The definitive performance of Zhen Sheng Xing

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The definitive performance of Kata Shinsei Part 1

Form Born of Truth and Reality (Old style version)

By Shinsei (Roger Sheldon)

Compiled from original notes with updated information

7 June 2001

Introduction

Zhen Sheng Xing (Shinsei no Kata) was born on the afternoon of Thursday 28 November 1991. It is a living form; that is, as my experience and understanding grows, and as the political climate within which I work changes so does my form. My xing (kata) embodies all the principles I teach within my peaceful response system for the caring professions along with a number of more reactive functional self-defence techniques.

The following notes describe the definitive manner of performance for Zhen Sheng Xing (Shinsei no Kata). 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.

The starting position

Stand in the Ready Stance with the feet placed naturally turned out to about 20 degrees and shoulder width apart in an open \ / configuration. Stand in the most natural and relaxed manner as is possible, particularly in the upper torso and shoulders, while still maintaining correct posture. Correct posture generally means to have the shoulders, hips, and feet in perfect vertical alignment, with a sense of tilting the pelvic girdle forwards somewhat. The arms should hang naturally by the sides so that the partly opened (relaxed) hands fall on the anterio-lateral aspect of the thighs. Allow the knees to flex imperceptibly. Stand relaxed and adopt a neutral, demeanour and facial expression. Under no circumstance should you attempt to appear superior, brash, vain, proud, conceited, insolent, impertinent, arrogant or aggressive. In general terms, the vibrations you emanate should tell the other person that you are calm, comfortable, and capable.

A. Bow (rei)

Now you must effect the formal and traditional salutation for the xing. Step with the right foot to the left with the heels close together (lightly touching or at most about one inch apart) with the toes turned out at approximately thirty degrees in the so-called ‘Tied Foot Stance’. The hands remain on the anterio-lateral aspect of the thighs in a natural and totally relaxed manner. Stand upright maintaining a good erect posture. Remain relaxed; do not allow tension to creep into the shoulders.

Incline the upper body forwards approximately 30 degrees to effect the salutation to open the kata. Without actually looking directly forwards, maintain a forward awareness when performing the bow. The hands are retained on the anterio-lateral aspect of the thigh. Because of the generally relaxed attitude of the body, arms, and hands, do not suppose this action can be performed in a casual, dismissive, curt, arrogant or offhand manner. It must always be conducted with dignity, decorum, and above all else with humility and absolute genuineness and respect for others.

Return to an upright position.

This opening movement is the embodiment of the Shindo precept that courtesy is the beginning and end of our art. It is a sign of respectful acknowledgement to our art and its progenitors.

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PART ONE: WILLOW YIELDS TO WIND: YANAGI UNDO KATA DO

Called Willow Yields to Wind because of the yielding nature of the three backward moving parry and evasive techniques contained within this set of techniques. Everything within Shindo exists on a continuum and this yielding quality is the counterpart of the rooted principle that forms an integral part of Mountain Stands Strong, the ninth exercise.

Willow 1 Ready (yoi)

Once the bow has been effected, return to the natural, relaxed ready position by stepping out laterally with the right foot. The manner of stepping is important. Drop the hips, establish perfect balance on the left foot, and then move the right foot out without loosing control of your balance. Although this is a seeming trivial thing, the maintenance of perfect balance is essential throughout this form because it has a profound effect upon mental equilibrium too. This is an important point for observation in a competency evaluation. You should finish standing with the feet well grounded approximately shoulder width apart or as comes perfectly naturally, and in a natural turned out position.

Allow the hands and arms to hang naturally. Be aware of the natural curvature of the spine, rotate the hips forwards, and pull your tummy in if your body tends to slouch. Do not allow the shoulders to rise in tension or fall forwards out of control or puff the chest out. Keep the head erect and straight. Look directly forwards standing straight and without tension.

