Introduction to Kanku Sho

Note that the techniques in Kata are generally assigned Kihon names (eg strikes and blocks) despite the fact than they are rarely (if ever) used this way in application

• Counts 1, 2 and 3: Morote Uchi Uke (Reinforced inside forearm block)

  

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  • The first three counts use Yori ashi (sliding feet) footwork. One foot will step out so the feet are three shoulder widths (or close there-to) apart. The other foot then slides in to leave the feet two shoulder-widths apart, finalising a Kokutsu dachi.
  • The hips should remain side on, allowing them to thrust into a 45-degree angle to finish the stance. The rotational force of the hips at the completion of the stance adds power to the block. This hip movement will be slightly reduced out of necessity on the final step.
  • The arms prepare by both pointing away from the direction you are about to block. This telegraphed movement helps to generate more power into the block, although in application it is generally used to hook around an opponent’s grip.
  • During this preparation, both fists are closed with the palms facing down. The rear arm is outstretched and shoulder height. The front arm moves across the body as far as it can without the shoulders collapsing. It can go further than the position of a Kage tsuki (hook punch) and is slightly lower than the rear arm.
  • The final block (Morote uke) finishes as the foot slides into position with the hips ripping to 45-degrees.
  • With the Morote uke, the front hand finishes in an Uchi uke position, although as discussed, it does not prepare at the floating ribs. The supporting fist is pushing hard into the supporting forearm muscle. The contact should occur as the arms cross the centre, not just make contact at the end. In essence, both hands should feel as though they are contributing to the force of the block (although in application it is NOT a block).
• Counts 7 and 12: Morote Kake Uke (Reinforced hooking-seizing block)

  

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  • Just as counts 1, 2 and 3 finish with a reinforced Uchi uke but use a different trajectory to arrive there, the same applies with the reinforced Kake uke. The blocking hand finishes where a regular Kake uke would finish, however it takes a unique trajectory. In this instance, it follows the one used in the kata Bassai-dai.
  • The hand prepares by moving to the side of the body (palm down) and the elbow should only be one fist distance away from the side of the body. It remains palm down as it swings all the way to the front of the body where it then hooks up and seizes the opponent, finishing in the regular Kake uke position.
  • The other hand does NOT use Hikite, instead it remains where it started (in Shuto uke position) until the the Kake hand crosses its path. In this moment it grips the Kake hand’s wrist and stays attached.
  • The hips follow the same path as the hand, squaring up as the hand reaches the front. They may remain square throughout the Kake uke, or for more advanced practitioners, they may use Gamaku (a small tremor) to assist in the seizing and pulling process.
• Counts 8, 13 and 27: Mae Geri (Front kick) with double Hikite (pulling hands)

  

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  • Unlike its sibling, Kanku-dai, where we hold our arms stationary while executing the Mae geri, in Kanku-sho, we rip both hands back during the kick to create a push-pull mechanism. In Kanku-dai, we grip the opponent high, and hold them still to kick. In Kanku-sho, we pull the opponent down (Kake uke) prior and then pull them towards us as we kick.
  • In application the kick would likely attack the opponent’s knee or leg to destabilise them. It could also be a Hiza geri (striking with your knee) instead of a Mae geri.
  • Both hands pull directly back, with both wrists reaching the traditional Hikite position as the kick reaches extension.
• Counts 8, 13 and 27: Otoshi Uraken (Downward Backfist Strike)

  

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  • The hands have much to do in a short space of time after the Mae geri.
  • As the kick retracts, the left arm fully-extends out in front with the fist pointing down (like a punch). Simultaneously, the right arm raises to a Jodan age uke position. This should all occur by the time the kick has retracted.
  • After the kick retraction, the right foot will step forward two shoulder widths. As the foot extends out, the right elbow will start to point straight ahead, with the left arm unmoved.
  • Finally, the left foot snaps in behind as the stance lowers into Juji dachi (X-stance). As the final Juji dachi solidifies, the left arm rips back to the traditional Hikite position, while the right arm executes an Otoshi Uraken (downward backfist).
  • Unlike a Kihon backfist (Ura uchi) this does not retract. The goal is for the upper forearm (close to the wrist) to smash into the opponent’s trapezius muscle or clavicle (collar bone).
• Count 9: Uchi Uke (Inside hooking block) and double Chudan Uke (stomach level punch)

