Okay folks here is a nice clip.
This is NOT Sanchin.
This is my friend Rick Bottomley doing a striking exercise which he formatted from the Sanchin Kata form.
Have I put enough disclaimers that this isn’t Sanchin?
Good.
Then watch real close at how he does the strikes and the power that is generated.
http://www.wilsonkarate.com/videos/rick ... _seuka.wmv
Rick Bottomley is a guy I have mentioned many time and this is the first chance you folk get to see him in action.
Enjoy!
Post your Sanchin Kata Video here
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Stryke
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Guest
Glad you posted that Rick I was hoping you would. Now it has a home on my hard drive.
I very much enjoyed working with Rick B. he's one of a kind and the real deal. I had a blast.
Learned lots about mechanics last night. Holy shoken! Thought he put a whole in me
Looking forward to training with you guys soon.
Mate word of caution when training in the circle if you stand between the two Ricks... your going to get some good hits
Like and learn. Next time I'll hide beside that Randy whimp You just can't hide in Edmonton I love it!
I very much enjoyed working with Rick B. he's one of a kind and the real deal. I had a blast.
Learned lots about mechanics last night. Holy shoken! Thought he put a whole in me
Looking forward to training with you guys soon. Mate word of caution when training in the circle if you stand between the two Ricks... your going to get some good hits
Like and learn. Next time I'll hide beside that Randy whimp You just can't hide in Edmonton I love it!-
Guest
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Rick Wilson
That is excellent power generation and delivery.
As in all things, there will be critics about what he does_ you know the “it’s not Uechi” crowd.
It is like our friend Carlos.
Some senseis recoil at the thought of seeing the hammer strike or the kakushiken fire from high above the shoulder or the head.
If you don’t ‘strike’ from a ‘sanchin position’ with them_ be careful_ ‘it’s not Uechi’_
I taught Carlos to lift the hammer high above the shoulder to invoke ‘ramp speed’ and ‘gravity’ while sinking the elbow into sanchin as the blow aims through the target.
When defending against the knife attacker, Carlos did as he was taught, and fractured both jaws of the punk.
Recently he told me that, had he struck the blow from a ‘sanchin’ arm position, he probably would not be here today visiting us.
About ‘it is not Uechi’ _ we learned from the Okinawans, that in arm pounding, they raise the hammer up high above the head.
We see Nakahodo sensei raise the kakushiken to head level, and we observed Breyette sensei [Toyama’s Student] raise the kakushiken way over the head.
Mr. Bottomley has some great mechanics. But there will be some naysayers_
As in all things, there will be critics about what he does_ you know the “it’s not Uechi” crowd.
It is like our friend Carlos.
Some senseis recoil at the thought of seeing the hammer strike or the kakushiken fire from high above the shoulder or the head.
If you don’t ‘strike’ from a ‘sanchin position’ with them_ be careful_ ‘it’s not Uechi’_
I taught Carlos to lift the hammer high above the shoulder to invoke ‘ramp speed’ and ‘gravity’ while sinking the elbow into sanchin as the blow aims through the target.
When defending against the knife attacker, Carlos did as he was taught, and fractured both jaws of the punk.
Recently he told me that, had he struck the blow from a ‘sanchin’ arm position, he probably would not be here today visiting us.
About ‘it is not Uechi’ _ we learned from the Okinawans, that in arm pounding, they raise the hammer up high above the head.
We see Nakahodo sensei raise the kakushiken to head level, and we observed Breyette sensei [Toyama’s Student] raise the kakushiken way over the head.
Mr. Bottomley has some great mechanics. But there will be some naysayers_
Van
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gmattson
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I'm impressed...
Rick has very good "flow" and excellent technique.
At the "Hut" we experiment with different types of sanchin. Paul Giella uses what he calls the "Long Form" sanchin. Takes about a half hour to perform. It starts with a basic sanchin moves, and for the last 3 moves, step-then circle moves-thrusts. In the second segment, steps with "chambering" of arm-then thrusts. For the last 3 moves, steps-chambering together-then thrusts.
In the 3rd stage, Paul has the class step-thrust as one movement. This involves modifying the 'chambering' move into more of a circular jab. . . powerful, with less emphasis on the 'chambering'. In the last three movements, you move into positioning while circling & thrusting. . . again, modifying who the move is performed with more emphasis on the targeting of the thrust than anything else. The circle move is more abbreviated in order to allow completion of the thrust with the completion of the lower body move.
Performing many sets of sanchin together in this manner, forces the class to get out of any rigid mode they may be accustomed to and aside from all the other benefits, is a great aerobic exercise.
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I'm a teacher who spends lots of time on basics, so if I might offer one suggestion to Rick B. regarding the turn:
My feeling about turning is that the reason we do it, is because something is happening behind us that needs to be addressed. Therefore when we complete the turn, we should be in a strong position with our weapons ready. Often, students will turn, with their weight slightly (or not so slightly) off center. This requires an additional adjustment of weight that can prove costly in a real situation.
It is easier to develop good habits while practicing very simple Kata, such as sanchin, rather than to attempt correcting these defects in one's advanced Kata, drills, etc.
At the "Hut" we experiment with different types of sanchin. Paul Giella uses what he calls the "Long Form" sanchin. Takes about a half hour to perform. It starts with a basic sanchin moves, and for the last 3 moves, step-then circle moves-thrusts. In the second segment, steps with "chambering" of arm-then thrusts. For the last 3 moves, steps-chambering together-then thrusts.
