A now abandoned church auditorium in Montclair, New Jersey. – A Dojo in Jefferson Township, New Jersey, now a bagel shop.
That’s where over thirty years ago I learned Suparunpei Kata, also called Pechurin Kata. It was in the church auditorium that the Sensei pulled me aside after class. (See Endnote # 1) Alone with Sensei, he placed his hand on my shoulder, looked me in the eyes and in broken english cautioned me, “You must never perform Suparunpei with an unclean spirit.” Why did he single me out for that advice? Now, decades later I understand.
Suparunpei is a very powerful Kata in both a physical and non-physical way. Suparunpei Kata mindfully performed so that the performer is subconsciously aware of its inherent spiritual power is “Spiritual Suparunpei.” Spiritual Suparunpei is a living ritualistic mandala.
To paraphrase Jonathan Young (founder of the Campbell Institute) and Rabbi Ariel Bar Tzadok (founder, Kosher Torah School) the purpose of ritual is to create a separation between the sacred and the profane; a sacred space of mind through the external (proper) performance of the ritual. Thus it becomes “Holy” in nature. The ritual nature of Spiritual Suparunpei becomes evident when viewed as a living form of mandala.
Mandala as a visual representation of the universe is more often than not an artistic representation, a “drawing.” When viewed from above, it is clear that Suparunpei, through its movements and sequences is a living visualization of mandala.
To see this effect one need only to analyze four sequences in particular. Like a mandala these four sequences all emanate from a central point and expand outwards in a circular fashion. Three of the sequences form the middle of the kata. The last sequence is actually one move, found at the end. As to the middle sequences, two are very similar in nature whereas the third sequence is different on many levels. It is with these three sequences that I shall start my analysis. Please see Endnote # 2 for a video of Suparunpei Kata to use as a point of reference.
The first of the mandala sequences, which I will call the double-open hand, sequence occurs after the fourth movement of the kata where the practitioner extends both arms towards the side, palms facing out. The first mandala is performed by with circular open handed movement of each hand, ending with a step forward with the right leg and both hands extended outward left, hand high, right hand low and concluding with a final hand movement and posture. The stance is the stance from the Sanchin Kata. By turning the body in a proscribed manner, the sequence is the again performed in the following directions. Labeling the first sequence being performed as north, the sequences continue to the south, east and west. Thus, all points of the compass are reflected in the first mandala. (See endnote # 3 for an important clarification). (More Mandala videos below – see Instagram info)
The first mandal is connected to the second mandal by three intermediate movements. These three movements utilize the hand movements of the first mandala. However, they are performed in a cat’s-foot stance (Neko-ashi Dache).
The second mandala is exactly the same as the first, except that the hands are closed into a fist. It also follows the same circular path along the points of the compass; north, south, east and west. (See Endnote # 2) You will note that after the first mandala you are facing west.
The third mandala occurs immediately after the second mandala. The practitioner simply drops to a new stance, a side stance, along a diagonal path of south-east. The different stance is not the only point of divergence between this mandala and the two prior. Hand movements no longer involve both hand simultaneously, rather first the left hand moves, then both, then the right, then both again. This is an very interesting point which will warrant future analysis and discussion.
The last mandala embraces and envelopes all the prior mandala in one move. It takes place at the end of Suparunpei. In a left Sanchin stance you assume a transitional position with your left hand low. Your right foot performs a low crescent kick contacting your left hand. At the moment of contact you pivot 360 degrees on your left foot thus inscribing a full circle. You end facing north in the transitional position.
The four mandala, whether an integral part of the Suparunpei Kata, or taught independently as in my Kata-Rx for wellness program, produce an effect I call spatial distortion. This effect is the sine qua non to the ultimate effect of the overall Katannabis ritual meditation. Both of which require in depth analysis. I will share this with you in future posts.
This concludes part one of my discussion of the mandala effect of Suparunpei Kata. Please continue to experiment with this Kata as an integral part of your Katannabis ritual mediation. Document your experiences and observations so that you can build upon them as you progress in your studies.
Cum superiorum privilegio veniaque *
Sensei John Szmitkowski
Endnotes:
* (with the privilege and permission of the superiors)
1. I did not formally train with this Okinawan Sensei. He was introduced to me through my karate comrade, who owned the Dojo in Jefferson Township. Through mutual agreement, this Sensei had taught a small group of us, all senior black belts the Kata.
2. Here is a video of Suparunpei Kata performed in the Atlantic Ocean at Cape Code, MA.
3. The use of “North” as a starting point of reference is only an aid to the discussion of mandala. The esoteric, spiritual-Suparunpei Kata is performed by starting the Kata while facing East. Thus, the first mandal is one that properly orientates to East, West, South and North. Thus, the first two mandal start east and exit north. The reason why this is important is beyond the ken of this article.
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