SANCHIN

Sanchin means three conflicts, generally thought of as body, mind, and spirit. This is the first and most important kata in the Uechi system. Everything that we do in the system can be related back to Sanchin. It is pure form and is not considered a fighting kata. Instead, it is the blueprint for which we do everything else. In other words, it is the foundation of Uechi-Ryu, and all serious students of the art must continually emphasize Sanchin in their training.

Although Sanchin is found in different Okinawan and Japanese systems (i.e. Goju-ryu, Shotokan, etc.), it is distinctly different in Uechi-Ryu as Uechi stylists perform the kata with open hands. The kata itself is simple to look at; the most simple to the eye of any outsider. However, it is the most difficult to master, and probably never will be. Yet, like in Zen-Buddhism, it is the road that matters, not the destination.

But what is so important about Sanchin to the Uechi practitioner? The answer is simple, although the application is not. It is within Sanchin that we find the all the basics that will help us master the other seven kata, deal with the bunkai, and learn how to fight in yakosoku and jiyu kumite. Without Sanchin, all the rest is just a series of moves with no reasons why; nothing to tie it all together with. Sanchin is the glue, the reasons, and the explanations we need to call the art traditional.

Below is just some of the things that Sanchin teaches. Am I missing some? Of course. If I got it all then I would be something else, huh? In other words, there will always be something else. Feel free to email me and add some to the list.


Physical Focus

Sanchin teaches us how to create a hard outer shell while remaining soft and flexible enough to move quickly and efficiently. The shell is created by position, not by tension as it may seem. Tension requires the joints to be stiff and we do not want that!

For example of position I will list the position and what purpose it serves:

  Gripping the floor with the toes -- focuses the calf muscles  
  Bending the knees down and in -- focuses the thigh and quadriceps
  Try to step without actually stepping -- tie the high section of the leg with the low section so that they work as one unit
  Lift the pelvis up -- connects the lower half of the body with the top half
  Push the stomach down and out to meet the pelvic lift -- completes the connection of the bottom and top half of the body as well as focusing the abdominal muscles
  Close the anus -- protection of the kidneys to an extent
  Roll the shoulders forward -- focuses the pectoral muscles
  Place the elbows in front of the body, a fist-distance from each other and from the body creating a "V" with the arms -- focuses the biceps, triceps, and latimus dorsi (lats)
  Keep the fingers straight and pushed back a little and keep the thumbs in -- focuses the biceps, triceps, and forearms
  Place the tongue on the roof of the mouth behind the top front teeth -- focuses the neck muscles slightly and keeps the body projected forward


The positions also protect certain vulnerable areas of the body, such as the groin and the solar plexus.


Mental Focus

Sanchin teaches us mushin (no-mindedness). This blank stare allows the body to concentrate on one thing only and to allow maximum effort to that thing. It also makes sure that we are not day dreaming during our kata.

Separation of Movement

Sanchin is done slowly, with each movement separated so that each movement can be maximized. For example, the arm-strike is performed, then a breath, then a step, then a breath, then an arm-strike again, and so on. This allows the mind to concentrate on only one thing and to perform it with 100% efficiency.

Body Limits

Sanchin teaches us how far we should go with a strike or a block. For example, an arm-strike is performed at the edge of the body and not to the center. Why? Because the edge is the limit, and once the limit is known, everything else is learned. Furthermore, we learn to start a block at the edge of the body with our hand about belt level. Why? Because it would be a waste of energy to block anything outside your body. In other words, why would I want to block something that wasn’t going to hit me anyway, and anything lower than my belt, I would use my legs to block with, not my hands.

Posture

Sanchin teaches us that in order for the body’s energy to flow properly, proper posture must be kept. This means that there should be no leaning over or crouching. The back must remain straight with the back of the head lining up with the rear heel of the foot.

Punches and Kicks

Sanchin teaches us the proper way to throw a punch or a kick. Although no kicks are thrown in Sanchin, it can be surmised that what I do with my top body, I can relate it to the bottom half. Both techniques must begin with proper chamber positions. The Sanchin arm-thrust is accomplished by first pulling the arm back to chamber with the elbow. This allows the arm to come back straight. Second, while in chamber, the arm is parallel to the floor. Last, when the arm is thrust out, it is done so with the elbow again, assuring that the strike will be straight and not rise. The same can be said about a kick swapping the elbow for the knee.

Balance

Sanchin teaches us where our center of balance is located. I don’t care what art a person learns, if they do not learn their center of balance, then they will not last long in their perspective art. Balance is learned in the stepping part of the kata. We learn to walk in a "half-moon" fashion in order to find the center and to make sure that the weight does not shift noticeably. Balance is key to learning how to step and drive properly as well.


All these concepts and more, once learned, should be brought into the other seven kata.




Sanchin Kata

1. Place the hands by side (thumbs in)with heels touching and feet at 45 degree angles.
2. Bow to the front.
3. Slide hands up so wrists are on the belt.
4. Step out with right foot into right sanchin stance. 5. Thrust both hands out in front waist-high with slightly flared fingers.
6. Squeeze to fists and lift so that the hands are shoulder high and the elbows are a fist-distance from the body.
7. Open the hands.
8. Pull the left hand back to chamber. Make sure the wrist is at the edge of the body and the arm is pararell to the floor.
9. Thrust out arm so that fingers are pointing. Only bend the elow slightly when at extension. Make sure the strike is chest high and as far over as the edge of the body from which it came.
10. Pull the arm back to the original position in step #6.
11. Step foward into a left stance.
12. Repeat steps 8 thru 11 alternating arms and steps 3 more times and turn 180 degrees in a right stance.
13. After the third step and the fourth arm-strike, pull both arms back and thrust forward. Make fists with both hands and return to chamber.
14. Repeat step #13
15. Thrust both hands out again and return to post position.
16. Turn 90 degrees to the left, perform a left wa-uke block, and thrust out with both hands (left hand low & right hand high)striking with thumb knuckles.
17. Turn 180 degrees into a right stance and perform a right wa-uke block (right hand low & left hand high) striking with thumb knuckles.
18. Turn 90 degrees to the left into a left stance and perform a left wa-uke block (left hand low & right hand high) striking with thumb knuckles.
19. Return to a neutral stance. Make a fist with your right hand and cover it with your left. Hands should be chest high with your elbows a fist distance from your body.
20. Bow



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