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Sanchin Kata
Sanchin is generally accepted as the oldest kata in Okinawan Karate. Its origin can be traced to the stationary breathing exercises performed by Buddhist monks at the original Shaolin monastery. These breathing exercises were developed by Bodhidharma to provide a regimen for the monks so that they would not fall asleep during long hours of meditation. These basic exercises were then expanded by the monks into a method of empty-hand combat so they could defend themselves and their monastery from invaders. Sanchin is part of the original Iron Monk Form, Tei Shao Mu Tshien. Kanryo Higaonna brought a version of Sanchin to Okinawa in 1879 after studying Kung Fu in China for nearly 15 years. Sanchin was originally performed from one rooted stance; several steps forward and backward were added later. It was practiced with open hands, but Chojun Nfiyagi, the founder of Goju-Ryu, changed Sanchin to closed fists. Master Higaonna is reputed to have had such precise breath control and muscle tension while undertaking Sanchin that he left marks on the floor where his toes had gripped. He also let his students attempt to choke him with various implements during his practice. Higaonna taught this kata to Chojun Nfiyagi, who in turn taught it to Tatsuo Shimabuku. Sanchin translates as "Three Conflicts," "Three Battles," or "Three Gods;" the three conflicts referring to mind, body, and spirit. Sanchin brings these three together to create a state of enlightenment. Sanchin is a widely practiced kata, present with minor variants in Isshinryu, Goju-Ryu, Uechi-Ryu, Shito-Ryu, and Shotokan. Sanchin teaches neither new techniques nor fighting skills. Its purpose is esoteric. It is usually first taught at the Roku-Kyu (green belt) level in Isshinryu but remains untested until the Ik-Kyu (brown belt) level. Sanchin asks for a lifetime of training. It involves deep tension breathing known as ibuki and precise body movement (taisabaki). The different types of breathing are revealed at different stages in the learning of the kata. Many Sensei believe that Sanchin represents the true essence of Karate-Do, both spiritually and physically. Kanbun Uechi, the founder of Uechi-Ryu, felt Sanchin Kata was so critical that he required his students study it for several years before progressing to the other kata. Sanchin Kata forms the core of Uechi-Ryu, Goju-Ryu, and other Naha-Te based Karate systems. Through the diligent practice of Sanchin Kata, Isshinryu karateka learn intrinsic muscle tension, breath control, and ki development. The simple techniques of the kata involve only basic punches, chest blocks, nukites, and two circular blocks. Master Shimabuku stated there was not any discernable fighting application for Sanchin Kata, and its purpose was exclusively to develop muscle tension and concious breathing. In 1692, Jui Meng, a famous Shaolin monk, stated that "the lungs are resevoirs of air, and the air is the lord of strength. Whomever speaks of strength must know of air." Each technique demands the karateka to focus under extreme tension. Although the techniques are elementary, the breathing is decidedly complex. Due to the slow ibuki breathing, Sanchin is the longest Isshinryu kata to pefonn in terms of elapsed time. At the end of the kata, the air remaining in the karateka's lungs is expelled in three sharp bursts. The only stance used is Sanchin Dachi. Proper and consistent practice of Sanchin Kata promotes strong ki development, catharsis on physical, emotional, and mental levels, and breath control. When a student is tested on Sanchin, an upper-rank delivers multiple blows to the student's body whose muscles are tensed. A popular demonstration of Sanchin power involves breaking boards over the body of the karateka working through Sanchin. Many Okinawan Karate authorities criticize the regular practice of Sanchin Kata for health reasons. Sanchin is a pseudo-isotonic and pseudo-isometric exercise which enables one to achieve and sustain a high heart rate with low impact. The deep tension breathing in Sanchin also opens the lungs, increases blood circulation, opens the capillaries, strengthens the heart muscle, massages the lymph system, and opens epidermal glands. However, Sanchin has also been blamed for the early deaths of many Okinawan karate masters, mainly from the Naha-Te based Karate styles, which practice Sanchin rigorously. The incorrect practice of Sanchin results in physiological damage due to the rapid, drastic hemostatic pressure changes and hastens the onset of a stroke or aneurysm to those individuals prone to arteriosclerosis. When Sanchin is practiced correctly, without putting excess strain on the smaller arteries and the bowels, it proves beneficial. Forced Sanchin practice increases blood pressure due to strain placed on small arteries of the body. Sanchin should always be practiced with dynamic tension and students must be careful to proceed slowly when learning this kata and clafify its purpose. An already healthy individual will not experience any adverse effects from Sanchin, but an individual prone to heart problems should exercise extreme caution.
