would teach
this to his students is the equivalent of a
flim-flam man, irresponsible, stealing CONTACT OF STRIKING FIST: THE FIRST TWO KNUCKLES,
SEVENTY AND THIRTY PERCENT.
from his students their time, money, and
health.
67
Level Plane Level Plane
POSITION OF FIST JUST PRIOR TO CONTACT (SEIKEN FIST). POSITION OF FIST UPON CONTACT, KNUCKLES
NOT LEVEL (FIST PLANE — CHINEN).
Treat your hands and your fists with

care, and act responsibly when it comes to
training.
Knuckles: Test It
An easy test to establish the preferred
knuckle alignment in a seiken, or karate
fore fist, strike is to make a fist with your
right hand and smack your fist into the
open palm ofyour other hand. With a few
adjustments, you should be able to smack
your fist and feel the knuckles of the first
two fingers take on a good hit. At this
point, it is not important to have your
arm and shoulder aligned because your
focus is just on getting good contact with
your knuckles. Do not move your slap-
PARTNER SLAPPING FIST TO TEST PROPER ALIGNMENT.
ping hand to find the correct alignment.
Instead, move your fist to find the right
angle for optimum contact.
CHAPTER SIXTEEN
4 The Striking Arm
Intuition and action must spring forth at the same time.
. . 4
—Taisen Deshimaru “
In an overarching sense, the entire body must function together at the beginning
of a strike, the middle of the process, and at the moment of impact. Because of the
multiple types of joints, such as ball and hinge that are involved in the shoulder,
elbow, and hand, it is important to have a firm understanding of the mechanical ele-
ments that make up these parts of the body. The understanding of the specific roles
of these bones, joints, tendons, muscles, and nerves in the successful transferring of
energy from your body into the opponent’s body is primary. Without this under-
standing, the ability to generate power is greatly decreased.
1. Minimizing Shoulder Lift

When pulling the arm back into chamber in preparation for punching (chudan
tsuki), a person should keep the following in mind.
Never lift the shoulder under the chambered fist. This is true in all forms, not
just sanchin kata. The arm should move back into chamber with little bending of the
elbow. Pulling with the bicep is incorrect because it decreases the angle between the
forearm and the bicep, and usually lifts the shoulder. Moving the shoulder is an
immediate tip to an opponent that you are moving.
Striking Arm: Test It 1

A drill to explore this is to take a partner and without sharing with them your
intentions, face each other. Ask them to strike you in the chest from chamber, a
“loaded punch” in traditional karate. It is rare that you will find a person who does
not twitch their shoulder backward in an effort to gain momentum. When they
twitch backward, reach out, and touch them in the chest. Simply put, when you see
them prepare to punch by pulling their shoulder backward, you take advantage of it
by moving, closing in on your opponent.
The second aspect of this drill it to reveal what it is you are doing and looking
69
for, and switch places with you now as the attacker. This time, however, let your arm
hang loosely at your waist and ask your partner to touch your chest the moment they
see your shoulder move. You will soon see that even the slightest twitch is enough to
trigger a response.
So the tactic of never lifting your shoulder can be proven empirically to be a path
to more speed on your part and a two-fold increase in speed. This increase in speed
comes from the better use of your own architecture by creating a faster action and
because you have learned to detect intention in your attacker. You are faster because
you give no indication, or forewarning of your intentions and they likely do give
away their intentions.
2. Compression
Compression of the arm is important to gaining an explosive strike. By pulling
the elbow back and reducing the distance between the forearm and bicep, one gives
away their intentions because the shoulder is inclined to lift. By keeping the angle
between the forearm and the bicep as close as possible to the original angle from the
chest block, the humerus, the upper arm bone, rotates in the shoulder socket with-
out lifting the shoulder.
Once the fist on that arm reaches its chamber, it creates a sense of compression.
Pulling the arm and fist back to chamber with power slows down motion and is not
necessary.
Pulling back with power also activates the shoulder area, in this instance, the
group of muscles including the deltoid and trapezius, lifting the shoulder blade, the
scapula, on the back.
There are many chambers for the karate fist. The most desirable chamber for
sanchin kata is the placement of the fist at the ninth and tenth ribs and rests in front
of the first floating rib. Placing the fist higher lifts the shoulder. To compensate for
this high placement of the fist and to keep the shoulder low, the elbow is dropped
low. This position, which is not recommended, keeps the humerus in a vertical posi-
tion and places the forearm in a weak incline descending position. Neither of these
solutions is superior to keeping the fist in the floating rib position.
Striking Arm: Test It 2

Place your fist high in chamber, ready to punch, directly under the pectoral muscle.
Once the fist has reached the compression stage, it then fires. This requires two
things that first appear to be opposites, practice, and no thought. The practice is the
first stage, tuning the movement just in the way a guitarist tunes their instrument
prior to playing. The second stage is where, because the body has integrated the
movement, you let the body control the action. Continuing the analogy, allowing
Chapter Sixteen: The Striking Arm 71
SIDE VIEW OF ACUTE ANGLE OF ELBOW, SHOULDER, AND FIST. SIDE VIEW OF CORRECT ANGLE OF
ELBOW, SHOULDER, AND FIST.
RIBS OFAND ILO
SIDE VIEW OF ACUTE ANGLE OF ELBOW, SIDE VIEW OF CORRECT PLACEMENT

SHOULDER, AND FIST, CHAMBER TOO HIGH. OF FIST ON RIBS 9 AND 10.
the body to control the action is like the guitarist who never has to look at their
instrument while playing because they have become so familiar with the song.
3. Staying Relaxed
Staying relaxed allows for quickness. During the first three quarters of the dis-
tance the punch covers, it is relaxed. Once the fist has passed the other fist, the rota-
tion then begins. This exchange of fists takes place in the last quarter or so of exten-
sion toward the target.
The twisting of the fist at the last moment is important because it creates a snap-
ping shock instead of apush punch. The twisting of the punch at the last third or so
of the length the punch travels is in line with the Fibonacci Ratio in the form of a .
spiral. Again, this is a case of amovement that conforms to, and uses, nature instead
of trying to force the body to comply with the will of the individual.
4. The Striking Fist: The Path

The striking fist goes to your centerline. This allows you to generate power via
your body mass as well as to tighten the pectoral muscle, giving support to the shoul-
der as discussed earlier. Just as you do not want the elbow bent at contact, because
it becomes a shock absorber, you do not want the shoulder to move. Allowing the
twisting of the body and absorbing the power in the opposite direction of the strike
is an ineffective way to transfer energy.
Striking
The fist needs to stay relaxed. Some practitioners will have a tight fist through
the entirety of the punching motion, which, however, conspires to make the arm
tight and thus slow. Oftentimes, the beginner will hold their fist too loosely through
lack of focus or too tightly in the belief that a tight fist hits harder. The fact is the
fist is held firmly, but relaxed through the punching motion and is clenched just
upon contact. Compare a tight fist to a firm fist. The only detectable difference
would be the yellowing of the flesh from squeezing the blood from the hand of the
tight fist because the hand is held in the same position in either case.
This last-minute clenching is what Jack Dempsey,” former boxing champion
calls, “Grabbing Tension.” An act similar to that of a sneeze, it makes the body
like
one solid piece of wood instead of a poorly constructed rickety shack. As discussed
earlier, the point of contact for the fist is the first two knuckles, the index
and mid-
dle finger. Primary contact, however, is made with the first, or index, knuckle.
Another way to envision this is as if you have a fresh pea in your fist. The pea is
held loosely, yet secure, in the palm. When contact is made, the pea is crushed in the
palm of your fist.
c= (es Gee ees Ee

es se
SIDE VIEW OF SPIRAL OF FIST AT CONSTANT RATE OF SPIRAL. SIDE VIEW OF SPIRAL IN LAST SECTION OF
FIBONACCI RATIO (STRETCHED SPIRAL).
No exit of energy at
elbow and shoulder
Energy leaving at
elbow and shoulder
TOP VIEW SHOWING BODY ROTATION UPON TOP VIEW SHOWING NO BODY ROTATION
IMPACT FROM NINETY-DEGREE ARM PLACEMENT. FROM CENTERLINE PLACEMENT OF FIST.
g,
e4
FIST CLENCHED TOO TIGHTLY. FIST HELD LOOSELY, SHOWING PEA IN HAND.
wo if
=
FIST CLENCHED ON CONTACT.

OPEN HAND SHOWING CRUSHED PEA.
When punching, the mind is placed

not in the knuckles but in the wrist at the
median nerve. The median nerve runs on
the underside of the wrist, passing
through the wrist and dividing into to sev-
eral smaller nerve pathways to service the 6
fingers. Thinking of-the strike as originat-
WN
ing from this nerve shortens your arm in
your mind, giving your strike deeper pen-
etration mechanically. It also keeps you
from having to split a neurological
impulse further. Your mind and energy
need only go to the median nerve instead
of spending effort going to the fingers that ~~
do not need to play the guitar at this
moment.
The block of the sanchin kata is built
around correct angles MEDIAN NERVE ON WRIST.
Striking: Test It 1
The ultimate goal of striking your
opponent is the end of any further confrontation. To that end, hitting harder and
faster is a serious affair and the transference of energy from your body to their body
is fundamental. To test this method, you can use a large phone book or a speed pad.
As air shields are designed to diffuse the power of a blow, they are not useful for this
drill. Humans do not have four inches of foam surrounding their bodies.
With you and your partner facing each other in the sanchin dachi stance, have
your partner hold the phone book on their chest. The key to transferring energy
from your body to theirs is clearly the integration of the body. In this drill, howev-
er, we are going to work on the shoulder. The shoulder is among the most common
places energy leaves your body and fails to transfer to their body. Strike the telephone
book and at the time of impact tighten the pectoral and latissimus muscles, keeping
your deltoid muscle as disengaged as pos-

sible. The deltoid muscle should have the
consistency of ripe fruit, soft but not limp.
Have your partner watch your shoulder.
Any backward movement indicates a loss DELTOID
of energy and is unsatisfactory. Repeat MUSCLE
this drill until there is no movement in the

shoulder.
DELTOID MUSCLE (INDICATED BY ARROW).
STANDING IN SANCHIN DACHI WITH HAND IN STANDING IN SANCHIN DACHI PULLING HAND
CHAMBER IN PREPARATION FOR STRIKE. BACKWARD IN PREPARATION FOR STRIKE.
STANDING IN SANCHIN DACHI WITH HAND IN STRIKE WITH NO PREPARATION PULL.

CHAMBER IN PREPARATION FOR STRIKE.
Striking: Test It 2
Once you have achieved full transfer
of energy in the arm, that is to say, no
movement in the shoulder of the striking
arm, have your partner begin to lean into
the strike just before it arrives. This test
takes more skill and, once again, is a coop-
erative drill.
PARTNERS WITH ONE STRIKING AND OTHER

LEANING IN SLIGHTLY TO STRIKE.
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CHAPTER SEVENTEEN
KH TheBak 4
Go back a little two leap further.
—John Clarke”
The back should be held with the shoulders brought slightly forward and
anchored squarely, and in a relaxed downward position. The scapula (shoulder
blades) should be rolled forward and not overly so. Rolling the shoulders forward
should not cave the chest because this creates a hump in the back between the shoul-
der blades. The action of caving the chest tampers with the structure of the spine that
we are trying to achieve—a straight spine as well as the architecture of the arm as
previously described. The slight rolling forward of the shoulder should create a
slightly curved, but not hunched, back on the horizontal plane.
Bones, Sinew, and Muscle

The body can be broken into two structures when we talk about striking, or
making contact with an opponent. Those two structures can be considered the bow
and the string of a bow used for shooting arrows. The bow is equal to the bones and
the string is equal to the tendons or sinew. The bow can only be used in the capac-
ity of a weapon as a club without its string. Just as a bow is useless without the string,
the bone is the same without the sinew. In addition, like a bow the bones are pow-
esful when put into the proper architecture. Architecture implies relationship and
the power lays in the relationship of bone to bone first, secondly the relationship of
sinew to sinew, and, finally, the concerted effort of the sinew and the organized
architecture of the bones. When erecting a tent, the first thing that is done is the
poles are put into place, or in the bones. Afterward, the stakes are used to make the
tent taut via ropes, again in the body the sinew. This elegant structure can now with-
stand wind, rain, and other elements that may assault it. These two examples demon-
strate the need for proper alignment. The sinew, in this example the tent ropes, is
worthless without the bow and the tent is a mess without the poles. They must work
together for success.
79
\ |
ies
SIDE VIEW OF TORSO STANDING NATURALLY. SIDE VIEW OF TORSO STANDING WITH SLIGHT
HUNCH OF SANCHIN KATA STANCE.
This principle is applicable to both small, such as a pup tent, or larger platforms,
such as the Seven Wonders of the World. The Seven Wonders of the Ancient World
are usually agreed as: the Hanging Gardens of Babylon, the Statue of Zeus at
Olympia, the Temple of Artemis at Ephesus, the Mausoleum at Halicarnassus, The
Colossus of Rhodes, the Pharos (Lighthouse) of Alexandria, and the Pyramids of Egypt.
The Colossus of Rhodes, a statue in the shape of a man, was said to be so large
that it ships sailed between its legs as they entered the harbor. The Pharos
(Lighthouse) of Alexandria was a beacon seen for miles and miles at sea. The other
wonders were all great works in their own ways as well, yet only one exists today. The
Pyramids of Egypt were once covered with marble and a cap made of gold, and said
to be blinding in the Egyptian sun. Yet even without the cosmetics of the marble and
the gold, the structure still stands because it is naturally stable. The analogy is clear:
sanchin kata should be and is the same in that it is not based on gilding or affecta-
tion but in tried and true practicality, structural integrity, and knowledgeable appli-
cation.
For those who choose to pursue sanchin kata, fundamental stability is essential.
Chapter Seventeen: The Back 81
PUP TENT.
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CHAPTER EIGHTEEN
i}
The Energetic and Mechanical Structure ¥

