AOKK Sanchin-Kata

Sanchin Kata: Three Conflicts from Miyagi’s Goju–ryu.

The origin of this kata is China. The name refers to three conflicts, and in several instances, the technique is performed three times. It is arguably the oldest known kata taught in Isshin-ryu. There are many versions of this form. This form comes to Isshin-ryu through Chojun Miyagi. Miyagi sensei learned this form from Kanyro Higashionna. Higashionna sensei was taught the kata while studying martial arts in China under the tutelage of Ryu Ryu Ko pronounced in the Japanese or Liu Long Gong pronounced in the Chinese. This information comes from Filip Konjokrad’s book Goju-Ryu Toudi Jutsu Nyumon. Each version of Sanchin uses the hourglass stance, but some styles move in different directions. Miyagi sensei modified the kata from its original version. The kata today is more Okinawan than Chinese, but at its core you can see its Chinese roots.

According to high a ranking Shobayashi Shorin-ryu black belt I spoke with, that trained in Okinawa, the Sanchin exercise was designed to move forward as long as the instructor desired. Originally there were no turns. Students would move forwards and backwards in a straight line performing these basic Sanchin techniques. The turns in the kata were added to accommodate the limited space inside the dojo. The Sanchin done in Isshin Ryu does not turn around but goes forward and backwards. When Miyagi was elderly, he could not move around freely, so he sat at the head of the class. It is improper to turn your back to the Sensei, so out of respect for Miyagi the kata never turns around but is executed forward and backwards.

Sanchin was more than self-defense. It became a means of body conditioning via isometric exercise. The kata also became a right-of-passage as the student moves from kyu rank to dan rank. During the black belt dan promotion, the student is subjected to punches and kicks to test muscle tightness. Originally, this kata was not isometric. It flowed with quick movement with open hands. Miyagi sensei closed the fists and added the heavy breathing. This kata should be taught from white belt thru black belt to strengthen the student. It takes two lifetimes to master this form, so training cannot begin too soon. The physical testing at black belt teaches the karateka that in combat, no matter what his/her skill level may be, they can still be hit and must not lose concentration after the impact.

This kata is from the Naha region of Okinawa and was part of Naha-te. Many karateka teach that this kata was used to fight off the bow of a fishing boat, but others believe it could have been used in Shuri castle to defend the king against a mob of attackers. There is no record that any Naha-te kata were used by the palace guards, but this would be ideal for defending a small hallway through which the Okinawan king would retreat when threatened. The rooting of this form and body conditioning could have made it a useful tool to insure king’s safe escape through the Shuri castle’s passages.

Sanchin on the surface appears to be the shortest and simplest kata taught in AOKK Isshin Ryu. It is however the most complex. There are literally dozens of adjustments that the karateka must mentally and physically perform as the kata progresses. Sanchin is the one kata that no one can truly ever master. I laugh when I hear one student attack another student’s performance of this kata because no matter how well they believe they’re performing the kata they’re still making small mistakes.  No two styles of karate perform this form exactly the same. Lead foot rotation in one version may be deeper than another. There can be rotation of the back foot or no rotation depending upon the system teaching the form. Hands can be open or closed. This kata, in most versions, can contain turns while in others it simply moves forwards and backwards.

AOKK teaches this kata as the student’s first kata because it takes years to develop all the aspects of the form. A beginner will simply learn the moves and focus on the Sanchin (Hourglass) stance. More advanced students will work on rooting and isometrics. The brown-belt student will develop the special breathing technique used in Sanchin. Lastly the student is physically tested as all facets of the kata come together. Teaching this kata starting at san-kyu (first brown-belt) is too late for it to be fully developed, so it has become the first kata taught to beginners of many Okinawan karate schools.