9/11/2010 Black Belt and Brown Belt Organization
All Black and Brown Belt in The World Tiger and Crane Goju Ryu Karate Do Organization must go to the organization workout on 9/11/2010 @ 12:00 Pm at the World Headquarters Dojo.
Yin and Yang in karate
The original meaning of the Chinese ideogram for YIN is the shady side of the hill. It represents darkness and passivity and is associated with the qualities of yielding, softness and contradiction. It moves downward and inward, and its primary symbols are woman, water and earth. YANG means the sunny side of the hill represents light and activity, is associated with resistance, hardness and expansion, moves naturally upwards and outward, and is symbolized by man, fire and heaven.
What is a Dan
What is a Dan
The dan (段 dan) ranking system is a Japanese mark of level, which is used in traditional fine arts and martial arts. Originally invented in a Go school in the Edo period,[1] this system was later applied to martial arts by Kano Jigoro, the founder of judo and later introduced to other East Asian countries.
In the modern Japanese martial arts, holders of dan ranks often wear a black belt. Dan ranks are still given in arts such as the strategy board games Go and Renju, the art of flower arrangement (ikebana), and tea ceremony.
The character of Dan (段, dan?) is used in Japanese to mean step or grade, and is commonly equated with degree. However, the origin of the Chinese character, pronounced duán in modern Pinyin, was used mean "phase". Dan rank is often used along with the lower rank system, Kyū (級, Kyū?) rank. There are other methods of assessing rank in Japanese martial systems, of particular note is the older, menkyo system.
History
The dan ranking system was invented by Honinbo Dosaku, professional go player in the Edo period.[2] Prior to the invention, top-to-bottom ranking was evaluated by each handicaps and tended to be vague. He valued then highest title holder, Meijin at 9 Dan.
Dan ranks were applied to martial arts by Kano Jigoro, the founder of judo. Kano started the modern rank system when he awarded shodan (the lowest dan rank) to two of his senior students (Shiro Saigo and Tsunejiro Tomita) in 1883. Even then, there was no external differentiation between yūdansha (black belt ranks) and mudansha (those who had not yet attained a grade). Kano began the custom of having his yūdansha wear black obi (belts) in 1886. These obi were not the belts karateka and jūdōka wear today—Kano had not invented the jūdōgi (judo uniform) yet, and his students were still practicing in kimono. They wore the wide obi still worn with formal kimono. In 1907, Kano introduced the modern jūdōgi and its modern obi, with white and black belt ranks.
The use of belts to denote ranks were used by different athletic departments within the Japanese school system, most notably for swimmers, prior to their adoption by Kano.
Many arts use between one and ten dan ranks:
- shodan (初段:しょだん): first degree black belt
- nidan (二段:にだん): second degree black belt
- sandan (三段:さんだん): third degree black belt
- yondan (四段:よだん): fourth degree black belt
- godan (五段:ごだん): fifth degree black belt
- rokudan (六段:ろくだん): sixth degree black belt
- shichidan (七段:ななだん): seventh degree black belt (also, nanadan)
- hachidan (八段:はちだん): eighth degree black belt
- kyūdan (九段:きゅうだん): ninth degree black belt
- jūdan (十段:じゅうだん): tenth degree black belt
In certain styles, shodan implies that all the basics of the style have been mastered. At sandan the student is deemed capable of teaching independently as a teacher or instructor, often called sensei. At Godan, the budōka may receive certification as a master level practitioner (Shidōin). Generally, the lower dan ranks are validated on the basis of knowledge and physical skill. The higher the dan rank, the more leadership ability, teaching experience, and service to the style play a role in promotion. For example, in British judo, to gain promotion from 1st to 5th Dan, judo players must demonstrate theoretical technique and competitive skill in graded competitions. Promotions from 6th to 10th Dan are awarded for services to the sport of judo.
In Kendo the dan system was recently changed so that 8th dan is the highest attainable rank. Unlike Judo, all dan promotion within the ZNKR, IKF and its member countries is by examination. Whereas dan grades are awarded for technical ability, there is a parallel Shogo system awarding Renshi, Kyoshi, Hanshi, against suitability as a role model to some members of the Kodansha ranks of 6th, 7th and 8th dan. Renshi and Kyoshi are awarded on written examination and Hanshi by election. There is some debate amongst non-Japanese kendoka about the fairness of the Kyoshi test, which unlike the equivalent for Renshi, must be written in Japanese.
