Anatomy of a Form: Ho Chien Wat, Crane Battle Method

 

For the last few months I've been sticking to practicing the basics from the first two lessons of Russ Smith's five Ancestors lessons, as I have had other things on my mind.  However, a vide recently appeared in my FB feed of Russ executing the Ho Chien Wat form.  It immediately grabbed my attention as something I would have to take another look at.  So much so that I found myself taking notes on the form, as I knew i wanted to try it myself.

These are notes, along with videos of the first run through, for comparison with the notes.  It is very much a work in progress, but I thought it might interest one or two people, so I decided to share it.

Long Salutation

Step out with Left foot into opening stance, relax.

Move hands inwards, pointing flat, fingertip to fingertip, palm own.

Form fists, while turning hands inwards so facing thumb tip to thumb tip

Draw Right shoulder back, Right fist following upward to chest level. Left fist moves upward to chest level across the body.

Hands open rapidly palm up, then turn over and push down quickly with Right should moving forward so torso is front facing, hands open and palm down, pointing inwards.

Right shoulder moves forward, hands move upwards, fingertips up with arms bent at elbow to shoulder height.  Right arm in front of Left, Right palm facing outward, Left palm facing shoulder.

Hands sweep out rapidly to either side, arms bent at elbows, to head height.  Hands hook into Crane posture, arms angled outwards to approximately 25 degrees.

Hands open up, fingertips upwards, rotated outwards about 30 degrees at wrists.  Arms come down, elbows bent until forearms are parallel to the ground at waist height, hands rotate out to 45 degrees on descent.

Right hand rotates outwards and clenches into a fist, as Right shoulder is drawn back, Left hand moves upwards across face.  Right fist is pulled fully back to chest height and Left hand continues to cover with open palm.

Body rotates so torso is front facing, hands are extended outward together, Right first in Left open palm until forearms parallel with floor in front of body.

Right fist opens so fingers pointing outward, back of RH still in palm of LH. Open hands (thumbs out) move out to shoulder width, forearms slightly angled upwards, with hands at a slightly steeper angle. 

Body rotates to Right, Right shoulder back.  Arms maintain their position but move slightly downwards, so that when Right shoulder is drawn back fully both hands are parallel to the ground, with the Left arm being across the front of the body.

Body rotates so torso is front facing, hands rotate outwards and up (thumbs in), ending up with hands in front of shoulder line and forearms slightly angled up, hands about 30 degrees from vertical. 

Forearms drop slightly, until they are parallel with ground.  Hands tilt outward slightly to about 40 degrees from vertical, settling into Guard position. 

Mid - Stepping sequence

Right step forward (RL in front)

Right step forward, wide gaited stance, knees slightly bent, hands palm open (thumbs in) facing forward.

Hands turn in, palm down.  Right shoulder and arm pulls back, hand drawn up to chest level with the Left arm being across the front of the body, also at chest level.   

(*All sequences ) Body rotates rapidly, torso to the front. both arms push fully out in front, hands open and parallel to the ground.

Hands close to form One knuckle fist, index middle knuckle prominent. wrists rotate inwards, so backs of hands face floor.

Hands open out, and arms move outwards in a circular motion.  Hands rotate outward and move with arms until the circle is closed and arms cross if front of face.

Left hand moves in front of Right as they the cross and move forwards and down (back of hand to back of hand at moment of crossing).  Hands move into crane (hooking) hands as the come in line with the shoulders.

Hands pulled inwards and upwards, forming fists whilst elbows remain bent until fists reach above head height with arms fully extended.

Hands come down to head level, elbows bending slightly and fists turn inwards before opening up into splayed hands with clawed fingers.

Hands come down and inwards, in line with shoulders and level with chest.  Arms are bent at elbows and fingers turn outwards, closing with palms forward (thumbs in) and at angle and pushing forward at the same time.  Settle into Guard position.  (48 seconds)

Left step forward (LL in front)

Left step forward, wide gaited stance, knees slightly bent, hands palm open (thumbs in) facing forward.

