Introduction to Kata Sochin

• Fudo dachi is unique to Sochin kata. As such, it is often called Sochin dachi, the same way Hangetsu dachi is also named after the kata it is unique to.
• Fudo dachi means immovable stance, or rooted stance, because one should feel rooted to the ground. Because of this, the angle of the feet can be altered slightly to help the practitioner feel what is right for them.
• Generally speaking, the front leg is similar to a Zenkutsu dachi, however the front foot is turned in.
• The back leg also has similarities to Zenkutsu dachi, however the back leg is bent and the back foot does not have be turned in as much as a Zenkutsu dachi (if the practitioner feels stronger on a slightly different angle).
• Having the back leg bent and the hips 45 degrees means any punch that comes from it will have the power of the legs and the hips, where Zenktsu dachi only has the power of hip rotation.

• Moving to Fudo dachi from Heiko dachi requires a certain chain of movements.  
• First, drop the bodyweight by bending the knees and rotating the hips back so that the belt notch points down on a 45-degree angle (similar to the hip position in Neko ashi dachi).  
• As the body weight drops, the right leg begins its step out to Fudo dachi.  
• The right leg will first move out WITHOUT the body following, so a mid-way point would look like a Neko ashi dachi, with the hips square and weight over the left leg.  
• Once the right leg moves past Neko ashi dachi, the body starts its journey forward, keeping the hips square. This means the hips can rotate back to 45-degrees at the end of count 1.  

• While it is referred to as Sen-no-sen (simultaneous block and counter) in the kata, i.e. blocking the head while simultaneously striking the groin with a Tetsui hammer-fist, this is an unlikely application. Liken this to an Uchi uke in a kata, where we call the technique “Uchi uke” (inside hooking block) but the application is rarely a block.
• For the kata aesthetic, the upper arm is performing a Jodan age uke, however does NOT use the standard kihon preparation. Rather it uses a harai (sweeping) circular motion, starting low with the fist pointing down. This is often seen as getting underneath an opponent’s grip to lever it upwards (making contact with the upper arm, not the forearm or hand).
• The Tetsui also takes a larger Harai (sweeping) motion, starting higher (fists pointing vertical) to then circle down and strike the groin, finishing facing 45-degrees forward. This is often interpreted as coming up to get above an opponent’s grip and lever downward.
• There should be two simultaneous twisting movements at the end of these counts; the twisting of the hips into Hanmi (45-degree) position with the twisting of the forearms and wrists as the blocks finalise.

• Counts 2, 6 and 10 of Sochin are quite intricate so we are breaking down the preparation phase of this movement.
• Count 1 finishes with the hips pointing 45-degrees to left hand side of the dojo. Count 2 finishes with the hips square to the front, but uniquely, during the preparation phase the hips switch 90 degrees across to face a 45-degrees to the right-hand side of the dojo, prior to ending square.
• From count 1, the upper arm (left) drops its elbow down and in to cover the centre. The palm turns up to assist this elbow covering the centre. This creates more power for the elbow to compress and opponent’s grip.
• As the left elbow drops in and across, the lower hand (right) will raise and come underneath the left arm. The wrist comes underneath the armpit with the palm turned out and fingers pointing up.

• The preparation phase for Taisho uke has the wrist under the arm pit. To execute Taisho uke, the hand slides along the outside of the extended arm.
• Once the right-hand Taisho is almost fully extended, it will cut across and finish with the palm heel in front of the right shoulder. The fingers may be slightly above the right shoulder.
• The Taisho arm is bent, but only slightly, with the elbow behind the palm-heel, but equally, below it. In other words, the elbow should not stick out to the side.
• The Hikite hand pulls back to the traditional position as the Taisho is extending out.
• The hips finish square by the time the Taisho has completed.