Although the dan system is distinctly Japanese, it has been adopted by many other martial arts styles. The dan system and the well-known symbol of a black-belt have been absorbed into common usage to represent a person with above-average or highly-trained skills in a particular discipline. A unique variation is Okinawan Isshinryu Karate. The oldest practitioners are Americans who have taught thousands of people in the US since 1956. Consequently, there are over 10 Isshinryu associations and several legitimate 10th dans in the Isshinryu system world wide- as many as 15 at last count- all with 40- 50 years experience as instructors.
The-Ryu
The –Ryu
All koryu and several gendai budo schools are called such-and-such-Ryu. The -Ryu appended to a title refers to the system's "name"; it is a "style" or "school" delineation. Therefore, there karate do, while a unified gendai budo fighting system originating out of Okinawa, retains several strains that are quite different in their kata and training methods. A Shotokan stylist would be different from, say, a Goju-Ryu stylist, as opposed to an Uechi-Ryu stylist. They would all be doing karate do, certainly, but even the application of a simple punch would be very different in terms of placement of the arms, use of force, and so on.
Some gendai budo do not have any -Ryu systems. Kendo, for example, has been unified as a national (and international) sport and pastime for the use of bamboo staves to represent sword fighting. There are no "styles" or schools of kendo. There is only kendo. All kendo schools share the same general rules when it comes to competition and kendo kata (forms). Likewise judo, although it has fragmented a lot in recent times, is basically judo. Even recent iterations of some modern "jujutsu" schools are, at heart, simply subsets of some parts of judo, emphasizing perhaps the more combative or roughhouse aspects of judo to the detriment of the sportive aspects.
Aikido started out as one and only one martial art form. It, too, has developed along different stylistic lines due to differences of style, personality clashes, and other kinds of martial arts politics. Aikido arts presently encompass various different schools, the larger ones being Aikikai (or hombu, the "main branch" style of aikido), Ki Society (Ki No Kenkyukai), Yoshinkan, and Tomiki-ryu.
The differences between koryu schools are even wider. While a Shito-ryu stylist may find similarities in a kata performed by a Shotokan stylist, some jujutsu schools, for example, have no common grounds with each other. Even similar techniques may go by completely different names.
Koryu Schools
The number of distinct koryu schools have decreased since Japan's modern era (1868), due to Westernization, the consolidation of martial endeavors into the modern -do schools, and sheer neglect. However, a number of koryu schools continue to this day. While koryu budo once numbered in the thousands, they now number in the low hundreds, if at all that much. The list that follows is very incomplete, but suggests the variety of possibilities still available in koryu schools. Some of the schools may not fit in the category I have assigned them, depending on one's point of view. For that, I beg your indulgence as I admit to not having an in-depth experience with most of the schools listed.
Composite Schools (primarily a variety of bujutsu methods)
Tenshin Shoden Katori Shinto-Ryu
Kashima Shin-Ryu
Kashima Shinto-Ryu (Bokuden-ryu)
Takeuchi-Ryu (Honke, bunke, and Bitchu-den)
Jujutsu
Daito-Ryu
Araki-Ryu
Shito-ryu
Tenshin Shinyo-ryu
Sosuishitsu-ryu
Takagi Hontai Yoshin-ryu
Kito-ryu
Iaijutsu
Muso Jikiden Eishin-ryu
Muso Shinden-ryu
Hoki-ryu
Mugai-ryu
Sekiguchi-ryu iai
Hayashizaki Muso-ryu
Tamiya-ryu
Mugai-ryu
Hasegawa Eishin-ryu
Swordsmanship
Yagyu Shinkage-ryu
Ono-ha Itto-ryu
Sekiguchi-haItto-ryu
Hokushin Itto-ryu
Hyoho Niten Ichi-ryu
Jikishinkage-ryu
Maniwa Nen-ryu
Shizen-ryu
Staff (bojutsu, jojutsu)
Chikubushima-ryu
Shinto (or Shindo) Muso-ryu
Kukishin-ryu bo
Shuriken jutsu
Shirai-ryu
Negishi-ryu
Sojutsu
Owari Kan-ryu
Hozoin-ryu
Kyujutsu
Ogasawara-ryu (also a school of etiquette and horsemanship)
Takeda-ryu
Naginatajutsu
Tendo-ryu
Jikishinkage-ryu naginata
Kusarigama
Jikiyuishin-ryu
Goju-Ryu Karate
What is Goju-Ryu Karate
The literal translation of the Japanese term Goju is “hard/soft” - go meaning hard and ju meaning soft. Ryu means school, thus Goju-Ryu is the hard/soft school of Karate.