a
Vy
Cf
Any sufficiently advanced technology is indistinguishable from magic.
—Arthur C. Clarke ®
The perception of ki can be many things because it varies with the level of skill
the practitioner possesses—think of it as quality and quantity. The scientific method
asks that we take a subject, break it down to its smallest element, test it, record the
results, and then repeat it again. This is science, definable, and repeatable. When you
can define and repeat an experiment, an item, the subject of the experiment then
becomes quantitative and qualitative, it is defined.
The quality and quantity of 7 is difficult to define. Ki has a quality that cannot
be tested in a true scientific method and since it cannot be tested in a scientific
method, to the scientific mind it does not exist.
Ki has a quantity but it cannot be put into a jar. This leaves the nature of &7 to
be one of experience, and making it more difficult to define a personal one as well.
A personal experience is difficult to relate and is based on assumptions.
An example of assuming a personal experience is strawberries. Frankly, I do not
care for them, yet many people love strawberries and they are perplexed when I say
I do not care for them. They assume the taste that they experience is the same one |
have, but it is not. Nobody knows what any food tastes like to another person. We
can only assume a commonality of experience. The same is true of &i. The quality of
the strawberries taste and the quality of &7 are difficult to truly know.
Sometimes we are asked to make a leap in our thinking process, a leap that pro-
pels us in the direction of a target we presume to be authentic. Science will tell you
for something to be real; it must be definable, observable, and repeatable. The Big
Bang, the assumed origin of the universe is not definable, not observable, and clear-
ly not repeatable, yet it is printed in textbooks and discussed as fact.
Therefore, the leap to accepting the existence of fi is a personal one, as amor-
phous as the Big Bang, and as personal as a strawberry—all complicated by the skill,
the individual, the environment, and assumptions.
Simply put, & energy is not a panacea, not a trump card, and not the holy grail
83
of all forms of martial arts. Ki is part of the package. It is important in that it helps
sustain and aid the practitioner, but if it is the sole means by which you choose to
define your martial arts, then you will be disappointed and possibly hurt quite badly.
In the three levels of aconfrontation, escape, control, and martial, fi is never the pri-
mary means of execution.
Ki, which refers to the body’s vital energy, is generally defined as “life force” or
“spiritual energy”. This vital energy, recognized in numerous cultures, is called by
many names: gi in Chinese, & in Japanese, prana when spoken of by a Hindu, and
pneuma in Greek. To understand fully the practice of sanchin kata, it is essential to
touch upon this energy, which is widely accepted to be‘an integral part of the kata
as well as of many forms of martial arts. Certainly, there are those in the martial arts
community who do not recognize the existence of ki. We will discuss how that ener-
gy is considered by many to manifest itself, and its purpose and value to the martial
arts and sanchin kata.
Ki energy is not a magic trick used to stop an attacker. Rather, it allows, among
other things, a practitioner to harness additional energy for increased power in exe-
cution and to withstand blows. The stories that follow, while really a series of what
one would call “parlor tricks,” provide excellent examples of how &i energy can be
used.
In the early eighties, I was a student at a Pac 10 School on the West Coast. The
school at that time was nationally ranked in track and field, and had one of the great-
est cross-country runners in the world. I found myself taking a physical education
class from one of the track coaches. One class, about midway through the quarter,
while talking about athletic performance, he began to tell an odd story about anoth-
er coach whom he worked with who used a form of energetic manipulation to win
bar bets. The instructor went on to explain that while on trips to track meets both
in the United States and abroad, the other coach would seek out bets at bars where
the coaches would congregate. The bet was simple; he could beat you at arm
wrestling. Once the bet was made, he then prepared the opponent. This preparation
involved disrupting the opponents &i there were several methods the coach
employed. One was to wave his hand back and forth in a horizontal motion over the
opponent's solar plexus, after which the coach would arm-wrestle and win, often
against a larger opponent.
Our physical education teacher and track coach then set out to show a classroom
of college students how to go about replicating the disruption of another person’s hi
energy. Within moments, the classroom was paired off and we were manipulating
each other's &, making each other go weak, testing it, resorting the energy, and then
testing again.
The Test It below demonstrates the way we were shown to diminish and restore
Chapter Eighteen: The Energetic and Mechanical Structure 85
another person’s energy. There are many other ways to do this test, some more
impressively than this demonstration. However, in keeping with example, the infor-
mation is presented without any additions or deletions in technique.
Energetic Structure: Test It

This is a two-person drill in which a tester and a subject are needed. The subject
begins by simply standing still at rest with their arms at their sides, in a casual man-
ner. The subject then holds either arm out from their body, to the side, at ninety
degrees. The tester then reaches up and tries to push the arm back down to the sub-
ject’s side. This is not a battle and the push needs to only be a second or two, just to
establish strength and not actually power the arm back into place, although some-
times that can happen. Have the subject return to the resting position, and then with
your right hand wave your fingertips back and forth across the sternum of the sub-
ject in a “Z” pattern about three times swiftly.
Have the subject place their arm in the same ninety-degree position they previ-
ously used and again try to move their arm downward to their side. It should be
weakened and move with ease.
Option: Instead of waving your hand in a “Z” pattern, blow a stream of cigarette
smoke into the same area. All other parts of the test remain the same.
STANDING WITH RIGHT ARM OUT IN STANDING NATURALLY WITH PARTNER

PREPARATION FOR PUSHING DOWN. MAKING “Z” ACROSS CHEST.
ARM PUSHED DOWN. HANDSHAKE GRIP TO RESTORE WITH PULL.
Once having tested the subject in the

weakened state, you can restore their ener-
gy several ways. One method is the hand-
shake. Take their right hand as if shaking
hands, and then grab their arm just above
their wrist holding their arm still with
your left hand gently pull their hand
toward yourself as if trying to separate the
hand from the arm at the wrist. Next, wig-
gle the hand up and down five or six
times. Repeat the process on the other
side. Once you have done both hands, test
the subject’s arm again. You will find that
his strength has returned.
In another arm-testing situation simi-
lar to that described in the account of the
track coach took place. This event
HANDSHAKE GRIP TO RESTORE WITH VERTICAL MOTION.
involved a powerfully built kung fu practi-
tioner who was also in the United States
Army. In a room of some thirty-odd martial artists ranging in age, skill, and style,
the presenter, also a kungfu practitioner asked the Army member to stand and put
his arm into the air at the ninety-degree angle like the track coach had done to the
college students. The presenter tested the Army member’s arm for strength in the
same way, but then the event took a different turn. The practitioner stepped across
the room turned, pointed his hand, and gave a shout. He walked back and asked the
Army member to put his arm back in the air and with little effort, and two fingers,
pushed the arm to the Army member’s side. After some brief discussion and a
demonstration on reversing the energy, a person from the audience asked the Army
guy what had happened, his reply was, “I couldn’t keep my arm up, and I am kind
of half pissed about it.”
So can people fail miserably when applying &i? Yes? Can they succeed? Yes, albeit
under controlled situations with a compliant partner. A member of a Corrections
Emergency Response Team, one of the officers who break up jail fights, told me in
so many words to always default to the mechanical. What he means is a pressure
point may not work for many reasons. Some reasons for failure of pressure points
are: the attacker being on drugs, not being able to find the pressure point, and some
other reasons you can probably list yourself.
Pain compliance is creating enough pain to make an attacker dance on their toes
while you lead them to the door. It is important to understand that pain compliance
may not work because the attacker may not feel the pain the way others do.
However, immobilization is the mechanical means of actually locking a joint or pin-
ning a person to the point of total control; now that is very difficult to fight.
Mechanical Structure: Test It 1

Have a partner lie face down on the ground and hold their arms out to the side
as if flying. Place your left palm on their right elbow. Have them place their left hand
palm up. Grip the back of their left hand, so the palm of your left hand is on the
knuckles of their left hand, and then bend their wrist making the fingers point sky-
ward. Now, place your right hand on their forearm, pressing down and pinning their
arm to the floor. Once you have set this position, have them attempt to escape.

Have a partner lie face down on the ground again and hold their arms out to the
side as if flying. Place your left knee on their right elbow. Have them place their right
hand palm up. Grip the back of their right hand, so your palm is on the knuckles of
their backhand and bend the wrist, making the fingers point skyward. Once you
have set this position, have them attempt to escape.
ARM-TO-ARM PIN OF PARTNER TO THE GROUND AS IF FLYING. INSET OF HAND-TO-HAND SHOWING

FINGERS POINTED SKYWARD.

Have a partner lie face down on the
ground again and hold their arms out to
the side as if flying. Place your feet on
each side of the left elbow while squatting
like a baseball catcher over their left arm
facing their left hand. With both of your
hands, scoop under your partner’s arm at
the wrist, one of your hands covering the
other. Finally, sit on their triceps, the
muscles between their shoulder and
elbow. The motions are to sit and lift. Do
this slowly and with caution. Have them
once again attempt an escape.
The results of these three attempts,
Version One—extremity-to-extremity pin,
Version Two—inner extremity (knee)-to-
HAND-TO-ARM PIN OF PARTNER TO THE GROUND AS IF FLYING.
extremity and Version Three—core-to-
extremity, move from negligible control to
ARM-TO-ARM PIN OF PARTNER TO THE GROUND AS IF FLYING. KNEE ON BACK OF ELBOW.
definitive control. If your opponent is able

to move their core, the center of their
body, they have an opportunity to escape
the hold. In the same way that you are
controlling their core, you must have a
strong core, a sanchin kata-strong core
whether you are standing, as preferred in
karate, or on the ground submitting to a
pin for test purposes. Having a strong core
and executing movement from that strong
core are the very essence of sanchin kata
and ultimately karate.
SQUATTING OVER THE PARTNER’S ELBOW.

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CHAPTER NINETEEN
% Thelron Shirt
ae
7
i
Ability is what you're capable of doing. Motivation determines

what you do. Attitude determines how well you do it.
—Lou Holtz”
Envisioning £7 energy surrounding particular parts of the body can be very help-
ful in sanchin kata to concentrate power and create a protection of the internal
organs. Pressure needs to exert from the abdomen at all times during the kata. Rather
than focusing just on the belly, the front, one needs to be mindful of exerting pres-
sure on all sides, the left, right, and rear. Approximately one hand width below the
belly button is the location of the hava, the Japanese term for what is considered the
location of an individual’s being. Mentally circling the waist at this level, one then
expands with the breath the belly, the sides of the abdomen, and the kidney area.
Once expanded, it is then set in place with a dropping of the barrel to anchor or fix-
ate the lower abdomen. At this point, the abdomen should physically have dropped
as well.
For the entire torso, an “Iron Shirt” can be envisioned. This Iron Shirt is also
locked down and fixed in place, and the entire area covered by the Iron Shirt in a
state of expansive tension. Once the lower abdomen has been set, that is to say, the
barrel has been dropped, the breath is lowered, and the skeletal architecture put into
place. Take a deep breath in and expand the lower abdomen, the ara, and hold that
position. Once expanded, the lower abdomen does not retract. Now while breathing,
it may look like the abdomen is moving in and out but the lower abdomen, around
‘the belt knot, does not move. Hold the lower abdomen, the /ara, as if it is where an
inflated tire that this expanded pressure does not change. This expansive tension
keeps the focus on the lower part of the body and keeps it strong. The sensation one
should attempt to achieve is that of an industrial tire filled to its proper level of air.
Just as a modern truck tire is composed of bands of steel cables, treated rubber, fiber-
glass, and other products, the body has a complex layering of materials that offer a
combination of strength, flexibility, and protection. As you move through the body
from front to back at the ribs, you move through the epidermis, the outer layer of
91
LEVEL OF THE NAVEL APPROXIMATELY
ONE HAND
HARA
HAND HELD AGAINST BODY AT NAVEL INDICATING THE HARA. HAND HELD WIDE TO INDICATE WIDTH AND WRAP OF
NATURAL BELLY PRIOR TO EXPANSION OF ABDOMEN.
skin, the dermis, the layer that contains the sweat glands and the hypodermis, hold-
ing fat and blood vessels. As you transfer to the muscles and bone, you find thicker
and stronger elements. A tire inflated and run within its boundaries will perform
without concern by the driver for some fifty thousand miles. The tire will absorb and
rebound from bumps, rocks, and curbs. Your outer body is also constructed with
similar intent; it is your responsibility to inflate and operate the body correctly.
The Iron Shirt is based, in part, on intent. The intent is not to allow a strike to
penetrate the body. There is an architectural, mental, and spiritual aspect.
The architectural aspect of the Iron Shirt has been established earlier. The archi-
tecture is critical, ranging from the feet up through the legs and radiating through-
out the body. Once the architecture is in place, the intent takes place. Simply say-
ing, “I will block the strike from entering my body” does not work by itself. The Iron
Shirt provides the necessary architecture on which to launch the intent Iron Shirt.
Mechanically, the abdomen must be crunched together in a manner similar to the
stacking of poker chips. Imagine taking a stack of poker chips in your hand and hold
the stack over the table, maybe only a poker chip’s width from the tabletop. Now
drop each chip rapidly, one by one, on top of one another. Click, click, and click
they go in order, falling a short distance, and quickly coming to rest on the one
below. This is the way the torso needs to order itself. To be structurally sound for
Chapter Nineteen: The Iron Shirt 93
Earth
Earth Core Earth Core
IMAGE OF BARREL IN ABDOMEN. IMAGE OF BARREL DROPPING THROUGH

BODY AND ANCHORING TO CORE OF EARTH.
sanchin kata, the torso must fall into place in a specific order. If one were to grab
stack of poker chips between thumb and forefinger, and then pinch, uneven pressure
would be created. Eventually, with enough pressure, the middle chips would shoot
out the backside of the stack. Again, the stack of chips is analogous to your torso and
crunching down the front of your body is equivalent to the pinching of the poker
chip stack. By creating an unequal pressure on the front side of the spine and mak-
ing the practitioner hunch unduly, thereby making the practitioner imbalanced and
weak.
Using the four points of the compass, one can “spark off” intent outward away
from the body. The sensation in the body begins at the waist level, around the belt,
or obi. Some people simply envision arrows such as those seen on a mechanical draw-
ing, others may employ such visualizations as a shield, or an energy burst—the
choice is up to the individual.
The method is as follows: Standing in sanchin dachi, use the four points of the
compass and slowly create the sensation of expansion in the lower abdomen, not just
in front but outward from all sides of the body. Eventually all four points will
become one motion. As you begin, however, start with the abdomen and once set,
move to the sides of the body simultaneously, East and West. Finally, move to the
back, at the lower spine and expand outward there as well. Once that sensation is in
Nelo?
POKER CHIPS STACKED WELL DEMONSTRATING POKER CHIPS STACKED POORLY AND
GOOD ORDER AND ARCHITECTURE. SHOWING FRAGILE ARCHITECTURE.
place, extend it upward to the chest,

under the armpits and to the spine area
between the shoulder blades.
The Iron Shirt, once set, creates bal-
ance and unity within the body, allowing
the practitioner to explode with excep-
tional power in the direction of the strike.
Iron Shirt, The Beginning: Test It 1

Stand in sanchin dachi and morote chu-
dan kumae, and have a partner face you.
Your partner is going to drop a punch into
the top of your chest. The goal is to test
the stance, not how hard your partner can
strike. Note to the striker: The punch for
these purposes needs to be done in this
fashion: the striking part of the fist needs
to employ the entire surface of the fist, DIRECTIONS OF ENERGY INTENT.
using all knuckles. This is not a normal

TWO PARTNERS FACING EACH OTHER, ONE IN SANCHIN KATA HAMMER FIST DROPPED INTO THE CHEST
AND THE OTHER WITH HAMMER FIST READY TO STRIKE. MUSCLE (PECTORAL) OF THE RECEIVING PARTNER.
karate strike. The strike needs to be dead; that is, when it makes contact, the inertia
of the strike is the only penetration. There is no pushing involved. To help achieve
this, once the fist makes contact with the upper pectoral muscle, leave it in contact
with the other person for a brief moment. A person could liken it to having a wet,
balled-up towel thrown at their chest by a baseball pitcher.
For the person being tested, assemble your architecture, preparing for the strike.
Upon contact, you will need to have your Iron Shirt in place. At the moment of con-
tact, expel energy outward toward the strike. Note that the entire body needs to be
unified. Simply leaning into the strike will impede the transfer of power. Any twist-
ing, dropping, or leaning will only weaken the sanchin dachi stance. When I was first
learning this technique, my instructor would hold his hands to his head and sweep
them down his body while saying in his Japanese accent, “Wood, whole body, one
piece of wood.” This is the mental imagery needed for this test and drill.
The sensations are your keys to correct application. For the person striking, they
should feel a rejection of their strike. The person being tested should feel no pene-
tration. The strike should hit the surface and not enter the body. Note to the strik-
er: The sensations that you feel are very important to the person being tested. Give
input as to the depth, twist, power, or any significant sensation you may feel on your
end of the experience, both positive and negative. This feedback is very helpful in
learning to generate an effective Iron Shirt quickly.