Be aware of your breathing. Do not change the pattern of your totally natural breathing at this stage. Be conscious of the ebb and flow of the breath within the body. Note that all inhalations and exhalations are effected through the nose in this form. The inhalation is done in a manner which allows the air way to be completely free and open, the exhalation is done with varying degrees of constriction of the area around the back of the throat depending upon the nature of the movement being performed. This is extremely difficult to explain by way of the written word.

For this ready position, exhale, not in a harsh, prolonged hard way, just as a natural quiet exhalation. This is important in that it is a learned response to a sudden frightening encounter such as an assault. Sometimes when suddenly shocked a person will ‘freeze’ and have an inability to respond to a situation. By breathing out consciously and deliberately, you are forcing yourself to breathe in again thus initiating the breathing process and in turn enabling yourself and the response process.

Application and meaning of the movement

During this movement, feel a sense of well being and oneness with the Universe in which you live. Be aware of your unique place in the Universe, stand quietly, 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 posture is the primary preparatory defensive position. It is to be regarded as the most functional of all defensive positions providing that the attack is coming from outside of the tactile zone. It is from this position that you can evade and counter with a lightening fast response, having had the time to assess the impending situation.

Notes relating to this movement

The communication zones

Centring

Primary symbolic centres

Exercise: Equilibrium

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Willow 2 Embracing hand position

From the ready position, step back with the right foot into a left foot Forward Stance facing the front otta.

At the same time, raise the hands naturally into the embracing hand position. This is a natural active hands (wedge) position with the palms facing towards you. The left hand is a little in advance and higher than the right hand. This hand position is the same as that in Kata Shinzen (move 5) although the manner of its execution is somewhat different.

When effecting this hand position do so without forcing, tension or kime (focus).

Application and meaning of the movement

This movement can be regarded as the second preparatory position. It is the best position (in general terms) to adopt in the case of visible intent and in which the antagonist is on the periphery of the tactile zone making overt threats.

Notes relating to this movement

What do you do when someone threatens to aggressively invade your personal space?

Non verbal confrontation

Gestural and tactile aspects

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Willow 3 Calm

Retain the same stance as adopted for the previous move.

Turn the hands so that the palms face forwards in the calming hand wedge position. This hand position is the same as that in Kata Shinzen (move 6).

When effecting this hand position do so without forcing, tension or kime (focus).

This movement can be regarded as the third preparatory position, and is used primarily when an antagonist has entered the tactile zone in a threatening manner and you need to create a receptor.

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Willow 4a Release

Look over your left shoulder to the rear otta.

Step back with the left foot towards the rear right otta into a toes turned out straddle stance (shiko dachi) facing the left otta. When you step, it is important to lift the foot up and draw it into a position close to the right leg just under the knee before stepping down into the straddle stance. On placement of the left foot, both feet are on a longitudinal line front to back otta.

Bend the knees and lean the upper part of the body forwards towards the left otta, this position should be very low so that your head and shoulders drop to waist or hip height.

During the time it takes to position your left foot, position the cupped hands, palms facing you either side of the neck and in front of the shoulders.

Application and meaning of the movement

An assailant suddenly attacks you from the rear and puts his right forearm around your neck in order to initiate a right arm bar choke hold, pulling your head down onto his right hip.

You immediately turn in towards the open end of the hold and high step back past the assailant’s right leg with your left foot so as to face the attacker. At the same time, you try to release the pressure of the attacker’s right forearm by pulling down sharply upon it with both of your hands. If this action does not effect a release, it will at least help to relieve the pressure on the throat.

If you are able to affect even a partial release it may be possible to slip your head from under the assailant’s arm and come up on his (or her) rear outside, maintaining control of the back of his arm, and thus enabling you to escape.

Willow 4b Elbow

As soon as the left foot touches down and positions itself, lower the hands, and place the left forearm across the front of the abdomen, make a left fist and place the right hand on the face of the left fist. Looking towards the rear otta, drive the left elbow and forearm laterally across the front of your abdomen and back towards the rear otta assisted by the right hand, which pushes the left fist in a strong vigorous manner.