You must teach Sanchin kata in steps. It is like watching a tree grow. Training starts with the feet. The feet are like the roots of a tree. The stronger the root the more wind a tree can withstand. Next the trunk grows, or the student develops isometric tensing of the legs, chest and abdomen muscle groups until the body becomes like a rock. Each year a tree grows another ring, and the trunk becomes stronger, so it is also with Sanchin kata. A strong tree grows straight. In this phase, or Sanchin training keeping the spine straight and chin up must be mastered. At the mature phase of a tree’s growth, it blooms, and its’ leaves appear. The tree takes in carbon-dioxide and expels oxygen. The karateka takes in oxygen and expels carbon-dioxide. You can go many days with food or water, but you can only exist a few minutes without oxygen. Sanchin grows from the ground up.

Some students are surprised to see the similarities between the techniques of Sanchin kata and techniques of Yoga. The Sanchin rooting concept, so I’m told, is a Yoga concept. Sanchin uses this rooting to slow an adversary’s charge by stabilizing their foundation while Yoga uses it to strengthen the muscles around the spine, and to relive the pressure on the disks. To maintain good spinal health, you should straighten the spin daily to take pressure off the disks. Rooting stabilizes the back and can prevent some back pain when the karateka gets older. Sadly, if a karateka’s back is damaged before learning Sanchin, they will never be able to fully master Sanchin, nor will they ever reap its therapeutic benefit.

You will note some differences between the way Shimabuku sensei performs this kata and the way it is performed in class. This was the way I learned the form, and the way it is taught in the AOKK. If you choose to teach it, as Shimabuku sensei demonstrates it, that is fine but wait until you’re at the black-belt level of sandan and have your own class. The changes were made, I assume, to better understand the bunkai.

The isometric nature of this kata builds and tones muscle. When dynamic tension is used in a form, it indicates that the moves are power or strength techniques. To build the necessary muscle all muscle groups are tightened and released several times during this form’s execution. The tightness of the muscle must be tested to see if the student understands the concept. Only instructors that have been schooled on how to test the techniques of the kata should be allowed to do so. The object is to test the students muscle groups not to beat him/her in a display of your insecurities and ego.

In the AOKK this kata is taught from the beginning of a student’s training, and is done at the end of every class. It is the one form that can never be mastered. The goal of every student is to seek perfection within his/her forms knowing that perfection is not within their grasp. Originally the kata was designed to build muscle, but it is much more. It is a test that the practitioner takes every time it is performed. It is as much a mental challenge as it is a physical one and when done properly will leave you exhausted. 

Ibuki breathing is integral to practicing Sanchin kata. Without breathing, you will become exhausted quickly in a confrontation. You must force yourself to breath. Master Baehr trained in the Chinese martial arts and his teacher told him there were several different methods of breathing while preforming kata. This is one of those types of breathing. It is heavy breathing. Forcing air out of your lungs while tightening the abdomen prevents the diaphragm from being traumatized when punched in the solar plexus. It also forces you to inhale. This keeps you able to concentrate and to continue the fight. 

AOKK Sanchin Kata by Steps:

Step 1

 The salutation:

The salutation is also a technique. The simplest explanation is that the salutation is merely representative of Isshin-Ryu philosophy. Step 1-3 is showing that you have no weapons. Step 4 the hammer shield is symbolic of karate being my secret weapon.

The bow is a symbol of respect and acknowledgement. The bow is done with eyes forward. The hands touch the sides of your legs and rotate to the front of the thigh as you bend forward and return to the side as you straighten up.

Step 2

After the bow, step into a “Ready Stance.”

