- Styles / Systems
- About BuTaeDo
Sanchin (三戦) is a kata of apparent Southern Chinese (Fujianese) origin that is considered to be the core of several styles, the most well-known being the Okinawan Karate styles of Uechi Ryu and Goju Ryu, as well as the Chinese martial arts of Fujian White Crane, Five Ancestors, Pangai-noon and the Tiger-Crane Combination style associated with Ang Lian-Huat. Tam Hon taught a style that was called simply "Saam Jin" (Cantonese for "Sanchin"). The name Sanchin, meaning "three battles/conflicts/wars" is usually interpreted as the battle to unify the mind, body, and spirit; however, there are other interpretations.
1. Began private training at the professional Koei-Kan Karate-Do academy on State St. Santa Barbara. Upon acceptance into the dojo, Liddell starting the basic program of striking / kicking / and defensive tactics in and around the traditional atmosphere of the Koei-Kan dojo.
When most people think of recent Iron Palm Masters the only person who comes to mind is Lee Ying Arng the author of “Iron Palm in 100 days”. Of course we all know the legend of Ku Yu Cheung also called Ru Gu Zhang in Mandarin. But somebody who has gone under the radar is Sifu James McNeil. Sifu McNeil is really a legend in his own right, for years he has instructed his students at his Little Nine Heaven Taoist Institute in various styles of Kung Fu and of course Iron Palm techniques. Sifu McNeil has demonstrated over the years similar techniques and power as the legend himself Ku Yu Chueng.
An excerpt from "The Japanese Way of the Artist" by H. E. Davey
If the Ways can be considered philosophies, then they are “philosophies” with a physical expression, or philosophies discovered through their physical expression. Chado (tea ceremony), shodo (calligraphy), kado (flower arrangement), and others can be thought of as Ways of art and life whose physical expression is keiko, or “practice.” But what constitutes keiko and why? Let us turn to kata, which are the means through which the Ways are practiced.
Kata means “form,” in the sense of a prearranged form or formal pattern. In shodo, students strive to make exact copies of tehon, which are either books of classic calligraphy or samples of their sensei’s brush writing. In sumi-e, “ink painting,” every novice copies a specific painting and isn’t allowed to progress to the next subject of study until the copy is exact. In the tea ceremony, chado disciples must work through a set series of rituals two centuries old, and in the martial Ways, practitioners endlessly repeat established combat sequences.
Yet even in Japan, there are those who claim that, in the martial arts, for example, fixed, predictable kata do not correspond to real-life combat. Similar comments could be made regarding the kata of many Japanese arts, not just budo. And these critics are correct in that the kata of any Do are artificial to the extent they are predetermined. They are incorrect, however, in supposing that practicing kata is inefficient and cannot lead to spontaneous action.