Goju-Ryu Karate is one of the four original Okinawan styles of Karate, and was founded by Chojun Miyagi (1888-1953). Sensei Miyagi had spent years in China training with the Chinese masters of White Crane style Kung Fu before returning to Okinawa to formulate what is now known as Okinawan Goju-Ryu Karate Do.
Okinawa is an island south of Japan, situated in near equal distance between China and Japan. A secret indigenous weaponless martial art developed (called Te, “Hands”) that experienced strong chinese influences. Chinese sailors, traders and businessmen brought their martial art to Okinawa during their import/export business travels. In addition, many original Okinawan masters travelled to China to learn Chinese boxing (Ch’uan Fa, “The fist way”) directly from Chinese masters.
Having aquired new skills, in particular what is nowadays referred to as White Crane Kung Fu, these masters would return to Okinawa and begin to teach an art that had both original Okinawan and also Chinese heritage. This new way of fighting was called To-De, “Chinese Hands”, to indicate the Chinese origin of many of the techniques.
In Okinawa, there were three villages that, although only few miles apart, each developed their own style of To-De. In the port town of Naha, Naha-Te developed. In the more aristocratic Shuri, the ancient capital of Okinawa, Shuri-Te developed, and further north in Tomari, Tomari-Te developed.
This seemingly unlikely isolation has its foundation partly in the geographical location of these villages, with a river separating Naha in the south from Shuri and Tomari in the North, but also by its very different social classes, with business and commercial trade enterprises in Naha, the King and aristocracy in Shuri, and farmers and country people in Tomari.
Okinawa has a long history of both chinese and japanese suppression that outlawed the possession of conventional weapons (such as swords). Thus, Okinawan martial arts developed a unique range of substitute weapons that in many cases were derived from farming tools. The use of these weapons is still practiced today in many Karate styles of Okinawan origin.
Visiting Other Dojos
VISITING OTHER DOJOS
1. If you desire to visit and participate in another school, ask permission from the teacher of that school before attending. If allowed to participate, pay for the class or leave some kind of tribute in appreciation, regardless if the teacher says it is not necessary. Also, do not wear your gi or rank in a dojo of different style karate unless given permission to do so. Wear something neat and comfortable to workout in.
2. Always bow when entering and leaving another dojo. Using the bow you are familiar with is acceptable until you observe how the other style's bow is done.
3. When inviting a teacher or senior from another dojo or system to dinner, open doors for them, offer them a seat first, wait for them to begin eating before you do, and offer to pay for their meal. Be attentive to see their cup is always full. The cup of the most senior is checked first followed by the cup of the second most senior and so forth down the levels of seniority. Serving your honored guest properly is considered good code. Tipping well is also a good sign of ethics and demonstrates your genuine gratitude and respect for the occasion. These acts reflect your organizational training and gives "face" to you, your dojo, and the organization. Undoubtedly, seniors will analyze your actions and decide in their minds what level of training you have attained.
Although the foregoing rules may seem overly proper, the fact is they are rules of ethics many systems and societies consider to be an art and a major factor of proper attitude towards one another. Remember, most systems originated in the Orient and carry Oriental traditions. There exist many more rules that are more subtle than what has been discussed so far, and much could be learned from them if one has the desire to do so. There are those who tend to shun the traditional values of other countries as being impractical; but, by understanding their values as a way of life and grasping their true inner meaning as internal arts, one can determine the difference between an art and a sport.
Karate Code of Ethics
Karate CODE OF ETHICS
Ethics open pathways for internal understanding and energy awareness.
1. Honor your family, your teachers, and the organization. Honoring them is a lifetime responsibility. They are to be treated like a father or mother who give the art of life. Give and sacrifice without expecting to receive.
2. View classmates as brothers and sisters. By giving and helping them become better, you too will excel.
3. Senior students practice humility. Treat junior students as equals, which in turn will earn you the respect and position of a senior.