Allow the right hand to move into a cover position in front of the torso, retain the forward leaning attitude and opening the left hand, swing the left forearm around the left elbow acting as a fulcrum, in a circular down and up action towards the rear. The finished position for the left arm is in a near horizontal attitude pointing towards the rear otta with the little finger side of the hand uppermost.

Application and meaning of the movement

Having failed to effect a peaceful release by slipping under the attacker’s arm, immediately effect a left rearward augmented elbow thrust into the attacker’s solar plexus. That is, the left fist is pushed forcefully with the right hand so that the left elbow is driven back into the attacker’s solar plexus. In the reality of a situation it will be for the practitioner to decide whether the right hand should be used to continue to try and relieve the pressure of the assailant’s right forearm on the neck or whether additional force is required to propel the left elbow into the attacker’s solar plexus. This will depend upon the relative strengths between attacker and would be victim.

Next swing the left forearm around the elbow which acts as a fulcrum, and up between the attacker’s legs and forcibly into the testicles. The part of the hand or arm that makes contact is dependent upon the relative sizes and heights of the intended victim and assailant.

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Willow 5 Flat hand

Raise the body up into an erect position and look to the rear otta. Adjust the left foot a little and move the right foot across towards the left otta a little so as to move into a left foot forward stance facing the rear otta.

Effect an outwards unassisted parry with the left open hand allowing the left palm to turn to face forwards away from you. At the same time extend the right piercing hand forwards to a high level. The thumb of the right hand is extended outwards and crooked so that the thumb tip faces directly forwards.

Application and meaning of the movement

An attacker moves in from the rear and attempts to grab your hair, clothing or right arm.

You parry the attempt with your left hand or effect a circular release if the left wrist has been grabbed.

If the assailant grabs hold of your left arm and attempts to twist it outwards, you respond by going with the force and alighting on the attacker’s Sternocleidomastoid muscle with the right thumb tip at the superior aspect of the clavicle. Because the right hand position is more in the nature of a hold, in which the hand can be placed upon the shoulder to moderate the penetration of the thumb the hand position used is of the soft yin type or cupped hand.

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Willow 6 Withdraw

Scoot backwards towards the front otta into a left foot forward stance by extending the right foot back and drawing up the left foot. Do a right augmented descending palm heel receptor by placing your left hand on top of the already extended high right hand and thrusting both palms downwards to waist level. The left hand pushes the right hand downwards augmenting the action of the right hand for increased power and effectiveness.

While this movement demands that you spontaneously pull your abdomen in, you should not do so by throwing the head forward and leaning in towards the attacker. Maintain as erect a position as far as is naturally possible and keep the head up while looking forwards.

Application and meaning of the movement

An assailant lunges at your abdomen from in front of you with a knife.

You spontaneously draw your abdomen in, scoot back and smash your right palm heel down (augmented by the left) on the wrist of the attacker thus possibly disarming him.

As an alternative to the described manner of withdrawing, if the auto response mechanism insists you do not have time to shift the body back, or indeed initiate the hand preparation, raise the left knee and lower the hands thus shutting off the abdominal area. Although it may sound extreme, receiving a wound to the leg or arms will not be as serious as one to the abdomen.

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Willow 7 Parry

Adjust the rear right foot a little towards the left otta.

Step backwards with the leading left foot towards the front otta but in an arc so that it comes into a position behind the leading right foot. The movement of both feet effectively shifts you towards the left otta and off the ‘railway line’ of attack.

The left foot finishes pointing to the right otta. The right foot finishes pointing to the rear right otta. The length of the stance is approximately one and a half shoulder widths or a compromise between a long and a short stance.

Now do an augmented inwards parry to the upper chest level with both the right and left hands.

