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Shinseido: A Life-Skill.

I am aware that some of our members don't really understand the nature of Shinseido.  Some members regard Shinseido as a kind of club you can attend from time to time as you feel like it, to pursue an interesting activity for a couple of hours, then go home and forget about it until the next time around.

Shinseido is a life-skill that takes a great deal of dedicated time to learn and understand.  It is not just a self-defence system; it is a way of living, a way of being, and a different mind-set.  You can’t just ‘do it’.  It is very difficult to learn and will take at least two years dedicated practice, training at least twice a week in the dojo, and with plenty of home practise 

to get the basics down with another eight years consistent practise before you even begin to perceive the real nature of the art – and that’s just the beginning. 

The ‘self-defence’ or ‘martial arts’ label is just a façade for something altogether deeper and more life changing.  You will end up living your art because you art contains all the principles and concepts required to lead a healthy, fulfilling and meaningful life.

What we did...

What we did on Tuesday 24 July 2012

This session was devoted in its entirety to Kata Hakutsuru.

What we did on Sunday 22 July 2012

Our cerebral palsy member Paul continued to practise his walking.  There are significant problems with balance, posture, length of step and confidence.  Paul told me that he doesn’t mind my videoing his progress and putting it up for the benefit of others who may have unusual problems with training.  I will try and do this soon. 

Kata Channan

What we did on Friday 20 July 2012

More work on Kata Channan.

Some members like to be hard and strong, they perceive their art as requiring them to be tense, rigid, powerful and immoveable.  They think that being so and working up a sweat is what it is all about.  It seems to be a young man’s thing that can follow him throughout life.  Hard and strong are important qualities, working up a sweat is important, but these things represent only one aspect of their respective continuums.  The way I have taught for many years is if I see a ‘hard’ practitioner I want to make him or her soft, not so that he looses his hardness but so that he can switch from hard to soft or place himself anywhere on that continuum in a moment.  If I see a ‘soft’ practitioner I want to make her (or him) hard.  The game is about balance and being able to shift one’s position depending upon the needs of the moment.  Being tense, hard and rigid most of the time is a bad and unhealthy way to be.  So most of this session was oriented to working Kata Channan in a soft, fluid mode with smooth uninterrupted transitions from one move to the next; what I often describe as a one move kata.

Kata Channan is particularly difficult initially because it requires smoothness and fluidity with the one hand and arm while at the same time delivering powerful impulse thrusts and strikes with the other arm.  It also demands an awareness of how we make use only of those muscles we need in any one moment, while those not needed should be relaxed.  Unless the practitioner can recognise and achieve a completely relaxed approach to the kata he will not be able to perform it correctly.  So it isn’t unusual for a group to be asked to work Channan in a completely relaxed, fluid way.

What we did...

What we did on Tuesday 17 July 2012

Unfortunately I was unable to attend this session because I was feeling extremely down, I was paralysed with lethargy and tiredness - a bug maybe. 

Tony sensei continued his work on Kata Hakutsuru that he started the previous Friday. 

Kata Shintai is 'Tancho'

What we did on Sunday 15 July 2012

More work on what I have been calling Kata Shintai.  The road to revealing this form has been tortuous, confusing, extremely difficult and complex.  I don’t often talk of my own perceived notions of my intelligence; neither do I often mention that I have been a member of Mensa (a somewhat dubious distinction I am the first to admit), I do so now merely to say that despite my ability to be logical and to unravel things, I do so with a great deal of difficulty.  This kata has severely challenged me in all kinds of ways.

It is clear to me now, that ‘kata’ may not be a perfect word for what I am putting together.  It is also extremely long and convoluted, it also has an ultimate randomness about it that transcends ‘form’ and becomes the subject for serious kinetic meditation.

I am aware that I will have to drastically shorten the form into what I perceive as a set of ‘keys’ that will open recesses of the mind and challenge the serious tankyusha (seeker) to discover a great deal about the nature of hand and arm movement. I am aware that it would be all to easy to loose the meaning of such a form in the sense that if a verbal or written explanation is not provided with the movements of the form it will be completely misunderstood.