4. Junior students are respectful to your seniors. Their treatment of you as an equal is a sign that they are beginning to find humility and are worthy of senior respect. The senior's humbleness is to be honored.
5. Never consider yourself knowledgeable regardless of time in training. You, as all of us, are on a long staircase and with no apparent end and which will lift you to the highest attainments you seek.
6. Recognize everyone will have different strengths and weaknesses, regardless of their time in the art. Try to help their weaknesses; and, in turn, your weaknesses will eventually be strengthened.
7. Students are responsible to demonstrate the code of ethics in and out of class. Such demonstration will clearly indicate you do not consider your art to be separate from your life; your art is part of everything you do.
8. Rely on your teacher's judgment to the greatest extent possible. Many times you may not agree with policies or actions, but you are responsible to try to stand behind your teachers and strive for better understanding as junior students do toward you. Remember, take one step at a time; experience will bring enlightenment.
9. Teachers and fellow students are human and may make mistakes. Respect their weaknesses and appreciate their gains toward self-improvement. They will learn from your kindness and understanding which will strengthen both of you.
10. Never criticize your teacher. Criticizing is considered to be a poor code of conduct and in essence you are saying you need another instructor. Analyze your doubts and your viewpoint may possibly change regarding the matter; if not, discuss any situation privately with your instructor.
11. Listen to suggestions from anyone including lower ranking students. They may offer suggestions from a unique and helpful angle. Receptiveness will help you grow.
12. Be an example of courtesy, regardless of what step you are in your journey to seek growth. Courtesy in and out of class is a sign of strength.
13. Pride. Carry yourself earnestly and try your best. Other people's expectations of you may be important; but your own expectations of yourself are more important. Doing your best will give you honor and pride.
14. Contain your ego. The showing of too much power demonstrates you have a low level of ego containment. Use of techniques with kindness and appreciation is a sign of strength.
15. Tenacity. It is your responsibility to do your best in class. Do not allow you to simply follow or stand idle. Practice regardless of your level of ability or comprehension in a technique. Tenacity is the ability to keep trying with or without your teacher being present.
16. Cleanliness. Refined cleanliness means refined mind. Clean clothes and body show by example the honor and ethics you possess.
17. Do not ask to be taught more techniques. Let your instructor decide when you are ready. To ask is a sign you have perfected that, which has already been taught to you. Techniques require a lifetime of perfecting. By working hard on what you have already learned is the first sign you are ready for more.
18. Remember your teacher and loved one's birthday and special holidays. No matter how small, show them appreciation that truly comes from the heart. A sign of thoughtfulness allows a bond to develop making the teacher feel appreciated. Wanting to show his or her gratitude, your teacher will reciprocate by genuinely wanting to further your knowledge.
19. When visiting your teacher it is proper to bring them a small gift. A gift can be food for casual visits or present for formal visits. When a teacher is invited to your home or anywhere else, be sure to have proper food and drink available thus demonstrating good manners. Traditionally, the teacher partakes of food and drink first and then others follow.
20. If you have had an argument with your teacher and later desire to reestablish your relationship, bring a gift upon your first visit and extend a humble apology, regardless of whether or not you feel it is completely deserved. A good teacher will always accept a genuine apology without regard as to who might have been wrong.
Question you ask when doing kata
Question you ask when doing kata
Before Kata
1. Do I comprehend the Kata?
2. How do I feel?
3. Am I completely free from reflection?
4. Is my body and mind tranquil?
5. Am I convinced of my Kata?
6. What is the intention?
7. What am I doing here?
8. Where will my breath come from?
9. Repeat to yourself: “I know and I will do the Kata well.”
During Kata
1. Is it polished and smooth?
2. Does it flow (like a river)?
3. Is it strong, and where is my strength?
4. Where are my gentle movements?
5. Are my movements defined and vigor?
6. Are my movements precisely ended?
7. Where is my breath?
8. Is my body ½ full air?
9. Where is my tension?
10. Are my feet gliding and silent?
11. Where is my San-chin (experience of utter tension and relaxation)?
12. Where is my speed?
13. Where is my Kiai?
14. Where is my own sound and character?
15. Where is my facial expression?
16. Are my movements soft and hard then soft again?
17. If I see nothing I can see everything?
After Kata
1. What occurred within me during movement?
2. Am I completely satisfied?
3. Where did my movements come from?
4. Am I calm? How do I feel now?
5. What will I do now?
6. Say to you: “I did the Kata well!”