The way in which this augmented receptor is effected is that the left-hand turns across the front of the torso towards your right hand side with the palm facing you. As the hand reaches a point in front of the right shoulder it is turned back outwards and sweeps across the front of the body towards the left side, at the same time the palm is turned to face forwards.

At the same time, the right hand is raised to a central position in terms of height with the right hand palm forwards adjacent to the right shoulder. From this position, the right hand sweeps across the front of the torso from right to left simultaneously with the left hand.

Allow the hips and body to turn counter-clockwise with the parry in an evasive manner thus guiding the attacker down your left side. The palms of both hands should complete the parrying defence by facing directly to the right otta. The upper body turns counter clockwise to face the right otta, while the feet maintain the position already described.

This parry is generous, reasonably extended, soft and round.

Application and meaning of the movement

An assailant lunges towards you with his left hand and arm extended towards your upper torso or head. You step to the back side (outside) of the attack guiding his left forearm with your left hand, and his left upper arm with your right hand, creating the opportunity to escape by evading his advance and creating a defensive cover.

It is important to remember that although the kata asks you to step backwards, in reality this is very much dependent upon the depth of penetration of the attack. In reality you may wish to remain on the spot or step forwards.

In passive terms, no force is applied to the attacker’s arm, and the attacker’s balance is not disturbed. In more serious circumstances, the concept of disrupting the balance of the assailant does become important.

Notes relating to this movement

Lateral evasion: Railway lines (Thomas the Tank Engine)

Guiding: Using a guiding influence and re-directing the other person)

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Willow 8 Parry

Adjust the rear left foot a little towards the right otta.

Step backwards with the leading right foot towards the front otta but in an arc so that it comes into a position behind the leading left foot. The movement of both feet effectively shifts you towards the right otta and off the ‘railway line’ of attack.

The right foot finishes pointing to the left otta. The left foot finishes pointing to the rear left otta. The length of the stance is approximately one and a half shoulder widths or a compromise between a long and a short stance.

Now do an augmented inwards parry to the upper chest level with both the left and right hands.

The way in which this augmented receptor is effected is that the right-hand turns across the front of the torso towards your left hand side with the palm facing you. As the hand reaches a point in front of the left shoulder it is turned back outwards and sweeps across the front of the body towards the right side, at the same time the palm is turned to face forwards.

At the same time, the left hand is raised to a central position in terms of height with the left hand palm forwards adjacent to the left shoulder. From this position, the left hand sweeps across the front of the torso from left to right simultaneously with the right hand.

Allow the hips and body to turn clockwise with the parry in an evasive manner thus guiding the attacker down your right side. The palms of both hands should complete the parrying defence by facing directly to the left otta. The upper body turns clockwise to face the left otta, while the feet maintain the position already described.

This parry is generous, reasonably extended, soft and round.

Application and meaning of the movement

An assailant lunges towards you with his right hand and arm extended towards your upper torso or head. You step to the back side (outside) of the attack guiding his right forearm with your right hand, and his right upper arm with your left hand, creating the opportunity to escape by evading his advance and creating a defensive cover.

This is the mirror version of the preceding move.

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Willow 9 Parry

Adjust the rear right foot a little towards the left otta.

Now do an augmented inwards parry to the upper chest level with both the right and left hands.

This parry is generous, reasonably extended, soft and round.

Application and meaning of the movement

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Willow 10a Hold

Without a pause in the flow of the movement, turn counter clockwise, looking to the front otta.

Do this by moving the right foot a little towards the right otta, move the left foot a little towards the left otta and turn counter clockwise though 180 degrees to face the front otta in a left foot forward stance.

As you turn, extend your right hand, palm down towards the front otta at shoulder height, in the style of a fingertip thrust (nukite). The left hand assumes a standard cover position.

Application and meaning of the movement

From the previous movement where you parried the outer aspect of an attacker’s left arm, turn around as the attacker forces through and come to the attacker’s rear.

