Wado Kai - Chinto Chinto kata is a light moving kata as Kushanku kata. Inner circular stance has devel- oped from Naifanchi kata to Seishan kata. These two are combined into Chinto kata. The Seishan stance is developed in this kata by using the tate Seishan to initiate a very power- ful reverse punch. This helps the karateka in close with the use of a small circular move- ment of the body which makes the reverse punch effective in close range. Gichin Funa- koshi has changed the name of this kata to Gankaku (gan=rock, kaku=crane, because of the posture on one leg in this kata reminds you of a crane standing on a rock. One leg stance is called Sagiashi (heron stance) and is often seen in Tomarite. Chinto kata is noted for it’s development of balance in turning and front leg defense and counter attacking with speed. *Special Note - black belts, I have studied the Wado Kata Chinto from information from several high ranking black belts very popular in the Wado system. Masaru Shintani, Ot- shuka Sensei, Jiro Otshuka, Roland Habersetzer, & Shingo Ohgami. In this kata I have seen several slight differences in stances and basic movements. Each kata is performed with I think some optional movement that has been for the benefit of the individual doing the kata. I have taken the kata Chinto as I see best the advantages for making it work for the preservation of the karateka. I have taken the illustrations for Chinto from Wado Kata by Roland Habersetzer which may not be exactly true to form as you read this Chinto version. I have set the technique as follows for the your benefit in true karate - Sensei Barry Lane (Rokudan - Wado Kai). 1. In open foot attention stance, (.Musubi Dachi) perform standing bow (Tachi Rei). 2. Cross the hands closed in front of the body, middle area (Chudan). Simultaneously step with the left leg sideways into open foot natural stance (Shizen Hontai). This is ‘YOI’ or preparation stage for the kata. (Fig. 1) 3. Stepping back into Hidari Tate Seishan Dachi, (left vertical seishan stance) right leg moves back. In this stance have your feet on one line so that you become the smallest target against an opponent from your front. Simultaneously perform Hidari Jodan Nagashi Haishu Uchi Uke. (Left high sweeping back hand outward block) and Migi Jodan Nagashi Teisho Soto Uke (right high sweeping palm outside to in- side block.) *This block is done right to left. (Fig. 2) *Special Note: Otsuka Sensei & Ohgami Sensei - both state the hand movement here is done together but are two different blocks being performed. Perform the technique as if you were sweeping away the opponents attack. Otsuka Sensei emphasizes that the two hands should not touch firmly and both hands are kept vertical in order to completely defend from an opponents attack. His also states that shoulder strength should not be used which makes the technique incomplete and weak. Do not move the body to the left when making this block and point the head straight ahead , at the attacker in front. 4. Perform Chudan Hidari Teisho Otoshi Uke (left palm hand downward block) and Chudan Migi Haishu Otoshi Uke (middle right back hand downward block.) Turn the left forearm outward and lower the left forearm to mid - level (Chudan) . Simultaneously turn your right hand so that it comes under your left hand. (hands are back hand to back hand, right hand is behind the left closes to your face. Rotate your right hand to the right and downward so that both hands are palm to palm. The heel of the hands should not separate in this movement for the kata purpose only. This turning of the hands indicates
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Wado Kai - Chinto
Chinto kata is a light moving kata as Kushanku kata. Inner circular stance has devel-
oped from Naifanchi kata to Seishan kata. These two are combined into Chinto kata. The
Seishan stance is developed in this kata by using the tate Seishan to initiate a very power-
ful reverse punch. This helps the karateka in close with the use of a small circular move-
ment of the body which makes the reverse punch effective in close range. Gichin Funa-
koshi has changed the name of this kata to Gankaku (gan=rock, kaku=crane, because of
the posture on one leg in this kata reminds you of a crane standing on a rock. One leg
stance is called Sagiashi (heron stance) and is often seen in Tomarite. Chinto kata is noted
for it’s development of balance in
turning and front leg defense and counter attacking with speed.
*Special Note - black belts, I have studied the Wado Kata Chinto from information from
several high ranking black belts very popular in the Wado system. Masaru Shintani, Ot-
shuka Sensei, Jiro Otshuka, Roland Habersetzer, & Shingo Ohgami. In this kata I have
seen several slight differences in stances and basic movements. Each kata is performed
with I think some optional movement that has been for the benefit of the individual doing the kata. I have
taken the kata Chinto as I see best the advantages for making it work for the preservation of the karateka. I
have taken the illustrations for Chinto from Wado Kata by Roland Habersetzer which may not be exactly
true to form as you read this Chinto version. I have set the technique as follows for the your benefit in
true karate - Sensei Barry Lane (Rokudan - Wado Kai).
