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The definitive performance of Kyugata Shinsei Part 2 Form Born of Truth and Reality (Old style version)
By Shinsei (Roger Sheldon) Compiled from original notes with updated information 7 June 2001
Introduction
The introductory notes that precede the description for Kata Shinsei also apply to this description of Kata Shozen as the two formed one long kata before being split for teaching convenience.
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 kata (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.
Do return to the ready position by stepping out with the right foot, rather, retain the existing close heel (tied foot stance) stance. ________________________________________________________________________________________
PART ONE: WARRIOR WIELDS SWORD: BUSHI UNDO KATA DO
Called Warrior Wields Sword because of the large circular hand actions performed in this set of techniques that resemble the action of a sword cut.
Warrior 1
Stand in a tied foot stance facing the front otta (of the training area). The open hands are positioned in the standard wedge form in front of the chest with the left hand in advance of the right. This is where the preceding set of techniques (Dragon) finishes.
Still looking to the front otta, step with the left foot to the left otta into a half-length left foot forward stance. Now you are facing the left otta in a left foot forward half-length stance, but looking to the front.
Retain the left open hand in a cover position in front of the chest.
Lower the right hand down into a position in front of the right thigh with the palm facing your thigh, effect a large counter clock-wise circle all the way around, using the shoulder as a pivot point, raising the right hand high above the head, then towards the left otta and down again, finishing with a low sword hand strike outwards at a low level towards the front right otta. The right arm, although not locked rigid at the elbow, is nevertheless held more or less straight.
Application and meaning of the movement
An assailant grabs you from your front with both his hands around your neck in an attempt to strangle you.
You immediately effect a release by swinging your right arm high and pushing your right shoulder into the attacker’s left forearm. It is important to ensure that you use your whole body weight by rotating the hips and shoulders towards the left otta as you establish the new stance position.
Continuing the sweep forwards towards the left otta and then downwards in a non stop flowing circle you now have the option of striking with your right sword hand into his testicles providing the way is clear and the attacker’s arms are not forming an obstacle. If this is the case, reversing the motion and effecting a right back-fist strike to the assailant’s head would be an appropriate response but not one shown in the kata.
It is important that you understand the mechanics of this stranglehold release. You are not using the arm to effect a release. The right hand is raised high only in order to engage the right shoulder against the attacker’s left wrist and forearm. The body and hips are then turned in order to project the shoulder into the stranglehold. With practise, even a small person will be able to break out of a serious strangle hold in peaceful terms. __________________________________________________________________
Warrior 2
Rear release
Step with the left foot back to the right into a tied foot stance. Look over the left shoulder and at the same time turn the right foot to face the rear otta by way of temporary adjustment…. then step with the left foot towards the right hand side otta into a left foot forward stance facing the right otta. Execute a left augmented sword hand wedge by describing a generous circle with the left arm. This is done by raising the left shoulder and elbow and finishes with a diagonally descending left sword hand strike (shuto uchi). The right hand is used to guide the attacker’s left upper arm into a suitable position.
Application and meaning of the movement
An assailant attacks you from behind and grabs you with both hands around the neck in a stranglehold perhaps even pulling you backwards.
Rather than pulling against the hold you step back, turning towards him and at the same time effect a stranglehold release with the back of the left shoulder or left arm depending upon your height. This is the same principle as that used in Warrior 1 for the front stranglehold. The left arm describes a generous circular action against the attacker’s left arm. As you turn to face the right otta and release from the stranglehold, guide his left arm down somewhat with your right hand as you strike him a left open hand blow to the carotid and vagus region on the left aspect of the neck. This strike is in a downwards outwards oblique action against the anterio-lateral aspect of the neck.
The most important aspect of this movement is the actual release from the stranglehold. The subsequent sword hand strike to the carotid and vagus is to be regarded as additional and it may be that because of height or that assailant’s position being different, another counter taken from elsewhere in the kata will be more appropriate. ______________________________________________________________________________________
Warrior 3
Thrust
Maintaining the same left foot forward stance and still facing the right otta, effect a reversed middle level thrust with the right palm heel while retaining the left hand in a central cover position in front of the chest. The orientation of the right hand is with the thumb uppermost and the hand turned back so as to present the base of the palm forwards. This is a short percussive thrust, don’t extend the right arm too far, the elbow needs to be in close proximity to the body on completion of the counter.