Grasp the attacker’s collar, clothing, or hair firmly with the right hand. The next part of the movement is embodied in the next step, which is to pull the attacker sharply, thus causing him to fall backwards to the floor. However, it is at this point that you should change the visualisation and consider another application.

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Willow 10b Hammer fist

Still facing the front otta in a left foot forward stance, shift the entire stance to the left otta about twelve inches by shifting the lead left foot a little towards the left otta first and then the rear right foot towards the left otta.

Maintaining a right hand cover position in front of the chest, execute a descending hammer fist strike (tetsui uchi) while allowing the hips and torso to rotate clockwise into a right otta facing attitude in a strong toes turned out straddle stance. In this position, the feet assume a position on a longitudinal front to back otta line. The trajectory of the hammer fist is somewhat circular; sweeping down from a position to the front left aspect of your left shoulder to a position on front of the abdomen. The open right hand is positioned palm down adjacent to the closed left fist.

Application and meaning of the movement

The application started in the preceding move is finished here, and the attacker is pulled vigorously to the ground with the right hand.

A second application is superimposed upon the first.

An assailant rushes at you lowering his head in the manner of a charging bull, with the intent to effect a low right shoulder barge, enwrap you in his arms and take you to the ground.

This type of attack comes in different forms, but for the most part involves a lowering of the head to abdomen level and an enthusiastic and committed charge with the hands and arms open in preparation to effect a hold around the hip area. This is a forcing attack, this means that the assailant intends to push through and knock you backwards to the ground in similar manner to the preceding three parrying techniques (Willow 7-9).

If you do not move out of the line of attack quickly you will be forced back and quite likely knocked backwards to the ground.

At the last moment therefore, you evade laterally to the left otta by shifting the entire body in a clockwise circular action. The timing for this manoeuvre is important, if you shift the body before the attacker has lowered his head for the tackle he will be able to modify his strategy. Wait until his head has been lowered and he has commenced the charge, but not so long as to permit him to slam into you. In essence, you are maintaining the centre line orientation, by facing the attacker throughout the assault. Utilising the attacker’s momentum, you pivot with him and engage the right hand on the back of the attacker’s head. Effect a left descending hammer fist blow to the occipital region of his cranium. The object of the response is to take the attacker down to the ground. Depending upon the precise nature of the attack, a knee strike or kick could also be employed to weaken the attacker and of course additional hand or fist counters too.

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PART TWO: TIGER REVEALS CLAWS: TORA UNDO KATA DO

Called Tiger Reveals Claws because of the open hand claw position employed within this set of techniques in its unarmed form and because the Tiger represents fire. The techniques in this set of techniques are predominantly thrusting and striking techniques that embody the fire element. The true meaning of this set of techniques is to practise very simple short stick techniques.

Tiger 1

Flick

Adjust the right foot towards the right otta and pivot on the left foot which is retained in the same relative position to face somewhat towards the front left otta in a left foot forward stance. The precise angle for this direction is 22.5 degrees to the left of the back to front longitudinal line. In other words to face the SSE in terms of points of the compass.

Effect a left open hand rising high receptor in the manner of a bow hand technique and at the same time a right piercing vertical hand thrust to a high level in the manner of a flick.

Application and meaning of the movement

An assailant attacks you from the front left with a right descending strike. You intercept the striking arm with the back of your left forearm on the inside and at the same time flick the back of the fingertips of your right hand directly into the attacker’s left eye.

It is important not to allow the left forearm to become too horizontal. If a person strikes you a blow over the head with a weapon such as a cudgel, and you are unable to move because you are trapped in a restricted location you will be obliged to use the arm to intercept the blow thus protecting the head. If the arm is not positioned correctly the weapon will fracture the bones in the forearm. The mechanics of the receptor will also be weak. The arm must be angled in such a way as to deflect a descending blow down the back of the forearm. This takes practise but is a skill well worth cultivating.

