Tenshin: An Okinawan term relating to the movement of the body in relation to an opponent by shifting away or into a persons space with a focus on the transition of the feet. A practitioner would use this as a part of their shifting from stance to stance in relation to the moment in combat while performing ma-ai as a result of shifting into or away from the opponent. Taught as a fundamental to the kata. Used to develop non-telegraphed, efficient, and rapid movement. Many students are first taught the different stances used within their style which are used in kata practice. Then they are taught how to move properly resulting in tenshin practice. This helps the student to develop proper movement along with body alignment, balance, hyoshi (tempo), ma-ai (distancing), and timing.

Tenshin is an intricate part of kata training, an intricate part of karate training. Coupled with Tensho, transition of hands, it provides a means to train thoroughly within kata which has significant applications for combat and kumite. Utilizing the tori/uke relationship in training a pair of students can practice distancing and stance transitions to get the “feel” for how it all relates to facing an opponent. The tori would make the first movement either into or away from the uke while the uke responds with an appropriate response in movement to take advantage of the move by tori for either defense or offense. The actual defensive/offensive technique is not performed since this drill is taught before kihon yet in later practice it will have the appropriate technique visualized during practice. As students progress this will naturally migrate into actually performing hand transitions along with foot transitions; tenshin and tensho practice. Tensho: An Okinawan term relating to the transition of the hands. This portion of training is added into tenshin after the student learns the te-no-bu or upper body techniques. This is then practiced solo with visualization until the student becomes fluid. Then students are paired off into tori and uke relationships to begin practice. The only difference between tenshin/tensho practice and yokusoku kumite is contact. The tori and uke will practice much like the above description of tenshin practice but with out actual contact. Once they are proficient in this form of practice then it is time to move into yokusoku kumite which is prearranged techniques with physical contact. This also occurs after leaning the Ashi-no-bu or foot techniques. In this practice tori and uke no longer move freely but use specified sets of techniques which come from the basics and kata practice. As you can see there are many transitional forms of practice that take the practitioner through the various stages that will result in free form combat techniques and kumite.

Breathing is important for a variety of reasons with the most obvious being that it supplies our bodies and organs with a supply of oxygen which is vital for survival. It also gets rid of waste products and toxins from the body.

Poor oxygen supply affects all parts of the body. When reduced, say through panic or extreme stress which results in shallow breathing, it results in mental sluggishness as well as vision and hearing decline. It also causes the heart to work harder which can display itself as palpatations. The hands get cold and sweaty.

Oxygen is critical to our well being and increaseing the supply to the brain through proper breathing techniques provides a good deal of benefits physically as well as mentally.

Benefits of Breathing:

1. Improvement in the quality of the blood due to its increased oxygenation in the lungs. This aids in the elimination of toxins from the system.

2. Increase in the digestion and assimilation of food. The digestive organs such as the stomach receive more oxygen, and hence operates more efficiently. The digestion is further enhanced by the fact that the food is oxygenated more.

3. Improvement in the health of the nervous system, including the brain, spinal cord, nerve centers and nerves. This is due again to the increased oxygenation and hence nourishment of the nervous system. This improves the health of the whole body, since the nervous system communicates to all parts of the body.

4. Rejuvenation of the glands, especially the pituitary and pineal glands. The brain has a special affinity for oxygen, requiring three times more oxygen than does the rest of the body. This has far-reaching effects on our well being.

5. Rejuvenation of the skin. The skin becomes smoother and a reduction of facial wrinkles occurs.

6. The movements of the diaphragm during the deep breathing exercise massage the abdominal organs – the stomach, small intestine, liver and pancreas. The upper movement of the diaphragm also massages the heart. This stimulates the blood circulation in these organs.

7. The lungs become healthy and powerful, a good insurance against respiratory problems.

8. Deep, slow, yoga breathing reduces the work load for the heart. The result is a more efficient, stronger heart that operates better and lasts longer. It also mean reduced blood pressure and less heart disease.

The yoga breathing exercises reduce the work load on the heart in two ways. Firstly, deep breathing leads to more efficient lungs, which means more oxygen is brought into contact with blood sent to the lungs by the heart. So, the heart doesn’t have to work as hard to deliver oxygen to the tissues. Secondly, deep breathing leads to a greater pressure differential in the lungs, which leads to an increase in the circulation, thus resting the heart a little.

9. Deep, slow breathing assists in weight control. If you are overweight, the extra oxygen burns up the excess fat more efficiently. If you are underweight, the extra oxygen feeds the starving tissues and glands. In other words, yoga tends to produce the ideal weight for you.

