Kata Channan and Kata Shintai

What we did on Tuesday 29 May 2012


Continued with our programme of examining the successive applicationjs for Kata Channan.  Studied moves 14-15 (knee strike); 17-18 (low bridge and forearm smash); 19 and 22 (low bridge / back-fist); 20 and 23 (bow hand - palm heel and back wrist).   This means that we have explored twelve of the fifteen basic applications of the form.  I am very pleased with the progress being made on this study.


My deadline for completing the study of tornado hand techniques, trajectories, curves, spiralling and looping is 11 June 2012, that is six months since beginning the process.  It looks as if I will meet this target as  have now created a form (Kata Shintai) that embodies (I think) all the principles and concepts that have been revealed from the study.  I intend spending the next week practising the form intensively with a view to establishing a sound format and revealing any inconsistencies.   

Kata Channan

What we did on Sunday 27 May 2012

Practice of Channan trying to balance percussive impulse yang strikes simultaneously against fluid yin bridges.

Punchbag work in respect of palm thrusts and strikes.

Revision of the Cubic model in preparation for inclusion into Kata Shintai. Another look at the principles of the Spherical model.

Kata Shintai

What we did on Friday 25 May 2012

Review of Tornado hand methods (Spherical model and Cubic model)

Memory aid: “See You Up Dartford's New Netball Club” (CUUDNNC)

Putting tornado principles into Kata Tenshu

Then subsequently taking tornado principles out of Kata Tenshu and enshrining them in their own method called Kata Shintai.

Channan oyo bunkai

What we did on Tuesday 22 May 2012

Continuing Kata Channan oyo bunkai (practical applications and analysis of Kata Channan)

Kata Tenshu

Sunday 20 May 2012

Group 1:  Practising Kata Tenshu now enshrining the secrets of tornado hands with the introduction of the spherical cube and figure eight hands along with already existing crane hands and slingshot principle.  

Group 2:  Walking, deportment, knee raising, balance.

What we did...

What we did on Friday 18 May 2012

More practice and analysis of the Spherical and Cubic models.

Kata Channan bunkai oyo sets 9-18 inclusive.

Spherical model description

Here is a brief description of the Spherical model:

Practice Method for the Spherical Model

Vertical plane Brief description for right hand (left hand works in contrary motion.   Change of direction or primary pole at bottom).  Working around a sphere anti-clockwise  (seen from above) with vertical anti nodes, the primary being at the bottom.

Vertical plane clockwise

Vertical plane forward rolling

Vertical plane anti-clockwise

Vertical plane backward rolling

Longitudinal plane (change of direction or primary pole at front).  Working around  a sphere clockwise with longitudinal antinodes, the primary being at the front.

Horizontal plane outwards (clockwise as seen from above)

Vertical plane forward rolling

Horizontal plane inwards (anti-clockwise as seen from above)

Vertical plane backward rolling

Lateral plane (change of direction or primary pole on right hand side).  Working around  a sphere clockwise (as seen from the right) with lateral anti nodes, the primary being  on the right.

Horizontal plane outwards (clockwise as seen from above)

Vertical plane clockwise

Horizontal plane inwards (anti-clockwise as seen from above)

Vertical plane, anti-clockwise

Thereafter repeating the twelve step sequence as described if desired.

The Cubic Model

I said that I would let you have a representation of the Cubic model and here it is:

Please remember that this is merely a starting point for reflection.  Try turning the cube on is axes in as many ways as you can and choose different starting points for describing the trajectories.  The serious challenge come when you decide to work different trajectories with each hand.  

There is an extension to this model which takes you back the reverse way and that is by returning to the front face of the cube, describing a circle and then reversing the circle by drawing  yin yang shape and then returning by the same route you initially went out.