Step 3

Lift the right leg and step forward with into Sanchin dachi and execute a twin middle forearm block.
Stance Checks:
  1. The back foot must be straight, so the hips do not need to turn to deliver a kick.
  2. Hips and shoulders must remain square.
  3. The heel of the front foot is pushed out while the toes are turned inward.
  4. The toe of the rear foot should align across from the heel of the front foot. Do not make this stance too long or too wide. Do not make the stance too tall. The wide stance opens the groin up to attack and makes the karateka’s balance more easily broken. If the feet are too close together your balance is compromised.
  5. Sit down into the stance and make yourself heavy. Lower your centerline or root yourself like a tree.
  6. Grip the floor slightly with your toes, but do not arch or roll your feet. Maintain surface contact.
  7. Pull the hips forward and straighten the spine. The obi knot should move upward.
  8. Tighten the stomach muscles along with every other major muscle group.
  9. Elbows are a fist’s distance from the ribs. The tops of the fists are even with the shoulders, just outside the shoulder line.
  10. Stomach, chest, and back muscles should be tight.
  11. The front of the thighs should be firm while the sides of the thighs are hard.
  12. Keep your chin up, and eyes straight ahead.
  13. Maintain muscle tension throughout the kata except while stepping.

Note: The first twin forearm block is made in a scooping motion, and during the first step into Sanchin dachi the right leg is lifted and set down into the stance. After the first step, the feet never lose contact with the floor.

Note: Inhale as you step forward into Sanchin Dachi or the hourglass stance, and exhale as you execute the twin middle forearm block. Inhale through the nose and exhale through the mouth.

Note: All muscles are tightened while performing this kata. The belt knot should be visibly lifted as the stomach and buttocks are tightened. Thighs and calves are also tightened. The toes should be gripping the floor. Chest, forearms, and neck muscles are also tightened until the karateka moves forward. The instructor will poke the student to ensure all muscles are tight. Advanced students will be punched and kicked to ensure the muscles are flexed. This kata is traditionally performed with the shirt remove so others can see that all muscles are tightened

Step 4

Pull the left fist back across the chest into a traditional chamber with the palm up.

Note: Inhale through the nose as the fist is chambered. Exhale (Ibuki Breathing) through the mouth as the punch is delivered.

Step 5

Execute a slow traditional left twist punch. When the left punch is almost completely forward the right-hand crosses in front of the chin (covering). When the left hand is extended the right hand moves back to its’ original position in the forearm guarding block (clearing). When the right hand is in its original position, slowly bring the left hand back into the middle forearm block position (clearing).

Note: Exhale while this is being performed during this entire sequence, and abruptly stops when the left arm returns to the twin forearm block position.

Step 6

Step forward with the left leg into Sanchin dachi still maintaining the twin middle forearm block.

Note: Tighten the: thigh muscles, abdomen, shoulder, chest, and back muscles. Root into the stance by flattening your feet on the floor. Grip the floor slightly with your toes. Do not allow the foot to arch. It must remain flat covering as much surface area as possible. Push the hips forward and straighten the spine. Point the coccyx towards the floor. Keep your chin up and neck straight. Your spine must be in alignment.

Note: Do not lift the foot off the floor as you step. Maintain as much surface area between your feet and the floor as possible. Sweep with the lead foot in a crescent pattern or half-moon. Pretend there is dust on the floor and sweep away the dust with your foot as you move forward.

Step 7

Pull the right fist back across the ribcage into a chambered position with the palm upward.

Note: Inhale through the nose as the fist is chambered. Exhale (Ibuki Breathing) through the mouth as the fist is pushed forward. Stop breathing and you stop living.

Note: The forearm should be horizontal to the floor and not resting on the obi. The fist should not point up or down. Keep the forearm perpendicular to the floor and resting against your ribs as you‘re pulling the fist into the chambered position.

Step 8

Execute a slow traditional right twist punch. When the right punch is forward the left-hand crosses in front of the chin (covering). When the right hand is extended the left hand moves back to its’ original position in the forearm guarding block (clearing). When the left hand is in its original position, slowly bring the right hand back into the middle forearm block position (clearing).

Step 9

Step forward with the right leg into Sanchin dachi still maintaining the twin middle forearm block.

Note: Tighten the: thigh muscles, abdomen, shoulder, chest, and back muscles. Root into the stance by flattening your feet on the floor. Grip the floor slightly with your toes. Do not allow your feet to roll or arch. They must remain flat covering as much surface area as possible. Push the hips forward and straighten the spine. Point the coccyx towards the floor. Keep your chin up and neck straight. Your spine must be in alignment. Students have a tendency to hunch over rolling the shoulders forward as they try and tighten all muscles. The instructor must correct this error in the kata when it is noticed to prevent bad future habits.