  

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  • While this is a basic technique that resembles Kihon drills, as it moves quickly in kata, students can sometimes take shortcuts, and the kata suffers as a result. The following are common pitfalls.
  • Pitfall #1: Not stepping back into a proper Zenktusu dachi. If the stance is too narrow, the block will look fine, but the punches will struggle to get power. If the stance is too wide, the punches will look fine, but the block will fail to get 45-degrees.
  • Pitfall #2: The front knee collapsing on the block as the hips rip back to Hanmi position (45-degrees). The knee must remain stable throughout the block and two punches.
  • Pitfall #3: In their rush, students fail to properly prepare the Uchi uke all the way back to the floating ribs. This is a common shortcut and easily spotted by instructors.
  • Pitfall #4: Having the hips step back on a 45-degree angle instead of waiting until the very end so the hip rotation occurs at the same time as the Uchi uke finishes.
  • Pitfall #5: The hips fail to properly go square on the two punches. This is usually because the stance is too narrow.
  • Pitfall #6: In their rush, the practitioner fails to fully complete the two punches with proper Hikite on each.
  • Pitfall #7: The shoulders come up and down while the two punches are being executed.
• Counts 10 and 15: Chu-ge Manji Uke (stomach, groin vortex block)

  

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  • There are two different Manji uke used in this kata. One has the upper hand at Jodan level (similar to Bassai-dai and Kanku-dai) and this one here where the upper hand is to the side and Chudan level. This is unique to Kanku-sho.
  • Starting with the feet, the left foot (back foot) steps across to a Kokutsu dachi. When learning the kata, the hips can reach their destination during the preparation phase of the Manji uke. As students become more advanced, they can add an extra Gamaku (small hip tremor) to add some hip movement into the preparation phase and the execution phase of the block.
  • The downward block in this technique is NOT a Gedan barai. Rather it is a Harai uke, which is a circular style downward block (similar to Seiunchin and Sepai). The key thing to note is during the preparation phase, the fist is jaw height and (unlike Gedan Barai) is not close to the body.
  • The Chudan block is also circular. It has a similarity to Uchi uke in the final product, however it is a Sukui uke (scooping block) found in the latter stages of Bassai-dai, where the gedan uke then scoops into an uchi uke – all in one movement.
• Counts 17 and 19: Jo-ge Manji Uke (Head-groin vortex block)

  

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  • Counts 17 and 19 use the Manji uke with the upper hand being head level. But it is not just the final position that differs, it is also the trajectory of the two blocks, with this version being less circular.
  • The downward block is still not a traditional Gedan barai, as the preparation for the downward block is still higher than the shoulder and away from the body, but the execution phase is very similar to the downward trajectory of a traditional Gedan barai.
  • The arm that finishes head-level is nothing like the other Manji uke in this kata. It does not use a Sukui uke, rather an Otoshi Uchi uke (a backward hooking block). This means it starts similar to a regular Uchi uke, however the palm is facing up. It then rips back in a slightly circular fashion to its final resting place. This is different to the Manji uke in Bassai-dai that does NOT work in a circular movement but rather moves backward in a straight line.
  • The final position is where the rear elbow and fist are directly behind the body, with the forearm vertical (fist directly above the elbow). If one lacks the flexibility in the shoulder or chest, they may have the arm slightly to the side.
• Count 18 and 20: Tetsui (Hammer fist strike) with Kage Tsuki (Hook punch)

  

