Tensho kata is considered the masterpiece of Miyagi Chojun, Sensei. It is derived from the Chinese Hsing called rokkisho (six-machine-palm). We are not sure what this kata looked like when Miyagi Sensei first observed it, but the accepted meaning is rotating palms, therefore he must have seen something that resembled the rotation of the hands and prompted this description.
In older times it was thought that Tensho was taught as a companion kata to the “harder” or “go” of Sanchin kata specifically for older or less physical karate-ka. This, however, I find to be unlikely. Tensho can be as physically demanding as Sanchin in many respects. First of all, the breathing system can be even more demanding, as the first two moves after the morote no kamae are done slowly with deep, continuous breathing which demands a great deal of breath control.
The actual movements of the hands reflect a possible source from the Hakutsuru. Also, it is possible that Higaonna Kanryo Sensei’s Kakufa [ha] is another source from which Miyagi Sensei drew. In any case, no matter what the source or sources, the Tensho kata was not meant to be an amelioration of Sanchin, nor was it meant to be “soft” in the sense that it is the opposite of Sanchin.
Though it sounds contradictory, Tensho does represent the “ju” of goju. It does so by using the gentler movements of the open hand and circularity. However, the open hand is still held firm throughout all movements. It would be a grave error to assume that Tensho is a “soft” kata. It is one of the three “heishu” gata of Goju Ryu, the other two being the Sanchin of Higaonna Kanryo Sensei, and the modified Sanchin of Miyagi Sensei. Heishu means “closed”, that is, the body is held in a state of tension throughout the execution of the kata.
Conversely, the kaishu (open) gata are all the other kata of Goju Ryu, and they are done with the tension or “kime” at the precise moment of impact of the techniques. The open aspect refers to release of body tension to develop greater speed of movement and power in all techniques. Movement is strained when the body is tight, thereby reducing effectiveness. Although, because of the defining principles of hand motion, in the proper execution of Tensho, the elbows are paramount. The proper movement and placement of the elbows is essential to the proper movement of the hands. This concept cannot be adequately addressed in this paper. It must be the subject of a class or seminar. However, your immediate Sensei has been through this lesson on many occasions and can, and probably has shown you the proper use of the elbow in Tensho.
Tensho also has two methods of application, although it is most often done as a defensive kata. The offensive version utilizes certain “uke” movements as “uchi” techniques. As an example, the kake uke and ura kake uke become finger tip eye rakes.
Unfortunately, Tensho is often neglected in teaching mixed classes since it is considered sandan level. I feel it needs to be taught to all brown belts (senior division) and should be taught as a companion to Sanchin. Tensho, like Sanchin, if done with regularity and intensity will reveal a deep understanding of our system and will ensure the commitment to our maintaining the integrity and tradition of Okinawan Goju Ryu.
Tuesday, September 30, 2008
Tensho