Because the striker is using a flat, dead strike, it is possible to do this drill for the
duration of a normal class without injury.
lron Shirt, Intermediate: Test It 2

Standing in sanchin dachi, drop your hands to your side and establish the Iron
Shirt. As the striker makes contact with your chest, lift a hand and quickly tap them
on their chest. The goal of this drill is to keep the Iron Shirt intact and yet be flexi-
ble enough to smoothly and quickly strike back. Over time, modify your movement
to touch them with your fingertips prior to their hand making light contact with
you. Light but firm contact is required for this drill.
Note: The open-hand fingertips used to tap the opponent’s chest in this drill *
helps teach speed first and avoid any incidental heavy contact with a fist. However,
a fist may be used for this drill by people with higher skill levels and more control.
lron Shirt, Advanced: Test It 3

Standing in sanchin dachi, hold your hands downward to the side and allow your
partner to strike your abdomen. Again, this is about architecture, not about how
tight you can clench your abdomen muscles. If the Iron Shirt is in place, you should
experience little or no discomfort.
TWO PARTNERS FACING EACH OTHER. AS ONE PARTNER STRIKES, THE OTHER ATTEMPTS TO TOUCH
THE ATTACKER’S CHEST AS SWIFTLY AS POSSIBLE.
TWO PARTNERS FACING EACH OTHER. ONE STRIKING THE OTHER’S ABDOMEN
WITH ROUNDHOUSE PUNCHES.
TWO PARTNERS FACING EACH OTHER AND ONE WITH ARMS ARMS HELD HIGH WITH PARTNER STRIKING TORSO.
HELD UPWARD AT SHOULDER HEIGHT OR HIGHER.
Iron Shirt, Advanced: Test It 4

Standing in sanchin dachi, hold your hands upward into the position of two
open-hand head blocks and allow your partner to strike your abdomen. Again, this
is about architecture. Be forewarned that in this instance, you are lifting your arms
and in doing so, the nature of the body is to un-stack itself. The body has a tenden-
cy to open up. It takes discipline to keep the sanchin dachi architecture and Iron
Shirt in place. This form of practice is recommended only for those confident in
their abilities.
CHAPTER TWENTY
Rooting _
ext st
There is nothing so easy to learn as experience and nothing so hard to apply.
—Josh Billings *
When executing sanchin kata, the concept of rooting or anchoring oneself to the
ground is essential to maintaining powerful stances and remaining in balance
throughout. This action, however, is invisible to the eye. It is about setting the Iron
Shirt and the body’s architecture in place, and envisioning that energy extending
into the ground, in essence, creating energetic roots. The transparent nature of this
rooting is critical, and should not be confused with “gripping” the ground, as is
sometimes seen. By gripping, rather than rooting to the ground, a person can be eas-
ily displaced because there is no depth involved. By the same token, any gripping
motion, whether with hands or feet, is not desired because it serves as a giveaway to
one’s intentions.
My judo instructor Kenji Yamada, a back-to-back national champion in the
fifties, would only lightly grasp my gi when demonstrating a technique. In fact, he
often just used the last two fingers, the little and ring, on the lapel of his opponent.
Yamada Sensei taught us that if he gripped hard his opponent would know his inten-
tions. Using a light grasp, one trades power for superior technique. When perform-
ing sanchin kata, this example should be considered as well.
a2
Rooting: Test It 1
Stand in morote sanchin kumae (sanchin dachi and double chest blocks) and grip
the ground with your toes, twisting your feet into the ground. The edges ofyour feet
should be pale from the pressure and your toes the same. Often this is stage is
referred to “gripping the ground,” and is not quite correct in that gripping implies
to grab so an attempt to grab the ground with the toes is made. In actuality, the feet
seize the ground by using adhesion. Trying to grab the ground with the toes actual-
ly weakens the stance. When you are ready, have your partner give slow, steady, and
consistently increasing pressure with their fist on your chest in order to displace you.
Next, stand as described at the beginning of the chapter—firm, heavy and rooted,
relaxing into the proper architecture of the feet, shins, knees, thighs, waist, and torso,
including the four points of the spine (sacrum, lumbar, thoracic, and cervical bones). -
Then have your partner repeat the same test, steady and with increasing pressure.
Rooting: Test It 2
Repeat the same test, this time having your partner push sharply and quickly
with intent to displace your stance.
The end result should be clear in that rooting to the ground is not based on a
hard tensile strength, but heavy anchored strength based in a unified body.
FOOT WITH TOES GRIPPING. FOOT WITH TOES RELAXED GRIPPING.

Chapter Twenty: Rooting 101
TWO PARTNERS FACE EACH OTHER IN SANCHIN PERSON BEING TESTED RECEIVING
DACHI \N PREPARATION TO GRIPPING GROUND. PRESSURE FROM VERTICAL FIST ON CHEST.
STANDING IN SANCHIN KATA WITH STANDING TAPPING THE OTHER PERSON'S

FIST JUST SHORT OF THE OTHER PERSON'S CHEST. CHEST WITH STANDING FIST.
TWO PEOPLE PREPARING TO TEST STEPPING IN STEPPING FORWARD AND HAVING FIST AND ARM PROVIDE
SANCHIN KATA WITH FIST TO BELT KNOT. HYDRAULIC PRESSURE AGAINST FORWARD MOVEMENT.
Two-Person Drill: Hydraulic Fist to the Abdomen.

Standing in sanchin dachi, place both hands in front of you in a chest block, a
chudan uke. Have your partner stand in front of you and to the outside so their
shoulder meets your centerline. Now, have your partner place their fist in a vertical
orientation on your lower abdomen, the koshi, with their arm bent. The goal is to
practice good technique while stepping. The partner’s arm should provide pressure
against the stepping motion, and only enough to test the structure of your move-
ment. If you are being stopped completely from moving then your partner needs to
give less pressure and build up to more over time. The partner’s fist needs to act as
a lever, not an anchor.
CHAPTER TWENTY-ONE
The Mind *
Your mind is what makes everything else work.
—Kareem Abdul-Jabbar"
Philosophers and psychologists have argued about the nature of the human mind
for centuries. One version of the definition or concept of the mind is the substantial
view. The substantial view makes the argument that the mind is its own entity,
which stands apart from the brain. The idea of the mind being different from the
brain was championed by Plato. This premise, the substantial view, makes the mind
the seat of consciousness and the brain the interface by which the mind exerts its
will.
The other view of the mind/brain or brain is the functional view. This function-
al view holds that the mind is really just a label used to order an assortment of men-
tal functions that do not have a great level of commonality other than the fact that
the brain is aware of them. This design was advocated by Aristotle.” As discussed at
the outset of this book, recognition of the mind/body connection is critical to the
understanding of sanchin kata and to the martial arts in general.
Brain Waves
There are four levels of brain activity: beta, alpha, theta, and delta. Brain waves
are scientifically recorded by measuring the fluctuating electrical impulses in the
brain. Beta waves range from 14 to 30 cycles per second. Such pulses are indicative
of a person who is fully awake, alert, excited, or tense. Alpha waves run from 8 to 13
cycles per second. They are characterized by deep relaxation, passive awareness, or a
composed state of mind. Theta waves range from 4 to 7 cycles per second. They are
indicative of a person who is drowsy, unconscious, or in a state of deep tranquility.
Delta waves run from 0.5 to 3.5 cycles per second. They are characterized by sleep,
unawareness, or deep unconsciousness.
The first two levels, beta and alpha, are the ones we are concerned with in mar-
tial arts. The brain discharges beta waves when we are awake and intentionally
focused. We are alert, ready for action, even irritated or afraid. This is because we are
103
BETA
. ALPHA
DELTA
THETA
CHART OF BRAIN WAVE FREQUENCIES.
in an active mind state. Beta is not as useful as alpha to the martial artist because it
is about thinking and thinking quite frequently gets you hit. The alpha state is
indicative of physical and mental relaxation, the relaxed, but alert mind. It is usual-
ly achieved during meditation. In the alpha state, we are aware of what is happening
around us yet ultra-focused in our concentration; this can be referred to as the cre-
ative state. The professional athlete would call it being “in the zone,” or being “in
the flow.” We have all heard of athletes who while facing great impediments to their
game such as the flu, an injury, or a tragedy have excelled beyond what was expect-
ed. A large part of their success and performance directly results from an ability to
shift into an alpha state of consciousness during competition In 1984, Marcus Allen
won the National Football League’s Super Bowl XVIII Most Valuable Player award.
In interviews after the event, he spoke about being in the zone. I paraphrase his com-
ments, but he knew that the day was different outside of it being the National
Chapter Twenty-One: The Mind 105
Football League’s Super Bowl, he spoke of how the other players on the field seemed
to move in slow motion and he had insight to what the other players where going to
do next. It was truly an experience that goes beyond the words to explain it.
A guess on my part would be the reader has experienced incidences of non-lucid
action yourself, spontaneous and unique. It could have been a potential car accident,
the dropping of a knife while cooking, playing music, or a sporting activity. Non-
lucid action is that time when you, like Marcus Allen, felt in control, yet part of
something bigger and time was experienced differently.
One of the benefits to training in martial arts is the ability to switch between beta
(waking brain waves) and alpha (or “the zone”) brain waves. Multiple studies have
shown that world-class athletes, no matter what their sport, have the ability to switch
their brain waves almost instantly from beta to alpha. In martial arts, this sort of
thing is demonstrated all the time. Breaking techniques are a good example.
Concentration begins as the hand moves into chamber. By the time a practitioner’s
fist strikes the board or the brick, his or her mind is fully in an alpha state. The tar-
get shatters effortlessly.
A traditional martial arts concept, zanshin, involves the brain in an alpha state.
Defined as “continuing mind,” zanshin is a state of enhanced awareness that should exist
just before, during, and after combat. A practitioner in this state should be hyper-aware
of his or her surroundings and prepared for anything. He or she is working in an alpha
state. A refined sense of zanshin can even help practitioners avoid conflict altogether.
The Mind: Test It

Controlling the body has often been encapsulated in the phrase, “Mind over
matter.” The overt point of the statement is that the mind, under proper attitude or
intent, can control the body. This time we are going to use the body to control the
mind. Standing in sanchin dachi with your hands at your sides, place your tongue on
the roof of your mouth. Close your eyes and roll them to the top of your head, and
hold them in that position for a couple of seconds. Note the sensation in your brain.
Keeping your eyes closed, quickly return your eyes to the forward-looking position,
and again note the sensation. After allowing your brain to clear, roll your eyes
upward again. While holding the position, sense the brain shift. This is the alpha
state, the creative state. Releasing feel yourself settle back into the beta state. You can
now move at will from beta to alpha and back by using the eye roll.’ Another exam-
ple of the body controlling the mind that is more common is the athlete who gets a
season-ending injury. Depression often follows because of the loss of a goal, team
comradeship, or simply disappointment. If you think back to a time when you where
injured and unable to participate in the training at the dojo, you may have well expe-
rienced your body and its injury bring on a level of depression.
ALPHA EYE ROLLS BEGINNING IN NATURAL POSITION. ALPHA EYE ROLLS WITH EYES ROTATED UPWARD.
An example of the positive side of this brain controlling the body is when you
receive a good word from a friend, a co-worker, or superior. These comments can
change the nature of your body. You may walk faster, be happier, or even sit
straighter in your chair. All of these are positive manifestations of a thought from
one person, made into words, projected through the air and into your brain where
the sounds are translated to words and then ideas, and they change your body in a
Positive way.
CHAPTER TWENTY-IT
wo
Ten-Minute Sanchin Kata
In the midst of movement and chaos, keep stillness inside ofyou.
—Deepak Chopra, MD Zs
The customary method of testing sanchin kata is called shime. This form of test-
ing involves two people, one performing the kata and an assistant who strikes the
performers body at times of contraction and exertion over the body. This form of
testing is usually fast, the strikes are done quickly and with deliberation.
Ten-minute sanchin kata is a version ofsanchin kata testing that is different from
what is customarily taught.
This version does not involve striking the person being tested, the practitioner.
It is executed slowly, focusing solely on form, rather than the power aspects of
sanchin kata. The goal is to allow the person doing the kata to concentrate on achiev-
ing unification of the body and, without time constraints, be able to correct their
position, and feel the proper form at each step of the way.
Excessive power or speed is not needed. Power and speed are not used in ten-
minute sanchin kata. Practice is done with an eye toward perfection of technique and
not how fast or strong the person being tested can be.
The tester does not strike the practitioner’s body. There is no trickery or overt
striking involved. The tester and the practitioner are acting in a symbiotic relation-
ship to ultimately aid the practitioner in achieving a better understanding of the kata
and their own body.
Each area on the body can be tested in eight directions as shown in the diagram
of happo no kuzushi; however, often just the main four directions, North, East,
South, and West are needed.
The test begins by having practitioner assume the morote chudan kamae position,
or sanchin dachi with two chest blocks. The tester stands in front of the person in
sanchin dachi and begins by covering the fists of the practitioner with their open
hand. The tester then pulls the fists away from the practitioner, but gently enough
that they just barely move. This position is held for a minute or two; the time is at
the discretion of the tester. Again, it is important for the tester to keep in mind that
107
NW NE
SW Cr
S
Hapro No KuZusHi, THE EIGHT POINTS OF IMBALANCE.
the effort needed to just begin to break the form is all that is needed.
The reasoning behind this is once the form of the &aza is broken, in other words,
the architecture of the position, there is no point to continuing the test. If this hap-
pens, do not continue, as the lesson is lost. Simply reset with the proper corrections
and proceed.
The tester then moves to the second position of the test by sliding their palms
on to the knuckles of the practitioner’s fist and again giving pressure to the hand
pushing them into toward the body of the practitioner. This position can be held as
long as needed and pressure can vary.
Next, the tester moves their hands to the outside of the practitioner’s hands, the
thumb side, and pressure is given inward.
Finally, the tester moves to the inside, or little-finger side and pressure is applied
outward.
Chapter Twenty-Two: Ten-Minute Sanchin Kata 109
ATTENTION MovemeNT: NONE. BREATH: IN THROUGH NOSE, Yo! (Movement: NONE. BREATH: IN THROUGH NOSE,
RELEASE THROUGH MOUTH, SHALLOW). RELEASE THROUGH MOUTH, SHALLOW).
Yo! (MOVEMENT: NONE. BREATH: IN THROUGH NOSE, YOl, BREATHING (MovemMeNT: NONE. BREATH: IN THROUGH
RELEASE THROUGH MOUTH, DEEPER, HALF OF NOSE, RELEASE THROUGH MOUTH, DEEPER, MAXIMUM CAPACITY).
YOUR MAXIMUM CAPACITY).
RAISING HANDS IN PREPARATION (MOVEMENT: ARMS ONLY. MOROTE KAMAE HEAD: RIGHT PALM TO LEFT TEMPLE
BREATH: IN THROUGH NOSE). (MoveMENT: RIGHT STEP FORWARD TO SANCHIN DACHI.
BREATH: IN THROUGH NOSE, RELEASE THROUGH MOUTH.
Now that the pattern, principle, and technique are understood, the other areas
of testing are:
The Head: forehead, both temples and the back of the head
The Fists/Arms: push, pull, side to side.
The Torso: sternum, both shoulders (pressing into the shoulder toward the other
shoulder), and the back between the shoulder blades.
The Waist: front, back, side to side.
The Thighs: outside to inside, there is no inside to outside; front of lead leg,
front to back.
Calves: The calves are tested back to front and the front, or shins, are tested just
below the kneecap pushing back. The calves can also be tested by leg to leg, or
tester’s hands to practitioners.
Feet: back, front, side to side, and twisting.
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MOROTE KAMAE HANDS: BOTH PALMS TO BOTH HANDS, MOoROTE KAMAE HANDS: BOTH PALMS TO BOTH HANDS,
DOWNWARD AND EQUAL PRESSURE. (MOVEMENT: NONE. INWARD AND EQUAL PRESSURE. (MOoveMENT: NONE. BREATH:
BREATH: IN THROUGH NOSE, RELEASE THROUGH MOUTH). IN THROUGH NOSE, RELEASE THROUGH MOUTH).
MoROTE KAMAE HANDS: BOTH PALMS TO BOTH HANDS, OUT- LEFT ARM BACK INTO CHAMBER.
WARD AND EQUAL PRESSURE. (Movement: NONE. BREATH: (BREATH: IN THROUGH NOSE).
IN THROUGH NOSE, RELEASE THROUGH MOUTH).
RIGHT PALM TO KNUCKLES OF LEFT FIST, PRESSURE DURING RIGHT PALM GIVING PRESSURE TO OUTSIDE OF LEFT FIST.
EXECUTION OF PUNCH. (MOVEMENT: LEFT ARM PUNCH. (MOVEMENT: RETURN TO CHEST BLOCK. BREATH: IN
BREATH: OUT THROUGH MOUTH). THROUGH NOSE).
LEFT STEP FORWARD INTO SANCHIN DACHI. MOROTE KAMAE HANDS: BOTH PALMS PUSHING TOWARD
(BREATH: NONE). BODY, EQUAL PRESSURE. (MoveMENT: NONE. BREATH: IN
THROUGH NOSE, RELEASE THROUGH MOUTH).
MOoROTE KAMAE HANDS: BOTH PALMS TO BOTH HANDS, MOorOTE KAMAE HANDS: BOTH PALMS TO BOTH HANDS,
DOWNWARD AND EQUAL PRESSURE. (MOVEMENT: NONE. INWARD AND EQUAL PRESSURE. (MOVEMENT: NONE. BREATH:
BREATH: IN THROUGH NOSE, RELEASE THROUGH MOUTH). IN THROUGH NOSE, RELEASE THROUGH MOUTH).
MOoROTE KAMAE HANDS: BOTH PALMS TO BOTH HANDS, OUT-