Application and meaning of the movement
From the previous position (2), having turned him appropriately, thrust the heel of the right palm into the left kidney area of the assailant. This thrust is called a sustained or step change thrust and has a forceful sledgehammer quality to it. ______________________________________________________________________________________
Warrior 4
Hold
Maintaining the same left foot forward stance and still facing the right otta, withdraw the right open hand to the right hip in a palm up position and at the same time adjust the left forearm into an across body position with the left palm facing downwards in a ‘stacked’ position with the right hand. This left arm position is sometimes called the water flowing (mizu nogare) position because the left forearm runs a little downhill from elbow to hand. In the completed position the left hand is positioned directly over the right hand with the palms facing one another. The palms should be about three inches apart maximum as this is a holding wrist technique. This means that the right hand is not pulled fully back onto the hip or side of the body in the classical hikite manner.
Application and meaning of the movement
The assailant executes a left middle level punch to your abdomen. From the previous position, parry down the assailant’s left arm with your left hand on top and the right hand underneath. Grab the wrist with both hands and draw it towards your right hip. This technique can also be used to intercept the right arm depending upon the attacker’s position.
Note: The change hands across in hold is direct and represents the other end of the continuum to the two strangle releases. ____________________________________________________________________________________
Warrior 5
Kick
Maintaining the same left foot forward stance and still facing the right otta, raise the front left foot and effect a front kick to the right otta. Step down left foot to right in a tied foot stance. In Shindo, the forward stance is not very long, about one shin length is quite sufficient. The weight is always positioned in a 50/50 manner so that the front foot or the back foot can be used equally effectively with no advantage one over the other. This means that it is easier to effect a kick off the lead foot with minimal weight transference onto the back foot.
Application and meaning of the movement
From the previous position, kick an assailant smartly in the femoral region of the inner aspect of the thigh with the toe tips. Remember that you will be wearing shoes if you are attacked in the street, the toes will be protected. The purpose of this kick is to traumatise the femoral nerve, distract, and weaken the attacker ready for the next movement.
This kick represents a different striking quality to the sustained thrusting manner of the heel of hand thrust. In this case, the strike is of the ‘impulse’ variety (impulse thrust) in which a short but penetrating percussive kick is effected with as much emphasis on the kick return as on the initial projection. The shock waves are transmitted deep into the femoral region.
Now, in some respects this sequence is a little too formal in its manner of performance within the kata. It will be worth bearing in mind the individual components of the sequence however, for it is these that are important, not so much the sequence. ______________________________________________________________________________________
Warrior 6
Turn
From the tied foot stance, step forwards with the right foot to the right otta into a right foot forward stance. You are now facing the right otta.
Turn counter-clockwise through 135 degrees to face the front left otta in a left foot forward stance by pivoting on the balls of the feet, at the same time reposition the open hands in a stacked position on the left hip. This is achieved by rolling the hands from one side to the other, in other words as you move the hands from right to left they maintain a palm to palm position throughout, thus turning so that the left hand ends up facing upwards at the left hip and the right hand ends up facing palm down over the left hand. Now the left open hand is on the left hip palm upwards and the right forearm is across the front of the body in the mizu nogare position with the right open hand in a palm downwards position.
Application and meaning of the movement
To twist the wrist of the assailant and apply an arm or wrist-lock depending upon which arm is held and upon the positioning of the attacker.
Imagine that you have the attacker’s left hand/wrist in your hands. His palm is facing downwards. Your left hand is on top of his wrist and your right hand is underneath. Holding the wrist firmly, rotate it counter clockwise (from your perspective) putting the attacker into a straight arm lock. Now in the kata the hands are drawn towards the left hip to emphasise the drawing action of the movement, but in reality this may not be as pronounced.
