Seisan Bunkai The Importance of The Loosening-up Technique

Published: 10/5/2022

By Spencer sensei

Many karate students have never been taught the grappling techniques found in Okinawan karate. Grappling was filtered out of karate when it migrated to Japan, and later these techniques were abandoned in Okinawa as well. It wasn’t until after years of training, that I took a deep dive into Okinawan bunkai and discovered the grappling techniques living inside our kata. During this study, I was amazed by the abandoned grappling found within the Okinawan forms. Grappling was not stressed in the curriculum I had studied. I was instructed in blocking, kicking, and punching. My education had been one dimensional. Even the kata’s, I was forced to memorize, when its’ movements were explained, they were distilled down to blocking, kicking, and punching as a response to the attack. This was what passed for bunkai. Bunkai (application) is the dissection of the movements or techniques found in our forms. The problem is there are strange series of movements, within the forms, that do not conform to the block, punch, and kick philosophy. The only explanation, for these movements, are locks and throws. To make our karate richer, we must once again find the unique grappling techniques living inside our martial art.

Bunkai is not a large part of Japanese karate unlike its’ Okinawan counterpart. Old school Okinawan karate had grappling techniques incorporated within it, while grappling was considered a separate art in the Japanese culture. American karate is greatly influenced by Japanese karate. That is why grappling is not part of the curriculum in most American karate schools. Japanese and Okinawan karate have other differences. Okinawan karate is about the why and Japanese karate is about the perfection of technique. You see this when you examine Japanese martial arts. Study Judo and you will see the detail in a judoka’s (Judo student’s) throwing technique. The technique within Japanese karate kata is also very exacting. While Judo’s throws and Japanese karate techniques are technically precise in their delivery, the Okinawan karateka’s (karate student’s) focus is on the end results. This is most evident when we compare Japanese grappling and the Okinawan grappling found in karate. The judoka focuses on the grip and breaking the adversary’s balance to facilitate a throw, while the Okinawan karateka’s focus is on the “Loosening-up” technique that sets-up their throw. The ultimate goal of both arts is to get the adversary on the ground. The thing that differentiates the two is the philosophy upon how that goal is accomplish.

This paper is about the “Loosening-up” technique found in Okinawan karate and not the differences between Okinawan and Japanese karate. The first two paragraphs were simply some background information. Okay… “What is a loosening-up technique you might be wondering?” No one is going to allow you to simply twist one of their joints into a lock or grasp them for a throw. The loosening-up technique paves the path for those techniques. Where the judoka (Judo player) grips the sleeve, wrist, or lapel, of an opponent, and breaks their balance by pushing, pulling, and lifting, to set-up the throw, a karateka sets up the throw, lock, or choke with a combination of strikes. This is what we call the loosening-up technique. If you strike the opponent, they will be distracted and that makes the application of the lock or throw easier. A good analogy for the karateka’s setting up a throw with a loosening-up technique is made by comparing it to the making of taffy. Taffy is a sweet sticky candy. Taffy must be pulled, twisted, and pounded until it is pliable enough to be formed into suitable shape for consumption. The loosening-up technique makes the attacker pliable, so you can apply the lock, choke, or throw.

If you asked the average karate student, about the locking and throwing techniques within their system’s kata, they will look at you like you were from another planet. Unfortunately, the loosening-up techniques found in their forms, have often been interpreted simply as a block, punch, or kick combination. This is a basic low-level interpretation of bunkai, but a simple interpretation is better than no interpretation at all.  True bunkai is a response to a situational attack followed by a series of techniques designed to render the opponent unable to continue the confrontation. When several of these responses are catenated, so they can be remembered, they create what we term as a kata. Kata is the unwritten text of self-defense. Inside these series of technique live the strikes, locks and throws of Okinawan karate. The locks and throws are often set-up by a series of loosening-up techniques. Serious karate students need to be aware of the tuite, locks, and throws within their art, and these bunkai must be practiced with a partner until they occur without thought.  

One might ask “Why don’t I see the throws in my kata?” In more modern forms we do see rolling on the floor techniques, but this is a recent addition to katas made mainly for tournament competition. In the traditional forms, no one sees the throw because often they’re only implied. Just because you do not see the throw, demonstrated in kata, does not mean it does not exist. Many times, a throw is represented by a simple low block, low shuto strike, or twin low strikes. Sometimes a throw is indicated by a cat or horse stance.  A cat stance can break an opponent’s balance to set up a hip throw (O-goshi), while a horse stance can indicate a throw over an extended leg (Tai-Otoshi or Tani-Otoshi). The old masters knew where the throws were in the kata, so they didn’t feel the need to flop around on the ground. Many referred to them as hidden technique. Please, when you discover a throwing or locking technique in your bunkai do not modify your kata. Let it be your secret, and in you search for bunkai always look for the throw.

