Karate school characteristics

The object and reason of Sei Shin Ryu is the free “personal evolution”, it is peace without violence, and it is independent. It’s concept of Karate is global, understanding it as a whole from the direct techniques of application to the Kobudo. It is a style that works on the 86 vital points of the human body. 

Using these techniques in a fight was very dangerous, so the style Sei Shin Ryu had forbidden to compete against other styles.
Master Kikuchi based his philosophy of work without looking for the strong stops of other styles but in the work of taisabaki with strong attacks in vital points and joints. It is characterized fundamentally by the speed and taisabaki. Positions are high.

In it’s basic concept, is a school of Karate-kenpo that it has received this name because of it’s direct line with the school Ryobu-kan in the style “Shindo Jinen Ryu”. In Spain, Master Koitxi Yaezakura keeps the line learned from Master Kikuchi as faithfully as possible, inside the traditional Karate. 

Thought is true that in the last few years it has been an evolution to let people who want to compete, this wasn’t contemplated very much in the style Sei Shin Ryu, cause it left the Kenpo part in a second sight; but it is also true that in the usual work of Karate this concepts are developed. The work is evolutionary and while in initial levels one gives great importance to the work of accession and promotes so much in the techniques of assault (atemi) like of defence in posterior levels and especially top, does not look for the strength of the stops of other styles, but a work of taisabaki with fulminating assaults in vital points and joints. 

This one is a work that remains faithfully gathered in the katas “TAISABAKI”, peculiar of this school and that date back to the joint work between the Master Konishi, the Master Itosu and the Master Inagaki, experts in techniques of Ju-jitsu (self-defence) and Iai-do (managing of the Japanese Knowing):  

Taisabaki Shio-dan “Heian Nidan”
Taisabaki Ni-dan “Heian Shiodan” (symmetrical movements to left side and right).
Taisabaki San-dan
Taisabaki Yo-dan
Taisabaki Go-dan

MAAI (distance)

Rather long (Shorin-Ryu) althought it is aldo worked in others.
1.- EN KYORY (far)
2.- CHYU-KYORY (medium)
3.-KIN-KYORY (close)
4.- SAI KYN-KYORY (very close)

KOKYU (breathing)

Breathing is natural, in coordination with it’s techniques of uke(inspiration) and atemi(expiration). 

Se trabajan 2 tipos de respiración:

1. Nogare: During the course of the katas Shuri (Pinan, Naifanchin) of the branch: Tomari (Wan-Su, Sei-Ru, Rojai).

2. Ibuki: In techniques or katas of Naha origin: Seien-chin, Geiki-sai, San-chin, Sei-Pai.

DACHIS (positions)

A natural work is realized, in agreement with ones philosophy of taisabaki(avoiding) with fulminating assaults.
In Kihon’s work it is given great importance to the maintenance of the level of the hip during the displacement, looking for major accession.

1.-Heisoku dachi
2.-Kaihei dachi (Greeting, beginning and end of the kata)
3.-Soto Hachizi dachi
4.-Uchi Hachizi dachi
5.-Heiko dachi
6.-Shiko dachi
7. Zen-kutsu dachi
8.-Moro ashi dachi
9.-Naifanchin dachi
10.-Sanchin dachi
11-Ippon ashi dachi
12.-Nige ashi dachi
13.-Kosa dachi
14.-Kakeashi dachi

*Neko ashi dachi: It is one of the most typical positions of the school, because of it’s great versatility both in defence and in assault.

*Ko-kutsu dachi: The anticipated foot appears towards ahead on the line that passes for the heel of the backward foot. The backward leg is strongly flexioned, the knee is directed to the exterior in 45 degrees and the foot of behind they are in the vertical on itself. The anticipated leg is doubled lightly by the knee and the heel a little detached from the floor. In Kihon, both feet look at the front.

ASHI-SABAKI (displacements)

It is given a lot of importance to the maintenance of the level of the hip: 

Tsugi-ashi: Join both feet to make the displacement (the back foot does not exceed the one ahead). 

Suri-ashi: Displacement with the front leg, supporting the position.