If you end up holding the attacker’s right wrist instead, this is better in some respects because the subsequent arm twist is excruciating and very effective once the technique has been mastered.
The turning of the body in the kata through 135 degrees may or may not be necessary depending upon the flexibility of the attacker’s wrist and arm, the effectiveness of the technique and etc. _______________________________________________________________________________________
Warrior 7
Knee
Still facing the front left, effect a right rising forwards knee strike (hitsui), then stand down right foot to left in a tied foot stance facing the front left.
Application and meaning of the movement
From the previous position, effect a knee strike into the vastus longus on the outer aspect of the assailant’s left thigh (‘dead leg’). In practise with a partner, if s/he changes his or her position or looses balance, then the knee can be used against any available part of the anatomy and failing that a right front kick could be effected following the principle of adaptability.
The important aspect of this technique is the knee strike itself. The knee is a useful weapon when in close and can be used with great effect against the outer thigh or testicles. _______________________________________________________________________________________
Warrior 1b
Front release
Stand in a tied foot stance facing the front left of the training area (otta). Raise the open hands into a wedge position in front of the chest with the left hand in advance of the right.
Still looking to the front left otta, step with the right foot to the front right otta into a half-length right foot forward stance.
Retain the right open hand in a cover position in front of the chest. Lower the left hand down into a position in front of the left thigh, effect a large clock-wise circle all the way around, high above the head and down again, finishing with a low left sword hand strike outwards at a low level towards the left otta.
Application and meaning of the movement
An assailant grabs you from the front left with both his hands around your neck in an attempt to strangle you. You immediately effect a release by swinging your left arm and pushing your left shoulder into the attacker’s right forearm. It is important to ensure that you use your whole body weight by rotating the hips as you establish the new stance position.
Continuing the sweep downwards you now have the option of striking with your left sword hand into his testicles providing the way is clear and the attacker’s arms are not forming an obstacle. If this is the case, reversing the motion and effecting a left back-fist strike to the assailant’s head would be an appropriate response but not one shown in the kata. ______________________________________________________________________________________
Warrior 2b
Rear release
Step with the right foot back to the left into a tied foot stance. Look over the right shoulder and at the same time turn the left foot to face the rear right otta by way of temporary adjustment…. then step with the right foot towards the rear left hand side otta into a right foot forward stance facing the rear left otta. Execute a right augmented sword hand wedge by describing a generous circle with the right arm. This is done by raising the right shoulder and elbow and finishes with a diagonally descending right sword hand strike (shuto uchi). The left hand is used to guide the attacker’s right upper arm into a suitable position.
Application and meaning of the movement
An assailant attacks you from behind and grabs you with both hands around the neck in a stranglehold pulling you backwards. You step back, turning towards him in a clockwise manner as viewed from above and at the same time effect a stranglehold release with the right arm. Guiding his right arm with your left hand you strike him a right open hand blow to the carotid and vagus region of the neck. ______________________________________________________________________________________
Warrior 3b
Thrust
Maintaining the same right foot forward stance and still facing the rear left otta, effect a reversed middle level thrust with the left palm heel while retaining the right hand in a central cover position in front of the chest.
Application and meaning of the movement
From the previous position, having turned him appropriately, thrust the heel of the left palm into the right kidney area of the assailant. This thrust is called a sustained or step change thrust and has a forceful sledgehammer quality to it.
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Warrior 4b
Hold
Maintaining the same right foot forward stance and still facing the rear left otta, withdraw the left open hand to the left hip in a palm up position and at the same time adjust the right forearm into an across body position with the right palm facing downwards in a ‘stacked’ position with the left hand. This right arm position is sometimes called the water flowing (mizu nogare) position because the right forearm runs a little downhill from elbow to hand.