Hands turn in, palm down.  Left shoulder and arm pulls back, hand drawn up to chest level with the Right arm being across the front of the body, also at chest level.   

Sequence repeats as from * above until next step forward.

Right step forward (RL in front) - repeat RH move sequence as for previous RL in front

Right step back (LL in front) - repeat LH move sequence as for previous LL in front

Left step back  (RL in front) - repeat RH move sequence as for previous RL in front

Right step back. (LL in front) - repeat LH move sequence as for previous LL in front 

 End Sequence

Right hand moves down and back, behind the body line.  Left hand moves upwards in line with shoulder with wrist turning inwards.

Right foot moves outward and forward, until toes in line with Left heel, Right arm continues moving in an upward arc with Right shoulder going back.   RH ends up alongside Right ear, fingers splayed and pointing forward, palm pointing away from ear.  LH continues moving up in line with face and pushing across open palmed an vertical, to outside the Right shoulder.

Weight moves onto Right foot, hands move up in line with top of head (finger tips LH, blade of RH), winding up for strike. Left foot drags inwards and back behind heel line of Right foot, shoulder width gap between, then pivoting to Left on balls of feet to 45 degrees off forward facing.   At same time LH sweeps down palm down to waist height, whilst RH strikes across at neck height, palm up, in a bladed strike.   Both strikes to 45 degrees in line with body.

Left foot steps out into wide legged 45 degree stance, knees bent.  LH moves down and back, behind the body line, continues moving in an upward arc ends up alongside Left ear, fingers splayed and pointing forward, palm pointing away from ear.  RH moves upwards in line with shoulder with wrist turning inwards then continues moving up in line with face and pushing across open palmed and vertical, to outside the Left shoulder.

Weight moves onto Left foot, hands move up in line with top of head (finger tips RH, blade of LH), winding up for strike. Right foot drags inwards and back behind heel line of Left foot, shoulder width gap between, then pivoting to Right on balls of feet to 45 degrees off forward facing.   At same time RH sweeps down palm down to waist height, whilst LH strikes across at neck height, palm up, in a bladed strike.   Both strikes to 45 degrees in line with body.

Right foot turns inward to face forward, pivot Left foot backwards to present a sharply bladed stance, with Left leg almost behind Right leg, but with Left foot angled outwards.  LH remains in place relative to the body, whilst RH moves across to under Left, in vertical line with Left shoulder.   Body weight shifts back onto back leg, which bends at knee to accommodate.  RH goes back under Left arm, RF drags back into Cat stance.  LH pulls back in line with L side of chest, R arm flicks out and up, RH is initially pointing down, but flicks up into ridge hand at the end of the arm extension.

RH moves in from should line to in front of face, LH draws across to RH side of body.   R foot takes long stride forward, RH pulls back in line with R side of chest, L arm flicks out and up, LH is initially pointing down, but flicks up into ridge hand at the end of arm extension.  So there is a counter point of RF going forward, as LHS of torso twists forward.

LF pulls up, LH comes back RH comes to front as torso realigns.  R Elbow bent and RH open at an angle.  Footing settles into standard stride length, L arm pulls back until LH in line with LHS of chest, R arm extends as elbow is straightened RH extends into a flat position parallel to ground, wrist bent slightly inwards.

L foot goes back half a foot distance, coming inward to give a more bladed stance, RH rises slightly to above height of LH. R foot pulls back into Cat stance, RH moves across and wrist tilts up so RH palm facing forward at an angle.  L foot drags back further into deeper Cat stance, R arm drops slightly and R wrist rotates so RH is pointing downwards.  At same time LH starts to move forward, with L wrist rotating so that LH palm starts to face forward with fingers pointing upwards.  RH stops at groin height on Centre line, facing palm out fingers down, LH stops at chin height on Centre line, facing palm out fingers up.

LH closes into fist, wrist turning and LH pulling back to RHS of chest, RH closes into  fist and R arm rises to cross over L arm, with RH resting to LHS of chest.  RF goes back to side of LF, standing straight.  Fists pull back to just under chest line either side of the body.  Hands draw back further and hands open, palm up, wrists rotate so hands facing palm down.  Then hands push down quickly, palms parallel to the ground, fingers facing forward  Knees bend slightly as arms extend to full extent.  Knees unbend, hands fall naturally by sides.