RIGHT ARM BACK INTO CHAMBER,
WARD AND EQUAL PRESSURE. (MOVEMENT: NoNe. BREATH: (BREATH: IN THROUGH NOSE),
IN THROUGH NOSE, RELEASE THROUGH MOUTH).
LEFT PALM TO KNUCKLES OF RIGHT FIST, PRESSURE DURING LEFT PALM GIVING PRESSURE TO OUTSIDE OF RIGHT FIST.
EXECUTION OF PUNCH. (MOVEMENT: RIGHT ARM PUNCH. (MOVEMENT: RETURN TO CHEST BLOCK. BREATH: IN
BREATH: OUT THROUGH MOUTH). THROUGH NOSE).
RIGHT STEP FORWARD INTO SANCHIN DACHI. MoroTE KAMAE SHOULDER: LEFT PALM TO RIGHT SHOULDER,
(BREATH: NONE). PRESSURE TO CENTERLINE. (MOVEMENT: NONE. BREATH: IN
THROUGH NOSE, RELEASE THROUGH MOUTH).
MOROTE KAMAE SHOULDER: RIGHT PALM TO LEFT SHOULDER, MOoROTE KAMAE BACK: RIGHT PALM TO BACK, BETWEEN
PRESSURE TO CENTERLINE. (MOVEMENT: NONE. BREATH: IN SHOULDER BLADES. (Movement: None. BREATH: IN
THROUGH NOSE, RELEASE THROUGH MOUTH). THROUGH NOSE, RELEASE THROUGH MOUTH).
MOROTE KAMAE BACK: RIGHT PALM TO BACK, MID-SPINE. MOROTE KAMAE BACK: RIGHT PALM TO TOP OF SACRUM AND
(Movement: None. BREATH: IN THROUGH NOSE, RELEASE LAST LUMBAR VERTEBRA. (MOVEMENT: NONE. BREATH: IN
THROUGH MOUTH). THROUGH NOSE, RELEASE THROUGH MOUTH).
MOROTE KAMAE TORSO: LEFT PALM PUSHING INTO STERNUM. MOROTE KAMAE TORSO: LEFT PALM PUSHING INTO SOLAR
(MoveMENT: NoNeé. BREATH: IN THROUGH NOSE, RELEASE PLEXUS. (MOVEMENT: NONE. BREATH: IN THROUGH NOSE,
THROUGH MOUTH). RELEASE THROUGH MOUTH).
MOoROTE KAMAE TORSO: LEFT PALM PUSHING INTO HARA. MOROTE KAMAE HIP: RIGHT PALM TO LEFT HIP, PRESSURE TO
(MovemeNT: NONE. BREATH: IN THROUGH NOSE, RELEASE CENTERLINE. (MoveMENT: NONE. BREATH: IN THROUGH
THROUGH MOUTH). NOSE, RELEASE THROUGH MOUTH).
MOROTE KAMAE HIP: LEFT PALM TO RIGHT HIP, PRESSURE TO LEFT STEP FORWARD INTO SANCHIN DACHI. (BREATH: NONE).
CENTERLINE. (MOVEMENT: NONE. BREATH: IN THROUGH .
NOSE, RELEASE THROUGH MOUTH).
MOROTE KAMAE LOWER LEG: OUTSIDE OF LEFT FOOT TO OUT- MOROTE KAMAE LOWER LEG: BOTH PALMS TO CALVES FROM
SIDE OF LEFT FOOT, PRESSURE ON KNEE TOWARD CENTERLINE. REAR, WITH FORWARD AND SLIGHTLY DOWNWARD PRESSURE
(MoveMENT: None. BREATH: IN THROUGH NOSE, RELEASE (Movement: None. BREATH: IN THROUGH NOSE, RELEASE
THROUGH MOUTH). THROUGH MOUTH).
Ky
Bie
MorOTE KAMAE LOWER LEG: LEFT KNEE TO LEFT KNEE OF MOoROTE KAMAE LOWER LEG: LEFT INSIDE OF FOOT TO LEFT
FORWARD LEG, BACKWARD PRESSURE (MOVEMENT: NONE. INSIDE OF FOOT, HEEL TO TOE, OUTWARD SWEEPING PRESSURE
BREATH: IN THROUGH NOSE, RELEASE THROUGH MOUTH). (MOVEMENT: NONE. BREATH: IN THROUGH NOSE, RELEASE
THROUGH MOUTH).
MOROTE KAMAE LOWER LEG: RIGHT INSIDE OF FOOT TO LEFT RIGHT STEP FORWARD INTO SANCHIN DACHI.
HEEL, FORWARD SWEEPING PRESSURE (MOVEMENT: NONE. (BREATH: NONE).
BREATH: IN THROUGH NOSE, RELEASE THROUGH MOUTH).
<i:
AN
MOROTE KAMAE LOWER LEG: OUTSIDE OF RIGHT FOOT TO MOROTE KAMAE LOWER LEG: BOTH PALMS TO CALVES FROM
OUTSIDE OF RIGHT FOOT, PRESSURE ON KNEE TOWARD CEN- REAR, WITH FORWARD AND SLIGHTLY DOWNWARD PRESSURE
TERLINE. (MOVEMENT: NONE. BREATH: IN THROUGH NOSE, (MovemeENT: NONE. BREATH: IN THROUGH NOSE, RELEASE
RELEASE THROUGH MOUTH). THROUGH MOUTH).
MoROTE KAMAE LOWER LEG: RIGHT KNEE TO RIGHT KNEE OF MOoROTE KAMAE LOWER LEG: RIGHT INSIDE OF FOOT TO RIGHT
FORWARD LEG, BACKWARD PRESSURE (MOVEMENT: NONE. INSIDE OF FOOT, HEEL TO TOE, OUTWARD SWEEPING PRESSURE
BREATH: IN THROUGH NOSE, RELEASE THROUGH MOUTH). (Movement: None. BREATH: IN THROUGH NOSE, RELEASE
THROUGH MOUTH).
MOROTE KAMAE LOWER LEG: LEFT INSIDE OF FOOT TO RIGHT RIGHT STEP BACKWARD INTO SANCHIN DACHI (MOVEMENT:
HEEL, FORWARD SWEEPING PRESSURE (MOVEMENT: NONE. DOUBLE CHEST BLOCK. BREATH: NONE).
BREATH: IN THROUGH NOSE, RELEASE THROUGH MOUTH).
Yo! (MovEMENT: None. BREATH: IN THROUGH NOSE, Yol, BREATHING (MOVEMENT: NONE. BREATH: IN THROUGH
RELEASE THROUGH MOUTH, DEEP, HALF OF YOUR MAXIMUM NOSE, RELEASE THROUGH MOUTH, DEEPER,
CAPACITY). MAXIMUM CAPACITY).
The order in this description is from the outside inward to the core from the top
of the body downward. It is just fine to work from the feet to the head, or just work
one section. There is no need to start in one place as the body should be unified and
all parts of the body come into play at various levels. Clearly, if one plans to test the
entire body, then starting at one end and moving to the other makes sense for order.
It is also important to note that if an emphasis needs to be placed on a point not list-
ed because of individual needs move there and test.
What to look for

This is where everything we have discussed in this book comes into play. When
testing, it is important to look at the, arms, feet, legs, and so on with an eye toward
the nuances that have been discussed. A well-trained eye will be able to understands
what needs to be tested, adjusted or reset, and in what degree. It is, thus, a position
of responsibility.
It is always best to find someone versed in sanchin kata and seek their expertise.
However, not having that person at hand is no reason not to practice the kata since
most practitioners practice other techniques and kata unsupervised. Sanchin kata
should be no different. Do not shy away from your efforts to learn and work with
others or by yourself. Sanchin kata presents the opportunity to refine a rich variety
of techniques, both mental and physical that will have positive benefit far beyond the
kata itself. It should be understood that sanchin kata is about core, core technique,
and core understanding. When these core fundamentals are practiced, the benefits to
one’s karate will be far reaching.
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. CHAPTER TWENTY- THREE
x Implements for Sanchin Kata Training 5,
Keep away from people who try to belittle your ambitions. Small people always do
that, but the really great ones make you feel that you too, can become great.
—Mark Twain”
Traditional martial arts training implements such as the makiwara (punching

board) and chishi (a leveraged weight) are excellent for honing the techniques essen-
tial to the practice of sanchin kata. A discussion of both implements follows.
The Makiwara
There are many opinions on the use of the makiwara ranging from being an
absolute essential to being a device for damaging your body. Like most things in life,
moderation and correct use are the cornerstones to benefiting the maximum out of
the makiwara.
One way to look at the makiwara is the same way a former college roommate and
pharmacist explained drugs and pharmacology to me, “The difference between a
medicine and a poison is often simply the dosage level.” This statement applies when
using the makiwara. The deliberate deforming of the hand, or any part of the body,
in the name of training, has no place in martial arts. In fact, it is contrary to its very
nature.
Some would argue that the traditional ways from China involved plunging the
hands into vessels of sand or rock, and even heated in some instances as well. Maybe
so; life expectancy, however, has increased three decades since the 1900s and as a
billboard in the Midwest proclaimed as I drove by, “Your body—where you will live
the rest of your life!” Simply put, moderation and personal responsibility are
required if one hopes to enjoy long-term physical health.
Building a Makiwara
The Okinawan people are well known for their ability to make do with what is
at hand. A makiwara is an excellent example of that ability because it is an object tra-
ditionally built of ready resources. As such, there is no gold standard to the construc-
F 125
Tachi-Makiwara Tachi-Makiwara
(standing, outdoor) (standing, indoor)
Padded striking Padded striking >

surface (front) surface (front)
+ Makiwara post Makiwara post —————>
Mounting
Wooden
pet bracket
wedge Concrete block
Ground level Floor
Age-Makiwara
(hanging)
Ceiling
AANA
<—_ Rope binding
Rubber spacer
<——- Padded striking surface (front)

S
Wooden board BEE
LEE
Bee
eRe
———————
<— Wooden board
ALRL
G
LALIT
RRL
Sg
4 <— Rope binding
Rubber spacer
THE MAKIWARA (ILLUSTRATION COURTESY OF LAWRENCE A. KANE).