Application and meaning of the movement
The assailant executes a right middle level punch to your abdomen. From the previous position, parry down the assailant’s right arm with your right hand on top and the left hand underneath. Grab the wrist with both hands and draw it towards your left hip. This technique can also be used to intercept the left arm depending upon the attacker’s position. ______________________________________________________________________________________
Warrior 5b
Kick
Maintaining the same right foot forward stance and still facing the rear left otta, raise the front right foot and effect a front kick to the rear left otta. Step down right foot to left in a tied foot stance. In Shindo, the forward stance is not very long, about one shin length is quite sufficient. The weight is always positioned in a 50/50 manner so that the front foot or the back foot can be used equally effectively with no advantage one over the other. This means that it is easier to effect a kick off the lead foot with minimal weight transference onto the back foot.
Application and meaning of the movement
From the previous position, kick an assailant smartly in the femoral region of the inner aspect of the thigh with the toe tips. Remember that you will be wearing shoes if you are attacked in the street, the toes will be protected. The purpose of this kick is to traumatise the femoral nerve, distract, and weaken the attacker ready for the next movement.
This kick represents a different striking quality to the sustained thrusting manner of the heel of hand thrust. In this case, the strike is of the ‘impulse’ variety (impulse thrust) in which a short but penetrating percussive kick is effected with as much emphasis on the kick return as on the initial projection. The shock waves are transmitted deep into the femoral region.
Now, in some respects this sequence is a little too formal in its manner of performance within the kata. It will be worth bearing in mind the individual components of the sequence however, for it is these that are important, not so much the sequence. ______________________________________________________________________________________
Warrior 6b
Turn
From the tied foot stance, step forwards to the rear left otta into a left foot forward stance.
Turn clockwise through 135 degrees to face the front otta in a right foot forward stance, at the same time reposition the open hands in a stacked position on the right hip. Now the right open hand is on the right hip palm upwards and the left forearm is across the front of the body in the mizu nogare position with the left open hand in a palm downwards position.
Application and meaning of the movement
To twist the wrist of the assailant and apply an arm or wrist-lock depending upon which arm is held and upon the positioning of the attacker. _______________________________________________________________________________________
Warrior 7b
Knee
Effect a left rising knee strike (hitsui), then stand down with the left foot to the rear into a right foot forward stance facing the front otta.
Application and meaning of the movement
From the previous position, effect a knee strike into the vastus longus on the outer aspect of the assailant’s right thigh (‘dead leg’). In practise with a partner, if s/he changes his or her position or looses balance, then the knee can be used against any available part of the anatomy and failing that a left front kick could be effected following the principle of adaptability. ______________________________________________________________________________________
Called Dolphin Breaks Free because of the fast high to low sweeping movements in the first backward moving line of performance and also the switching actions in the second part of the exercise that enable one to break out from the inside of an attack to the outside. The circular hand actions performed in this set of techniques resemble the action of a dolphin turning at high speed. The name was ascribed by the late Shindo member Kim Bower of Massachusetts, who learned the entire Shinseido Long Form from these very notes.
Dolphin 1
Combi
From the final position in the preceding exercise in which you are standing in a right foot forward stance facing the front otta, raise the hands spontaneously into the wedge position with the right hand leading.
Almost immediately, drop the right leading hand to a low level with the palm facing outwards and the arm positioned at 45 degrees from the vertical.
Application and meaning of the movement
You are responding to an unexpected assault in which you do not know to what level the attack is being made, whether it is a kick or a hand attack. The hands are positioned in the regular wedge position instinctively, but then you become aware the attack is going low. You immediately drop the right hand and intercept the low attack.
Notes relating to this movement
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Dolphin 2
Combi
Step back with the right foot towards the rear otta into a left foot forward stance facing the front otta.
Raise the hands spontaneously into the wedge position with the left hand leading.
Almost immediately, drop the left leading hand to a low level with the palm facing outwards and the arm positioned at 45 degrees from the vertical.
Application and meaning of the movement
You are responding to an unexpected assault in which you do not know to what level the attack is being made, whether it is a kick or a hand attack. The hands are positioned in the regular wedge position instinctively, but then you become aware the attack is going low. You immediately drop the left hand and intercept the low attack.