First Run Through

I tried my first end to end "walk through" of the form on 10th December.  Very jerky with some pauses and in a limited space (which meant stepping back and forth, rather than three steps forward, three steps back as the form actually requires), and I definitely ended up on the wrong foot (stepping through with left foot, rather than stepping up and pushing on with right).

Very much a work in progress and different to most Karate kata, but for me it's just the kind of form I find relaxing and will be a good addition to Tensho.

REY 10/12/23

SanZhan or Sanchin?

Before I get started, please note I did not learn Sanchin as a part of the core syllabus from my Dojo.  Rather from a friend, PJ Broomhall, who teaches it as a part of his Bu Kai syllabus.   Firstly, I learnt it out of curiosity, as it is labelled as one of the three "core" Kata of Karate (along with Naihanchi and Tensho #1).   I then added it directly to my own repertoire as a part of my CBT/Karate routine (#2) that I use to remain calm and focus.

This routine has three elements, for Mindfulness, Tensioning and Relaxation.  Sanchin, used to develop the "iron body" techniques of Karate, seemed to be the absolutely natural Kata for the Tensioning portion of the routine.   Not done fully in the style that many Goju teachers would approve, but at Firstly, least tensioning the arms and legs to make the arms rigid in the legs "rooted".

My curiosity was piqued about the kata after watching Jesse Enkamp's China series (#3) on YouTube.  There may be some dispute about the veracity of the claim to have found the oldest Kata, but there can be no doubt at all about the genuine nature of the Kung Fu featured.  SanZhan was the Crown Jewel of the series.  It was claimed to be the root of Seisan, which is a possibility.  What is undeniably true is that it is the root form that led to Sanchin (#4).

Sanchin is known mainly for its association with Iron Body an Goju Ryu, but although the Karate kata is simplistic in appearance, its roots tell that there is much more to it.   Although many may use it simply as a body training kata, it embodies fighting techniques as well. I have been lucky enough to listen to many talks and train online with many people that I would probably never have met, but for Covid.  Two of these, Les Bubka and PJ Broomhall, quite happily consider and teach how the Kata can be applied.

Therefore, I was both amused and saddened by a member of the Karate world saying that Sanchin is only intended for and should only be used for, body training and conditioning.   It seems that some of the extended family still live in denial of the roots of Karate and that any kata derived from Kung Fu are not just going to be "training" kata. (An example of a Chinese training form would be the likes of "8 brocades", which would never be translated into karate #5).

I have the pleasure of slowly learning some aspects of Five Ancestors Boxing from online lessons with Russ Smith, and some of the material seemed directly aligned with Sanchin, though less stylised.  The material in question is in no way intended as body training and has an explicit direct follow on from the deflecting aspect of the crossing arms in a double outward worlds block.

To show what I mean, this is a video of my amended version of Sanchin, showing the more attacking potential I can see hidden in the movements:

Sanchin modified to incorporate Five Ancestors techniques: 

1) Turns half front, half back, followed by leg sweep. 
2) Outward crossing of arms open handed, then bringing down as hooking hand to trap the opponent's arms. 
3) In place of a punch, back hand hook turns into a ridge hand “bump" to the trapped arm, followed by a finger strike up the line of the arm into the throat.

Whilst this is strictly speaking neither SanZhan or Sanchin, I don't think that most people would deny the Sanchin base, or argue too much with the intent of the Five Ancestors added techniques.  Of course, apart from our doctrinally blinkered brethren.  So maybe to let them live happily in the belief that Sanchin is solely a training/conditioning kata, by referring to anything derived with purposeful intent as SanZhan? 

