Karate helping to deal with a heart condition:
Karate fighting, Cardiovascular workout, confidence, rebuilding stamina, fun, self defence, over 50s but not only, over 50, is it too late, exercise, nerd, okinawa karate, shorin ryu, full contact karate, heart, aging
The weather since I last wrote here has been rather hot, which places a big limitation on what I’m able to do. On particularly warm days, my son and I have shifted our training sessions from Saturday daytime to Monday evenings, to take advantage of the cooler temperatures. This has paid off to some extent — on at least one occasion, I managed to walk home from the Dojo without a break. The first time I tried that, I believe I needed four or five pauses. So getting back into training is definitely proving beneficial there.
I’ve continued making notes on drills — checking them with our Sensei — so I can remember them for practice at home (or in the open space nearby), which we do from time to time. I generally include these in my blogs to help date them for future reference, and this entry is no exception, with three drills listed below from simple to more complex.
This Monday was cooler than most of our previous sessions, and my breathing felt easier, so I decided to push myself a little. The first sparring-type exercise was introduced early in the lesson (following our warm-up, of course): one person attempted to grab the other’s Gi while the other tried to block. If a grip was made, the defender had to break free. My partner was my son, and it began well. The exercise lasted a minute; we each managed a few successful grabs and breakouts (one of mine was an arm bar, which I was quite proud of). However, during the third or fourth attempt, I struggled for breath and dropped to the ground, trying to roll out — but instead just collapsed in a heap.
I’d become so engrossed in the exercise that I ignored the warning signs of overexertion. I was completely out of breath and struggled to recover due to my COPD. It took my inhaler and around 10 to 15 minutes of slow breathing to re-centre myself. From then on, I was ultra-cautious for the rest of the lesson, taking part mainly in Kata. Still, I realised I’d managed 50 seconds in that sparring drill — not far off my pre-COVID level.
In the final third of the lesson, we started full sparring (albeit light contact), and I couldn’t resist having another go. Again, my son was my partner, and again I clocked around 50 seconds, this time pacing myself more effectively and recovering more quickly afterwards. I was then able to take part in the Kobudo segment of the session with much less downtime.
I left feeling pleased with that final sparring round. Although light, we exchanged solid shots, and I didn’t end up on the floor. Just how solid was confirmed the next day when my calf was sore from a well-placed mawashi-geri! But there were absolutely no repercussions for my breathing — so that side of things feels like a definite win ð.
While the job hunt continues to be much tougher than expected, Karate provides structure to my week — a routine to build around — and a chance to do something positive and creative like writing this blog. If you’ve read this far, thank you for taking the time. I hope you found it of interest.
REY 16-07-2025
Below is a key to the abbreviations and the exercise listings.
a) = attacker
d) = defender
Rh = right hand
Lh = left hand
1)
Both in fighting stance.
a) Jabs
d) Lh counter with outside block, controlling the arm
d) Steps past on outside with right leg
d) Rh back-fist to face, then pushing a) down over right leg
2)
a) Wrist grab
d) Sweep grabbed arm up as in outward block
d) Sweep other arm under and outward, as in matching outside block, grabbing attackers raised wrist
d) Continue sweeping motion to extend arm and open opponents back
d) Hook punch to ear/neck area with free hand
d) Added extra drop elbow onto back of attackers extended arm
d) Perform arm bar and turn to throw opponent to ground
3)
Both in clinch, left arm behind neck, head down to prevent head butt
a) Pushes rh up inside clinch for eye gouge (simulate)
a) Locks rh behind head, left leg knee strike to abdomen/groin
a) Releases grips, sweeps left arm under and round d) right arm
a) Grabs left wrist with lh and pulls d) across
a) Right arm raises to perform arm bar, right elbow goes on top of left elbow of d)
a) Extension of arm continues to complete arm bar and lower head
a) Right hammer-fist to l side of d) head under ear, push hand past head and pull up (chin, nose, eyes)
a) Right leg back to complete pull up.
a) Release both hands and lh punch to exposed throat, chin, etc
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.
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
I'm currently undertaking an online course in Cognitive Behavioural Therapy to help me unravel the Gordian knot described in "Suicidal thoughts". Part of this is to practice three sets of techniques each day to help with mindfulness and relaxation. Basically you have:
Awareness, going through each part of your body in turn to explore what you can feel
Tensioning, tensing and relaxing muscles to help relieve tension
Breathing, feeling each breath to bring you into the now and focus on the present
This reminds me of a lot of the techniques I have learnt through Karate, such as the relaxation and cardio slow kata learnt with Robey Jenkins, the tensioning in Sanchin from PJ Broomy and the breathing learnt from Noah Legel, in Tensho.