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. Stepping backwards is regarded as a basic yet effective response. However, you may need to remain on the spot or step forwards. Stepping forwards to receive an attack is always regarded as an advanced response and requires good timing and positional awareness. This is the same principle as used in the Willow Techniques. ______________________________________________________________________________________
Dolphin 3
Combi
Step back with the left foot towards the rear otta into a right foot forward stance facing the front otta.
Raise the hands spontaneously into the wedge position with the right hand leading.
Almost immediately, drop the right leading hand to a low level with the palm facing outwards and the arm positioned at 45 degrees from the vertical.
Application and meaning of the movement
You are responding to an unexpected assault in which you do not know to what level the attack is being made, whether it is a kick or a hand attack. The hands are positioned in the regular wedge position instinctively, but then you become aware the attack is going low. You immediately drop the right hands and intercept the low attack.
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. Stepping backwards is regarded as a basic yet effective response. However, you may need to remain on the spot or step forwards. Stepping forwards to receive an attack is always regarded as an advanced response and requires good timing and positional awareness. This is the same principle as used in the Willow Techniques. ______________________________________________________________________________________
Dolphin 4a
Inside right arm
Still maintaining the right foot forward stance facing the front otta, scoot forwards and at the same time effect a rising receptor with the open rear left hand and do a right middle level heel of leading hand thrust.
Application and meaning of the movement
An assailant punches with his right fist to your head. You intercept this with a left rising receptor on the inside of his arm. At the same time you effect a right heel of hand thrust to the inferior anterior aspect of the rib cage in order to wind the attacker. ______________________________________________________________________________________
Dolphin 4b
Switch and weaken
Step forwards into a left foot forward stance and at the same time effect a switching action through a right in front of left crossed receptor position and do a right open trailing hand outwards (underarm) receptor. At the same time effect a left heel of leading hand thrust to the middle level.
Application and meaning of the movement
Finding yourself on the inside of the preceding attack you want to switch to the outside of the attacker’s arm by taking the right hand underneath the assailant’s right arm and then controlling it from the outside with the right hand allowing your right hand to control the outer aspect of the assailant’s upper right arm while you counter with the heel of the left hand to his kidney region.
Notes relating to this movement
Switching (moving to the outside)
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Dolphin 4c
Twist and lock
From the previous movement in which the right hand is high and the left hand is positioned at a relatively low level: Effect a clockwise (from your perspective) descending circular action with the right hand and a simultaneous clockwise (from your perspective) ascending circular action with the left hand. Continue this action through 270 degree or a three quarter rotation so that the hands finish in a horizontally crossed position with the left forearm on top of the right forearm. The right palm should face upwards at the left side of the abdomen, and the left palm should face downwards at the right side of the abdomen.
Now to effect the arm lock: Slide the left forearm along your right forearm towards the right hand so the left palm passes over the right palm (palm to palm), around the right fingertips and turning under the right hand so that the left hand assumes a palm upward position underneath the right hand which is also held in a palm up position on the left hand side of the torso. Now move the right hand to where the left hand came from on the right hand side of the torso turning it palm inwards through a quarter counter clockwise turn with the thumb extended. To finish, continue the former clockwise rotation of the hands through 90 degrees so that the right hand assumes a palm turned forwards and upwards central low position and the left hand assumes a palm turned forwards and downwards central high position (tiger’s mouth technique or mawashi uke). To finish the complete 360 degrees rotation of the hands, there is a ‘kime’ focus point in which the hands are pushed forwards a very short distance under tension.
Application and meaning of the movement
Hold the assailant’s right forearm at the wrist with your right hand and draw it across his lumber region and at the same time control his elbow with your left hand.
Having effected a temporary pin of the assailant’s right arm across his lumbar region, immediately hold his hand and wrist with your left hand and switch to holding his elbow with your right hand. The assailant’s wrist must be flexed into a locked position to gain the pain compliance required to achieve full control. The thumb of your right hand should be inserted into the pressure point at the elbow to enhance the effect of the whole.