Step 10 [1]

Execute a slow traditional left twist punch. When the left punch is forward the right-hand crosses in front of the chin. When the left hand is extended the right hand moves back to its’ original position in the forearm guarding block. When the right hand is in its original position, slowly bring the left hand back into the middle forearm block position.

Step 11 [2]

Still in the right foot forward Sanchin dachi, execute a slow traditional right twist punch. When the right punch is moving forward the left-hand crosses in front of the chin. When the right hand is extended the left hand moves back to its’ original position in the forearm guarding block. When the left hand is in its original position, slowly bring the right hand back into the middle forearm block position.

Step 12 [3]

Execute a slow traditional left twist punch. When the left punch is forward the right-hand crosses in front of the chin. When the left hand is extended the right hand moves back to its’ original position in the forearm guarding block. When the right hand is in its original position, slowly bring the left hand back into the middle forearm block position.

Step 13 [1]

Still in the right foot forward Sanchin dachi, Open the fists into spear-hands with your palms facing your body on a slight angle. Pull the fists back to the obi. Chamber the fists palm up. Execute a twin spear finger strikes with the left- and right-hand palms upward. Close the hands into fists and rotate them palms down and pull the back to the chest.

Note: Inhale through the nose as the fist is chambered.

Note: The spear finger thrusts are done quickly, but the pull back or rip is done slowly. Exhale (Ibuki Breathing) as the fists are pulled towards the chest. This is one difference in AOKK Sanchin from the version done by Master Shimabuku. He does not pull the hands back and thrust them forward in this method. This technique more resembles the Uechi Ryu version. Shimabuku sensei executes this technique four times. I’m not sure where the changes come from, but no two Isshin Ryu schools perform this kata exactly the same.

Step 14 [2]

Still in the right foot forward Sanchin dachi, pull the fists back to the obi. Chamber the fists palm up. Execute a twin spear finger strike with the left and right hand. Close the hands into fists and rotate them palms down and pull the back to the chest.

Step 15 [3]

Still in the right foot forward Sanchin dachi, pull the fists back to the obi. Chamber the fists palm up. Execute a twin spear finger strike with the left and right hand. Close the hands into fists and rotate them palms down and pull the back to the chest.

Step 16 [4]

Still in the right foot forward Sanchin dachi, pull the fists back to the obi. Chamber the fists palm up. Execute a twin spear finger strike with the left and right hand. Close the hands into fists and rotate them palms down and pull the back to the chest.

Step 17

Step back into a left foot forward Sanchin dachi, cross the hands in front of your body and pull backwards. The right hand is pulled back to your head, and the left hand is pulled back to your thigh. Follow this with a twin palm heel-pressing block forward.

Note:  Inhale, through the nose, as the hands are pulled backwards, and exhale through the mouth during the execution of the pressing block.

Step 18

Step back into a right foot forward Sanchin dachi, cross the hands in front of your body and pull backwards. The left hand is pulled back to your head, and the right hand is pulled back to your thigh. Follow this with a twin palm heel-pressing block forward.

Note:  Inhale as the hands are pulled backwards, and exhale during the execution of the pressing block.

Note: It is not important to remove the attacker’s hands from your garments. It is important to make him/her think that is what you’re preoccupied with, so the strike is a complete surprise.

Note: Stepping back pulls the attacker off balance but is not necessary to deliver this technique.

Step 19 [1]

Step back into Musubi-dachi and press down and a pressing block with a sharp exhalations. 

Step 20 [2]

Step back into Musubi-dachi and press down and a pressing block with a sharp exhalations. 

Step 21 [3]

Step back into Musubi-dachi and press down and a pressing block with a sharp exhalations. 

Step 22

Bow out
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