10. Relaxation of the mind and body. Slow, deep, rhythmic breathing causes a reflex stimulation of the parasympathetic nervous system, which results in a reduction in the heart rate and relaxation of the muscles. These two factors cause a reflex relaxation of the mind, since the mind and body are very interdependent. In addition, oxygenation of the brain tends to normalize brain function, reducing excessive anxiety levels.

The breathing exercises cause an increase in the elasticity of the lungs and rib cage. This creates an increased breathing capacity all day, not just during the actual exercise period. This means all the above benefits also occur all day.

Number ten is very important to the Martial Artist in self-defense. When confronted by an adversary the body will immediately start to exhibit symptoms of panic in a faster pulse and shallow quick breathes. The hands will start to get cold, the shoulder muscles will start to tense up, and you may feel heart palpatations.

When confronted with such situations immediately start to perform deep breathing techniques to slow your breathing and to supply adequate amounst of oxygen to your system. This results in the reflex to the body systems to reduce heart rate and relax the muscles. Additional reflex relaxation are of the mind. Additional oxygen tends to normalize brain function and reduces anxiety levels.

Couple this with proper training through years of practice will result in a calm mind, relaxed body, and your sytems will function as necessary so your cleared mind though Zanshin and Mushin will allow for proper reaction in self-defense situations. With out a proper breathing method the body would lock up, the muscles would become sluggish, and the mind will shut down resulting in delayed reactions allowing for the attacker to overcome and defeat you.

According to Sensei Advincula, during his first tour on Okinawa 1958-1960 Master Shimabuku used a standard curriculum for Isshin-ryu. This curriculum contained 12 subjects starting with “Seisan” kata and ending with “Kumite”. This curriculum  was formatted to fit  the typical Marines Corps Tour of Duty on Okinawa. This means that a new student would earn one kata or subject per month for approximately one year. Now, unless a Marine started the first month he arrived, he would not normally have enough time to learn the entire curriculum especially the “Kumite” as it was taught last.

    
    Photo shows the syllabus taught by Sensei Tatsuo Shimabuku in December 1958.
Photo courtesy of Advincula .

Sensei noticed this when he first started training in the Agena Dojo. Sensei witnessed Senior Marine Students, preparing to leave Okinawa, questioning Master Shimabuku with karate questions. Sensei Advincula listened in and realized they were asking  questions about the “Kumite” techniques that they had not yet learned and realized that he needed to start learning them as soon as he could. As you can see from the list below they seem very cryptic with very little explanation as to exactly how to perform each technique. The students needed to learn them first hand to understand the application and bunkai for each move. 

According to Advincula, he performed Master Shimabuku’s kumite at all the demonstrations they had on Okinawa.

Photo Courtesy of Sensei Advincula

 As a result of these young Marines not fully learning Master Shimabuku’s “Kumite” techniques, they  returned to America not fully understanding them. This has lead to some confusion by some groups within Isshin-ryu. In fact, within some circles they are referred to as the “Secret Scrolls.”

These moves are not secret at all. They are a part of our style and should be preserved.

Of note, the late Sensei Sherman Harrill told me about how he was first exposed to the Kumite techniques. He told me in late 2001 that the Senior Karate students he worked for on Okinawa knew the 45 Kumite techniques and while on break at work they would use him as the uke. He said that “he learned them real quick.”

V/r
Skipper
1. a. Left hand hold right wrist
    b. Two hands hold one wrist
    c. Left hand hold right wrist, from outside position
    d. Right hand hold right wrist
    e. Right hand hold right wrist from top

2. a. Outside block, punch inside
    b. Inside block, punch side
    c. Step forward, punch
    d. Shoulder block
    e. Grab arm, elbow

3. a. Punch back of hand
    b. Punch back of hand side
    c. Punch back of hand knuckle

4. a. Knuckle block for kick, counter kick
    b. Cross arm block
    c. Left hand push right leg inside, counter kick
    d. Knee block, kick
    e. Grab leg, grab Adam’s apple, trip, punch

5. a. Hold arm use against punch
    b. Left kick
    c. Right kick
    d. Twist

6. a. One hand hold gi, grab, twist, kick
    b. Two hand hold gi, push kick
    c. Trip two feet kick

7. a. Full nelson, karate cut groin
    b. Full nelson, grab leg, heel kick
    c. Full nelson, grab both legs, karate cut groin
    d. Back neck breaker and choke hold, cut groin