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  • These techniques use Yori ashi (sliding feet) footwork. One foot steps out to make a Kiba dachi that is 3 shoulder-widths wide, then the other foot slides in to shorten the stance to the regular two shoulder widths. This sideways slide helps to generate lateral energy.
  • During the preparation step (where the stance becomes three shoulder widths wide) the arm that is about to execute Kage tsuki (hook punch) retracts to the traditional Hikite position.
  • Also, during the preparation step, the arm that is about to execute the Tetsui prepares by bringing the fist (palm down) across in line with the opposite side of the body, with the fist away from the body. This effectively looks identical to a Kage Tsuki
  • During the execution phase (as the foot returns to a two shoulder width Kiba dachi) the hand at the Hikite position will land a Kage Tsuki with the stance. The Kage tsuki will finish in line with the opposite side of the body, the fist around badge height. The arm should look like a box, with the elbow directly in front of the shoulder and the fist at a right angle.
  • Also, during the execution phase, the Tetsui lands with the stance. The fist (palm down) should be in line with the shoulder.
• Count 21: Mawashi Jo-ge Uke (Turning head-groin block)

  

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  • Starting with the left foot, count 20 finishes with the left foot’s toes facing forward. With count 21, the left foot steps in so that the foot is underneath the hip, giving the body stability for the right foot. As the left foot steps in, it also turns so that the heel is pointed toward the opposite foot.
  • As the left foot steps and the heel turns in, the hips follow suit, rotating to 45-degree angle. In application, this step, with the turning of the feet and hips (along with the turning of the hands) helps create more twisting power when one has their grip on their opponent.
  • The right foot waits for the left to position itself under the centre of gravity, and then the right foot will step out to Kokutsu dachi.
  • Now examining the hands. As the left foot shuffles in, the hands will move to 6 o’clock. The left hand dropping straight down to the 6 (on the clock) with fingers pointing down. The right hand will move in a circle to the 12 (on the clock) with the palm facing forward and the fingers away from the body.
  • As the right foot steps out, both hands now move in a clockwise direction so both hands now are in the opposite position, with the right hand down at 6 o’clock and the left hand at 12 o’clock.
• Count 29: Jump preparation

  

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  • Count 28 finishes with a standard right hand Chudan tsuki in Zenkutsu dachi. The first part of count 29 is to bring an open left hand underneath the right arm. There is no real rule on whether the palm is facing directly down or in toward the ribs.
  • The next movement closely resembles Bassai-dai (where the open hand moves in a circle to create a target prior to the crescent kick). The same occurs in Kanku-sho here, however the hand is head level, and we are in Zenkutsu dachi, which makes it more difficult.
  • The left arm will circle around around behind the body with a straight arm and the open hand finishes above the shoulder, the the palm facing the same direction as the hips, allowing it to be a target for the incoming crescent kick (although the crescent kick is not compulsory to perform in the jump action).
  • As the left arm circles around behind, the hips will follow and the stance pushes forward and even leans slightly forward. The right hand also moves to the traditional Hikite position.
• Count 30: Touching the ground prior to Gedan-shuto Uke (groin level knife hand block)

  

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  • Between the jump and the Gedan shuto uke, the body takes an unusual position with the hands touching the ground. Let’s look at this in more detail.
  • The first thing to note is that if a student has an injury or restriction, they do NOT have to touch the ground. They may stay slightly upright and just have their hands move toward the ground without contacting it. This also means students do not have to jump if it negatively impacts their body. A simple turn while maintaining contact with the ground is permitted.
  • During the jump, the goal is to bring the feet together during the “tuck” in the air. Just prior to landing, the left leg extends back to virtually straight. A slight bend is perfectly acceptable. The foot is vertical, with the heel pointed up
  • The right leg is well bent with the foot under your torso to support your weight. The hands also come down to help catch your weight, ideally both palms will touch the flooru nderneath your shoulders to provide support.
  • From the floor position, the key is to jump up quickly (if able) and switch legs to land in Kokusu dachi. The Gedan shuto uke finishes with the stance.
  • The preparation for the Gedan Shuto uke is identical to the closed hand Gedan barai, with the hand preparing from the shoulder.