Chapter Twenty-Three: Implements for Sanchin Kata Training 127
Tachi-Makiwara Tachi-Makiwara
(tapered, side view) (tapered, front view)
%y Padded striking Padded striking

SN surface (front) s surface
oN PA NAN
<+—\—-_ Makiwara post C <4 Makiwara post
Gravel for Gravel for

drainage: Cross brace drainage Cross brace
Ground level Wdididseetey : iazasasaeeee Ground level
ic > ary
%
,
This style of makiwara can also be set in This style of makiwara can also be set in
concrete with a wedge rather than buried in concrete with a wedge rather than buried in
the ground with cross bracing. the ground with cross bracing.
2
ee ee
Tachi-Makiwara
(pole-style)
Padded striking
surface
Rubber spacer
<< Makiwara post
Rocks for bracing Gravel for
ie
This style of makiwara can also be set in concrete
rather than buried directly in the ground.
tion of a makiwara. They can be mounted in the back yard, set in concrete, screwed
to a support beam, or, as I have seen, bolted to the floor in the storage room of a
health club. Historically, buried logs in parallel orientation to the upright makiwara
provided the resistance needed that concrete now provides.
Fundamentally, the vertical board, the makiwara, needs to be secured and any
means that suit your training environment is fine.
The makiwara post itself can be as tall as your chin or as tall as your chest. The
choice is yours. The makiwara sometimes is made out of trimmed boards, thicker at
the bottom of the board and thinner at the top, to give more flexibility. I have also
seen them made out of two-inch by six-inch boards with no trimming, three-quar-
ter-inch deep by four inches wide and made of a variety of woods, from pine to oak.
One spring while training in Sensei Teruo Chinen’s home garden, he put sever-
al of us to work building a makiwara. It involved digging a hole about two feet deep
and eighteen inches wide. A two-by-six board, two inches thick and six inches wide,
was held vertical in the hole with a wedge board of the same width and about two-
and-a-half feet tall was held in the hole and flush to the makiwara. The purpose of
the wedge board is to keep the makiwara in place as well as to allow for the replace-
ment of a broken makiwara by removing it to extract, and then to wedge a new one
back in place. To this hole, we added concrete and held the board and wedge in place
until the concrete had set. The bottom line regarding mounting a makiwara is that
it needs to be secure.
The padding was traditionally made of rice straw because that is what was avail-
able. From a traditional, historic standpoint, using such padding creates a classic
look. However, it does not take the abuse as well as modern materials. A person can
use anything from leather to synthetics to make the striking surface of the makiwara.
It is important that the surface be blemish free, no bumps, or poor wrapping because
these can cause injury.
A makiwara needs to flex when it is struck. With no flexibility, a makiwara sim-
ply becomes a steel pole and damage to your body will result. In the same way that
a person who works on their feet all day uses padded matting and shoes to save their
joints and back, you need some flexibility in your makiwara for all the same reasons.
Large knuckles and calluses are a result, not the objective, of training. The goal
of the makiwara is training the body to operate in concert, not building big knuck-
les. Here is a way to look at it. If you were to take the field in a National Football
League game, you had all the pads, and a helmet and the other professional football
players were unprotected, would you still want to be hit by them? The answer is,
“no,” you do not want to get hit by them because the football players’ fundamental
skills, technique, and physical training are what separate them from you, not the
gear. Muhammad Ali, Jack Dempsey, and Larry Holmes, as well as other boxing
greats did not have enlarged knuckles. Furthermore, boxers wear gloves and still suc-
cessfully knock out opponents. Again, to underscore the point, success is about tech-
nique, not trappings.
Other options
Striking pads, focus mitts, heavy bags, water bags, and other training aids are not
direct replacements for the makiwara. The reason for this is the makiwara gives
instant and direct feedback in the form of non-recoiled pressure. As a heavy bag
moves away from your fist and swings back when stuck, it takes time to sway from
your strike and then return. The makiwara gives instant pressure—the harder you
hit, the harder it gives pressure back toward you.
Makiwara: Drill 1
Stand in front of your makiwara in
sanchin dachi. Although you will switch
sides, begin with your left foot forward.
Place your right fist against the makiwara
at throat level. As always, measurements
are done against your own body, so throat
level on the makiwara is your throat level.
Without leaning into the makiwara, shift
slightly forward to bend the makiwara just
enough so you feel a firm pressure. While
holding this position, audit your struc-
ture, starting with your footing and then
moving up your body. As you do this, be
attentive to the muscles you are using.
The less contraction of muscle prior to
contact, the more explosive the muscles
are upon contact. In a effort to promote
balance in your
a
body, be sure and switch HOLDING BEND IN MAKIWARA IN
sides to right foot forward, left-hand PO An teeny os AereS
punch, and perform the structure audit
again.
Beginning Position ——>
> Held position
~~
STRIKING MAKIWARA. STRIKING MAKIWARA AND ALLOWING

RECOIL INTO BODY VIA SHOULDER.
Makiwara: Drill 2
This drill focuses on the moment after
the strike, to build an understanding of
the sensation of the rebound action of the
makiwara. Again, stand in sanchin dachi as
described in the previous drill and strike
the makiwara. Now, hold the strike. Do
not allow the makiwara to move back to
its original position even slightly. Once
the initial bounce-back from the strike has
taken place in the makiwara, you can
release the strike and begin again. Go
slowly as you start training. Just like the
kata, the slower you go the better you can
absorb what is taking place. Do not
advance too quickly either. Trying to be
fast too soon will rob you of the experi- STRIKING MAKIWARA AND NOT ALLOWING RECOIL.
ence of the rebound from the makiwara.
This sensation needs to be felt in order to
be fully understood. As with any training procedure, as the practitioner becomes

familiar with the timing, it is possible to increase speed without sacrificing tech-
nique.
This drill helps you keep your form and muscle structure in proper placement.
This drill will result in the practitioner hitting harder and stronger in a brief amount
of training time. Oddly enough the better the practitioner the less results will be
seen. Conversely, the less skilled the practitioner is in the beginning, the greater the
improvement and in less time.
Makiwara: Drill 3
This drill should not be undertaken without extensive practice and considera-
tions of your physical strength. Again, starting in sanchin dachi, strike the makiwara
with a fore fist, or setken. After becoming familiar with the distance necessary to con-
nect properly with the makiwara, close your eyes and continue striking the maki-
wara, slowly at first. If you are using a simple leather-covered makiwara, that is, with
little padding, you need to be extra cautious. A damaged hand takes a very long time
to heal and will add a substantial amount of downtime to your training.
This drill will bring confidence to your striking without needing to see the
punch.
The Chishi
The chishi, a leveraged weight, tradi-
tionally consisted of a stone mounted on
the end of a stick. Today it is often con-
crete or plaster poured around a stick. The
use of the chishi is fairly direct; it is swung
and lifted in various ways to build muscle
strength and technique, adjusting the
desired weight by moving the hands up
and down on the handle. |
Building a Chishi
Like the makiwara, there are many
ways and no exclusive “right way” to build
a chishi. The following, however, is the
easiest. A plastic tub, one used for mar-
garine, is a good size to begin with. You
THE CHISHI.
will also need some quick-setting concrete
mix, about four nails or screws, and a
piece of wooden curtain rod about two

feet in length. At the end of the curtain
rod, drive the nails or screws in the wood.
These will serve to anchor the wood into
the concrete. Place the handle into the
plastic tub and support the handle in a
vertical position any way you choose.
Pour the mixed concrete into the tub and
leave overnight. In the morning, cut the
tub away and begin training.
Chishi: Drill 1
When executing this chishi drill, it is
important to remember this is not a tradi-
tional Western weightlifting drill. It is
instead based on velocity and focus.
Standing in sanchin dachi with the
right foot forward, grasp the chishi by the MATERIALS NEEDED TO BUILD A CHISHI; STICK, NAILS
QUIKRETE™ OR PLASTER.
handle with your little finger on the stone
GRIPPING CHISHI IN LOWER BLOCK SNAPPING CHISHI INTO CHEST BLOCK POSITION.
LITTLE FINGER TO WEIGHT SIDE.
side and the thumb riding close to the

end of the handle. Hold the chishi at
arm’s length in a down-block position
(gedan uke).
With a snapping motion, bring the
chishi up into a chest block (chudan uke).
The chishi needs to be held horizontal to
the floor. The final gripping and rotation
of the hand holding the chishi should
bring the stone closer to the chest.
The opposite arm while in chamber
should mimic the same flinch of tension
of the arm holding the chishi. This mim-
icking of one side of the body by the other
helps in unifying the body.
Chishi Drill 2
The point of this drill is to control the MOROTE KAMAE (DOUBLE CHEST BLOCK) WITH CHISHI IN
BOTH HANDS (MOVEMENT: RIGHT STEP FORWARD TO
chishi while using the correct muscles for SANCHIN DACHI. BREATH: HOLD, RELEASE THROUGH MOUTH;
performing sanchin kata. The focus IN AND OUT, SHALLOW).
should be on:
1. Architecture. It is important to keep the architecture of sanchin kata in
place. The bones need to be aligned as described in earlier chapters and
remain this way during the entire kata. Be especially attentive to the elbows
to ensure they stay close to the body and do not hunch your back as you
become tired.
2. Muscle control. The pectoral, and latissimus, tension and release are of a
prime concern during this drill.
Now, perform sanchin kata with the chishi in your hands the entire time. Because
the kata should be done at a slow pace, do this exercise slowly as if doing Western
weightlifting. Once you have completed the kata with the chishi, do it again imme-
diately afterward without the chishi for a total of two repetitions.
SANCHIN KATA PULL BACK TO CHAMBER IN PREPARATION FOR STRIKING WITH CHISH/ IN HAND (MOVEMENT: LEFT PUNCH.
STRIKE (MOVEMENT: LEFT ARM BACK TO CHAMBER. BREATH: BREATH: OUT THROUGH MOUTH; IN AND OUT, SHALLOW).
IN THROUGH NOSE; IN AND OUT, SHALLOW).
SANCHIN KATA PUNCH RETURNED TO MOROTE KAMAE (DOUBLE STEP FORWARD WITH LEFT FOOT (MoveMENT: STEP FORWARD
CHEST BLOCK) (MOVEMENT: RIGHT STEP FORWARD TO LEFT FOOT. BREATH: HOLD; IN AND OUT, SHALLOW).
SANCHIN DACHI. BREATH: HOLD, RELEASE THROUGH MOUTH;
IN AND OUT, SHALLOW).
SANCHIN KATA PULL BACK TO CHAMBER IN PREPARATION FOR STRIKING WITH CHISH/ IN HAND (MOVEMENT: RIGHT PUNCH
STRIKE (MOVEMENT: PULL RIGHT ARM BACK TO CHAMBER. TO CENTERLINE. BREATH: OUT THROUGH MOUTH; IN AND
BREATH: IN THROUGH NOSE; IN AND OUT, SHALLOW) OUT, SHALLOW).
SANCHIN KATA PUNCH RETURNED TO MOROTE KAMAE (DOUBLE STEP FORWARD WITH RIGHT FOOT (MOVEMENT: RIGHT STEP
CHEST BLOCK) (MOVEMENT: STEP FORWARD LEFT FOOT. FORWARD TO SANCHIN DACHI/. BREATH: HOLD, RELEASE
BREATH: HOLD; IN AND OUT, SHALLOW). THROUGH MOUTH; IN AND OUT, SHALLOW).
SANCHIN KATA PULL BACK TO CHAMBER IN PREPARATION FOR STRIKING WITH CHISHI IN HAND (MOVEMENT: LEFT PUNCH.
STRIKE (MOVEMENT: LEFT ARM BACK TO CHAMBER. BREATH: BREATH: OUT THROUGH MOUTH; IN AND OUT, SHALLOW).
IN THROUGH NOSE; IN AND OUT, SHALLOW).
SANCHIN KATA PUNCH RETURNED TO MOROTE KAMAE (DOU-

BLE CHEST BLOCK) (MOVEMENT: RIGHT STEP FORWARD TO
SANCHIN DACHI. BREATH: HOLD, RELEASE THROUGH MOUTH;
IN AND OUT, SHALLOW).
Chishi: Drill 3
Once again standing in sanchin dachi, grip the bottom of the chishi handle and
hold the chishi stone upward at arm’s length chest high in front of yourself in a ver-
tical position. With the chishi stone held high, begin to move the stone in a circle
using your hand to generate the motion. The chishi should move in a circle about
the size of a dinner plate. Keep
your elbow in and deltoid
(shoulder) muscle relaxed.
Reversing the motion is also part
of the drill. No certain number
of repetitions is required, nor is a
particular circle size mandated
for the movement of the chishi.
However, it is better to use a
lighter weight with more repeti-
tions instead of fewer done with
a heavier weight.
CHISHI HELD IN FRONT AT ARM’S LENGTH AND MOVED IN CIRCULAR MOTION.

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CHAPTER TWENTY-FOUR
* i Breathing Fe
Nature, to be commanded, must be obeyed.
—Sir Francis Bacon ©
Breathing is the most essential part of ahuman being’s existence. Depending on

the circumstances, you can go without food for a month, water for three days, and
air maybe a minute and a half. However, because breathing is so basic to our exis-
tence, its importance to the practice of martial arts is rarely considered. However, the
proper execution of sanchin kata requires a mastery of a specialized form of breath-
ing as well as storage of air within the body. Among the core teachings embedded in
the kata are the benefits of controlled breathing techniques to the vascular system
and to lung capacity, as well as to attaining a strong body architecture that allows
one to withstand blows with ease.
It is commonly known that on a daily basis, people typically use only a small por-
tion of their lung capacity. The expansion and depth that are characteristic of sanchin
kata breathing allow the lungs to be much more completely filled, to great and var-
ied benefit.
The alveoli are the tiny sac-like spaces at the end of the bronchioles in the lungs,
are where carbon dioxide and oxygen are exchanged. Oxygen moves from the alve-
oli (high oxygen concentration) to the blood (lower oxygen concentration). The oxy-
gen first dissolves in the fluid in the interstitial tissues and diffuses into the blood.
Oxygen binds to hemoglobin in the red blood cells, which allows a greater amount
of oxygen to be transported by the blood. Red blood cells are ready and quick to pick
up as much available oxygen as possible. Because of this efficiency, the actual respi-
ratory drive is the expulsion of the carbon dioxide, not pulling in oxygen. It has been
suggested that while breathing creates pressure in the lungs to allow better oxygen
update, this is not the biological function.
The benefits of sanchin kata breathing, called “ibuki breathing,” are varied. From
a mechanical standpoint, it aids in locking down the torso, bringing the ribs, shoul-
ders, back, and abdomen to a taut readiness needed to deliver power and withstand
blows. The architecture of the body must be in place prior to beginning the ibuki
19?
breathing for it to be effec-

tive. In addition, ibuki TRACHEA
breathing places the focus
of the breath in the belly
helping anchor the body
and the mind, and exercis- same
es the vascular system,
strengthening both lungs
and diaphragm. Below is a BRONCHI
discussion of the elements

of ibuki breathing.
The Inhale
The inhale is done
through the nose and moves
through the front of the DIAPHRAGM
skull to the top of the head, es

then to the back of the head
and down the back through
the spine. Hitting the base
of the sacrum, the breath WAS
moves to the center of the
body. This area is called many things, the ara, root (or muladhara), chakra, or tanden.
No matter the term, it is all the same place and all the same thing.
To assist the practitioner’s efforts in moving the breath through the body, the
following imagery is recommended. As you breathe in, imagine the movement of the
breath as follows: Once the breath has moved to the center of your body, the ara,
make the breath swirl around itself several times. There is no mandated number of
rotations of the breath or speed at which it should rotate. One of my instructors used
to say, “It is like winding thread on a spool.”
The Exhale
The exhale begins by unwinding the spool of your breath. This unwinding is
done a little faster than the winding so you will want to adhere to a timing ratio of
5:7, described below. In the same way that a weightlifter exerts force when pushing
the weight away from their body, you need to do the same, albeit with less external
force. The breath exits straight up the core of the body rising quickly to the throat
where a slight restriction of the breath takes place before being expelled through the
mouth.
Chapter Twenty-Four: Breathing 141
\ \
SIDE VIEW OF BODY SHOWING SIDE VIEW OF BODY SHOWING PATH
PATH OF BREATH DURING INHALE. OF BREATH DURING EXHALE.
Move your breath in a non-stop circular motion. Once the activity of drawing a
breath is begun, the breath is not complete until the breath is exhaled. One way to
look at this is the Yin, the female is the inhale, and the Yang, the male, is the exhale,
together making a whole, a complete circle.
The 5:7 Ratio