8. a. Bear hug waist, hands free, grab one finger, break and hit back of hand
    b. Bear hug around arms and waist, grab groin
    c. Head lock, grab groin, and one shoulder break
    d. Head lock, knuckles in side
    e. Head lock, jerk shoulders up kick legs out in front

9. a. Devils hand shake, grab your fist, pull, kick
    b. Devils hand shake, twist over, elbow kick

10. a. Two hand straight choke, break, grab Adam’s apple
     b. Cross arm choke, one arm shoulder up between his arms and grab Adams apple
     c. Smother hold, knuckles in side

11. a. Straight stab, grab hand and wrist, twist, kick, trip, kick

12. a. Ice pick stab, block across, kick

13. a. Straight stab, both hands up, karate cut block, kick

14. a. Straight stab leaning forward, grab hand with both of yours, pull, trap at elbow

15. a. Two knife straight stab, squat kick

“Perhaps the most essential single element of physical form,
as one aspect of classical disciplines, is kamae, or combative
engagement posture.” ~ Donn F. Draeger, author of Classical Budo

Within the Isshin-ryu system are a wide variety of postures, positions and stances that are intended to facilitate concepts ranging from the understanding of body mechanics to offering symbolic gestures. Kamae are an integral element of Isshin-ryu kata, and also to the whole of Isshin-ryu. Shimabuku Tatsuo Sensei, the creator of Isshin-ryu Karate-Do, used a kamae from his kata, Sunsu, as an influence for the symbol of Isshin-ryu, the “Isshin-ryu no Megami”. Kaneshi Eiko Sensei (one of Tatsuo Sensei’s most senior students and present during Isshin-ryu’s creation) said, “Shimabuku made Sunsu with ken (sword) and Megami together.” This statement meant that the picture of the Isshin-ryu no Megami (Goddess of Isshin-ryu) holding her right hand in a closed fist and left open hand was influenced by the kamae found in Sunsu kata. [a] The Sword in Buddhism represents both knowledge and wisdom which has the capacity to cut through ignorance, delusion and attack evil. This alone shows us the importance of kamae not only for its self-defense postures but also for its symbolisim to Shimabuku. Therefore, kamae should be studied and understood by those studying Isshin-ryu.

“Without determination man is an untempered sword.” ~ Confucius

I’ve heard of, and witnessed, some sensei teaching that kamae are useless in actual self defense situations, however, this can not be further from the the truth. Motobu Choki Sensei, Shimabuku’s fourth karate teacher, said “Kamae is in the heart, not a physical manifestation.”[b]  This is the essence of not only kamae, but Isshin-ryu Karate-Do as a whole. If we examine the physical aspects of kata, many times kamae only play a small part, such as indicating a pause, or used when moving from one technique to another. Since some postures are very inconspicuous, some practitioners of Isshin-ryu may not be aware to the depth of their importance. In this article we will cover some of the kamae taught and hopefully inspire those that may not have previously explored the purpose of kamae in kihon, kata and kumite.

Kihon No Kamae The postures used when practicing Kihon (Upper & Lower Body Exercises/Te no bu “Hand section” and Ashi no bu  “Foot section”), in Shimabuku’s Agena Dojo, were either fists held on the hips (posting) {Fig.1} or in the front. {Fig.2}  An authority in Isshin-ryu Karate and my source of information for this article, Sensei Arsenio Advincula, teaches both positions but emphasizes posting on the hips in Kihon. The reason being is it aids the new student to punch from the proper position taught in Isshin-ryu. However, when practicing other drills, for example Tatsuo’s Kumite, the hands are held in the front to simulate how we would normally be standing in a real situation.

Another kamae taught in Kihon is the double grab from the Toe-Rip or Heel-Thrust Kick. {Fig.3} In Kihon, its emphasis is not a kamae, although it is an outstanding fighting posture. I attended a Rape Prevention Seminar taught by Advincula Sensei, and this open hand kamae was taught first. Besides the obvious defensive advantages, this kamae is the universal symbol to stop. This shows our attackers, and witnesses, that we do not want a confrontation, which is a prime lesson taught in Okinawan Karate-Do.

Kotekitai No Kamae

Kotekitai are a set of three forearm conditioning exercises taught by Shimabuku Sensei. The first exercise teaches a kamae which is used latter in the fifth section of Tatsuo’s Kumite {Fig.4}   The drill, defending against a double knife attack, is improvisational in nature with the attacker performing either a left, right or double knife thrust. The defense is chopping downward thwarting off the knife attack, the same way the first kotekitai is performed.

