Jiin

As mentioned in the new rules post, I have been given the task of learning about Jiin in order to be able to fact-check K's kata research during his kata test. So here's what I've discovered...

The kata's origins are mysterious - which isn't unusual, but there is even a dearth of mythical origin material. I had to really dig around in my books to find some bits and pieces. It is well-known that Jiin (sometimes Ji'in) is grouped with Jion and Jitte (sometimes Jutte), not only because they all begin with the Chinese greeting of friendship (the right 'fighting' fist covered by the open left hand, sometimes called the Ming (明) or sun-moon greeting), but also because they include a lot of the same or similar techniques. Indeed some believe the three kata to be derivatives of one single forgotten kata.

In a 1914 Okinawan newspaper article, Gichin Funakoshi, recalling his teacher Azato's words, claimed that Jiin was taught to the Tomari-te teacher Gikei Yamazato (1835-1905) by a shipwrecked or stranded Chinese martial artist from Annan. This man also apparently taught the kata Chinto (Gankaku), Chinte and Jitte to various Okinawan karate experts.

The Shito Ryu and Itosu Kai sensei, Ryusho Sakagami (1915-1993) believed that the three 'J kata' were Itosu's reformulation of older Tomari kata, since lost. Itosu was the creator of Bassai-sho and Kanku-sho, and some karate practitioners see Jiin as a kind of Jion-sho (Funakoshi, in 1925, said that some of the kata were derivative, resulting from changes made to other kata, so that may have been a traditional practice - unlike today where forms are very much set, with deviation frowned upon).

The name itself, Jiin, is also subject to confusion. If the kanji 寺院 are used then the meaning would be something like 'Buddhist temple' or 'temple grounds'. If the kanji 慈陰 are used then the meaning would be something like 'hidden, or secret, mercy'.

In his 1925 book, Rentan Goshin Karate Jutsu, Funakoshi mentions Ji'in and like many of the kata at that time, its name is given in katakana (ジーン) rather than kanji, suggesting only the sound of the name was known (interestingly, an online translation gives a definition of these katakana as 'heartwarming', 'deeply moving' or 'strongly emotive'). Later, Funakoshi tried to rename the kata to Shokyo (pine shadow), but unlike many of his other new 'Japanified' names, it didn't stick. It is not one of Funakoshi's core fifteen kata, though he does mention it as one of the forms being taught at the Shotokan as of 1943.

In the end, I think it is safe to say that Jiin is a kata with a strong Chinese ancestry, probably filtered through a Tomari-te lens, and introduced into the modern age via Ankoh Itosu and his students.

One last point of interest: the Shotokan version of the kata does not include the final four moves found in other styles (eg. Shorin Ryu, Shito Ryu). These consist of an age-uke followed by an oi-zuki, then repeated in the opposite direction. Whether this is a deliberate omission or a mistake in the teaching of the kata at some point, is unknown, but whatever - it has become the Shotokan Jiin.

More training

At karate tonight, after some combinations to warm us up, we split up again to work on our kata - this time each being given a section to work on and then show at the end. Mine was the 'main sequence', that is soete kake-dori, mae geri, osae uki, uchi uke, nihon zuki, and then going into the manji uke and morote zuki in kiba. It was good to practice it a few times and I was able to focus it up a little, especially the kiba section.

I also partnered up with K again for his Ji'in bunkai, for which we have all 3 sections now, including a nice close-up exchange for the final moves of the kata. (Final moves, that is, for the Shotokan version - for some reason we don't include the last four moves of the kata as done in Shito Ryu and Shorin Ryu. Why? Edited out deliberately, forgotten, or not transmitted properly?).

I then trained on my own for a bit, on the mats, and practiced the jump into mikazuki geri and ryote fuse - down on to the ground. This was very useful as it is not something I have the room for at home, and I must have done it a good 20 times or so. I'd say just under half were satisfactory - and by satisfactory I mean a good connection of the mikazuki onto the hand (a slap!) and a balanced landing in exactly the right direction. So, progress, but it still needs work.

Training

Karate training last night was given over to kata and, slightly different from usual, we split off into pairs to work on various things.

Firstly I went with K, whose kata is Ji'in, and who I am partnering for his bunkai. We went through Ji'in a few times and I firmed up the moves a little better than I previously had them. Then we chose the three sections K will be demonstrating for bunkai. K came up with a good sequence for two of the combinations but is going to go away and think a little more on the remaining one as nothing good came up right away. I like Ji'in. It's not one of the 'fifteen' and I believe the JKA have dropped it from their syllabus, but I'm glad to have it in my repertoire.

Next I partnered sensei for her kata - Hangetsu. As I had done this kata for my 1st dan test (back in 1989) I watched it and gave a few notes - only a few minor things (I haven't done it much myself recently). Then we tried out her bunkai.

My Kanku-sho was next. It was better than last time but I still didn't 'feel it'. The first three moves are deceptively hard and I think it can affect the rest of the kata if you don't start well. My bunkai sequences are: i) the main sequence of soete kaki-dori, mae geri, osae uke, uraken, uchi uke, and nihon zuki (not sure yet whether to include the turn and kasui-ken); ii) the morote jo-uke and jo-zukami tsuki otoshi; and iii) the haishu uke, mikazuki geri and tobi ushiro geri.

That last one I did with the haishu blocking and grabbing a punch that comes from behind, as I turn into the mikazuki geri I turn my assailant's wrist and when the mikazuki geri connects it is against the locked arm - a bit of an arm breaker. I then continue with the momentum round into an ushiro geri - not jumping, though I may attempt that with practice. This is keeping it fairly simple rather than coming up with a fancy explanation for the jump.

The jo-uke sequence was also fairly successful with the front arm being a taisho block to the assailant's elbow joint and the back hand grabbing the wrist simultaneously (against a punch). The next move then twists their arm and pushes them down. The jump and turn into shuto uke becomes a turn and throw (no jump) - it works quite well. I know this is traditionally said to be against a bo or jo, but I'm not to keen on the idea of catching a wooden staff (or metal baseball bat) that is being used to attack me!

As for the main sequence, I tried out the obvious bunkai but it didn't feel very satisfactory, so like K with Ji'in, I'm going to go and away and think about that some more, but I probably won't stray too far from it.

For the rest of the session we did more kata - all the Heians, Bassai-dai and Gankaku. I feel quite confident with these kata and I enjoyed doing them, they felt strong. My yoko-geri were particularly pleasing - my hips have been a little inflexible recently but they felt back in form, for that evening anyway!

It's about time this blog had a picture, so here's a nice one of Sensei Kanazawa doing the Kasui-ken (fire and water fist) from Kanku-sho.