A complete breath, a full inhale and exhale, is done to a 5:7 ratio of five seconds
for an inhale and seven seconds for an exhale. The ratio is the foundation not the
number, so doing sanchin kata at a 3:5 breath ratio is fine as well as a larger ratio. It
is all right to vary your training; however, always bring the training back to the cen-
ter of the 5:7 ratio. Learn the 5:7 ratio—experiment on your own.
Breath Restriction
Bulging neck veins, tense muscles, and demonic hissing are not part of sanchin
kata
Much is made of restricting the breath while doing sanchin kata. Again, the rule
of moderation applies. Restricting the breath too much during the performance of
the fata can result in escalated blood pressure, throat irritation, or headaches. It
should be noted that while there are also rumors that to practice sanchin kata in this
way leads to hemorrhoids

or even premature death.
No significant medical SUPERIOR HORN
study has been done to THERON GCTILNGE ©neeereinme

eC RICOID CARTILAGE
either substantiate or put
to an end to these claims. LARYNGEAL PROMINENCE a CTRACHEA
The breath should be
restricted because of the
head position upon the
neck. When cervical verte-
bra #1 is pulled into posi-
tion, the trachea and v
we a
esophagus are also moved -
backward causing a con- eG att
me
RU Et ‘ Ou 0 wt
striction. This constriction ~ y=
5 = = 4)
results in the Signature AN 4
sound of sanchin kata, a

kind of hissing sound, the
same as can often be heard THE TRACHEA.
from a sleeping person
lying on their back. It is not labored, nor forced; it is simply a restricted airway. This
restriction is credited with creating pressure in the lungs, forcing more oxygen into
the alveoli of the lungs. Again, this is speculation. In modern athletics, the use of
“blood packing,” actually increasing the volume of blood in the body through trans-
fusion of an athlete’s previously stored blood back into their body, is used to increase
performance. Blood packing involves increasing the volume of blood in the body to
aid in increasing uptake of, not exposure to, oxygen. This seems to indicate that cre-
ating pressure in the lungs to increase oxygen absorption is not the true goal but per-
haps is a minor side benefit.
Another element of restricted breathing is the placement of the tongue. Often
the ideal placement is described as being on the roof of the mouth; however, that is
not quite the target. Determining the placement for the tongue is best done by put-
ting the tip against your front two teeth, and then slightly adjusting it by pulling
backward until the tongue sits on the ridge of the gums.
From a physiological standpoint, ibwki breathing provides an excellent exercise
for the vascular system. Oftentimes we do not use the full capacity of our lungs or
employ our diaphragm’s full range of motion. It would be foolish to call upon an
atrophied system, in this case the lungs, to help us in a time of crisis or combat.
Thus, for its physiological benefits alone, ibwki breathing makes inherent sense.
CHAPTER TWENTY-FIVE
Turning
The obstacle is the path.
—Zen Proverb
There are two turns in sanchin kata. They are both one-hundred-and-eighty-
degree counterclockwise turns made by stepping over the left foot with the right
foot. When stepping, the right foot crosses over the left foot in an equal amount of
distance as it left behind. If the step is not made with the same distance, the stance
upon completing the turn is not correct and is too narrow. Whatever the distance
between the two feet at the beginning of the step-over into bensoku dachi, the same
distance must be recreated on the opposite side of the left foot.
To avoid another alignment issue, the stepping foot stays on the same line on
which it originated. Failing to do so will result in a shallow stance, which does not
allow for good transference of energy.
To execute the turn such that it results in a properly balanced and equal stance
at its completion, the body must drop by bending the knees slightly. As the turn is
completed, the body pops up via the knees, providing a strong rotation and strong
anchored block. This slight thrust or pop upward provides inertia in a vertical plane
creating a brief moment of heavier false gravity and giving the practitioner more
mass. This motion forces the practitioner upward and into the opponent without
leaning and sacrificing balance.*
Keeping the body erect, straight up and down when turning is critical to keep-
ing balance. Bending forward at the waist and turning gives the sensation of gener-
ating power from centrifugal force but in fact is just a swinging body. A swinging
body is not in control of itself. A swing could be equated to a leap into the air. Once
an athlete has left the ground, there is no change in the trajectory until contact with
the ground is again made.” A swinging body is similar in that the body is sent into
motion and great effort is required to stop its momentum prior to completion of the
technique. Be aware that swinging gives the sensation of power but it is deceptive
and off balance.
* Newton’s First Law of Motion: Every object in a state of uniform motion tends to remain in that state of motion unless
an external force is applied to it.
: 143
ee
SANCHIN KATA TURN IN PROCESS SHOWING SANCHIN KATA DEPTH OF STEP DURING TURNING MOVEMENT.
PROPER HEIGHT THROUGHOUT MOVEMENT.
Inertia on a Vertical Plane: Test It 1

Simply stand on a scale in your bathroom or health club. Check your weight.
Now, bend your knees slightly and thrust upward, and check your weight again. You
will notice the reading on the scale will be slightly higher in this position, demon-
strating your ability to be heavier for a brief moment.
Chapter Twenty-Five: Turning 145
CURVED BACK —=>
SANCHIN KATA WHILE DOING BENSOKU SANCHIN KATA WHILE DOING BENSOKU DACHI SHOWING
DACHI SHOWING CORRECT POSTURE. INCORRECT POSTURE WITH BEND AT WAIST.
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CHAPTER TWENTY-SIX
at The Kata
Nothing will work unless you do.
—Maya Angelou ee
This chapter shows a pattern for sanchin kata. As discussed earlier, there are sev-
eral patterns of sanchin kata. The pattern is generally a preference of the instructor
and is often directly aligned with what their teacher taught them in respect to the
kata. No pattern is inherently superior to another. The key lies in the techniques that
build the pattern, the understanding of those techniques and their application.
This pattern is a long version and is attributed to Kanryo Higashionna. It is often
referred to as the Higashionna version of sanchin kata.
Movement: None Movement: Bow

BREATH: IN AND OUT, SHALLOW. BREATH: NONE.
, 147
MovemeNT: None Movement: NONE

BREATH: IN AND OUT, SHALLOW. BREATH: IN AND OUT, DEEPER, ONE HALF OF
YOUR MAXIMUM CAPACITY.
Movement: NONE MOVEMENT: RIGHT STEP FORWARD TO SANCHIN DACHI

BREATH: IN AND OUT, BREATH: IN THROUGH NOSE,
DEEPER, MAXIMUM CAPACITY.
Chapter Twenty-Six: The Kata 149
MoveMENT: RIGHT STEP FORWARD TO SANCHIN DACHI Movement: LEFT ARM BACK TO CHAMBER
BREATH: HOLD, RELEASE THROUGH MOUTH. BREATH: IN THROUGH NOSE.
MovemeNT: LEFT PUNCH MoveMENT: LEFT ARM TO CHEST BLOCK

BREATH: OUT THROUGH MOUTH. BREATH: IN THROUGH NOSE
MOVEMENT: STEP FORWARD LEFT FOOT MOVEMENT: PULL RIGHT ARM BACK TO CHAMBER
BREATH: HOLD. BREATH: IN THROUGH NOSE.
MOVEMENT: RIGHT PUNCH TO CENTERLINE Movement: RIGHT ARM TO CHEST BLOCK

BREATH: OUT THROUGH MOUTH. BREATH: IN THROUGH NOSE,
MOVEMENT: STEP FORWARD RIGHT FOOT MOVEMENT: PULL LEFT ARM BACK TO CHAMBER
MOVEMENT: LEFT PUNCH TO CENTERLINE MovemeNT: LEFT ARM BACK TO CHAMBER

BREATH: OUT THROUGH MOUTH. BREATH: IN THROUGH NOSE.
MOVEMENT: LEFT ARM MOVES ACROSS / PALM DOWN MOVEMENT: RIGHT FOOT STEPS ACROSS
BREATH: HOLD. BREATH: HOLD.
MOVEMENT: RIGHT ARM BACK TO CHAMBER MOVEMENT: RIGHT PUNCH TO CENTERLINE

BREATH: IN THROUGH NOSE. BREATH: OUT THROUGH MOUTH.
MOVEMENT: RIGHT ARM TO CHEST BLOCK MOVEMENT: STEP FORWARD RIGHT FOOT
BREATH: IN THROUGH NOSE. BREATH: HOLD.
MoVeMeENT: PULL LEFT ARM BACK TO CHAMBER Movement: LEFT PUNCH TO CENTERLINE
MoveMmeENT: LEFT ARM TO CHEST BLOCK MOoveMENT: LEFT STEP FORWARD TO SANCHIN DACHI
MOVEMENT: PULL RIGHT ARM BACK TO CHAMBER MOVEMENT: RIGHT PUNCH TO CENTERLINE
MovemeNT: RIGHT ARM TO CHEST BLOCK MOVEMENT: STEP FORWARD RIGHT FOOT
MOVEMENT: PULL LEFT ARM BACK TO CHAMBER MoVeMENT: LEFT PUNCH TO CENTERLINE
MOVEMENT: PULL LEFT ARM BACK TO CHAMBER MOVEMENT: LEFT ARM MOVES ACROSS/ PALM DOWN
BREATH: IN THROUGH NOSE BREATH: HOLD
MOVEMENT: RIGHT FOOT STEPS ACROSS Movement: RIGHT ARM BACK TO CHAMBER
MOVEMENT: RIGHT PUNCH TO CENTERLINE MoveMENT: RIGHT ARM TO CHEST BLOCK

MoVEMENT: STEP FORWARD RIGHT FOOT MOVEMENT: PULL LEFT ARM BACK TO CHAMBER
MOVEMENT: LEFT PUNCH TO CENTERLINE Movement: LEFT ARM TO CHEST BLOCK

MOVEMENT: PULL RIGHT ARM BACK TO CHAMBER MoVeMENT: RIGHT PUNCH TO CENTERLINE
MovemeNT: RIGHT ARM TO CHEST BLOCK MOVEMENT: PULL LEFT ARM BACK TO CHAMBER
BREATH: IN THROUGH NOSE. BREATH: IN THROUGH NOSE.
MoVeMENT: LEFT PUNCH TO CENTERLINE MoveMENT: LEFT ARM TO CHEST BLOCK

Movement: No STEP, PULL RIGHT ARM BACK TO CHAMBER MovemMeNT: RIGHT PUNCH TO CENTERLINE
MOVEMENT: RIGHT ARM TO CHEST BLOCK MovemMeNT: PULL LEFT ARM BACK TO CHAMBER
BREATH: IN THROUGH NOSE. BREATH: IN THROUGH NOSE.
MOVEMENT: LEFT PUNCH TO CENTER LINE MoveMmeENT: LEFT ARM TO CHEST BLOCK
BREATH: OUT THROUGH NOSE. BREATH: IN THROUGH NOSE.
MOVEMENT: OPEN HANDS IN CHEST BLOCK POSITION MoVeMENT: PRESS BOTH HANDS DOWNWARD
BREATH: OUT THROUGH MOUTH BREATH: OUT THROUGH MOUTH.
MOVEMENT: BOTH HANDS PULLED BACK TO CHAMBER MOVEMENT: PRESS BOTH HANDS DOWNWARD
MovemeNT: BOTH HANDS PULLED BACK TO CHAMBER MOVEMENT: PRESS BOTH HANDS DOWNWARD
MovemMENT: BOTH HANDS PULLED BACK TO CHAMBER MOVEMENT: PRESS BOTH HANDS DOWNWARD
MoVEMENT; LEFT HAND UNDER RIGHT ELBOW PALM DOWN MoVveMENT: MUWASHI UKE, WRAPPING BLOCK
BREATH: IN THROUGH NOSE. BREATH: IN THROUGH NOSE
\
“a |
MOVEMENT: SET BOTH HANDS AND ELBOWS MovemMENT: BOTH HANDS UP

Movement: None Movement; None

BREATH: OUT THROUGH THE MOUTH. BREATH: OUT THROUGH THE MOUTH.
Movement: None Movement: NONE

BREATH: OUT THROUGH THE MOUTH. BREATH: IN AND OUT, SHALLOW,
Movement: NONE Movement: Bow

BREATH: IN AND OUT, SHALLOW. BREATH: NONE.
Movement: NONE
BREATH: IN AND OUT, SHALLOW.
Conclusion
Lfyou think education is expensive, try ignorance.
—Derek Bok (1930- ), Harvard University President”
Sanchin kata is an elemental form that transmits principles of combat, physical