Now turn the assailant’s forearm up his back locking the technique into position. _____________________________________________________________________________________
Dolphin 5a
Inside right arm
Still maintaining the left foot forward stance facing the front otta, scoot forwards and at the same time effect a rising receptor with the open rear right hand and do a left middle level heel of leading hand thrust.
Application and meaning of the movement
An assailant punches with his left fist to your head. You intercept this with a right rising receptor on the inside of his arm. At the same time you effect a left heel of hand thrust to the inferior anterior aspect of the rib cage in order to wind the attacker. ______________________________________________________________________________________
Dolphin 5b
Switch and weaken
Step forwards into a right foot forward stance and at the same time effect a switching action through a left in front of right crossed receptor position and do a left open trailing hand outwards (underarm) receptor. At the same time effect a right heel of leading hand thrust to the middle level.
Application and meaning of the movement
Finding yourself on the inside of the preceding attack you want to switch to the outside of the attacker’s arm by taking the left hand underneath the assailant’s left arm and then controlling it from the outside with the left hand allowing your left hand to control the outer aspect of the assailant’s upper left arm while you counter with the heel of the right hand to his kidney region. ______________________________________________________________________________________
Dolphin 5c
Twist and lock
From the previous movement in which the left hand is high and the right hand is positioned at a relatively low level: Effect a counter-clockwise (from your perspective) descending circular action with the left hand and a simultaneous counter-clockwise (from your perspective) ascending circular action with the right hand. Continue this action through 270 degrees or a three quarter rotation so that the hands finish in a horizontally crossed position with the right forearm on top of the left forearm. The left palm should face upwards at the right side of the abdomen, and the right palm should face downwards at the left side of the abdomen.
Now to effect the arm lock: Slide the right forearm along your left forearm towards the left hand so the right palm passes over the left palm (palm to palm), around the left fingertips and turning under the left hand so that the right hand assumes a palm upward position underneath the left hand which is also held in a palm up position on the right hand side of the torso. Now move the left hand to where the right hand came from on the left hand side of the torso turning it palm inwards through a quarter clockwise turn with the thumb extended. To finish, continue the former counter-clockwise rotation of the hands through 90 degrees so that the left hand assumes a palm turned forwards and upwards central low position and the right hand assumes a palm turned forwards and downwards central high position (tiger’s mouth technique or mawashi uke). To finish the complete 360 degrees rotation of the hands, there is a ‘kime’ focus point in which the hands are pushed forwards a very short distance under tension.
Application and meaning of the movement
Hold the assailant’s left forearm at the wrist with your left hand and draw it across his lumber region and at the same time control his elbow with your right hand.
Having effected a temporary pin of the assailant’s left arm across his lumbar region, immediately hold his hand and wrist with your right hand and switch to holding his elbow with your left hand. The assailant’s wrist must be flexed into a locked position to gain the pain compliance required to achieve full control. The thumb of your left hand should be inserted into the pressure point at the elbow to enhance the effect of the whole.
Now turn the assailant’s forearm up his back locking the technique into position. ______________________________________________________________________________________
Dolphin 6
Trachea
Step back with the right foot, turning 180 degrees clockwise to face the rear otta in a right foot forward stance. Do a left open hand high receptor At the same time do a right piercing hand thrust to a high level.
Application and meaning of the movement
An assailant grabs your hair or collar from behind with (for convenience to the application as shown in the kata) with his right hand and pulls you backwards. You go with the pull, stepping in and turning to face the attacker, grabbing his wrist with your left hand to prevent him from tearing your hair out. With your right middle finger tip you drive into the trachea encouraging the assailant to loose his grip. Although it is not overtly shown, this movement should also be visualised as turning and spitting into the attacker’s face. ______________________________________________________________________________________
PART THREE: SNAKE ENCOILS BOUGH: HEBI UNDO KATA DO
Called Snake Encircles Bough because of the circular hand actions performed in this set of techniques that resemble the action of a snake encircling the bough of a tree. It is important to realise that the techniques that comprise Snake Encircles Bough are peaceful holding methods, ideally suited to controlling a person who is not being directly threatening to the holder, but who may have lost control and be in danger of harming him or her self. These holds do have reactive aspects too, but in the main, you should think of these as being peaceful.