The right hand counter should be in the nature of a lightening fast flick to the eye in the manner of whipping a tea towel. The intent is not necessarily to irreparably damage the eye, but to perhaps graze or scratch the cornea thus inflicting debilitating pain.

Another application and way of gaining control is to extend the hand forwards so that the fingers come into contact with the side of the attacker’s face, with the thumb extended out from the side of the hand it can be used to depress the eye and gain control of the situation. Remember that the assailant will have almost certainly closed his eye as an automatic response to the close proximity of the thumb as it is pushed into the eye.

The primary meaning of this movement is to hold a pen or similar short stick like object in the right hand and thrust it forwards into the assailant’s face. I would not wish to aim for the eye in this case but the centre of the face in the nasal region. The pen techniques are not normally shown to children or new members for safety reasons.

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Tiger 2

Step forwards with the right foot into a right foot forward stance facing somewhat towards the front left otta - in other words still maintaining the 22.5 degree position towards the SSE.

Allow the left hand to assume a central defensive position in front of the torso.

Do a right inwards palm of hand strike to a high level.

Application and meaning of the movement

Stepping into the tactile zone of an assailant you strike his left ear with your right open and slightly cupped hand. The pressure created by the strike will traumatise the eardrum and knock the head around.

Again, the primary application for this movement is to use a short pen sized stick and strike inwards to the side of the head to the ear or temple region.

Out

Maintaining the same stance facing the front left (that is, to the SSE)

Retaining the left hand cover position in front of the torso

Do a right outwards sword hand chop (shuto uchi) at a high level.

Application and meaning of the movement

From the previous move, chop smartly to the assailant’s larynx with your right sword hand. This hand position can be of the rigid flat yang hand type because it is a striking hand.

The primary application is to hold a short stick and strike to the face of an assailant.

Down

Maintaining the same stance facing the front left (to the SSE)

Retaining the left hand cover position in front of the torso

Do a right descending Tiger claw hand.

Application and meaning of the movement

From the previous move, claw down the face of the assailant. The eyes are particularly vulnerable in respect of this technique.

Again, the primary technique is the drive a pen like object down into an attacker’s face.

Another application is to grasp the assailant’s hair and pull his head down…

Maintaining the same stance facing the front left….

Retaining the left hand cover position in front of the torso

Do a right rising heel of hand strike (teisho age uchi)

Application and meaning of the movement

From the previous move, drive the heel of the right hand up under the assailant’s mandible. The idea is to snap the head back traumatising the cervical vertebrae and perhaps, depending upon the angle of attack, dislocate the lower mandible.

The primary application here is to drive a short stick like object up into the lower aspect of the jaw just in front of the larynx.

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Tiger 3

Flick

Adjust the left foot towards the left otta and pivot on the right foot which is retained in the same relative position to face somewhat towards the front right otta in a right foot forward stance. The precise angle for this direction is 22.5 degrees to the right of the back to front longitudinal line. In other words to face the SSW in terms of points of the compass.

Effect a right open hand rising high receptor in the manner of a bow hand technique and at the same time a left piercing vertical hand thrust to a high level in the manner of a flick.

Application and meaning of the movement

An assailant attacks you from the front right with a left descending strike. You intercept the striking arm with the back of your right forearm on the inside and at the same time flick the back of the fingertips of your left hand directly into the attacker’s right eye.

It is important not to allow the right forearm to become too horizontal. If a person strikes you a blow over the head with a weapon such as a cudgel, and you are unable to move because you are trapped in a restricted location you will be obliged to use the arm to intercept the blow thus protecting the head. If the arm is not positioned correctly the weapon will fracture the bones in the forearm. The mechanics of the receptor will also be weak. The arm must be angled in such a way as to deflect a descending blow down the back of the forearm. This takes practise but is a skill well worth cultivating.