When you’re trying to interpret the bunkai, first try to define what type of attack you’re defending. Next look for the loosening-up technique. Third do not dismiss a potential lock or throwing technique. Obviously, not every series of bunkai ends with a throwing technique, and not every low block is a throw, but don’t simply dismiss the possibility. Some loosening-up techniques simply set up joint locks. Do not take a technique at face value. A middle block in bunkai can be a wrist escape technique when pressure is applied to the thumb of the attacker’s grasping hand. This middle block when followed by a punch to the solar plexus ensures the release. The punch is the loosening technique. Do not limit your interpretation of bunkai to blocking, punching, and kicking. Do not expect to see tuite or a throw in every series but keep an open mind. One thing you should assume, in your search for the real bunkai, is that the end-result of the series must result in an opponent’s submission, grasp release, or at least facilitate your ability to escape the confrontation. There are some more modern bunkai that end in a block to symbolize the philosophical defense only side of karate, or to emphasize that karate is a vehicle for personal growth. Old school karate’s bunkai was designed to hurt the adversary. It was for pure self-preservation, so do not limit your response.

Karate was designed to teach a student how to fight. Fights have differing ranges of combat, so you cannot limit your training to long range stand-up fighting alone. When the opponent gets inside your reach, you must be able to respond in the grappling range. Strikes were originally the core of setting up a throw in both jujitsu and karate. The concept of utilizing blows, locks, or chokes to facilitate a throw have been removed from modern jujitsu and karate. Modern sport jujitsu has lost its’ striking aspect because there are rules in competition that prohibit it, and karate styles have filtered out chokes, locks, and throws for the same reason. Karate was designed to teach a person how to fight, yet modern karate has distilled its response to simply throwing punches, elbow strikes, knee strikes, and kicks. This is an inadequate education but is effective in many self-defense situations. Karate was created and refined by the Okinawan palace guards and law enforcement. Its’ techniques had to be effective in all situations. Remember, in self-defense there are no rules, and slamming an opponent to the ground can end a fight or at least give you the opportunity to escape. In Okinawan karate inside fighting starts with the loosening-up technique and ends with the submission of the opponent. Too many schools have forgotten that karate was designed to teach the student to defend themselves in all ranges of combat and it has evolved into something the old masters would not recognize.

Okay, let us examine why the “Loosening-up” technique works. Suppose and adversary grasps your lapel with the intent to punch or throw you. You may choose to use an outward wrist lock to remove their grasp in an effort to them set them up for a lock or throw. The adversary will not simply allow you to twist their hand free from your garment. If you’re sufficiently stronger you may succeed, but if the attacker’s focus is on maintaining their grasp this will be difficult. The mind can only focus on one thing at a time, so you must remove the adversary’s focus from the grip. First trap the opponent’s hand, so they cannot escape your range of combat. Next strike them in the face, solar plexus, or kick them in the groin. This will cause the adversary to recoil. He/she is no longer be thinking of maintaining their grip, and their mind begins telling them to move out of the range of your strikes. As the hand loosens its’ grip on your garment and tries to pull away, that is when you apply the outer wristlock. Strength is no longer an issue. Remember, the wristlock is only a transitional technique. It is only used to set-up the fight ending response, so you will need to follow the lock with a knockout, submission, or throw. Never let the right hand know what the left hand is doing. That is why the loosening techniques works. The loosening-up techniques moves the attacker into position where you can end the fight.

 Don’t get locked into only one loosening technique. A punch is a good method of administering a loosening-up technique, but kicks, elbows, knees, and headbutts can also be used. A good stomp to the adversary’s instep can facilitate a locking technique. The greater question you must ask yourself is which direction do you want the opponent to move, and then deliver a blow to force the opponent to comply instinctually. A good hook to the head or a shot to the liver can get the opponent to move sideways. A knee to the groins can get them to lean forwards. A tiger’s mouth strike to the throat can get them to lean backwards. Once they move backwards for example, they then can be thrown with a technique like Osoto-gari. The judoka pulls, twists, lifts, and pushes their opponent to break their balance while the karateka used strikes as-well-as pushing, twisting, lifting, and pulling to break the opponent’s balance. Be versatile and do not limit your response to the situational attack.