health, and mental well-being. It has been changed and molded by those who have
taught and studied the form. The common threads that bind all forms and practi-
tioners of sanchin kata are breath, stance, and movement—the breath, deep and
made with the diaphragm; the stance, one of strength yet flexibility; and movement
of the body, the extremities and the core as well.
Sanchin kata offers benefits to the practitioner similar to any physical activity
done prudently and with the goal of good health in mind. For example, reduction in
stress is one of many benefits. If the body has less stress then a person can devote
their energies to the more important aspects of life, instead of having to deal with
such things as fighting disease, which is often a side effect of stress. Another exam-
ple would be the slow movement with synchronized, or timed, breathing that can
contribute to a sense of well being. This practice and its benefits are known to yoga
practitioners, weightlifters, and many in between these two ends of the spectrum. It
also can be noted that because the practice of sanchin kata carries no religious beliefs,
it can be adapted to a person’s training without prejudice. Many practitioners report
a calm state of mind and an increased vitality post practice, both of which of course
are highly desirable outcomes.
Sanchin kata is a most complete kata—simple, yet complex; multifaceted yet
clear. For the practitioner that is ready and willing to let the kata speak to them, its
surface value benefits as well as its deeper mysteries will present new insights, chal-
lenges, and joys for a lifetime of training.
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Notes
- (Sarah) Margaret Fuller (1810-1850) was a journalist for the New York Tribune and women’s rights
activist.
- Charles Francis Adams (1807-1886, Boston), the son of President John Quincy Adams. A lawyer he
served in The Massachusetts House of Representatives, The United States House of Representatives, and
served as 2 diplomat to Britain.
- Edmund Spenser (1552-1599) An English poet. Spenser is controversial due to his genocidal writing. “A
View of the Present State of Ireland” called for the destruction of the Irish culture via scorched earth policy.
. René Descartes. A French philosopher, mathematician, and mercenary, Descartes has been described as the
“Founder of Modern Philosophy” and the “Father of Modern Mathematics.” He is among the most influ-
ential scholars in western history.
- Chojun Miyagi ( 1888-1953) Founder of the Goju Ryu karate system, Miyagi was a student of Kanryo
Higashionna.
. Kanryo Higashionna (1850-1915) was a native of Naha, Okinawa. He learned martial arts in China and
was the instructor of Chojun Miyagi, the founder of Goju Ryu karate.
Traditional Karatedo, Performances ofKata 2. Morio Higaonna. Minato Research and Publishing Co., LTD
Tokyo Japan.
. Jigoro Kano (1860-1938) is the founder of judo. In 1882, Kano founded Kodokan Judo. His parent art
WAS fi jus.
. Gichin Funakoshi (1868-1957) An Okinawan karate master who formally introduced karate to the
Japanese mainland in 1921. He is the founder of Shotokan karate.
10. Morihei Ueshibal0 (1883-1969) was a famous martial artist and founder of aikido. Daito Ryu Aiki-jutsu
was his parent martial art.
EE: Napoleon (August 15, 1769-May 5 1821) Was Emperor of France. Napoleon Bonaparte was considered
to be a military genius. In the span of a decade, he conquered most of central and western Europe.
| Buddhist. A practitioner of Buddhism, 2 philosophy based on the teachings of the Buddha, (566 to 486
2E), given name Siddhartha Gautama. The Buddhist discipline contains the Noble Eightfold Path.
13. Bodhidharmz. A legendary Buddhist monk traditionally believed in Shaolin lore to be the founder of the
Ch’an school of Buddhism, known in the West as Zen.
14 Wasang Lohan Chuan-fa. Wildish, Paul. The Book of Chi: Harnessing the Healing Force ofEnergy. Boston
Massachusens: Tuttle Publishing, 2000
15. Kanryo Higashionna, (see note 6).
16. Kenbun Uschi (1877-1942) was an Okinawan karate instructor. He traveled to China, where he studied a
hung-fu system called Pangai-noon. After revurning to Okinawa he taught this system, which was eventual-
hy senamed Uechi Ryu.
17. The Bible, King James Version
13. Spoonerism n. the transposition of initial or other sounds of words, usually by accident. (1895-1900 after
W. A. Spooner (1844-1930), English clergyman noted for such slips).
19. Random House Dictionary of the English Language, Second Edition, Unabriged]
O15 Chojun Miyagi ( 1888-1953), (see note 6).
21. The Way ofHealing. Chi Kung, Chinese Exercises for Quieting the Mind and Strengthen the Body. 1999
Broadway Books, Random House, Inc., New York, NY.
Zz Confucius. (551 2C-479 2c) A Chinese philosopher who emphasized personal and morality and justice in
his teachings. Confucius’ teachings developed into Confucianism.
23. Ia Upanishad. Upanishads are scriptural texts of the ancient wisdom of India and are referred to as the
end of Vedas. Isha Upanishad is one of the ten ancient Indian religious and mystical writings, which also
indiude the Kena Upanishad, Katha Upanishad, Prasna Upanishad, Mundaka Upanishad, Chandyoga
Upsnishad, Erhadarnyaka Upanishad, Samanya Upanishad, Yoga Upanishad, Sakta Upanishad.
2. Johnson, Steven, “Emotions and the Brain: Fear,” Discover Magazine, March 2003
25. The Body Doesn't Lie: A New and Simple Test Measures Impacts Upon Your Life., New York, N.Y. , Warner
Books, Inc, 1979
2B. The Psychic Side ofSports, Michael Murphy, Rhea A. White. Addison-Wesley 1978
169
27 The Way of Kata, Kane and Wilder, 2005 YMAA Publication Center
. Eugen Herrigel. (1885-1955) A German philosophy professor who lived and taught in Tokyo in the
1930s. He introduced Zen to great parts of Europe through his book, Zen in the Art ofArchery, which
described his personal journey to understand Zen Buddhism through the medium of archery.
YS), Zen in the Art of Archery, Eugen Herrigel 1953 Pantheon Publishing, Inc.
30. Pythagoras. (582 BC—496 BC) was a mathematician and philosopher best known for formulating the
Pythagorean Theorem which describes the relationships among the three sides of a right triangle.
alle Tom Brown, Jr. (1950— ) Schooled in the Native American ways of tracking, wilderness survival, and
awareness, he has authored many books on the subject.
32, In mathematics, the Fibonacci Ratio forms a sequence that starts with 0 and 1, and then produces the next
Fibonacci number by adding the two previous Fibonacci numbers. 041=1 the next series is 1+1=2, next
1+2=3 resulting in the following series: 1, 1, 2, 3, 5, 8, 13.
3/5). Leonardo Pisano Fibonacci. (c. 1170-1250), An Italian mathematician best known for the discovery of the
Fibonacci numbers and the Fibonacci sequence.
34. The Republic of Kenya, is a country in East Africa. :
DD: Aesop. (620-560 Bc) A slave in Ancient Greece, his famous Aesop's Fables are short moral tales typically
involving animal characters that illustrate the essential truths about the human experience.
36. Yamada Kenji (1926-— ), a judo sensei who put together two United States championships in the mid
fifties. Trained in Japan, he taught judo for over fifty years in the Seattle, Washington area.
2y- Aesop. (620-560 BC), (see note 35).
38. Miyamoto Musashi. (1584-1645) was a famous Japanese swordsman. He is the author of Go Rin No Sho,
The Book ofFive Rings.
39. Sigmund Freud. (May 6, 1856-September 23, 1939) An Austrian psychiatrist he founded the psychoana-
lytic school of psychology, with the theory that unconscious motive control much behavior.
40. Moore, Keith. Clinically Oriented Anatomy, Second Edition. Williams and Wilkins St. Baltimore,
Maryland, 1985
4 ee!. Henry Ford. July 30, 1863—April 7, 1947) Founder of the Ford Motor Company. He was one of the first
to apply assembly line manufacturing to the mass production of affordable automobiles.
42. Ed Parker. (March 19, 1931—December 15, 1990) Edmund “Kealoha” Parker was an American martial
artist; he was the founder of American Kenpo.
43. George S. Patton (1885-1945), A U.S. Army general in World War I]. He commanded major armored
units in North Africa, Sicily, and the European Theater.
44, Taisen Deshimaru. (1914-1982) was a Japanese Zen Buddhist teacher. He authored many books including
The Zen Way to the Martial Arts.
45, William Harrison “Jack” Dempsey (1895-1983) was an Irish-American boxer who won the world heavy-
weight title. His impressive record included 62 wins, 6 losses, 8 draws, 5 no decisions and 1 no contest,
with 50 knockouts.
46, Dempsey, Jack. Championship Fighting: Explosive Punching and Aggressive Defense. New York, Prentice-
Hall, Inc. 1950
47. John Clarke. (1609-1676) A medical doctor, Minister of the Baptist order and co-founder of the Rhode
Island colony.
48, Arthur C. Clarke. (December 16, 1917-) A British author and inventor, he is most famous for his science-
fiction novel 2001: A Space Odyssey which was made into a movie by the same title.
49. Lou Holtz. (January 6, 1937—) One of the most prominent National Collegiate Athletic Association
(NCAA College) football head coaches of his time.
50. Josh Billings. (April 12, 1818—October 14, 1885).The pen name of humorist Henry Wheeler Shaw, he
toured giving lectures of his writings.
5 — - Kareem Abdul-Jabbar (1947— ), an African American former professional basketball player who is consid-
ered one of the greatest ever to play the game. He is retired and now an author and part-time actor.
De: Ancient Greek philosopher (384 BC-322 Bc), student of Plato and instructor to Alexander the Great,
Aristotle is considered among the most influential philosophers in Western thought.
Notes 171
53. Doil D. Montgomery, Jennie Robb, Kimberly V. Dwyer, and Samuel T. Gontkovsky, Single Channel
QEEG Amplitudes in a Bright, Normal Young Adult Sample. Center for Psychological Studies, Nova
Southeastern University, Fort Lauderdale, Florida, 1995, 1996
54. Deepak Chopra, M.D., (1947— ) is a medical doctor and writer. He specializes in integrative and
Ayurvedic medicine.
55. Real name, Samuel Langhorne Clemens (November 30, 1835—April 21, 1910), was a famous and writer
lecturer and humorist.
56. Sir Francis Bacon. (January 22, 1561—April 9, 1626) Best known as a philosophical advocate and defender
_of the scientific revolution, he popularized an inductive methodology for scientific inquiry.
57. Newton’s First Law of Motion: I. Every object in a state of uniform motion tends to remain in that state of
motion unless an external force is applied to it.
58. Maya Angelou. (April 4, 1928- ) Author and poet who has long been a voice in the civil rights movement
America.
59 Derek Bok (March 22, 1930—) is an American lawyer, educator and former President of Harvard
University.
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Glossary
aikido
Created by Morihei Ueshiba, aikido incorporates techniques, of throws,
joint locks, pins, and strikes using principles of energy and motion to
redirect, neutralize and control attackers.
Allopathic medicine
Conventional medicine as practiced in Europe and the United States
since the 19 century; sometimes referred to as Western Medicine.
Ayurvedic medicine
A system of medicine, more than 2,000 years old, it is based on a holis-
tic approach to health and illness rooted in Vedic culture.
benshoku dachi
A karate stance where one leg is placed behind the other in a twisting
fashion reminiscent of entwined grape vines.
bo
A Japanese word for staff, it is a long wooden pole used as a tool or
weapon.
chishi
A stone lever weight used by some karate systems to build strength.
chudan uke
A chest block in the Japanese language
chudan tsuki
A chest punch in the Japanese language
gedan uke
A low block in the Japanese language
hara
In Japanese tradition, the /ara is regard as the seat of a person’s spiritu-
al energy, located below the navel. The concept of the Aara is used in
Japanese meditation and martial arts theory.
Henan Province A province of the People’s Republic of China located in
the central part of the country.
Hetero-lateral Neurological Cross Crawl
A repetitive series of marching techniques used in kinesiology to stimu-
late the brain.
jiu-jitsu
Jiu-jitsu (also jujitsu, ju jitsu, ju jutsu, or jiu jitsu), which translates to
“yielding or compliant art” is a Japanese martial art, the basic methods
of attack which include striking, punching, kicking, throwing, pinning,
strangling, and joint-locking.
173
judo
Literally “gentle way,’ judo is a martial art, a sport and a philosophy.
Developed from jiu-jitsu, and founded by Dr. Jigoro Kano, its basic
methods of attack include, throwing, pinning, strangling, and arm-lock-
ing.
karate
Translated as “the way of the empty hand,” it is a martial art from
Okinawa that is a fusion of native Okinawan fighting methods and
Northern and Southern Chinese martial arts. °
kata
A pattern of movements containing a series of logical and practical offen-
sive and defensive techniques.
ki
The Japanese word for life energy, or life force.
koshi
“Hip” in Japanese, as in waist, or waistline.
kua
Chinese for fist or hand.
kung fu
A well-known Chinese term used in the West to designate Chinese mar-
tial arts. Originally, it meant to have skills in any endeavor.
kuzushi
To break in balance or else set up the opponent for a strike or throw.
makiwara
A striking implement unique to karate, the makiwara usually consists of
a post anchored in the ground with a padded striking surface.
morote kamae
Japanese for “two-handed preparedness,” in karate it refers to a standing
position in which both arms are held in chest blocks.
nukite
Japanese for finger strike.
obi
Japanese for belt
Okinawa
Japan’s southernmost prefecture, Okinawa consists of hundreds of
islands known as The Ryukyu Islands and is considered the birthplace of
karate.
pneuma
Greek for “breath.”
Glossary 175
prana
Hindu in origin, prana is the infinite matter of which energy is born.
Ryukyu archipelago
An island chain stretching southwestward from the island of Kyushu in
Japan. The Ryukyu islands, in particular Okinawa, are considered the
birthplace of karate.
sambo
A modern martial art, system developed in the Soviet Union. The word
sambo is an abbreviation of SAMozashchita Bez Oruzhiya meaning “self
defense without a weapon” in the Russian language.
sanchin
Three battles or difficulties emanating from mind, body, and spirit.
sanchin dachi
The Three Battles stance. Dachi means stance in Japanese.
sanchin kata
The moving pattern of Three Battles.
seiken
Japanese for front fist, or fore fist.
shaolin
A name meaning “young forest” or “small forest,” Shaolin is a method of
kung fu based on eight postures and five animal forms: dragon, snake,
tiger, crane, and leopard.
Shaolin Temple
A group of Chinese Buddhist monasteries famed for their long associa-
tion with martial arts, they are also the best-known Buddhist monaster-
ies in the West.
shime
A form of testing of sanchin kata involving striking the performer with
open and closed fists.
ski
A physical or mental opening that allows an opponent a gap in which to
gain advantage.
Tai Chi Chuan-fa
Commonly known as Tai Chi and translated as “supreme ultimate fist,”
it is a Chinese martial art known for its slow motion routines.
Taoist
Of or relating to the philosophical system called Taoism, an English
translation of the Chinese term Daojiao, which means “the way.”
triangulation
The process of finding a distance to a point by calculating the length of
one side of a triangle, given measurements of angles and sides of the tri-
angle formed by that point and two other reference points.
Uechi Ryu
A style of Okinawan karate originated by Kanbun Uechi.
zanshin
Japanese for “follow through” as in archery or technique.
Bibliography
Chia, Mantak. Iron Shirt Chi Kung I: Once a Martial Art, Now the Practice that
Strengthens the Internal Organs, Roots Oneself Solidly, and Unifies Physical,
Mental and Spiritual Health. Huntington New York: Healing Tao Books,
1986.
Chia, Mantak. Chi Self-Massage, The Taoist Way of Rejuvenation. Huntington, New
York: Healing Tao Books, 1986.
Cho, Alexander, L. Five Ancestor Fist Kung-Fu: The Way of Ngo Cho Kun. North
Clarendon, Vermont: Charles E. Tuttle Company, Inc., 1983, 1996.
Diamond, John, MD. Your Body Doesn't Lie: A New Simple Test Measures Impacts
Upon Your Life Energy. New York: Warner Books, Inc., 1979.
Gendlin, Eugene, T. Ph.D. Focusing. New York: Bantam Books New Age Books.
1979; 1984.
Higaonna, Morio. Okinawan Goju Ryu: Traditional Karatedo, Performances of
Kata #2. Tokyo, Japan: Minato Research and Publications, 1986.
Johnson, Don. The Protean Body: A Rolfer’s View of Human Flexibility. New York:
Harper Colophon Books, 1977.
Johnson, Jerry, Alan. The Essence of Internal Martial Arts: Energy Theory and
Cultivation. Pacific Grove, California: Ching Lien Healing Center, 1994.
Johnson, Jerry, Alan. The Essence of Internal Martial Arts: Esoteric Fighting tech-
niques and Healing Methods. Pacific Grove, California: Ching Lien Healing
Center, 1994.
Johnson, Steven. “Emotions and the Brain: Fear.” Discover Magazine. March 2003.
Kane, Lawrence, A. and Wilder, Kris. The Way of Kata: A Comprehensive Guide to
Deciphering Martial Applications. Boston: YMAA Publication Center, 2005.
Kotani, Sumiyuki, Osawa, Yoshimi, and Hirose, Yuichi. Kata of Kodokan Judo
Revised. Kobe, Japan: Koyano Bussan Kaisha, Ltd., 1968.
Lee, Douglas. Tai Chi Chuan: The Philosophy of Yin and Yang and its Application.
Burbank, California: Ohara Publications, 1976.
Montaique, Erle and Simpson Wally. The Encyclopedia of Dim-Mak: The
Meridians. Boulder, Colorado: Paladin Press, 1997.
Moore, Keith, L. Clinically Oriented Anatomy. Second Edition. Baltimore:
| Williams & Wilkins, 1985.
Murphy, Michael and White, Rhea, A. The Psychic Side of Sports: Extraordinary
Stories from the Spiritual Underground of Sports. Reading, Massachusetts:
Addison-Wesley Publishing Company, 1978.
Toguchi, Seikichi. Okinawan Goju-Ryu: Fundamentals of Shorei-Kan Karate.
Burbank California: Ohara Publications, 1976.
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Index
abdomen 91-93 cervical vertebrae 49
adrenal cortex 8-9 chamber position 38
adrenaline 8-9 chambered fist 69
adrenals 8-9 changes in sanchin kata forms 3-4
adrenocorticotropin (ACTH) 8-9 chest punch 62-63
aikido xxii-xxiiix chin 54
Allen, Marcus 104-105 chishi, about 131-132
allopathic medicine xix Cho, Alexander L. 4
alpha state 103-107 chudan tsuki 62-63
alpha waves 12-13, 103-105 coccyx 49, 51-53
amygdala’s 8-9 cocoon of concentration 12-13
anchoring 99-100 Colossus of Rhodes 80-81
architecture 79, 92-94, 100, 133 compression, arm 70
Aristotle 103 conditioning 4
arm 59-60, 69 controlling the brain 10-11
awareness 105 corpus callosum 7, 9
awareness, zanshin 13-14 creative state 104-106
Ayurvedic medicine xx crescent step 43
back 79 Cross Crawl 11-12
backbone 49 curvature 49-51
Baguazhang 4 delta waves 12-13, 103-105
beta state 105-107 deltoid muscle 59-60
beta waves 12-13, 103-105 Dempsey, Jack 72-75
blood 9 Descartes, René xix
Bodhidharma 1-2 diaphragm 50-51
bones 79-80 distance, judging 38
bow 79 elbow 64-66
bowing of the neck 55 emulation 5
brain shift 105-107 energetic roots 99
brain waves 12, 103-105 esophagus 142
brain, and language 8 eyes 38
brain, structure 7-9 feet xx-xxi, 21-22, 24, 100, 110-123
breastbone 50 feet, rotating 24-26
breath restriction 141 feet, testing stance 27-29
breathing Fibonacci Ratio 16-18, 29-31, 72
about 91-93, 139, 140 fight or flight situation 9
5:7 ratio 141 fists 61-63, 67-68, 110
ibuki 139-140 flinch reaction 41-43
Broca’s area 8 fore fist 67
bronchioles 8-9 forehead 110
calluses 128-129 four points of the compass 93-94
calves 110-122 Funakoshi, Gichin xxii-xxiii
caving the chest 79 functional view 103
cerebral cortex 7-8 glycogen 9
cervical vertebra #1 (C1) 55-56 Goju Ryu xxii-xxiii, 3-4
cervical vertebra #7 (C7) 53 Golden Mean 18-19
D792
growth pattern 16-18 Miyagi, Chojun xxii-xxiii
hands 63, 67 morote chudan kumae 107-108
hands, deforming 125 muscle memory 5
happo no kuzushi 107-108 muscle, deltoid 59-60
hara 91-92, 140 muscle, latissimus dorsi 59-60
head 110 muscle, pectoral 59-60
Hetero-lateral Neurological Cross Crawl 11-12 muscles, in sanchin kata xx-xxi
Higashionna, Kanryo xxii-xxiii, 3-4, 147-166 muscles, thighs 31-32
hips 33-34 mushin 4-5
holds 89-91 neck 55 \
Hsing-I 4 nervous system 8-9
hypothalamus 8-9 Newton's First Law of Motion 143-144
ibuki breathing 139-140, 142 Ngo Cho Kun 4
imbalance 64-65 no mind 4-5
immobilization 87 nukite 61-63
inhaling 140 Okinawa 3-4
Iron Shirt 91-93, 96 open hands 61-63
Jacklin, Tony 12-13 pain compliance 87
jiu-jitsu xxii-xxili parallax 37-38
Kano, Jigoro xxii-xxiii parallax shift 38, 39-41
Kenji Yamada 99-100 pectoral 59-60
ki 83 pelvic girdle 35-37, 53
ki energy 83-84 pelvis 50-51
knee 29-31 Pharos (Lighthouse) of Alexandria 80-81
knee joint 23-24 pinning a person 87
knuckles 67, 128-129 pituitary gland 8-9
kua 19-21, 59-60 Plato 103
kuzushi 64-65 poker chips 92-94
language 8 pucker factor 9-10
latissimus dorsi 59-60 punch 64-66
learning, methodology 5 Pyramids of Egypt 18, 80-81
liver 8-9 repetition 5
locking a joint 87 rooted stances 21-22
lumbar vertebrae 49 rooting 4, 99-100
lungs 8-9, 51, 139-140 rotating fist 61-63
makiwara, about 125 sacral curvature 49-51
makiwara, drills 129-131 sacrum 35-37, 49, 51-53
marching 10-11 sam chin 4
martial arts, and brain waves 13 sambo 10
median nerve 75 sanchin kata,
medicine xix breathing 139
meditation 12-13 changes in forms xx-xxi, 3-4
meditation, alpha state 13 controlling the brain 10-11
meditation, moving 12, 14-15 correct posture 35-37
mind 103 different versions 4
mind, body, and spirit 7, 12 gauging distances 39-43
mind-body separation xix-xx goals for success 4
mind/body connection 103 Higashionna version 147-166
learning 5 tsun 19-21
slowing down 7 turning 143
and spine 50-51 twisting fist 72
stepping 43-44, 47-48 Uechi, Kanbun 3-4
ten minute 107 Ueshiba, Morihei xxii-xxiii
testing 107 unconsciousness 13-15
turning 143 % vastus lateralis 31-32
sanchin, defined 7 vertebrae, straightening spine 53
seiken 67 vertebrae, curvature49-51
Shaolin kung fu 2 vertebral column 49
Shaolin Temple 2 vital energy 84
shime 107 waist 110
shoulder lifting 69 : walking 10-12, 43
shoulders 54-55, 57, 59 Wernicke’s area 8
skeletal architecture 4 . Western medicine xix
ski 41-43 Wutang Lohan Chuan-fa 2-3
spine 49, 79 Zanshin 13-14, 105
spleen 9 Zhang San Feng 2
squats 28-29
stance 94-96
stances, rooted 21-22
stepping 43, 143
sternum 50-51, 57
strike 95-96
striking 75-77, 79-80
striking arm 69-70, 70-72
striking fist 72
substantial view 103
Tai Chi Chuan 4
Tai Chi Chuan-fa 2-3
Taijiquan 4
tailbone 51-53
technique 107
ten-minute sanchin kata 107
tensho kata 4
thalamus 8
theta waves 12, 103-105
‘thighs 31-32, 110
thoracic vertebra #11 (T-11) 53
thoracic vertebrae 49
thyroglobulin 8
thyroid gland 8-9
thyrotropin 8-9
torso 92-94, 110
tracking 15-16
Traditional Chinese Medicine xx
training 105
triangulation 37-38
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About the Author
Kris Wilder is the author of Lessons from the Dojo
Floor, The Way ofSanchin Kata and coauthor of The Way
of Kata. He started practicing the martial arts at the age
of fifteen. Over the years, he has earned black belt rank-
ings in three styles, Goju-Ryu karate (4th dan), 7ae Kwon |
Do (2nd dan), and Judo (1st dan), in which he has com-
peted in senior national and international tournaments.
He has had the opportunity to train under many
skilled instructors, including Olympic athletes, state |
champions, national champions, and gifted martial
artists who take their lineage directly from the founders |
of their systems. Kris has trained across the United States
and in Okinawa.
A former public affairs and political consultant, Kris’ work has ranged from local
issues to presidential campaigns. His business client list included several multistate
corporations with interests in telecommunications and property development. As a
former United States Senate staffer he also worked in the Washington State legisla-
ture. He now teaches karate full time. Kris can be reached via e-mail at
[email protected] or visit www.westseatttlekarate.com.
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Ss lee Ai ee os
NEW RELEASES
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arts, medieval European combat, and modern close-quarters weapons.
— Alain Burrese, J.D.,
Lawrence Kane lives and teaches Goju Ryu karate in Seattle, Washington.
former US Army 2nd
Infantry Div. Scout Kris Wilder began his martial arts training in 1976. He is the co-author
Sniper School instructor of The Way of Kata, and the author of The Way of Sanchin Kata. He has
“.. this book... illu- earned black belts in Taekwondo, Kodokan judo, and Goju Ryu karate.
minates a path far Wilder has trained under world-class martial artists, including Kenji
beyond [its] goal.” Yamada (back-to-back United States judo grand champion), John
— Christopher Caile, 6" Roseberry (founder of Shorei-Shobukan karate), and Hiroo Ito (student
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101 REFLECTIONS ON TAI CHI CHUAN B868
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BACK PAIN RELIEF — CHINESE QIGONG FOR HEALING & PREVENTION 2ND ED B0258
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CARDIO KICKBOXING ELITE B922
CHIN NA IN GROUND FIGHTING mt? B663
CHINESE FAST WRESTLING — THE ART OF SAN SHOU KUAI JIAO B493
CHINESE FITNESS — A MIND / BODY APPROACH B37X
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COMPREHENSIVE APPLICATIONS OF SHAOLIN CHIN NA B36X
DR. WU'S HEAD MASSAGE—ANTI-AGING AND HOLISTIC HEALING THERAPY B0576
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ESSENCE OF SHAOLIN WHITE CRANE B353
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KATA AND THE TRANSMISSION OF KNOWLEDGE 80266
LIUHEBAFA FIVE CHARACTER SECRETS B728
MARTIAL ARTS ATHLETE 8655
MARTIAL ARTS INSTRUCTION BO24X
MARTIAL WAY AND ITS VIRTUES B698
MEDITATIONS ON VIOLENCE B1187
NATURAL HEALING WITH QIGONG — THERAPEUTIC QIGONG B0010
NORTHERN SHAOLIN SWORD, 2ND ED. B85X
OKINAWA'S COMPLETE KARATE SYSTEM — ISSHIN RYU B914
PRINCIPLES OF TRADITIONAL CHINESE MEDICINE B99X
QIGONG FOR HEALTH & MARTIAL ARTS 2ND ED. B574
QIGONG FOR LIVING B116
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QIGONG MEDITATION — EMBRYONIC BREATHING B736
QIGONG MEDITATION—SMALL CIRCULATION 80673
QIGONG, THE SECRET OF YOUTH B841
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ROOT OF CHINESE QIGONG, 2ND ED. B507
SHIHAN TE — THE BUNKAI OF KATA B884
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TAI CHI BOOK B647
TAI CHI CHUAN — 24 & 48 POSTURES B337
TAI CHI CHUAN MARTIAL APPLICATIONS, 2ND ED. B442
TAI CHI CONNECTIONS 80320
TAI CHI DYNAMICS B1163
TAI CHI SECRETS OF THE ANCIENT MASTERS B71X
TAI CHI SECRETS OF THE WU & LI STYLES B981
TAI CHI SECRETS OF THE WU STYLE _ B175
TAI CHI SECRETS OF THE YANG STYLE B094
TAI CHI THEORY & MARTIAL POWER, 2ND ED. B434
TAI CHI WALKING B23X
TAU] CHIN NA B378
TAI] SWORD, CLASSICAL YANG STYLE B744
TAIJIQUAN, CLASSICAL YANG STYLE BO8X
TAIJIQUAN THEORY OF DR. YANG, JWING-MING B432
THE CROCODILE AND THE CRANE B0876
THE CUTTING SEASON B0821
THE WAY OF KATA—A COMPREHENSIVE GUIDE TO DECIPHERING MARTIAL APPS. B0584
THE WAY OF KENDO AND KENJITSU 80029
THE WAY OF SANCHIN KATA B0845
THE WAY TO BLACK BELT ; B0852
TRADITIONAL CHINESE HEALTH SECRETS — i B892
TRADITIONAL TAEKWONDO—CORE TECHNIQUES, HISTORY, AND PHILOSOPHY B0665
WILD GOOSE QIGONG B787
XINGYIQUAN, 2ND ED. B416
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serious karateka absolutely
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5th dan, British Combat
e The Entire Traditional
Association Hall of Fame Member Kata in step-by-step
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“',.a tremendous book that
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has previously never been | martial arts since 1976. Earning black
disclosed in one volume.” | belt ranks in Tae Kwon Do 24 Degree,
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Kodokan Judo 1St Degree, and Goju-Ryu
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a student of Shihan Kori Hisatake, the founder of
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ISBN-13: 978-1 cpr vas5 contributor to /raaitional Karate Magazine, and
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promoter. Kris Wilder resides in Seattle, WA.
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The Way of Sanchin Kata The Application of Power