The left hand counter should be in the nature of a lightening fast flick to the eye in the manner of whipping a tea towel. The intent is not necessarily to irreparably damage the eye, but to perhaps graze or scratch the cornea thus inflicting debilitating pain.

Tiger 4

Step forwards with the left foot into a left foot forward stance facing somewhat towards the front left otta - in other words still maintaining the 22.5 degree position adopted in the preceding step.

Do a left inwards palm of hand strike to a high level.

Application and meaning of the movement

Stepping into the tactile zone of an assailant you strike his right ear with your left open and slightly cupped hand. The pressure created by the strike will traumatise the eardrum and knock the head around.

Out

Maintaining the same stance facing the front right….

Do a left outwards sword hand chop (shuto uchi) at a high level.

Application and meaning of the movement

From the previous move, chop to the assailant’s larynx with your left sword hand.

Down

Maintaining the same stance facing the front right….

Do a left descending Tiger claw hand.

Application and meaning of the movement

From the previous move, claw down the face of the assailant. The eyes are particularly vulnerable in this respect.

Maintaining the same stance facing the front right….

Do a left rising heel of hand strike (teisho age uchi)

Application and meaning of the movement

From the previous move, drive the heel of the left hand up under the assailant’s mandible.

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Tiger 5

Kick

Look over your right shoulder to the rear

Step back with the left foot past the right into a transitional cross-legged stance facing the front with the right foot in advance of the left.

Still looking over the right shoulder…

Effect a right back kick to the rear otta at abdomen level.

Step back down into the crossed foot stance with the right foot in advance of the left still facing the front otta.

Step forward towards the front otta with the left foot and across the front of the body somewhat, thus facilitating a 180 degree clockwise turn to face the rear otta in a right foot forward stance facing the rear otta and at the same time assume a hand wedge with the right hand in advance of the left.

In normal practise terms the kick should be held momentarily so as to practise good form and balance.

Application and meaning of the movement

This technique embodies the waveform principle (ebb and flow), the in and out hit and run principle. An assailant threatens you from the rear and you decide to incapacitate him before he can harm you. Moving in quickly through the transitional crossed foot stance, you fire off a kick to the attacker’s abdomen, and immediately move back out again through the transitional crossed foot stance. You then turn to confront the assailant in a standard defensive position in order to make sure he is sufficiently incapacitated before making your escape thus reinforcing the precept of total awareness at all times.

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PART THREE: CRANE TURNS ON FOE: TSURU UNDO KATA DO

Called Crane Turns on Foe because of the body turning actions in which the practitioner is compelled to turn all the way around through 360 degrees in order to face the assailant and effect a counter.

Crane 1

Release

From the final position of the preceding set of techniques in which the right foot is forward in a right foot forward stance facing the rear otta and the hands are positioned in the regular hand defensive wedge position with the right hand in advance of the left (a reversed regular kamae position). In this so called wedge position allow the arms to extend generously without actually straightening the arms. In this way you can meet an attack more readily than if the hands are pulled back close to the torso. To be able to intercept the arms of the attacker and create the receptor as soon as possible is of vital importance in preventing the assailant from striking you.

From your own perspective, rotate the right hand in a clockwise manner into a palm upward position. At the same time start to pivot counter clockwise on the balls of both feet. Turn to face the front otta lifting the upturned right palm over the top of your head. Turn all the way around, step back with the left foot towards the rear otta, still turning around with the right hand and arm over the head, as you turn around to face the rear in a left foot forward stance position the right hand in front of the sternum as a cover hand. Finish facing the rear otta having turned though 360 degrees.

Application and meaning of the movement

An assailant unexpectedly grabs your right hand and immediately twists it clockwise in an attempt to lock the arm. You go with the movement, deliberately raising the elbow and quickly turning around underneath your right arm in order to relieve the pressure on the joints and to initiate a release.

Standing hand

Facing the rear otta in a left foot forward stance.