It is common for the karateka to use locks and chokes to facilitate throwing techniques. Sport judo has outlawed these techniques and rightfully so because they can be very dangerous. Japanese jujitsu, the predecessor of judo, also used a striking methodology to facilitate the throw as well. Japanese jujitsu was developed for the battlefield and karate was refined by the Okinawan palace guards to apprehend and detain criminals. It was also taught so that the Okinawan citizenry could protect themselves from the outlaw fringes of their society. Kata bunkai is based upon what-if scenarios, and most of the responses to a specific attack begins with some type of loosening technique.

Now let’s examine a bunkai from the kata Seisan to better understand the loosening-up techniques. In this example, the loosening-up technique is a twin forearm block with a twin fore-fist strike. This technique moves the attacker’s balance backwards setting up a throw. A deeper examination shows the twin forearm strikes are simultaneous technique. Not only are you removing the attacker’s grasp but you’re also striking the attacker. After the twin forearm strike, your hands cross and you turn 180° while executing a twin low shuto strikes. Ask yourself a question like, “Why do the hands cross in the shuto position as you turn?”  Closely examine this move and you’ll see a cross-lapel choke being applied to facilitate throwing the attacker. No one turns 180° and double shuto strikes an attacker in a real confrontation. This is one of those odd movements that cannot be dismissed as a simple strike. This is a throw, and the hands are open because the attacker is released as he/she falls in front of you.

 [4.3.1] Section-4 Bunkai: Counter to a Two-hand Choke

Part-1 Attacker: Tries a Two-Handed Choke

Part-2 Defender: Twin Forearm Blocks and Punches

• Turn your head to the left break the attacker’s grip.

 Theory: When I first learned this kata, the head was turned right and left. This was “Kakushite” or hidden technique that had been added to the kata. The kakushite is understood and should not find its way into the kata, but it often does. Do the kata as your instructor tells you to, but when you find these little anomalies, it is usually due to a hidden technique taught by a senior instructor. By adding the hidden technique, to their kata, they believe it will keep them from forgetting the kaishaku. I do not believe in changing the kata, but to actually break the attacker’s grip you must move your head side to side.

• Drive both hands and forearms between the attacker’s arms. Push your elbows outward and this will break the attacker’s grip, while simultaneously driving your fists under the attacker’s chin.

 Information: The attacker’s grip is with his/her thumbs. When your elbows wedge it is more force than most men’s thumbs can withstand. A twin punch can also be delivered to the attacker’s face in the process of breaking the attacker’s grip. The purpose of this maneuver is to loosen-up the attacker, so additional techniques can be applied. This is simultaneous technique.

Hidden Technique: You can also hit the attacker with a head-butt as the attacker’s hands are removed and you grasp his/her lapels for the choke and throw. This is simultaneous technique.

Part-3 Defender: X-Choke and Throw

• It is hard to see this in the kata, but you execute an X-choke or cross hand lapel choke.
• Step counterclockwise pulling the attacker off balance, and execute a body drop throw using rear leg to trip the attacker. As the attacker is falling down pull your hands away from the choke and allow the attacker to tumble to the ground. (Tai-otoshi)

Note: This is an example of using a choke to throw the attacker. The double shuto simply means you do not maintain control of the attacker after the throw.

This information is not new. Kenwa Mabuni wrote, “The karate that has spread to Japan is incomplete. Those who believe that karate consists of only kicks and punches and think throws are exclusive to judo or jujitsu, have been misinformed precise. We should have and open mind and strive to study the complete are.”  Even Gichin Funakoshi taught a limited number of throws to his students. For some reason the throwing and locking techniques became the domain of the judoka and striking became the only domain of the karateka. This is not new information, so why do we not see more locks and throws in our karate schools’ curriculum?

Can a strike render an adversary’s attack null? The answer is yes, but the karateka’s bread and butter techniques are also loosening-up techniques that enable them to step into range-two or close-in fighting. The palace guards didn’t simply knockout every criminal they encountered. They had to be more versatile and had to have the ability to subdue and opponent. This came via locks, chokes, and throws, and these were facilitated by the loosening-up technique. The loosening -up techniques is one of the core tenants of the AOKK (American Okinawan Karate Kobudo school).