• Once again, we will focus on the details of a preparation prior to its execution.
• Count 3 ends with the left leg forward in Fudo dachi. Count 4 sees the left leg move perpendicular left into Kokutsu dachi. The journey between the two does not require the feet to come together, rather the left leg making an arch. The weight shifts back to the right leg, allowing the left leg to move freely, and it will by-pass through a Neko ashi dachi.
• As the left leg begins to move, the head turns to look left and the right hand points to the direction the leg wishes to go (palm upward).
• While the left arm will execute a Gedan barai, it does NOT prepare via the standard kihon version. The block is more akin to a Harai uke (found in Seiunchin and Sepai), where the hand prepares head level and the elbow moves across the face prior to blocking.

*last photo is acceptable if the student is unable to get their rear arm behind their head.

• Manji uke (vortex block) is a combination of a Harai uke (a circular Gedan barai, found also in Seiunchin and Sepai) with an Ushiro jodan uchi uke (backward, head-level inside hooking block).
• The rear, upper hand finishes at a right angle, with the elbow in line with the shoulder and the fist directly above the elbow.
• The rear hand ideally finishes directly behind the head, with the fist visible above (like the Manji uke found in kata Bassai-dai). However, if a student has flexibility issues in their chest or shoulders, it is acceptable to have the rear hand to the side of the head, as far back as possible.
• The Harai uke, despite its circular preparation, finishes in the identical position to a Gedan barai.
• Manji uke is called vortex block due to the technique’s rotational nature, designed to capture and control an opponent by trapping, pulling motion (like being sucked into a vortex). It’s also because of the shape of the arms and legs, resembling the Buddhist symbol 卍, representing harmony and balance.

• The Jo-Ge sen-no-sen is reached on count 1 via Heiko dachi. Counts 5 and 9 however find the block via a Kokutsu dachi.
• Kokutsu dachi has the weight two thirds back, which means one can generate enormous power driving forward into their Fudo dachi. Staying the same height and transferring energy from the back leg to the front will ensure full power is achieved. 
• As the weight is thrown onto the front leg, the forearms cross out in front of the body. The upper arm (right) drives in a circular fashion towards its Testui (hammer fist) while the lower arm (left) raises in a circular fashion towards its Jodan uke. They will cross during this process.

• A side kick precedes both elbow strikes in counts 11 and 12, its therefore important to get the preparation correct to ensure the elbow strikes have maximum power.  
• After kicking, keep the weight over the base leg, allowing the opposite foot to step out to the length of Zenkutsu dachi without the weight following. This will resemble a Kokutsu dachi (but a shoulder-width wide), and means you will be able to thrust the bodyweight forward into the elbow strike.  
• The backfist prior will open the hand as if to grab an opponent. The preparation point of the hand will be palm inwards and sit lower than the shoulder.  
• As we thrust out weight forward, the hands work in a push-pull fashion. With the extended open hand pulling in to meet the elbow strike on its way out.  

• Count 19 finishes with the left leg forward in Kokutsu dachi. Count 20 finishes with the left leg forward in Heiko sanchin dachi, which has the same components to a regular Sanchin dachi, however the front foot is pointed straight, making the feet parallel.
• To move into count 20, we use Yori ashi (sliding feet) footwork. The front (left) foot slides forward, then the rear (right) foot slides up behind.
• As the front foot moves and the body starts to come forward, the open right hand will move to the floating ribs (hikite position). As the back foot lands, both hands finalise into position with the push down and the strike.
• The left hand pushes down but also comes in slightly, finishing just behind the elbow of the right hand with the palm pointing down.
• The chudan Yon-hon nukite pushes out in a straight line (it does not aim to the centre). The arm remains bent and the palm faces inward.  