Extend the left hand forward in a vertical piercing hand position with the little finger side of the hand facing downwards. The right hand is retained in a central cover position.

Application and meaning of the movement

If the forgoing release has not been effected, position the tip of the middle finger of the left hand in the concavity behind the assailant’s right ear lobe and jaw line on the seventh cranial nerve (facial nerve) and press firmly while at the same time rotating the right hand for a release or for a counter hold.

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Crane 2

Release

Facing the rear otta in a left foot forward stance.

From your own perspective rotate the leading left hand in a clock-wise direction so that the thumb of the hand is downwards and the palm faces to the right otta, at the same time lower the left hand to approximately waist height. Begin to turn clockwise on the balls of the feet until you are facing the front. The right hand is still retained in the cover position the left hand is extended behind you out to the rear otta, go all the way around through 360 degrees stepping with the right foot back towards the rear otta and into a toes turned out straddle stance (shiko dachi). As you turn to face the right otta, with the feet on a longitudinal front to back otta plane and look towards the rear otta, allow the left forearm to come onto the lumbar region of the back. The right hand is in front as a cover.

For those familiar with Pinan Sandan, this technique will be immediately recognisable.

Application and meaning of the movement

An assailant unexpectedly grabs your left wrist and immediately twists it clock-wise, you turn around to relieve the pressure on the joints allowing the left arm to assume a position across the lumbar region. Turn all the way around to face the assailant and relieve the pressure on the joints.

Flat hand

Facing the rear otta in a right foot forward stance.

Now extend the right hand forwards in a horizontal spear hand (hira nukite) position with the thumb extended away from the hand and at the same time pull the left hand away from the lumbar region of the back and position it in a cover position in front of the body.

Application and meaning of the movement

From the preceding move, put your right hand on the assailant’s right shoulder and push positively while at the same time pulling the left hand across the small of the back in order to effect a release. If a release cannot be achieved, thrust the right thumb tip into the right pectoral muscle of the assailant to enhance the technique.

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Crane 3

Fist

Facing the rear otta in a right foot forward stance.

Step with the left foot to the right into a tied foot stance, retracting the right hand into a cover position in front of the torso, make a phoenix fist out of the left hand and extend it forwards towards the rear otta at sternum level. The phoenix fist is made by extending the middle knuckle of the index finger forwards from the closed fist and supporting it with the ball of the thumb which is pressed firmly against the side of the finger. The index finger remains tightly curled in this position. The phoenix fist is very good for drilling into specific vital or release points in order to distract, weaken, or release from a hold as intimated within the present technique.

Application and meaning of the movement

Imagine that an attacker has grabbed you by the lapels and pulls you forcibly into him, into a face to face confrontation. Step in towards the assailant and drive the middle knuckle of your left index finger into the attacker’s sternum bone at the inferior aspect of the manubrium in order to effect a release.

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Crane 4a Release

Look over your right shoulder to the rear.

Step back with the right foot turning clockwise towards the front right otta into a toes turned out straddle stance (shiko dachi) facing the front left otta. When you step, it is important to lift the foot up as if stepping over a low wall. On placement of the right foot, you should be sure to face the front left otta.

Bend the knees and lean the upper part of the body forwards towards the front left otta, this position should be very low so that your head and shoulders drop to waist or hip height.

During the time it takes to position your right foot, position the cupped hands, palms facing you either side of the neck and in front of the shoulders.

Application and meaning of the movement

An assailant suddenly attacks you from the front otta and puts his left forearm around your neck in order to initiate a left arm bar choke hold, pulling your head down onto his left hip.

You immediately turn in towards the open end of the hold and high step back past the assailant’s left leg with your right foot so as to face the attacker. At the same time, you try to release the pressure of the attacker’s left forearm by pulling down sharply upon it with both of your hands. If this action does not effect a release, it will at least help to relieve the pressure on the throat.

Head lock