REY 22/10/2023

#1 The Birth of Karate

#2 Kata and CBT

#3 Karate Nerd In China (Ep 5)

#4 SanZhan, Sanchin and Seisan

#5 Eight Brocades

Mindfulness, Tensioning, Breathing and Relaxing (with PJ Broomy)

I have a friend in Australia, Paul Broomall (aka PJ Broomy), who during Covid was one of the online teachers who helped out with Guest Lessons, along with Les Bubka amongst many others. due to some similarities in health conditions, and it seems outlook on life, we became friends, and we have continued to work together online since then. However, last winter and our own personal circumstances since then, we only managed to arrange our first online session together for 14th of May. PJ kindly consented to become the first victim to try out the CBT kata I have been using for the last 18 months or so, so I was both somewhat excited and worried by showing had been doing it and the reasoning behind it.

To recap, that kata in question are Naihanchi (or Tekki) Shodan, Sanchin and Tensho. The principles of CBT being worked on are Mindfulness, Tensioning, Relaxation and Breathing.

 Naihanchi (Tekki) Shodan I use for mindfulness, which in CBT is feeling every part of your body, both statically and when in motion. The kata is done at whatever speed you feel comfortable with at the time, but ensuring that you concentrate on how your body is moving and where you end up. It doesn't need to be the perfect kata, neither do any of the three.

The second kata is Sanchin, which I use for Tensioning. This one is PJs, though a variation on the way he does it. He showed me the version where by turning your wrists you can tension your arms to rigidity. I do the same with my legs (I think this picked up in a seminar from Okinawa online, where rooting your feet was said to be important). Sanchin as used by Goju Ryu seems to be used extensively for this, so seemed a natural choice.

The third kata is Tensho, for Relaxation and Breathing. Originally, I was taught Tensho as a breathing kata by Noah Legel, to help with my COPD. Then Les Bubka showed me how it could be used for relaxation (Teisho). Combining the two seemed the perfect choice for what I wanted to achieve. There are two versions that I do, one for full space and one for limited space. The latter in arm kata only. However, both work the same for me.

In short, by the third set of hand movements in Tensho, my breathing is comfortably in synch with the arm movements, I find myself feeling relaxed and with a clear mind. PJ seemed to enjoy the exercise.....

=
 

PJ Broomy's view of what we went through: "A very interesting way of practicing kata. Naihanchi with a focus on mindfulness, Sanchin on muscular tension and Tensho for relaxation. There is no rule saying each kata must be done a particular way. To the contrary our Okinawan masters have been documented encouraging us to make karate our own. Bob is doing this and getting more and more out karate as a result.

Recently we applied Bob’s method to these three core kata in the dojo. Focusing on where the body was in time and space during Naihanchi not only gave the kata another dimension but lead to some very effective bunkai/oyo latter in the class.

Sanchin is known for tension however we focused on proper spine alignment when applying that muscular tension. This also helped induce some fatigue that assisted with the transition into Tensho. Tensho was performed in a more relaxed manner with a distinct focus on breathing. This is a great way to round out what is an excellent routine for any karateka to do."

 

As this was the first time I had actually shown someone else, and they did it for the first time themselves (I had no idea he got his dojo to try it out later), I thought it worthwhile sharing the results. Hope some of you might find it of interest. REY/PJB 16/05/2023

Shoes Off or On?

 

I think it fair to say that many people who have practiced martial arts originally learnt indoors and in later years, on mats.   If we're talking karate, then it will have been in Gi and barefoot.  If your dojo leans towards self defence, it will have include thinks like knees and low kicks.

However, "real world", if you ever have to use your learnt skills, it won't be in a controlled environment, barefoot and on a flat surface.  Students are obviously expected to practice on their own, and hopefully some of that would be outdoors and uneven surfaces with shoes on.

My personal favourite strike is with the knee, but that can be followed up by another one from natural instinct for me, a stomping kick, which I believe would be much more effective with shoes off rather than on. (Blame my Sensei and Naihanchi for these choices.)

The dojo in which I learnt includes outdoor lessons in normal clothing as a part of their training, as well as the more typical dojo lessons.  Is this a common practice?  Also, are there any specific aims in the teaching of lessons outdoors, other than those already suggested?

REY 26/02/2023

When is a McDojo not a McDojo?