Seisan No Kamae

Postures found in Seisan Kata, as with all kata, prepare us for the lessons and strategies taught in the following kata and applied during kumite. The first stance, Seisan Kamae, {Fig.5} also known as Kihon Kamae, is Isshin-ryu’s fundamental fighting posture. To the beginner, this stance seems to leave us in a position where our targets are vulnerable to attack. However, as we progress in skill we place ourselves, and our opponents, into situations at our discretion so we can use Seisan Kamae as it was meant to be – our primary stance.

A few of the many features of Seisan Kamae are; we can easily and rapidly use all of our weapons, move and strike to the eight primary directions and shift directly into every stance taught in Isshin-ryu. Seisan Kamae is directly related to the fifth code of the Kenpo Gokui, “The body should be able to change direction at any time.” The eight precepts of the Kenpo Gokui are used as a moral, philosophical and physical guide to the Isshin-ryu Karate-Do practitioner.

Another kamae taught in Seisan Kata is the “Juji Kamae”, or “X” type guard found after the double head block.{Fig.6} Even though it is only used for a brief moment in this kata, it is possibly the most utilized guard found in Isshin-ryu strategy. The main feature of this kamae is it covers “center mass” and we can attack or defend to our three basic levels, high, middle and low. Besides Seisan Kata, this kamae is taught twice in Chinto Kata and once in Kusanku Kata, although it is used for a split second in the majority of blocks within the Isshin-ryu system. The importance of this kamae can not be over stressed.

Skipping ahead to the last kamae taught in Seisan Kata, we find a posture that teaches us to create an opening to invite an attack. In these movements we bring our open hands overhead and circle them downward in a wide arc and rest them on our hips. {Fig.7-8} This kamae is one of the many lessons of combat strategy taught within kata. As history has proven, many smaller and weaker militaristic forces have overcome larger, more powerful opponents by the use of superior strategy.

Seiunchin No Kamae

The opening movements of Seiunchin Kata, are repeated three times, contain blocking movements which can be used as a kamae. Incidentally, most blocking movements in all kata can be modified to be postures, although we should not confuse students with our interpretations and the bunkai taught by Shimabuku Sensei, it should be clarified when it’s not his original teachings. In Shimabuku’s basic bunkai of Seiunchin there is only one kamae taught as such. This posture is where we evade into a cat stance and place the closed right fist on top of the open left palm. {Fig.9} According to Advincula Sensei, it was modified by Shimabuku Sensei to be a kamae. When Advincula was first taught Seiunchin Kata, it was a back-fist to the top of the foot or back of a hand strike, then Shimabuku modified it to a hammer-fist, then simply to a kamae.

This along with other kamae relate to the Kenpo Gokui, “The manner of spitting or drinking is either hard or soft.”  This verse relates to the yin and yang where the open hand represents soft and the closed fist represents hard. Many techniques found in Seiunchin Kata are performed with this same concept of Go-Ju, or hard and soft.

Naihanchi No Kamae

Naihanchi Kata is the “Yin” of Isshin-ryu Karate-Do, and in my opinion, Naihanchi Kata is -from a psychological standpoint- a kamae.  To understand my opinion keep in mind that “posture, position, style” [c] is the literal translation of kamae, and, a definition of posture is: “a conscious mental or outward behavioral attitude.” [d]  Physically, Naihanchi Kata teaches us to have a solid hard base while remaining completely relaxed from the waist up, but also to strike and block instantly with fluidity and fierceness. If we have our mental attitude, or “heart” as Motobu Sensei put it, the same as Naihanchi’s physical concepts, this kata would be in essence, a kamae. For example, if we compare the mental posture of a mother protecting her child, it would be the same as Naihanchi Kata’s physical concepts. Also from this perspective, it is the same as the Isshin-ryu no Megami symbolizing being soft and gental like a woman and hard and fierce like a dragon at the same moment in time. So, again in my opinion, Naihanchi is teaching us a kamae, psychologically. Additionally, it also teaches us excellent fighting stances for those who are interested in only the tangible aspects of Isshin-ryu Karate.

The main kamae taught in Naihanchi is the position before and during our turning blocks in the middle and end of the kata. {Fig.10} One arm is in the position of a standard middle block and the other fist is placed under the elbow of the middle block. Advincula Sensei asked Shimabuku what was the purpose of the placement of the fist under the elbow and Shimabuku responded by striking Advincula Sensei with a hammer-fist to the solar plexus. Direct and to the point.