Kata Tenzen part 1                                                                Form of Calm Peacefulness                                                                              By Shinsei (Roger Sheldon)                                                                   Compiled from original notes with updated information                                        16 October 2004                                                                                     v.15    18 November 2006

Kata Tenzen was developed directly from the Shinsei Dai form during the period June to October 2004.  Like the former Shinsei Dai, it is a living form; that is, as my experience and understanding evolves so does my form.  My kata (xing) embodies all the principles I teach within my peaceful response system for the caring professions (Project 5) along with a number of more difficult or specialised peaceful response techniques.  The entire form is completely passive in nature and shows only totally non-harming responses to assault.  More reactive responses are implied throughout the form and may be added during application practise.

The following notes describe the definitive manner of performance for the Tenzen forms.  If you do not understand any part of the following descriptions please ask for clarification.  I will be happy to amend the text so that it has meaning for everyone.

Modified wedging (Extending the hand to the attacker’s shoulder)

Modified wedging (Dropping the defence to pick up an attack to the abdomen)

Redirecting hands (deflecting a straight punch though sticking)

Switching (moving to the outside)

Basic releasing (from holds) and trapping techniques (clothes and hair holds)  Circular and linear releasing techniques

Centring

Basic techniques

Bring the hands together in front of the lower abdomen with the left hand holding the right, the thumb acting as a fifth finger in unison with the other fingers.

Communication:

Gestural and tactile aspects

Verbal communication -

Tactile communication - 

The communication zones

The visual/verbal zone: 

The tactile zone:

Assuming knowledge and understanding of  positional awareness (including an understanding of the tactile zone), an understanding of the internal response/external behaviour model  (physiological signs), good communication skills, and pre-emptive hand positioning.

Relaxation; non demonstrativeness;

Shinseido as a metaphor for everyday Body language

One of the important aspects of practising kata is the learn to deport oneself in an upright manner, and to look straight ahead, looking directly at the assailant.  The counter part of this in everyday life is of course when talking to people, to exude confidence we nee to stand erect and to make appropriate eye contact.

1.         Steeple the fingers when nervous (symbolised in Shinzen: move 2)

2.         Sit or stand upright (basic ready position)

3.         Use open gestures (symbolised in Shinzen: move 8)

4.         Make direct eye contact (as in all fundamental actions)

Shinseido a life metaphor

* I see Shinseido, in part, as a kind of metaphor for life itself.  The exercises we practise teach us principles we use in everyday life.  The Thomas the Tank exercise for example is teaching us the principle of yielding - allowing others to have their say and to express.  The fluidity of the movements on Tenzen is teaching us how to go with the flow and get things set up right - teaching us the value of preparation and foresight etc...  There isn't a single thing in what we do in the dojo that doesn't have its 'life-skill' counterpart in everyday life.

*We learn our art a little at a time.  We learn not to seek to accomplish a great deal in a short time, neither do we seek to accomplish a great deal without accomplishing little incremental steps along the way. 

There is simplistic beauty in one single movement; many such movements form a kata.  It is the journey that is significant, not the destination.  Don’t wait to do something great, when you can do little things right now. Mother Teresa said, “We cannot do great things on this earth. We can only do little things with great love.”    If you see someone without a smile give them one of yours.  Little things before big things, simplicity before complexity.

Waiting ready; preparation; anticipation;

During this movement, be aware of your unique place in the Universe, stand quietly proud being rooted to planet Earth and ready to receive all the forces of the Universe. Think of yourself as a strong tree with roots that extend down into the depths of the earth and branches that stretch high into the sky.

This movement is a communicative gesture. This hand position is a way of holding an idea, perhaps a half-formed idea, before its final expression. You could be saying something like, "Oh yes I understand. I cannot possibly know how you are feeling, because your situation is unique, but I sympathise. Now how to go about resolving this… well, there are several options - the first may be…" Because of this I often think of this gesture as 'expressive hands'.  Always remember that increased sensitivity and awareness can enable us to understand the meaning of the action and positioning of the hands. The meaning is there for us to understand if only we will allow ourselves to perceive that meaning.

One very significant aspect of Shinseido practise is its non demonstrative nature.  Students are taught from a very early stage that the practise of kata (for example) should be for oneself, not for the onlooker.  This can be a very difficult to achieve because we human beings are possessed of ego – self image or perceptions of the self coupled with an innate desire to please those who watch our sincere efforts.  Pride and humility exist upon a continuum, and neither in the extreme is good for then those qualities become arrogance and servility.  When we practise our forms we are learning therefore to live within them for ourselves and to detach ourselves from concerns about what the onlooker might think or feel about our actions.  Being able to ‘switch off’  on the one hand yet remain totally aware on the other without concern for what the other person thinks is a very powerful metaphor for the humility that we learn to feel and display in our everyday lives.