 

This is the third in a series of blogs, starting with Kata, what is it good for?", and followed by "How do your Students grow?".   These are in response to a critique of what I have done to now, and an assertion that I was trained in a McDojo.  There seems to be a genuine difference of opinion at the base of this, which I think is worthy of some discussion.  

So lets start off with what might constitute a traditional dojo or "martial arts school", dating back to say the 1960s in origin.  

1. Introduction might be to do 40 knuckle press ups.
2. Basics only taught a lower levels.  Not learnt slowly but at the proper speed and force.   This includes kicks, blocks, strikes and above all stances.  Speed makes no difference with regard to understanding what a punch or block is.
3. When Grading take place, it is the student's choice to take them, and if not good enough they should be allowed to fail.
4. No concessions in general should be made for acknowledged medical conditions.
5. Forms or Kata not taught until a higher grade is reached.  Once the basics have been learnt to a degree, then simply linking them all together as a form or kata will not require doing things slow.
6. Kata of forms can be learnt a stage at a time but never in a slow way.  
7. No separate classes for minors in training.

Then let's take what might be commonly agreed on as signs of a McDojo.  

1. Very large classes with not enough instructors to give attention to detail for individual students.
2. Head instructors who never instruct.
3. Self defence (as  opposed to self awareness / protection) instruction that is totally non-contact.
4. Cases where all students grade at exactly the same time and nobody fails
5. Schools with 6 year old Black Belts
6. Schools promising to unlock "the hidden secrets"
7. Schools promising the ability to defeat anyone by unlocking the "power of chi energy".
8. Ultimately, schools where money is God

Any thoughts so far?  I certainly would never assert that a "traditional" school is a MacDojo, although maybe some of the teaching methods could possibly improve with the inclusion of ore modern techniques.  Then, we have the massive space of the middle ground, that could incorporate: 

1. Sports martial arts
2. "Modern" martial arts, with a more inclusive approach and perhaps less stringent teaching methods to accommodate
3. Non combative martial arts, such as Tai Chi, which concentrate more of the mental and physical health aspects
4. Genuine self awareness, protection and defence classes

Now, as far as I am, concerned, the dojo where I received my training sits firmly in the "Modern" category.   The features of that dojo include:

1. Warm up exercises are done for approximately 20 minutes prior to the lesson starting formally.  This may include traditional elements such as press ups, trunk curls, planking, squatageris, star jumps, sprints, shrimping, along with other exercises.  Varies from week to week.
2. Gradings take place regularly, but Students aren't allowed to take a Grading until the Sensei think they are ready.  
3. Kata are taught at an early stage, along with the basics.
4. Students learn the kata in chunks, at first slowly then faster as they improve their techniques and confidence.
5. Pad work solo and paired drills, light sparring are practiced.  Ground work is emphasised as well as upright techniques.  These are all set against breaking out and implementing techniques from kata.
6. Lessons often end with cool down kata.
7. Kobudo drills are taught for Bo and Nunchaku as an element of some classes, both Cadet and Adult.
8. Modifications to drills and kata maybe made for students with acknowledged medical conditions.

So, then set this against the opinion of one "traditionalist":

1. To explain what a McDojo is would take ages.  A very big subject that covers many things.  For example everyone at a McDojo club will pass their first few student grades because the instructor does not want to lose a paying customer.  A traditional old school will not do that. 
2. Some karate clubs do it <kata> slow without it being physically demanding so students don't leave.  Same with the basics.  No effort, all nice and slow.  And they say it is so students can learn things better that way.  Hence the term go slow first.
3. A McDojo class is all about keeping students and money coming in.  Hence everything is soft and slow.
4. McDojos have separate classes for younger students.

The bottom line is this is that the dojo in which I trained was judged as a McDojo against these criteria and in part at least based on what I do.  Much of the material I learnt during Covid and beyond is off my own bat, and what I use it for works for me.   In this case I would conclude that there are valid instances of what some would consider to be a McDojo to actually be the real thing.  My conclusion is that the term "McDojo" is distinctly subjective as opposed to objective on the basis of this.