Snake 1
Left Arm receptor (start facing the rear left otta)
Look to the rear right otta, (remember that you are facing the rear at this time).
Step with the left foot towards the rear right otta into a left foot forward stance facing the rear right otta.
Position the hands in the regular wedge position (left-hand leading) with emphasis on an across body sweep or outward bridging action of the left hand and arm. Set the left hand into a holding attitude.
Application and meaning of the movement
To intercept someone’s left forearm from the outside (with your left forearm/wrist) as it penetrates your tactile zone, and then to hold onto the left forearm, just behind the wrist with your left hand. This is in order to initiate a peaceful non harming ‘arm hold’ in order to draw a person out of a dangerous situation. Your right hand is positioned in front of the chest in a cover position.
Left arm hold
Step forwards with the right foot towards the rear right otta into a right foot forwards stance.
From the wedge position, describe a counter clockwise descending half circle in front of the body with the right hand and at the same time turn counter clockwise through 180 degrees to face the front left otta in a left foot forward stance. Keeping the circular motion of the right hand going, change the direction of the hand movement and describe a rising half circle back towards the body, up behind the left forearm (which is positioned diagonally across the front of the body) and turning the right hand palm forwards, hold onto the left forearm (just behind the left wrist) from behind with the right hand on top of the left arm with the right fingertips facing forwards. The left forearm and left open hand should be positioned diagonally in front of the abdomen throughout this technique.
Application and meaning of the movement
Move in and turn counter clockwise to face the same way as the recipient (to the front left) with his or her left forearm across your chest.
Put your right arm OVER the recipient's left arm at the position of the recipient’s elbow. With your right arm draw the recipient’s left elbow back so that it is not left to dig into your ribs.
Feed your right hand up through the hole created by your abdomen, your left arm and the recipient's left arm
Hold your left forearm just behind the wrist or wherever is convenient with the right hand
Consolidate the hold by tensing the musculature of the torso and arms Remember the recipient’s left forearm should be positioned against the side of your body in such a way that the recipient’s left elbow is not digging into your ribs but is pushed back to the rear out of the way with his or her left forearm against the side of your body.
The effectiveness of this hold relies upon your ability to pin the recipient’s forearm against the side of your body and clamp it with your arm. ______________________________________________________________________________________
Snake 2
Left arm interception (facing the front left otta)
Still facing the front left otta in a left foot forward stance, present the right open hand forwards in a reversed wedge position.
Application and meaning of the movement
While standing in a reversed position, intercept a person’s left arm on the backside (outside) with your right hand as it penetrates the tactile zone. The interception point should be on the upper arm.
Left shoulder hold
Step forward with the right foot into a right foot forward stance facing the front left otta.
Shoot your left hand and arm forwards as a piercing hand thrust and at the same time draw the right forearm smartly across the front of the body so that the right hand is positioned underneath the left extended arm with the palm facing your body and thumb uppermost. This is similar to many versions of move eight of Pinan Shodan at the end of the second (outgoing) line. The difference is that the right hand can be allowed to go all the way around the corner of the body onto the left side so that the right thumb is more or less situated in the armpit. This is like one half of a self-hugging action.
Position the left forearm diagonally across the front of the chest with the open hand in front of and facing the right shoulder.
Then perform a double action with the arms: The right hand is removed from the armpit and assumes a position diagonally across the front of the chest on the outside of the left arm with the open hand in front of and facing the left shoulder.
You have now created an open hand crossed receptor. However, at the same time as you reposition the right hand and arm, the left hand drops down and grasps the right forearm from the inside very near the right elbow joint. The upper arms should rest down on the torso.
Application and meaning of the movement
To hold someone’s left upper arm and shoulder in a peaceful non harming ‘shoulder’ hold in order to guide or redirect them. Again, it is important to realise that this is intended to be a peaceful hold. Subject to assessment, you should avoid holding an individual who is taller, larger or stronger than yourself in this way.