In the 3rd stage, Paul has the class step-thrust as one movement. This involves modifying the 'chambering' move into more of a circular jab. . . powerful, with less emphasis on the 'chambering'. In the last three movements, you move into positioning while circling & thrusting. . . again, modifying who the move is performed with more emphasis on the targeting of the thrust than anything else. The circle move is more abbreviated in order to allow completion of the thrust with the completion of the lower body move.
Performing many sets of sanchin together in this manner, forces the class to get out of any rigid mode they may be accustomed to and aside from all the other benefits, is a great aerobic exercise.
=============
I'm a teacher who spends lots of time on basics, so if I might offer one suggestion to Rick B. regarding the turn:
My feeling about turning is that the reason we do it, is because something is happening behind us that needs to be addressed. Therefore when we complete the turn, we should be in a strong position with our weapons ready. Often, students will turn, with their weight slightly (or not so slightly) off center. This requires an additional adjustment of weight that can prove costly in a real situation.
It is easier to develop good habits while practicing very simple Kata, such as sanchin, rather than to attempt correcting these defects in one's advanced Kata, drills, etc.
GEM
"Do or do not. there is no try!"
"Do or do not. there is no try!"
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Guest
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Randy Pelletier
Rick looks an awful lot like the new guy in class the other night that stood next to Laird.
Rick Bottomley is one of my mentors for his ability to generate power. He has the knack for breaking things down and rebuilding in a very effective way.
That "sanchin" was an excellent example of how he plays with things and when you stand next to him in the conditioning circle, you feel the raw power of the result of him playing.
Thanks for posting this Rick and Rick.
Rick Bottomley is one of my mentors for his ability to generate power. He has the knack for breaking things down and rebuilding in a very effective way.
That "sanchin" was an excellent example of how he plays with things and when you stand next to him in the conditioning circle, you feel the raw power of the result of him playing.
Thanks for posting this Rick and Rick.
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gmattson
- Site Admin
- Posts: 6073
- Joined: Wed Sep 16, 1998 6:01 am
- Location: Lake Mary, Florida
- Contact:
Van...
I don't wish to see this thread become "highjacked" with Rick B's sanchin being compared to Carlos's knife defense. you know I teach that move you speak of, in a different manner, and if you feel my way is dangerous and incorrect, lets create another thread where we can talk about it.
GEM
"Do or do not. there is no try!"
"Do or do not. there is no try!"
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Rick Wilson
Re: Van...
No, George_ I did not know you taught that move differently than the way I teach it_ and I certainly was not referring to you...gmattson wrote:I don't wish to see this thread become "highjacked" with Rick B's sanchin being compared to Carlos's knife defense. you know I teach that move you speak of, in a different manner, and if you feel my way is dangerous and incorrect, lets create another thread where we can talk about it.
And you are not the only one teaching that move in that manner. I have seen it taught that way by many teachers, so don't take things personal.
As to 'thread highjack' I don't think so_ we are discussing mechanics and the Carlos example is a good one.
And I think Rick Wilson is a good judge of 'Highjack' on his own forum.
as to your way of teaching the movement_ fine _ just another way_ another interpretation_
Van
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Stryke
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Guest
You have a good eye GeorgeMy feeling about turning is that the reason we do it, is because something is happening behind us that needs to be addressed. Therefore when we complete the turn, we should be in a strong position with our weapons ready.
Guess you pick up a thing or two over the years . I understand what you are saying and agree, but on the other hand I see and utilize lots of throws with turns. I also use turns to hyper exend locked joints. I think we miss much when he just turn to face the next imaginary evil bad guy. The beauty of Uechi kata is the depth of application. But if we pidgen whole a movement as one specific thing we miss the other possibilities. JMO
I think the value in these exercises is you dismantle the kata and focus on a specific goal and not get to hung up on all the applications and principles but instead focus on a very narrow peice of the puzzle. In this case I think #7
is only concerned with recuiting body mass and muscle mass in striking. Rick really locks down the shoulders and recruits the lats and initiates the strikes with the hips in this drill. Those are not arm punches he's throwing! I have kata bunkai that explore turning to face, I have kata bunkai that explore taking someone with me on the turn. I have kata bunkai that explore slipping or moving off line with a turn, I have kata bunkai that explore absorbing lines of force on the turn. I have kata bunkai that explore jamming. I have kata bunkai that explore initialing locks on the turn...etc.
While I explore an application or idea it does not mean I have forgotten all of the posibilities. It just means I'm exploring a tiny detail to the exclusion of others. Think thats what Rick is doing his exercise.
Did someone mention this wasn't kata but an exploration of striking dynamics?
I think what is important is that we train and tinker with what we train until we understand it and own it. I am no where close to even understanding and owning one of my kata.
I remember years ago when I was keen to learn all the kata, know the whole system. Today I realise if I live and train another 30 years I'll still not have mastered the first one. But I keep trying and I like to get lost in a tiny little pieces of the kata. I've been lost in the arm draw back and the turns for over a year now. The more I understand the more I realise I know nothing. This is an endless journey.
Sorry to ramble.
Hey George, I blame this addiction on you.
Thanks for the pleasure!