This is meant to be a conversation starter, so all responses welcome.

REY 20/01/2023

How do your Students grow?

 

In my previous blog Kata, what is it Good for, I contrasted how kata are taught and used between "Traditional" and what I would call "Modern" dojos, such as the one in which I learnt.  Now I want to contrast how students develop in the different environments.

Traditional

In traditional dojos, students start off with the basics, improving their understanding of these and honing their techniques as they progress. Kata or forms are not introduced until the higher grades, when basics have been mastered.  Techniques are practiced at full speed, not slowly.

There are no separate Children's or Cadet classes, however from the age of around 8 upwards, children can take part.   They do exactly the same syllabus as the adults, and grade in exactly the same way.   Concessions are not made for the age of the student in what they have to learn.

Regular grading examinations are held, with students choosing when to participate, not instructors. Students are allowed to succeed or fail on their own merits.

Concessions are not generally made for a student's medical or physical limitations, but might be considered on a case-by-case basis.

Modern

In modern dojos, as with traditional, students start off with the basics.  However, Kata are introduced at an early stage, along with their interpretation.    Paired and solo drills, along with pad work and light sparring are also included in lessons.

There are separate Children's and Adult classes.  A typical split might be Shisa (4-6 years). Junior (7-12 years) and Senior (13 years upwards).   Where I was taught, the Shisa had grades of a kind, but these did not carry over into Junior.  The proper grades started from Junior classes onward.

As with Traditional dojos, regular grading examinations are held, but these are by invitation only, when the instructors believe you are ready to grade.

 Concessions are made for medical or physical limitations, including adaptations of drills or kata where necessary.   Some dojos run classes specifically for people with disabilities and limitations,

Since Covid-19 especially, some dojos now offer online training to students as well.  

Comparison

It can be argued that the traditional methods are more rigorous, and certainly would only allow technically proficient students to progress.  They probably produce good physical conditioning for those that stay the course, and their training methods and results will be more satisfactory to the purists of the martial arts world.  However, such dojos may not offer much in the way of financial reward to the dojo owners, and the wastage rate among students is possibly quite high, due to the demanding standards expected.

The more modern dojos tend to be more inclusive and attuned to the differing ages and level of ability of the students, if well run.  However, the risk of more dubious practices is higher than with the traditional dojos, as has been evidenced in the past with exceptionally young "black belts" being produced and more than a few, myself included, have scepticism about training that is non-contact that professes to be a form of karate for example (I personally exclude the likes of tai-chi from this categorisation where is non-contact expressly taught for physical well-being, relaxation and meditation).

That said, anyone who has seen or invested time in working with handicapped students for example, cannot doubt the efficacy of the confidence building and improvement in physical well-being that it can offer.  Here I would cite the works of John Johnston’s Adaptive Karate and Les Bubka.  But this is specifically tailored and makes no outrageous promises about what is being delivered.

In the middle of this sit most modern dojos, who offer some tailoring to meet the needs of their students and are not aggressive in their gradings.  Some traditionalists may look down on these dojos, citing their lack of rigour, and money orientation.  However, for the likes of myself, who would never have taken an interest in martial arts otherwise, they open a preciously closed door to a level of personal development we would otherwise have never experienced.

Thank you if you have taken the time to read this.

REY 29/01/2023

Shu Ha Ri

 Events towards the end of last year disheartened me somewhat, and as a result I felt little inclination to post blogs or record videos.  However, I never gave up doing the core that I use for my own purposes (relaxation, clearing the mind and breathing).  As a part of my New Year's resolution, I decided to get back to doing what I enjoy and start increasing the amount of training I do to start getting back to a healthy level of fitness.

In the first instance, I intend to do this by increasing the amount I do based around my core kata.  For those of you that are perhaps reading for the first time, these consist of Naihanchi, Sanchin and Tensho, based on the work I did for CBT to improve my mental health.

Naihanchi - (mostly Shodan, but as I increase the amount of work I do, intend to extend to Nidan and perhaps Sandan, though this isn't one of the kata I formally learned at my original dojo).  This I use for body awareness, how my body moves and the positioning of body elements during the execution of the kata.