One way of helping people who eventually learn this exercise to discover its real nature is to provide it with a name that challenges one to ask “Why is it called that?” without wishing to sound arrogant I suspect my intent here may well be lost on most people… it is easy to ‘see’ when you have been shown, but extremely difficult when you have not…  Nevertheless I decided today to call this exercise cum form ‘Tancho’ which means “a clue, start or beginning”. Extraordinarily it also means “Japanese red crowned crane” – I did not know that until after I had chosen the name to represent ‘keys’ or ‘clues’ to something more…

I have pretty well flogged this game to death now, and feel that I may have gone very much further into it than I needed.  But then I mayn’t have gained what I have…  In any event the game, which started out as very enjoyable has become an irksome and obsessive chore so I will be pleased to be done with all the reflection and research and boil all I have down into something meaningful.

Kata Hakutsuru

What we did on Friday 13 July 2012

Kata Hakutsuru (White Crane).  It is a rare occasion that we wheel out Kata Hakutsuru for dissemination, but tonight was one such.  Tony and I have taught Kata Shinseido Hakutsuru to only two other trusted Shinseido members in the UK thus far.  It is the ‘highest’ kata in the Shinseido system and while not the world’s most difficult form it does have some awkward moments initially.  

Traditionally (although the subject of a great deal of controversy) the kata was retained as the secret family form of the Matsumura family and handed down according to Matsumura Seito tradition from Matsumura Sokon Bushi (Machimura Bucho) (1797-1889) to Matsumura Nabe Tanmei (c.1850’s-1930’s) and from him to Soken Hohan (1889-1982) and thence to Nishihira Kosei (1942-2007) the last of the Matsumura line.  

During the late 1980’s a video of parts of Hakutsuru demonstrated by Soken Hohan was made public contrary to the agreement of those in possession of this video footage.  Since that time a number of people have attempted to re-contruct the kata from that footage.  A major problem is that the video is of poor quality and much detail is difficult to define.  Tony and myself were extremely lucky to be shown the kata by a student of Nishihira sensei, one Ted Lange of Australia when he visited London a few years ago.  Ted sensei is one of the most well informed and knowledgeable people in the world in respect of Matsumura Seito Karate.  Tony and I also have a video of Hakutsuru being performed by Yabiku Takaya (another student of Soken Hohan).  This version is alleged to have come by way of one Kojo sensei a student of Bushi Matsumura, so there are a few differences in the form. 

I made an intensive study of all the Matsumura Seito Hakutsuru material several years ago and the result was a Shinseido version that embodied all the principles of the other forms.  The now publicly known part of this kata can be viewed at http://www.youtube.com/watch?v=2oL1wM517VE   It is this version of the Hakutsuru (that contains the Nishihira version in its entirety and which is not shown on the video), that we teach to trusted Shinseido yudansha today.

Hakutsuru encapsulates the essence of Shinseido in its manner of performance, aspects of which permeate all the other Shinseido kata.

Kata Shintai.  While Tony taught the Hakutsuru I worked on what I currently call Kata Shintai, getting closer to whatever it is will be revealed by my somewhat obscure obsession with hand and arm movements of late.

Nine Modes for Working the Hands

What we did on Tuesday 10 July 2012

Formal kumite

Kata Shintai: Nine Modes.  My continuing analysis of Shinseido hand and arm movements has led me to recognise nine different ways we combine movements with both hands. I created a three dimensional exercise to show these modes.  The standard or root mode where the left hand mirrors what the right hand is doing (or vice versa) is carried out as follows:

1a	Circling around the longitudinal axis:  Left hand describes an anti-clockwise circle starting at the bottom and finishing on the right hand side of the circle (one and a quarter revolutions).	Circling around the longitudinal axis:  Right hand describes a clockwise circle starting at the bottom and finishing on the left hand side of the circle (one and a quarter revolutions).
1b	Circling around the vertical axis:  Left hand makes a horizontal flat circle going outwards (anti-clockwise as seen from above) all the way around and finishing at the front (one and a quarter revolutions).	Circling around the vertical axis:  Right hand makes a horizontal flat circle going outwards (clockwise as seen from above) all the way around and finishing at the front (one and a quarter revolutions).
1c	Circling around the lateral or transverse axis:  Left hand makes a longitudinal circle starting downwards, back, round and up, over the top forwards and all the way to the bottom (one and a quarter revolutions).	Circling around the lateral or transverse axis:  Right hand makes a longitudinal circle starting downwards, back, round and up, over the top forwards and all the way to the bottom (one and a quarter revolutions).

The subsequent modes, following the same sequence as the standard model, are:

2	Backwards	Going back the way you came for the standard model
3	In unison	Each hand reinforcing the action of the other as if one wrist were tied together with a short length or rope.
4	Reversed order	Reversed sequence for the standard model.  E.g. The same sequence but anti-clockwise instead of clockwise; backwards instead of forwards; inwards instead of outwards.
5	Contrary motion	Not the same as the mirrored version – but where the hands work exactly contrary to each other – so the left hand rotates backwards whilst the right hand rotates forwards on the lateral axis.
6	Following	One hand following the other on opposite sides of a circle
7	Contrary following	Contrary motion on opposite sides of a circle
8	Dual axes	Working two different t axes simultaneously: e.g. Left Anti-Clockwise - Right Outwards Left Inwards - Right Forwards Left Backwards - Right Clockwise Clearly there are many coordination challenging combinations to this model.
9	Random	A recognised option but not revealed in the kata

I hasten to point out that I am unconvinced of the practical self-defensive value of this kind of exercise.  It is more a part of what I am studying at the moment in terms of trajectory relationships, but the kata as a whole (this is just one part of it) has also thrown up some fascinating coordination challenges which form a fascinating subject for kinetic mediation.

What we did...

Sunday 8 July 2012

Our cerebral palsy member indicated that he would be happy for video to be put up on our YouTube channel to show his progress.  He feels that this might inspire others who have similar problems.  With this in mind I videoed him today and will let you know when I have it up for you to see.

Kata Shintai

Friday 6 July 2012

Formal kumite.

Recognising the essence of Kata Shintai has become extremely difficult and challenging for me.  I have embarked upon creating a ‘complete’ form with a view to producing a simplified version from that rather than create a simple form and then work towards recognising its hidden depths thereafter.  I do not have the mental capacity to hold a multiplicity of trajectories in my head while I work out a logical progression but in the absence of any other way to move forwards I am spending rather too much time reflecting when I go to bed before I fall asleep and in the morning when I wake up – it has become something of a personal obsession to complete this project.  I am rather hoping I solve its mysteries before it drives me mad and I learn to detest it.  I have show the members its component parts, at least enough for them to practise its essence, but how it will eventually hang together is another thing altogether.  My target was to complete it within six months but that deadline was on 11 June, it is now a month later and its final completion seems ever further away.

What we did...

Tuesday 3 July 2012

Kata Shintai.

Review of the four basic kata.

Formal kumite.

Sunday 1 July 2012

Paul did exceptionally well today and was supported by Luke for the most part.  He achieved walking 13 steps unaided.

The remainder of the class worked the four basic kata and formal kumite.

What we did...

Friday 29 June 2012

Over the last eight sessions we continued study of Kata Shintai and the last moves of Kata Channan.  This may not sound very much but we have always been more concerned with quality of progress rather than quantity.  During June we have put in more than twenty hours study of the basic applications for Kata Channan and before that a similar amount of time on the Channan takedowns.

Throughout the month Kata Shintai has been quietly establishing itself through its component parts rather than as a whole exercise mainly because I was unsure what form the final arrangement would take.