My teacher said to me, “Some Westerners consider humility a matter of being without pride or self-assertion.  If this definition were correct we could speak of anyone not deserving of respect as being humble, as long as he didn't have pride.  Only those people who have accomplished something and are deserving of respect can be humble.  The master possesses great pride in a form that appears like humility.  He knows his tremendous accomplishment, yet never loses sight of his great short comings.  The hard, soft law of our art applies even here: the master will talk with his newest student with sincerity and humility as long as the student's attitude is right.  Should the student become demanding or sarcastic, the master will walk away silently.”

When we learn humility we also discover great peace because we are letting go of all the worries and stress associated with proving ourselves to others.  Here lies an interesting conundrum for the more we seek to boast of our achievements to others the less others will be impressed but the more humility we show the more approval we seem to attract.

This embracing action signifies affection, willingness, compromise, to receive, friendship and allegiance. It also signifies unity of wisdom and method.

CAB (Common Acts of Battery): Push to chest (4,5,43,44,32,53)  Round punch (2,3,6,10,23)  Two handed shove (2, 3, 7, 11)  Round (swinging) punch to side of head (2,3,6,10)  Straight Punch to Nose (2,3,23,35,36,40,42)  Swinging weapon to head (back arm swing: 2,3  inward swing 6,10)  Straight knife/bottle thrust to chest (2,3,35,36,40,42)  Bottle/glass jabbed to face* (2,3,23,35,36,40,42)  Down knife/club swing to head (2, 3, 23)

Willow yields to wind – Evade left (stepping back with right foot)

CAB: Push to chest (2,3,35,36,40,42)  Round punch (2,3,6,10,23)  Two handed shove (2, 3, 7, 11)  Round (swinging) punch to side of head (2,3,6,10)  Straight Punch to Nose (2,3,23,35,36,40,42)  Swinging weapon to head (back arm swing: 2,3  inward swing 6,10)  Straight knife/bottle thrust to chest (2,3,35,36,40,42)  Bottle/glass jabbed to face* (2,3,23,35,36,40,42)  Down knife/club swing to head (2, 3, 23)

CAB: Two handed frontal strangle to neck (4, 22,25,28)   Both arms grabbed (any point along the arms) (4, 7, 11)  Knee strike to groin

CAB: Round punch (2,3,6,10,23)  Round (swinging) punch to side of head (2,3,6,10)  Swinging weapon to head (back arm swing: 2,3  inward swing 6,10)

CAB: Two handed shove (2, 3, 7, 11)  Double lapel grab, head-butt to face (7,11,17)  Double shoulder grab, knee to groin (7,11)  Head-butt (17, 7, 11)   Both arms grabbed (any point along the arms) (4, 7, 11) Knee strike to groin

Right arm choke (step left foot back turning counter-clockwise to face left otta* (* of the training area)

Practise elbow strike counter and also unbalancing counter (on philtrum).

CAB: Rear choke (13, 37) lifting up (???)  Side Head lock (13,37), take down (groundwork practise) 

This movement is very often not understood or feels 'wrong'.  A student is often heard to remark, "I wouldn't do this."

'The Way’ is immense, and seems to embrace so many things; both good and what sometimes appear to be ‘bad’.  There are some aspects of our training that we do not particularly enjoy, and other parts that we love.  Our training can sometimes take us outside of our comfort zone and that can feel distressing.  Some aspects of our training may seem imperfect or even unnecessary.  By acknowledging that our art has its good aspects and also its ‘bad’ aspects we can begin to perceive it as a wholistic life-skill with all its idiosyncrasies and imperfections. 

This is clearly a powerful metaphor for how we regard ourselves in relation to our lives and people in more general terms.  It is very important to recognise that we human beings are not perfect.  We should not deny those aspects of ourselves that we believe to be ‘unacceptable’.  By accepting our good and bad points equally (balance) we can begin to fully accept ourselves for what we truly are.  When we feel embarrassed, jealous, afraid, angry, greedy or confused we can learn to be accepting of those emotions as a natural part of ourselves, rather than denying their existence and thrusting them aside and pretending that they do not exist.  By accepting all facets of ourselves we can go beyond them – this is being open to the totality of our being.  In similar manner if we approach other people like this, and recognise that every single person on planet earth, has both good and ‘bad’ aspects it helps us to be more accepting of others.

CAB: Double lapel grab, head-butt to face (7,11,17)  Head-butt (17, 7, 11)  Lapel grabs – one hand; both hands (17)

CAB: Front ‘rugby’ tackle or shoulder barge (18,34)