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KRIS WILDER

Digitized by the Internet Archive

—Philip Starr, [Inside Kung Fu Hall of Fame Member; Founder of Yiliquan

1! bea ’ Pure ity ye far rg?

dl i i ih ale ale inden 7.

MP ONE) s10., a veh h nih

ahd a: ieatenza G04 shee. ed

YMAA Publication Center

YMAA Publication Center, Inc.

© 2007 by Kris Wilder

All rights reserved including the right of

Editor: Susan Bullowa

LOMEO ES ee Cio ee ene

Publisher’s Cataloging in Publication

The way of sanchin kata : the application of power / Kris Wilder. --

1. Martial arts. 2. Karate. 3. Martial arts--Psychological aspects.

GV1114.3 .W55 2007

Ghapter Nineteen: The Iron. Shirts. 2: ie. eaenes erro, ee ee 21

Ifyou have knowledge, let others light their candles in it.

To my family who, with out exception, has

Historic Background of Okinawa-Style Karate HMAFROHO

BDPbEAH (=) BH0, COMIEAROLDOD (AK t7r—) ,

The Importance of Sanchin =O H3ett

ZF OBVEILARE Eb O CHERO ARATE? BBC DHX CARVE DMB lr

Karate is made up of movements that we do not ordinarily do in daily life. It is

Why is Sanchin Important? 7**fH 32>?

TE ORBAROL HA, MVICKVY Cit bE LEBZARROOHNET,

Mental Preparations When Practicing Sanchin =R2#ATS KOO MEA

EbEbAKOREIKWT OD. RH. KA.) O-MeOSTERREBELSA

The spirit of karate

—Charles Francis Adams *

a commonality of efforr—they both take effort, discipline, and a discerning mind to

The Separation of Body, Mind, and Spirit

Real World Example

fil; ; 2 lq lives eave

nla Pio fal “ “ ‘torus alee

efy : i) Ne sb prise te2 : taba 7s

+A5 vf Wiha Hos {a pe } od Gee oa

" ilte ctnk? miei hd 1 oy ya

a : wan ‘Wh Srot oe Pi AMigiw, re Fi

aioe vache tat

1. Gripping the ground. This is interpreted as using the ground to generate

Learning by Emulation and Repetition +

I hear and Iforget. I see and I remember. I do and I understand.

K The Mechanics of Being in the Moment iM

That moves and that moves not,

In today’s films, a popular technique is to slow a motion down to give emphasis

- The Brain and its Elements

Arming the Body

The Hemispheres of the Brain

aspects come together, the practitioner

pulses are indicative of a person who is

A Measurement, Personal and Unique 7+ ¥

Everything is arranged according to a number and mathematical shape.

FIBONACCI SQUARE #1 FIBONACCI SQUARE #2

FIBONACCI! SQUARE #3 FIBONACCI SQUARE #4

the shape ofa hook and look at the tip of

SUPER CREDIT CARD

1234 5678 9101 1112

never seen and determine what her entire

We use this Chinese form of measure-

TSUN, CANTONESE FOR WIDTH OF TWO FINGERS.

The Roots of a Strong Tree, the Feet i