1. In open foot attention stance, (.Musubi Dachi) perform standing bow (Tachi Rei).
2. Cross the hands closed in front of the body, middle area (Chudan). Simultaneously step with the left
leg sideways into open foot natural stance (Shizen Hontai). This is ‘YOI’ or preparation stage for the
kata. (Fig. 1)
3. Stepping back into Hidari Tate Seishan Dachi, (left vertical seishan stance) right leg moves back. In
this stance have your feet on one line so that you become the smallest target against an opponent from
your front. Simultaneously perform Hidari Jodan Nagashi Haishu Uchi Uke. (Left high sweeping back
hand outward block) and Migi Jodan Nagashi Teisho Soto Uke (right high sweeping palm outside to in-
side block.) *This block is done right to left. (Fig. 2)
*Special Note: Otsuka Sensei & Ohgami Sensei - both state the hand movement here is done
together but are two different blocks being performed. Perform the technique as if you were sweeping
away the opponents attack. Otsuka Sensei emphasizes that the two hands should not touch firmly and
both hands are kept vertical in order to completely defend from an opponents attack. His also states that
shoulder strength should not be used which makes the technique incomplete and weak. Do not move the
body to the left when making this block and point the head straight ahead , at the attacker in front.
4. Perform Chudan Hidari Teisho Otoshi Uke (left palm hand downward block) and Chudan Migi Haishu
Otoshi Uke (middle right back hand downward block.) Turn the left forearm outward and lower the left
forearm to mid - level (Chudan) . Simultaneously turn your right hand so that it comes under your left
hand. (hands are back hand to back hand, right hand is behind the left closes to your face.
Rotate your right hand to the right and downward so that both hands are palm to palm. The heel of the
hands should not separate in this movement for the kata purpose only. This turning of the hands indicates
gyaku waza (reversing technique - seizing the opponents hand and drawing him in.) The right hand is the
grasping hand and the left is the downward block (Otoshi Uke). The downward block must be accelerated
by the whole body. (Fig. 3)
*Special note: in the kata the hands here are drawn back to the right hip area, the right hand should be
closed as it has turned into a grasping block and pulled the attacker in and downward. The left hand is
still open as it has just completed downward palm block. The left hand then closes immediately ready for
the next technique of punch. In this kata both hands are kept together to perform this part of the form in
Chinto. Physically the technique could be best described from Pinan Yodan where the defender performs
a front knee strike and then pivots to the rear the hands in the set position for blocking, right hand grasp
and left hand downward striking block and the attacker is pulled in.
5. Perform left middle straight punch (Hidari Choku Zuki) , draw the right hand further back sharply to
aid in the acceleration and power of the punch. (Fig. 4)
6. Perform a right reverse straight punch (Migi Gyaku Choku Zuki) (Fig. 5) Here the body must be
twisted to accelerate the punch so the stance of Tate Seishan has to be opened to full vertical Seishan
stance.
*Special note: Otsuka Sensei states that the right heel is is rotated outward to accomplish this and Oh-
gami Sensei states the left forward foot is moved outward to accomplish this. Here I will leave this op-
tional to my students but will relay my personal comments. In the kata performance of Chinto we have
grasp an attacker and pulled him inward to us and performed a left straight punch, it is simpler to move
the left forward foot outward for the reverse punch just because of the ease of the movement and the at-
tacker is already in a vulnerable position as not to notice. However comfort is sometimes not the best pol-
icy for a true movement. Outside of the kata the I would prefer to hide the movement of my leg and my
body movement till it was made apparent of the committed counterattack. The movement in my opinion
of the back or right foot movement is that it starts the starts the energy of the hips immediately in the same
direction as that of the reverse punch and gives more dropping energy and distance to the technique. The
right foot movement however maybe slightly quicker loses power as the energy is drawn away from the
punch therefore slowing down the punching technique.
7. Turn to the left 360 degrees on your left foot into Migi Shikoashi Dachi (right sumo stance) perform