As a result, and due to my need to get back into deliberately practice every day, I decided to see whether I could combine the two. So I perform Naihanchi Shodan, Sanchin and Tensho in sequence. Naihanchi, I perform slowly, paying attention to how my body moves and feels. Sanchin, I am currently experimenting with tensioning on 1 rep in 2 and 1 rep in three for the whole body and relaxing in between. In Tensho, it is a case of using the breathing much as is done in Mokuso, to empty the mind and come into the present.
The two videos shown are from the last couple of days, one with the 1 in 2 Sanchin, the other with the 1 in 3 Sanchin. Very much a work in progress, but ironic that I chose without thinking the three kata labelled as fundamental kata to Karate by Miyagi Chojun. I didn't even think about that until it was pointed out by PJ Broomy.
I really enjoyed Jesse Enkamp's video series "Karate Nerd in China", and was fascinated by his finding of "Incense Shop Boxing" as the descendant of "Monk Fist Boxing", mentioned in "The Bubishi". This lead to one Jesse Enkamp's follow up videos:The Oldest Kata in Karate, featuring Seisan.
When I got the chance to join in with a lesson by PJ Broomy, by video link, I found out that one of the katas taught in his syllabus is Seisan, and it's opening was fairly similar to another kata I had learnt as a way of practicing breathing techniques, Tensho. An idea was set in my mind to learn the kata with a fourfold purpose:
To be able to join in any other lesson with PJ by having a common kata
As a piece of living history
As mental stimulation
To add another kata that could be used for practicing breathing techniques
PJ promised to video the kata for me, and duly it arrived a few weeks later via Facebook messenger, and during the video PJ said that he was not certain of the provenance of the version of the kata. During his video, Jesse had mentioned that although there were versions of the kata in virtually all styles of karate with similar starts and end points, there were many different mid sections, due to lots of the middle part of the Chinese form being cut out or greatly altered, so that set me a Nerd challenge:
To identify which form of the Kata practiced by other styles resembled the one I was learning
Firstly to the kata itself, I have been trying to learn it for about three weeks now, and can mostly remember the framework of the kata. though my knowledge of the precise techniques and phrasing is very much a work in progress and I can only go through it slowly. However, it is still enough to be able to use it as an extra kata to do deep breathing exercises to, thanks to my earlier learning of Tensho.
Now on to the Nerd part, I decided to search Youtube for the versions of the kata practiced by the various styles (the full set is in the playlist links at the end of the blog, but three in particular I thought to be reasonable base prospects:
1) Aregaki Seisan
Jesse Enkamp mentioned in "The Oldest Kata in Karate" video that Aregaki Seisho peformed the kata at a demonstration for the Chinese Sapposhi at the Ochayagoten in 1867. My search unearthed a video of the Bubishi translator himself, Hanshi Patrick McCarthy, performing the kata:
A very intricate kata, but not the one I was trying to learn ð.
2) Matsumura Seisan
I seem to recall from a number of sources that Seisan was a kata favoured by Matsumura, but unfortunately I can't remember them. However I do remember reading an article by Scot Mertz:
"Bushi Matsumura Sokon" (Oct 2018), in which he mentions that Matsumura made two trips to China as an envoy in 1826 and 1860, though the first is attributed as family legend. However it is suggested that on the first trip he studied both traditional and military martial arts, and might have been first introduced to the idea of "forms" or "kata".
One of his students, Kyan Chotoku, certainly taught the kata. The Shorin Ryu family of styles lay claim to this version of the kata, but there are many versions, some bladed and some more front facing. I chose the below to represent this form, as it explicitly lays claim to follow the Matsumura version:
To my untrained eye this appear to be similar to, but slightly less complicated than the Aregaki version, so again not what I was learningð.
3. Goju Ryu Seisan
Myagi Chojun the founder of Goju Ryu, went to China himself firstly in 1915-1917, then again in 1936. Apparently he went for a third time as well, but I can't find the dates for that. He studied originally with Aragaki Ryu Ko (no relation of Aragaki Seisho) for two to three years (1899 to 1902) then for 13 years with Higaonna Kanryo (1902 to 1915). Whilst in China he studied at least Chuguko Kempo and Whooping Crane Gu Fu. <sources http://www.ogkk.eu/historymaster/masters/chojun_miyagi.htm,
Where he learnt Seisan is never confirmed, though apparently Higaonna, Kanryo taught a version (possibly that of Aragaki, Seisho), and the form obviously existed at the time in China. So plenty of potential and varied sources for Myagi, Chojun to have learnt it from, as with Matsumura Sokon.
The video I chose to look at was that of Higaonna Morio (no relation to Higaonna Kanryo):
I also recognise that Paul Enfield does a mean line in interpretation of the kata, but way too technical for me at my level. ð
If anyone knows more about the history of the kata from the Aragaki, Matsumura of Miyagi lineages, would love to find out about it. ðð. I will leave the other versions out at this stage, simply to avoid the possible information overload it might might cause me. If there is enough there for another blog, would love to share that too.