Tuesday 26 June 2012

Continued practice of moves 27 to 30 of Kata Channan thus finishing our overview of the fifteen basic applications.  It is important to recognise the nature of the forearm trap in that it is a trigger response to a sudden attack, training against a sudden, unexpected attack changes the nature of the defence; it means that the practitioner must learn how to capitalise out of making a ‘mistake’ in timing and judgement.

Sunday 24 June 2012

Gavin input some motivational ideas regarding Paul, how to motivate himself and to move forwards.

Gavin practised his forms.

What we did...

Friday 22 June 2012

Kata Channan applications: Moves 27 to 30, the low outward bridge with simultaneous palm thrust followed by the forearm trap and sword hand strike.  Recognising that while each move is separate, the two paired movements can be linked together

Tuesday 19 June 2012

Kata Channan applications: Moves 24 and 25, the striking in bridge and lunge punch.  This move is unique in the kata, having a low bridge and body change working in the same direction; this to position correctly to break down the incoming attack. 

Sunday 17 June 2012

Cancelled due to Roger not having a running vehicle to get him to the dojo.

Friday 15 June 2012

Review of Kata Shintai.

Kata Channan applications: Moves 19-20 and 22-23, the low outward bridge with ‘bounce off’ backfist – the front kick and bow hand technique.

What we did...

Tuesday 12 June 2012

Kata Channan applications: Moves 17-18 and 19-20, the smashing low outward bridge and rising forearm smash.  Recognising the importance of a fast follow through with this application which puts you inside the attack.

Sunday 10 June 2012

Continuing the study of Kata Shintai and its component parts.

The formal kumite.

Overview of Kata Channan and its applications.

Friday 8 June 2012

Continuing the study of Kata Shintai and its component parts.

Tuesday 5 June 2012

Continuing study of Kata Shintai and its component parts. 

Kata Shintai

What we did on Sunday 3 June 2012

Consolidation of Kata Shintai.  The last thing I actually wanted was another kata having been very much into reductionism over the last few years, however the tornado hands concept has become far too important to me not to enshrine its principles somewhere.  My attempt to do so within the existing Kata Tenshu was not a good idea and Tony and Luke’s reservations were valid and sensible and so Shinseido is giving birth to Kata Shintai.  It is still early days and there are one or two irritating inconsistencies within it.  Nevertheless the spherical cube and spiralling sections are extremely pleasing and valid as is the inclusion of the regular and reversed tatsumaki uke (tornado ‘block’).  I also like the opening and closing sections where our Okinawan roots are stated overtly in drawing the OMMA logo and Okinawa flag.  The spherical section is less than perfect although growing on me, and the perceptual section revealing how circles can be transformed into the figure eight format is still not absolutely right.  I want to reveal within that section how reversing the direction of movement can be carried out within the encompassing circle as the yin yang (taijitu) symbol or without the circle as part of a figure eight.  This gives the simple realisation that both are actually the same thing and it is a perceptual thing whether the movement is contained or not.  One should research the geometry of the taijitu; it is a deep and revealing, directly related to the process of tatsumaki te (tornado hands).

The important thing about Kata Shintai is to recognise that it is a set of keys or doorways into an entire way of thinking about hand and arm movements.  It is a perceptual challenge, a kinesiological challenge in coordination and a powerful method of kinetic meditation that can be carried out physically or in the head as a mental exercise.  I have already discovered how reflection on the nature of Kata Shintai has a powerful effect upon one’s perceptions regarding movement and find it increasingly difficult to think of individual movements of components of a move.  My art has really truly reduced to one technique for all situations.  This represents an enormous shift in the way I view my art and is unquestionably on a par to my initial realisation of non-dualism of which tornado hands is merely another facet.

What we did...

Apologies for the long silence but I have been so focussed on my Kata Shintai project that nothing else has been done.  I will try to catch up.

What we did on Friday 1 June 2012

Continuing our study of Channan oyo bunkai. 

Moves 20-23 Yumi te and 24-25 Kaeshi waza.

Only 27 and 29 (low bridge and reversed thrust); 28 and 30 (trapping hand and sword hand) left to do.