Sanchin Kyusho Tegumi 18 Final

3 Animal Sanchin

Sanchin Kyusho Tegumi

Part 18 in a Continuing Series

Most Martial Artists go through the physical actions of Kata, even myself, if tired in the morning. I get up at 3:00 am to do these things. And at 3:00 in the morning sometimes your brain just isn't functioning, so I just go through the movement to get the physical activity. Again many don't think too much about it but when I'm doing them I'm feeling these actions like the Sanchin Tegumi that we just went through. The reason we can do this is that every movement in the Kata, is linked to the applied action, where I have felt a body in that position and have already applied them on another person. I already have the feeling of my Knuckles digging into someone's nerves, in their neck, or in the eye or choking the opponent. Whatever action is in the Kata I want to have felt a body drop from under my hands, with that technique. When I do the Kata and I feel the action (on another) how much more valuable is that, because you're getting that emotion, you're getting that feeling, that you dropped someone.

If you remember the first time you did a Kyusho knock out on someone, the feeling that you hit the guy and all of a sudden they were on the floor. You could feel that energetic transfer and it's just like something you haven't felt before. We have all felt concussion, I mean we are Martial Artists, we felt concussions, we've given concussions, but it's a completely different feeling using Kyusho. It's as if your energy follows the person right to the floor. This is what most people miss in their Kyusho training, or in their Kata training, if they just going through the Kata's motions. Without feeling or at least thinking about a person in front of you, then the Kata is just an exercise.

That's why I do the Kyusho Tegumis, to have that real feel in each action. For the Sanchin, I practice 4 ways each training, 3 with a specific animaltrait and one as a free composite of the 3 animals. As example I practice a Crane style, I practice a Tiger style and I practice a Dragon style. Additionally, I practice a where I'm doing full Tegumis (passive aggressive application in offensive and defensive actions on a single opponent through the full Kata). It's not always the same set of applications, because I do it so many different ways and I use so many methods and variations freely from past experienced applications.

in my classes alone (not counting seminars or public courses), how many times have i worked actions out of Sanchin. I've been working with the class in the film on this with for years. As example the Monkey techniques and others, even though that's not an animal utilized or recognized in Uechi or Pangainoon (the original name), but it's there, so why not apply it. And who is to say that Kanbun Uechi's Pangainoon teacher (Zhou Zihe 周子和 1874–1926) had this style in the back of his head, but only got to teach him the three animals in the 13 years under him, before the Uechi left for Okinawa? So who's to say there wasn't nine animals or 12 animals for the 12 zodiac animals of the Bubishi.

In any case we will work with the 3 animals recognized in Uechi Ryu, being the White Crane (concussives), Black Tiger (compressive or constrictives) and Dragon (with the White Yang, the Black Yin in an ever evolving synthesis)

So with a volunteer, we start with the first application from this series (the downward thrusting Nukites) going piece through it slowly without any effect on him as I need to carry him through all of the 17 movements (as seen in the extended film).

1. So first one was a waist tackle where I'm going to step in and thrust down double Iron Bone Hands to the nerves on the side of his head.

2. Next I'm going to grab into his Carotid Arteries to pull his head up.

3. Third action is pulling with one hand outward with an inverted fist or back fist type action, as the other hand is using the same action to strike the root of the Facial Nerve.

5. Next I'm going to slap the Templar Branch of the Facial Nerve to get him off balance and strike him in the neck (Transverse Cervical Nerve) with an Iron Bone Hand.

6. Next I shift the opponents head to the opposite head trap on the other side and grab into the throat (Carotid Artery using the Yin aspect of the Iron Bone Hand).

7. Next I again shift his head with the same nerve application as before to trap and give him a body shot (Iron Bone concussive strike to the 9th Rib to dislocate fro the cartilage) and pivot to rotate the opponent to trap the head, this time from the rear position.

8. From the head trap, I press the opposite shoulder to enact a separation on his neck vertebrae.

9. The next action after again passing the head to the opposite side trap, the Yin aspect of the Iron Bone Hand is used to dig right into the Subclavian Artery.

10. From here another head shift and strike into the Kidney (with the Iron Bone Hand), with an opposite body spin.

11. As the opponent rights them self and launches a front punch, trap the arm to attack the Golgi Tendon Organ, locking the arm and extending the head for an Iron Sword Hand Strike to the Transverse Cervical Nerve.

12. We then use the both parrying hands to attack the Templar Branch of the Facial Nerve and the other hand attacking the Facial Nerve Root with the knuckles to the back hand.

13. The final "Sanchin Hand Strike action will be another arm trap on the opponent with an Iron Bone Hand Strike to the Lateral Pectoral Nerve to spasm the Diaphragm.

14. Next we come in with a double punch to the Nipples to compress the Heart, Lungs, Bronchial Tubes and Diaphragm.

15. We follow this with another double thrust, but this time using it as the Yin or Black Tiger method of seizing the both Carotid Sinuses to stop Blood and Oxygen flow to the brain.

14. We then use the double thrusting Iron Claws to seize into the nerves of the shoulders, to weaken and turn (or throw) the opponent. With the dropping (Yin aspect) of the Blood Pool Hand, we pull the arm down with the opposite Blood Pool Hand striking the Radial Nerve of that arm. Your pulling hand then circles up to strike the Templar Branch of the Facial Nerve to turn the head for a double Iron Palm Strikes to the Brachial Plexus of the neck and simultaneously the MSC of the Pectoral Muscle to spasm the Bronchial Tubes.

16. We then grab and turn 180 degrees to our right to throw of of balance the opponent as we apply the second Wauke (Tiger Method). With the inner Blood Pool Hand (left) curling around the opponents neck as our fingers dig into the Ansa Cervicalis (or for more deadly application click this link). The double Wauke strike is now deployed using the Iron Claw Hands to the both Carotid Arteries with one using the thumb grip to pulse Blood up into the brain as the other pulls down to draw Blood out of the Brain.

17. We then turn 90 degrees to our left pulling the opponent off balance again. The right hand then curls behind the opponents neck to turn the head with the inner Blood Pool Hand for the opposite Blood Pool Hand strike to the Facial Never. That hand then continues to circle down and around, placing the opponent into a Guillotine choke, with the opposite Iron Palm to push the Shoulder (possibly dislocating the neck vertebrae) We thwn pull back into the Closed Gate Posture to enact the three way rotation and neck dislocations.

This final film in the series, explains a bit about the reason why we are training in a Tegumi applied manner, so that we can have a more experiential feel to our Kata performance. It will help in transitional flow, targeting, and awareness fo the way to translate any Kata. This is by no means the only Tegumi or ideas you can use with this or any form, it is but one that work with among many for this form. Again it is to give you an idea on how to develop your own applications and practice, I am only the messenger, you Teach Yourselves!

#Kyusho -ep

#KyushoHack

Sections - Periodic Release