Sanseru and Sepai will form part of your grading kata once you have reached 1st Kyu and are preparing for your Shodan-ho (provisional Black Belt).The Northern Okinawa city of Naha (where the styles Naha-te and Goju originated) gave birth to a number of kata still practised by traditional styles the World over. Go-Kan-Ryu practices seven of these; Saifa, Seiunchin, Sepai, Kururunfa, Shisochin, Seisan and the kata you are about to embark on – Sanseru.

Before we discuss kata Sanseru, we feel it is important that you understand some history of an older kata, Sanchin.

Sanchin kata is one of the most famous kata to hail from Naha and it’s often regarded as the cornerstone of several styles, including Naha-te and Goju. It was developed by the founder of Naha-te (Kanryo Higaonna) after he trained in the Fukian province in China. In China, the techniques and principles of Sanchin kata were the core of several styles including White Crane, Five Ancestors and Tiger Crane (a combination style) and it was referred to as Saam Jin (cantonese for Sanchin).

Sanchin kata, as the name suggests, is performed entirely in sanchin dachi and the signature technique of the kata (and most commonly used technique) is the morote uchi uke (double inside hooking block). This technique is preceded by the pulling back of one hand before pushing it back out with a gyaku tsuki (reverse punch).

So What Does This Have To Do With The Kata Sanseru?

Considering Sanchin kata was the core of Naha-te (and later Goju), a number of other kata were later developed using the original sequence of Sanchin. Sanseru happens to be one of these kata, kata Seisan (GKR 3rd Dan kata) is also one too. Note that both these kata have the term ‘San‘ in their name. Another GKR kata that uses the opening sequence of Sanchin kata is Shisochin however with this kata, the techniques are performed kaishugata (open handed).

While the opening sequence of Sanchin and Sanseru are identical in appearance, the way each is practiced differs. Sanchin is executed while maintaining full tension in all of the body’s muscles (including the arms when blocking or punching). With Sanseru, the legs and core muscles remain at full tension during the opening sequence however the arm – although strong – should not hold full tension. Prior to punching, all tension in the arms should be released to allow the punch to develop proper speed and momentum.

When comparing kata Sanseru with some of your previous kata (eg Bassai-dai, Seiunchin and Empi) it may appear far more simplistic; and from an aesthetic perspective, it is. Sanseru does not demand the explosive movements like Bassai-dai or Empi, nor does it demand we spend the majority of the kata in a deep-rooted shiko dachi like Seiunchin.

So Why Would Sanseru Be A Higher Grade Kata?

Sanseru is a higher grade kata because of its combat principles (senjutsu). It avoids toe-to-toe combat via a different means to any previous kata and requires more skill and mental fortitude to make it a success.

Sanseru is generally recognised by its signature technique that occurs in the final movement. Some styles refer to this technique as morote koken uke (double wrist block or double crane-wrist block). A more appropriate description however would be morote koken waza (double wrist technique) as the bunkai can be far more effective than simply executing two blocks. The crane-wrist technique (koken waza) can be used as a block, a strike, a throw, a grab etc.

GKR Karate – Sanseru

Sanseru History

Sanseru was taught, and likely created by Kanryo Higaonna. It was preserved by both of his top two students, Chojun Miyagi (founder of Goju Ryu) and Juhatsu Kyoda (founder of To’on Ryu).

Most agree that Miyagi was completing compulsory military service when Higaonna taught this kata, so it was Kyoda who became famous for teaching it after Higaonna died. Kyoda’s style never achieved wide popularity like Miyagi’s, however, he was the first to teach karate in Okinawan schools, was a highly respected Okinawan karate-ka and was influential in the development of many leading karate-ka. In 1934 he was named Chief of the Okinawan branch of the Dai Nippon Butokukai (or Great Japan Martial Virtues Association), founded in 1895 to preserve and promote the martial arts and ways.

When Higaonna returned to Okinawa, many of the kata he taught had a numerically based name, most of which had a number that could be divided by 3. Most theorize this symbolizes the battle of the mind, body and spirit. The number 3 is important in both Chinese and Japanese culture and is the reason most kata hailing from Naha have an opening sequence repeating the same moves three times (eg Saifa, Seiunchin, Sanseru, Hangetsu, Shisochin, Seisan and Sochin). While karate was by no means a religion, most believe the kata’s Chinese names referred to Buddhist concepts.

For example, the highest grade kata in Goju is ‘Suparunpei’ (translating to 108 in Chinese) has a special importance to Buddhism. According to this religion, man is supposed to have 108 passions, and that is why on the 31st of December, the monks ring a bell 108 times to keep these spirits away. Divide 108 by 3 and you get 36. Why is this significant? Sanseru translates to 36.

Once again, as so little was documented in old Okinawa, there is much debate over the reference. Some studies into Chinese arts that influenced karate’s kata have revealed the number represents the calculation 6 times 6. The first six represent eyes, ears, nose, tongue, body and spirit. The second six stands for colour, voice, sense of smell, taste, tact and justice. Other studies have suggested they refer to the systematic method and understanding of certain grouping of vital acupressure points.

Another possibility is that in 1392 a group of 36 families moved from Fukien Province in China, to Kume-Mura, a village just outside of Naha (where Goju was developed). This community of 36 families introduced a style known as Shi Pa Sho Kempo and taught a number of people in Naha.

The kata itself is one of the numerous Sanchin kata – this is easily identified by the opening 3 double block sequence in Sanchin stance. The kata is not as flowing or circular compared to other Naha based Goju kata. Many times it takes a direct linear approach, more in tune with the Shotokan, and likewise, finishes a number of sequences with a block that for bunkai purposes, could be used as a strike. However its Naha roots do become evident with a few techniques being typically Goju using the notion of circular movements to win over a grappling attacker.

Sanseru Lineage

Kanryo Higaonna (1853-1915)

Trained in Okinawa-te (the name given to Okinawan martial arts at the time) and then ventured to China where he trained for 13 years. Kanryo returned to Okinawa and developed a style called ‘Naha-te’. The kata he taught were a combination of Okinawa-te principles and Chinese Kung fu. One of the many kata he developed and taught was Sanseryu.

Chogun Miyagi (1888-1953)

Chogun Miyagi was one of the two key students of Kanryo Higaonna. After Higaonna’s death he also journeyed to China to train and later developed his style combining both what Higaonna had taught him and what he had learnt in China. This style was called Goju and he kept Sanseryu in his curriculum.

Gogen Yamaguchi (1909-1989)

Gogen Yamaguchi was already a reputable karate-ka of Goju before he met its founder (Chogun Miyagi) around 1930. Miyagi became so impressed with Yamaguchi that he made him his successor for Goju in Japan.

GKR Karate

While many karate styles incorporate Sanseru, GKR derives its version from Japanese Goju (not the more kung-fu appearing Okinawan Goju Sanseryu).