Face the recipient.
Moving towards the recipient with the left foot forwards, take up his left upper arm in your right hand. This may seem awkward at first, having to cross the body, but when the move is learned the action will become one flowing movement where the foot positions work more naturally.
Stepping forwards with the right foot, guide the recipient's left arm with your right hand under your own left arm so that the elbow of the recipient is thrust right under and past your armpit. You grip the recipient's left UPPER arm with your own left upper arm against the side of your chest. It is important to feed the recipient’s upper arm right underneath your own arm and not just the forearm. Hence, if you are shorter than the recipient is, this technique may not work effectively.
You are now facing the front left whilst the recipient faces the rear right. Now, allowing your left extended arm to close in somewhat, put your right forearm over (on top of) your left arm and hold onto the recipient's left shoulder with your right hand and effect a firm hold.
Your left hand comes on the inside of your right arm and holds onto your right forearm. This hand positioning does depend very much on the size and shape of the recipient in relation to you. In reality, you must hold onto your right arm at the most convenient point.
Consolidate the whole and lock on by tensing the musculature of the arms and torso.
During the completion of this hold you will find that you turn towards the recipient of the hold about 45 degrees, this is normal, but too much turning may indicate that you do not have the proper control over the recipient’s upper arm. ______________________________________________________________________________________
Snake 3
Left Arm hold (start facing the front left otta)
Look to the front right otta.
Step (adjust) with the left foot towards the front left otta into a right foot forward stance facing the front right otta.
Position the hands in the regular wedge position (right-hand leading) with emphasis on an across body sweep or outward bridging action of the right hand and arm. Set the right hand into a holding attitude.
Application and meaning of the movement
To intercept someone’s right forearm from the outside as it penetrates your tactile zone, and then to hold onto the right forearm, just behind the wrist with your right hand. This is in order to initiate a peaceful non harming ‘arm hold’ in order to draw a person out of a dangerous situation.
Intercept the recipient’s right arm on the outside with your right arm. Your left hand is positioned in front of the chest in a cover position. Hold the recipient's right forearm just behind the wrist with your right hand Move in and turn clockwise to face the same way as the recipient with his or her right forearm across your chest.
Arm
Step forwards with the left foot towards the front right otta into a left foot forwards stance.
From the wedge position, describe a clockwise descending half circle in front of the body with the left hand and at the same time turn clockwise through 180 degrees to face the rear left otta in a right foot forward stance. Keeping the circular motion of the left hand going, change the direction of the hand movement and describe a rising half circle back towards the body, up behind the right forearm (which is positioned across diagonally across the front of the body) and turning the left hand palm forwards, hold onto the right forearm (just behind the right wrist) from behind with the left hand on top of the right arm with the left fingertips facing forwards. The right forearm and right open hand should be positioned diagonally in front of the abdomen throughout this technique.
Application and meaning of the movement
Put your left arm OVER the recipient's right arm at the position of the recipient’s elbow. With your left arm draw the recipient’s right elbow back so that it is not left to dig into your ribs.
Feed your left hand up through the hole created by your abdomen, your right arm and the recipient's right arm
Hold your right forearm just behind the wrist or wherever is convenient with the left hand
Consolidate the hold by tensing the musculature of the torso and arms Remember that the recipient’s right forearm should be positioned against the side of your body in such a way that the recipient’s right elbow is not digging into your ribs but is pushed back to the rear out of the way with his or her right forearm against the side of your body.
The effectiveness of this hold relies upon your ability to pin the recipient’s forearm against the side of your body and clamp it with your arm. ______________________________________________________________________________________
Snake 4
Left shoulder hold (facing the rear left otta)
Still facing the rear left otta in a right foot forward stance, present the left open hand forwards in a reversed wedge position.
Application and meaning of the movement
While standing in a reversed position, intercept a person’s right arm on the backside (outside) with your left hand as it penetrates the tactile zone. The interception point should be on the upper arm.
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