Sanchin for body tensioning.

Tensho for deep breathing in a relaxed manner.

What persuaded me to do this was a friend who said that although still I was a novice, my use of kata for these specific purposes was something I had made my own.  As he termed it,  Shu Ha Ri, which I take as a pretty big compliment.  I still have so much to learn, and know that to advance my knowledge in a practical way, I need to return to the dojo.  Family circumstances still preclude this just now, but it is what I aim for.

In the mean-time, that somebody I respect tells me what I have done is of merit is enough for me.

REY 22/01/2023

January Covid blues

 

January Covid blues

January 2021, speaking politely was a mixed bag, especially emotionally.  Being really honest, it was pretty awful, with a struggle to find any motivation in the midst of it.  At least I had the luck of having two anchor points, my work, which was very demanding, and karate.

Given the inclement weather for training outside, work rather that karate was my "turn to" at many points, especially that month.  This was probably what resulted in all the neck issues I had around that time.  Karate usually provided a healthy counterpoint to work, but when the  balance switched, I think my body decided to tell me was being neglected. 

By this point I had effectively in lock-down for the best part of 10 months , with minimal physical interaction with anyone outside the immediate family in that time (i.e. the people in the house).   It took a toll on my mental health from the start, and I sought and found some help for that.   One of the big pluses was the advice that I should lock on to karate and keep on going.  That is what I tried to do.  

I think one of the hardest things to admit for many people is the need for a degree of separation.  In pre-Covid times, this was easy to achieve as most people who worked were separated from those at home for the duration of work and travel at least.   Working from home and being at extreme risk denied me and my family that separation.

I was not one of the gainsayers about Covid-19, it was a confirmed super-killer to anyone with my conditions, so there was no choice from my perspective other than to work from home to survive.  Some of my friends who contracted Covid gave me hope if their recoveries, but as the sole earner in my family I couldn't take many risks.  However, January 2021was probably the worst month during Covid, with respect to being able to keep home issues separate from work.

The two started to overlap and that was hard to cope with for me.   The coping mechanisms  for me cope had been a fair bit of kata and a few too many bottles of wine. The former has to be the preferred route, but becoming somewhat stale and so the second had started to come more into play; not good.   Enter PJ Broomy, with a demonstration of one of his dojo's kata.

I have suffered from stress related mental health issues, bordering on depression and have struggled at times with my temper, as well as my heart and lung conditions.  My best answer to all of those has always been to learn something new.  I think I frustrated my Sensei at times in this, as I should really have been drilling my fundamental kata.  I totally agreed with them that as only a blue belt in our discipline, I needed to practice, practice, practice. 

However, the physical needs also needed to be tempered with the mental.  Learning a new kata for me was a mental as well as physical challenge, which while I felt I was under mental siege was an important release.   I was not trying to learn different bunkai, because all I needed to know is in Naihanchi.  It's a codex for many of the brutal strikes you can make, and for a last resort, if all other things have failed, that's perfect.

PJs school of Karate, Bu-Kai is based primarily on the Goju Ryu style.  I had previously gone through the basics of Seisan with him, and this time around he was showing me the basics of Sanseru.  Both are derivative of Sanchin, the base kata of Goju-Ryu.  My interest started in this school when I was shown how to use Tensho as a kata to help with breathing.

 First of all PJ contributed to an online lesson with my own dojo during Covid, and opened the door to more kata from the same school as Tensho.  It was a door which I happily went through and have been learning from PJ ever since.  My own research has shown me that the divides between schools such as Shorin Ryu and Goju Ryo are historically artificial.

The bottom line in my mind was, I had to practice the fundamentals; my core kata and drills, but I also needed mental challenges.   This gave a focus away from home and work and in so doing, helped me create my own mental "separation", in place of the physical one that is impossible to achieve in lock-down.

The material from another school of karate provided me with just the mental stimulus I needed to  keep me challenged.

Hope this all makes sense and thank you for reading.

04-01-2021 (re-written 01/09/2023)