Ayumi-ashi: Normal displacement with guard change.

Tobi-ashi: Displacement with jump.

Taisabaki: Displacement of the feet in a circular path, which has, as purpose, to generate emptiness before the assault of the opponent.

CHAKUGAN/ME-SEN (look)

During the work of: 

Shuri and tomari: the look and the technique are made simultaneously

Naha: Firstly the look to the point where you attack, then, the technique.

UKES (defences)

It is realized naturally with taisabaki, the breathing is fast and short, helping to develop one’s defences with major power and fluency. They are slightly lower than the assaults.
The distance is rather long. “SHORIN-RYU” (SHURI-TE AND TOMARI-TE) in coordination with its techniques of: uke (inspiration) and atemi (expiration). 

Shuto uke: It is realized executing a circular movement, from the top to downwards, with exit in 45 degrees. 

Soto uke/Uchi uke: These two techniques in our style are inverse, taking the concept Soto (towards out) and Uchi (inwards). The style “Gensei Ryu” uses the same concept. 

Taisabaki: “Domination of the body “. It allows, by a displacement, to avoid the offensive action on the contrary. The work is more natural looking for the maximum possible speed between the displacement and the response being realized sometimes simultaneously and beforehand in top belts. 

KOSHI (hip’s work)

It is given great importance to the work of hip being in use in all the techniques and directions, as well as it’s correct utilization with regard to these techniques.

Jyun Kaite in technique’s favour
Giaku Kaiten in technique’s opposite direction
Mae Kaiten to the front
Zen-go pivotation in tranverse sense

GERIS (foot or leg technique)

These techniques are used in 4 levels. The majority of them are made in chyudan or gedan level. 

Yo-dan Techniques in the high area (head)
Chyu-dan Techniques in the medium area (waist)
Ge-dan Techniques in the low area (momo-geri)
Sai Ge-dan Techniques in very low area (fumikomi)

Used as well in circular movements and in jumps (tobigeri).
Yodan level kicks are used in the deportive karate.
In kihon techniques you always attack with the koshi. In kumite it is allowed attack with the haisoku. 

An important peculiarity of Sei-Shin-Ryu is:
Kin geri (whipping kick to the testicles with the koshi or the base of the toes)
Mawasi geri: with toe’s base or with the instep (deportive)
Sokuto geri: kebanashi (without hip draft)
Sokuto geri kekomi: (with hip draft, penetrating)
Mika-zuki geri mawashi: (half moon) with the sole, without turning the hip
Sankaku geri: “Triangle form” (you throb in the kidneys with the koshi)
Momo geri: “descending” (you throb in the interior thigh with the koshi)
No mae keage (you throb with the koshi in the face)

GRAVIT CENTRE

You work on four levels:

YO-DAN (high).
CHYU-DAN (medium).
GE-DAN (low).
SAI-GE-DAN (very low).

ELEMENTAL
KOTEI-WASA techniques (fixed position). From the first two months are learned HOKEI katas, that would be equivalent to the shoto-kan’s taigyoku. A natural breathing an accession are worked. “Kihon” techniques are rather low, looking for a major accession.

BASIC
IDO-WAZA techniques (displacement of position). They begin with the learning of the katas PINAN, SHURI-TE’s region . The movements are rapid and fluid. 

MEDIUM LEVEL
They begin to work TAISABAKI (avoid), practise the previous ones and begin with katas of the style TOMARI-TE. These are slightly slower and heavy than SHURI-TE. The majority of the techniques are made in linear work, though also we can find some circular techniques.

HIGH LEVEL
They work katas of SHOREI-RYU, NAHA-TE’s region. In this style, the positions are very stable and contain many opened hand techniques. The majority of leg techniques are made in chudan or gedan levels. In the bunkai kumite, the techniques are done with taisabaki work. The techniques are circular and it’s set is made by strong breathing, ibuki, demanding a study of the strong and flexible e trabajan katas de “SHOREI-RYU”, estilo NAHA-TE. 

VETERANS
They work with Chinese origin katas, being some of their Masters unknown.

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