Here is another description:

Practice Method for the Cubic Model Brief description for right hand (left hand work in contrary motion).
No.		Side	Edges described
1		Front	Underside	Left	Top	Flowing clockwise: semi circle on left of front face of cube.
2		Top	Right	Back	Left	Following through; semi circle on rear side of top of cube.
3		Left-hand side	Front	Underside	Back	Semi-circle on bottom of left side of cube.
4	Back		Top	Right	Underside	Semi-circle on right side of rear of cube.
5	Underside		Left	Front	Right	Semi-circle on front of bottom of cube.
6	Right-hand side		Back	Top	Front	Semi-circle on top of right side of cube.
7	Underside		Front	Left	Rear	Flowing anti-clockwise: semi-circle on left side of bottom of cube.
8	Back		Right	Top	Left	Semi-circle on top of rear of cube.
9	Left-hand side		Underside	Front	Top	Semi-circle on front side of left side of cube.
10	Top		Back	Right	Front	Semi-circle on right side of top of cube.
11	Front		Left	Underside	Right	Semi-circle on bottom of front side of cube.
12	Right-hand side		Top	Back	Underside	Semi-circle on rear side of right side of cube.

Kata Channan

What we did on Tuesday 15 May 2012

In depth study of Kata Channan sets 9 and 10.  It is absolutely clear that there is a great deal of work to be done on this kata.  To be conscientious and disciplined in ones approach will reap long term rewards.  Please don’t feel dejected when it seems you are banging your head on a wall, the process eventually becomes quite comfortable ;-) Remember that all the lessons learned in this kata will also underpin everything you do subsequently on the more advanced forms.

The spherical and cubic models

What we did on Sunday 13 May 2012

Group 1: Insistence on walking unaided; achieved four steps completely unaided.

Group 2: Working on spherical and cubic models.  These two exercises are pretty much developed now and have settled into the form I expect them to retain for some time.  The importance of these exercises quite apart from training the wrist and hand movements is to engender reflection on the various successive ways the hands can move independently one from the other.  There are an endless number of variants when practising these exercises and it is good to try working them from different positions.  The cubic model for example can be rotated upon its longitudinal axis to give four new trajectories, and then rotated on its vertical axis to give four more etc. ad infinitum.  It is a similar discipline to working scales on the piano keyboard and I have to confess to being very neglectful of practising my keyboard scales these days, however I am finding working the variations on the cubic model particularly challenging and mind bending and I haven’t even scratched the surface with the basic variations yet…  most satisfying :-) 

New practise models and Kata Channan

What we did on Friday 11 May 2012

Review of cubic and spherical models.

Remember that both models can be extended to a figure eight format

Individual demonstrations of Kata Channan with critical analysis.

Kata Channan bunkai oyo 1-4 inclusive.

The study of Kata Channan threatens to become a long term affair but one shouldn’t be put off by this.  I see distinct progress albeit it slow.

Kata Channan

What they did on Tuesday 8 May 2012

Kata Channan in depth study of sets 5-7 inclusive.

Revision sets of 1-4.

Training cancellation

Sunday 6 May 2012

There was no training on this day.

What they did...

What they did on Friday 4 May 2012

First hour and a half spent on Kata Channan with a detailed examination and analysis of the first four moves.  Last half hour responding to the question, “Tell me what move in the kata you would like me to explain.”  I was absent on this occasion, having put petrol in my diesel car showing my ongoing and increasing capacity to be a total numbnut.  That's what comes of increasing senility and driving both petrol and diesel cars.

A note on Yakusoku Kumite

What we did on Tuesday 1 May 2012

Group 1: Shinzen – correcting posture, move hips not shoulders.

Group 2: Yakasoku kumite complete.

Group 3: Tenzen 1-14 inclusive.

Group 4: Channan takedowns.

Watching the practise of Yakusoku kumite of late has reinforced the recognition that there are a number of difficult concepts within the set that cannot be executed by relatively inexperienced students.  Yakusoku kumite was conceived as a basic set for ‘beginners’, but in order to be so a teacher must avoid the temptation to become to demanding or too deep.  Yet it is these very principles that we are anxious to impart early on.  I speak of looseness, fluidity, continuity of movement, accurate positioning involving distancing, centre-lining and an ability to utilise both hands as defensive or counter offensive tools takes time, patience and effort to develop and become intuitive.  The term ‘yakusoku kumite’ is appropriate as it means ‘agreement to adhere to convention’ hence the consistent use of the term ‘formal kumite’ to describe these exercises.  There is no implication in that term to suggest that the exercise is in fact basic or easy even if it is taught early in training.  It is an exercise that will underpin other pairs work throughout training and throughout the attainment of more advanced levels.

What we did...

What we did on Sunday 29 April 2012

More repetition work today

Group 1: More work on posture.  A need to push the right hip forward. Achieved four steps unaided.  This is significant and reveals the potential for walking unaided once the musculature has been strengthened.