• Count 20 begins with two Mae Geri (front kicks). During this process the hands remain firmly in place with the Yon-hon nukite.
• After the second kick, the Yon-hon nukite (right hand) pulls back like it is preparing for Soto uke, at a right angle. If it is not exactly at a right angle, this is ok, so long as the forearm is still directly above the elbow.
• After the second kick, the left-hand closes and extends directly out in front. This can be seen as grabbing an opponent to pull in, or even to control distance.
• The hips remain directly to the front until the last possible second, where they snap back to Hanmi (45-degrees) position. This rotation adds reach and power.
• The right hand moves from its Soto uke-style preparation with a Tetsui (hammer-fist) to side of the jaw.
• The Hikite hand (pulling hand) in this technique is ripping back, head level and to the side with a jodan Uchi uke. This can be seen as a block, although more realistically it is pulling an opponent inwards, while potentially twisting them on their axis also.  

• Count 21 is right foot forward in Fudo dachi, facing the rear of the dojo. Count 22 is also right foot forward in Fudo dachi, however it is facing the front of the dojo. We achieve this via a counter-clockwise spin with a crescent kick in the process.
• A crescent kick is call Mikazuki geri. Although the word doesn’t mean crescent.  Mikazuki broken down means, “Mi” (three) “Ka” (day) “Zuki” (moon).   A three-day moon is crescent shape, and the kick travels along a crescent path. Three can mean both “san” and “mi” in Japanese, depending on the context.
• As the kick takes place, the left palm moves down to meet the kick. Kicking the palm with a Mikazuki geri also takes place in Bassai-dai and Hangetsu. Hangetsu breaks down as “Han” (half) “getsu” (moon).  Like the number 3 (“San” or “Mi”) the context depends on which word is used in Japanese. The same applies with moon. The physical moon is called “Zuki”. However “Getsu” (in Hangetsu) is period of time for the moon (like a lunar calendar).
• As the Mikazuki strikes the left palm, the right hand should prepare like a Soto uke. After the kick, as the foot moves down to Fudo dachi, the right hand circles around to a Tetsui toward the groin. Note both the feet and hands work in a circular crescent fashion.
• Immediately after the left hand has connected with the Mikazuki geri, it rips up to a Jdan age uke, however it does not need to come to the opposiute should in preparation. Both hands work in circular motions rather than following their trajectory in kihon.

• Sochin is the only kta where a Chudan tsuki is performed in Fudo dachi.
• It is important however, not to think of this like a Zekutsu dachi chudan tsuki (with hips 45-degrees). The Fudo dachi changes the entire dynamic of the punch.
• A Zenkutsu dachi chudan tsuki with the hips on a 45-degree angle operates with Kime. The concept of snap still occurs. When we move do Fudo dachi, the concept moves from Kime to Chinkuchi (which is more of a pushing drive).
• The bend back leg is what drives the front hip forward, like a pushing punch. Think of the punch trying to push through the opponent’s solar plexus. Similar to the way a boxer may throw a body jab.     

• Count 28 commences with a Migi mae geri (right leg front kick). The kick then retracts back to Fudo dachi. It is important that the body doesn’t come back with the kick. The body should maintain its centre with the hips remaining square until the back foot just touches the ground.
• The moment the right foot touches the ground, the back leg should push the hips forward to a Hanmi (45-degree) position. Effectively, the twisting of the hips should be used to create more power in the push-pull mechanism that comes after.
• As the hips rotate on their longitudinal axis, the left arm pushes forward with a slow punch (although in application this is not seen as a punch). The right hand pulls back to a high hikite position where the palm faces down, and the rear hand is at the same height as the front hand.  
• This posture resembles a Japanese Archer (Kyudo) in full draw (Kai). While this technique is not a bunkai for Kyu-jistsu (the art of archery, or the way it is used in battle), it can be seen as Kyu-do (which is the way of the bow). Kyudo focuses on meditation, spiritual training, and personal development, where the process of shooting is considered as important as or more important than hitting the target. Sochin’s second last move, performed with slow tension is like the Kyudo kai (kai is the full draw of the bow) where one applies themselves fully – mentally, physically and spiritually to the task – before firing on the final count.