Group 2: Kinesiological exercise 1 (Undougaku Waza Sho).  An introduction and so there's much work to be done to make it fluid.

What we did...

What we did on Friday 27 April 2012

Repetition work today

Group 1: Shinzen, Buttataku Waza (pummelling method)

Group 2: Yakusoku kumite (seven part formal pairs).

Some improvements with a way to go.

Brief description of Undougaku waza

What we did on 24 April 2012

Group 1: Review of basic kata, Matsumura no Seisan, Shinsei no Seisan, and other kata.

Group 2: Working detail on the formal pairs exercise (Yakasuku Gumite).  Problems in speed and fluidity stemming from a lack of relaxation – the tea towel flick effect.

Kinesiological exercises 1-2 (Undougaku Waza Sho and Ni)

The two undougaku waza are now complete.  It must be remembered that these exercises are taught in one simple mode.  The exercises may be performed in alternative ways, starting at different positions, reversed, both hands in unison, following or contrary motion and large circles or small circles.  The number of ways these exercises can be executed is extensive and limited only by the practitioners imagination. It is for members to reflect upon the import of these exercises and what lessons, principles and concepts are contained within them. Look for ways of creating coordination challenges by changing the roles of each hand.

Undougaku waza sho:

Brief description for right hand (left hand works in contrary motion).

1. Working around a sphere anti-clockwise (seen from above) with vertical anti nodes, the primary being at the bottom.

a. Clockwise (on vertical plane).

b. Forward rolling (on vertical plane).

c. Anti-clockwise (on vertical plane).

d. Backward rolling (on vertical plane. Add one quarter revolution).

2. Working around a sphere clockwise with longitudinal antinodes, the primary being at the front.

a. Clockwise (as seen from above), on horizontal plane.

b. Forward rolling (on vertical plane).

c. Anti-clockwise (as seen from above), on horizontal plane.

d. Backward rolling (on vertical plane.  Add one quarter revolution).

3. Working around a sphere clockwise (as seen from the right) with lateral anti nodes, the primary being on the right.

a. Clockwise (on vertical plane.  Add one quarter revolution).

b. Clockwise (as seen from above), on horizontal plane.

c. Anti-clockwise (on vertical plane)

d. Anti-clockwise (as seen from above), on horizontal plane.

Thereafter repeating the twelve step sequence as described or going straight into undougaku waza ni.

Undougaku waza ni:

Brief description for right hand (left hand work in contrary motion).

1. Flowing clockwise: semi circle on left of front face of cube.

2. Following through; semi circle on rear side of top of cube.

3. Semi-circle on bottom of left side of cube.

4. Semi-circle on right side of rear of cube.

5. Semi-circle on front of bottom of cube.

6. Semi-circle on top of right side of cube.

7. Flowing anti-clockwise: semi-circle on left side of bottom of cube.

8. Semi-circle on top of rear of cube.

9. Semi-circle on front side of left side of cube.

10. Semi-circle on right side of top of cube.

11. Semi-circle on bottom of front side of cube.

12. Semi-circle on rear side of right side of cube.

Brief description of Buttataku waza

What we did on Sunday 22 April 2012

Group 1:  Getting up and down off floor.  Walking unaided.

Group 2: Cubic and Spherical tornado hands models. Kinesiological exercises 1-2  (Undougaku Waza Sho and Ni).
  

Buttataku Waza (pummelling method)

1. Left palm jab to nasal / upper lip or orbital region; 

2. Right reversed palm thrust to right aspect of mandible; 

3. Left roundhouse palm strike to ear; 

4. Right rising palm thrust to underside of mandible; 

5. Left inwards elbow strike to temple or lower ribs; 

6. Left hammer-fist to temple.  

7. Right oblique inward sword hand strike to neck; 

8. Left shovel hook to lower aspect of the rib cage; 

9. Right knee strike to the abdomen; 

10. Right palm strike to testicles; 

11. Right ball of foot kick to knee.  

According to skill level and preference (and in conjunction with advice from sensei) techniques can be modified to use alternative hand or fist weapons to alternative targets.  Remember that these techniques are intended to incapacitate and must be executed at relatively high speed, with focused power and without hesitation.