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Hatsu Bon For Shihan Wayne Norlander

18 May

Today marks the 10th anniversary of the passing of my friend and karate-do comrade, Shihan Wayne Norlander. To his eternal spirit I offer my training this month and the following Hatsu Bon poem. May his spirit find my training and poem worthy.

Shihan Wayne Norlander with friend & comrade, Shihan Peter Urban, circa 1970’s, West New York, NJ

HATSU BON POEM

Please don’t cry before my grave
That’s not where I am
Nor am I sleeping for eternity
SEE!!
I am already part of the breezes
numbering a thousand
I am part of the light
that brightens this world
Like a diamond glittering in the snow
Like the sun that coaxes seeds to sprout
And in the Fall I become the gentle rain
that nurtures all.
When you open the window in the morning
I am the breeze
That causes your hair to flutter;
And at night, I am the star
That watches over your sleep.
So, please . . . don’t cry before my grave
That’s not where I am.
I am not dead.
I have been born anew.

With Shihan Norlander after a spirited workout. Circa 2008

My graveside Sanchin memorial to Shihan:

Sincerity in sweat, Sensei.


Sensei John Szmitkowski

An Esoteric Secret Disclosed – “Why now?”

15 May

It is moments like this that give me deep pause. 

Last night I had a deep, introspective Katannabis Session. This morning at 6:00 am, I went out on my deck and performed Sanchin-Dai Kata as a Blood Kata. Usually, I perform a full Kata-Rx (no cannabis entheogen). Most Wednesday’s (my sacred day) I am alone at home with only my dog, Maharet as a companion. I felt compelled to perform a Shugyo (intense, deep, prolonged) Katannabis session once alone. That session began at 8:30am.  It was during that session, which lasted about two hours, that I intuited a “compulsion” to immediately release a video of my Sanchin-Dai Kata and the majority of my personal prayers. Some of the prayers and breathing intonations are redacted as this is way beyond your present capabilities to understand. Still, for whatever reason, I was “pressed” into releasing the within video. I have no idea why and, frankly, would prefer not to. 

In any event, the video is of Sanchin-Dai Kata which I formulated to encompass the Sacred Trinity of Kata (Seienchin, Suparunpei & Sanchin, which are reflected in the Kata). This facilitates the ability of a non-martial artist to acquaint themselves with the possibility of Kata as a form of prayer and sacrifice. Know and understand clearly – this is what works for me. It may not work for you. It is a matter of introspection and faith which is a subjective relationship with the transcendent Divine. 

Again, the inspiration for all of this was when, a few years ago, I stumbled upon a translation of and ancient papyrus scroll – the Gospel of Mary, hidden in a desert cave, and written over two thousand years ago that contained – the word ——- KATA!

My obligation is now fulfilled (two more hours later after my session). Enjoy with caution, these are deep waters. 

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Bansetsuan – An Esoteric Kata inspired poem

2 May

My early morning Esoteric Kata session inspired this poem (To enhance your experience, please watch these this video, with your sound on, before and after reading the poem, see endnote # 2) If you do enjoy this post, there is another Kata-inspired poem at the bottom of the page in the Instagram link.

Bansetsuan

Morning. Fog.

Unseen, songs sung, 

Unseen Hands

    Mold the clay

Bats Buzz, clay becomes –

     a Man.

The poem came to me during my morning (5:30 am) Kata performance. As there are bears that roam this early, I usually perform my morning Kata on my deck high above the Earth. The day was a Sacred Day. The Sacred Day being Wednesday. My dear friend and Karate-Do comrade Sensei Wayne Norlander passed away May 18th, 2011, a Wednesday. Each Wednesday thereafter (without fail) I would perform his favorite Kata in his honor. I think his immortal spirit whispered the poem within the song of the birds and the breeze (see videos, with sound on). Miss you Sensei Wayne, but your spirit is eternal, and eternal you endure (nod to Dante Alighieri).

One of my Karate-Do comrades would refer to performing Kata as the “Clay in the mold” Kata being the mold, the performer the clay. “Bansetsuan” translates as “Retreat of the untalented teacher.”

Until the next time, practice your Esoteric Kata with an open mind, pure heart and clean spirit, 

  * (with the privilege and permission of the superiors)

Endnotes:

1. “Bansetsuan” was the name of the Aikido Dojo of Sensei Kenosha Furuya. I did not train with him; however, I am highly enamored of his marvelous book, Kodo: Ancient Ways. I have had my copy for many decades and consider it a must read for any Martial Artist

2. The poem came to me as I performed the mandala section of Suparunpei Kata. I then proceeded to perform Sanchin Kata at which time, the bats buzzed right over my head and remained throughout the Kata and for long enough to let me film them. Enjoy

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Sensei’s Journal: Entry # 24 – Non-physical Talisman – A Sign

5 Feb

I had recently finished filming a video discussing your obi as a talisman (see endnote # 1 for the video).  In the video I discuss how a physical object, such as your obi, can be imbued with sacred energy and become sanctified. Similarly, a non-physical concept, such as kata, can also be sanctified. (For Sanctifying your kata, please use this link:  https://senseijohn.me/2023/08/11/katannabis-sanctify-your-kata/ )

I wanted to find a practical example of a commonly used non-physical concept that is readily recognized as sanctified, or sacred. After filming, I engaged in my nightly Katannabis ritual mediation session. I finish by sitting in Zazen and –  answer came to me. This is that answer.

I was raised Roman Catholic. That was the religious training that was chosen for me at birth by my parents. Naturally therefore, my answer comes from that perspective. In the Catholic tradition, there is a physical gesture, a Kata, if you will, that encompasses the sacred, holy, aspects of a gesture. That gesture, or Kata, is what is known as the “Sign of the Cross.” The Sign-of-the-Cross Kata involves making a cross either upon your body or in the air, as in the case of of Priest blessing his congregation. Not withstanding that the Kata, the Sign Of The Cross, has sacredness in and of itself, such sacredness or holiness can be augmented. (please see Endnote # 2) 

It is the spiritual, religious symbolism that invokes the sacred sanctification of the gesture. That symbolism is inherently Holy to the practitioner. Naturally, this being a Christian gesture, it has no significance whatsoever to a person of the Jewish, Hindu, Muslim, or any other religious faith. In fact, given different sects of Catholicism and Christianity, the gesture may only have relevance within a specific sub-sect of the followers of Christ.

So too with the physical gesture of Kata. If you make a Kata sanctified and sacred to you, it is in fact sacred, Holy – to YOU. The only question is one that invokes external perceived power to the person making the gesture. It s that external power that is so abused to the point of not being ostracized, conversion torture (an anyone say “the Inquisition?”) but also all out war. The power I refer to is to motivate others to follow you and adopt your gesture as Holy, or sacred, or Divinely inspired. For once they adopt the power of that gesture, they submit to the power of your authority over the gesture. 

It is for that reasons the true practitioner of Esoteric Kata does not mandate that you adopt their Kata, their ritual, their prayers, their chants, their sacrifices or their interpretations as sacred. The path of Esoteric Kata is one that must be discovered by each and every practitioner on an individual basis – their is no collective ritual. It is true that one may say they are on the Mikkyo Kata-Do, the Path of Esoteric Kata (see endnote # 3). It is not proper at all and utterly forbidden that they mandate their specific Path be imposed upon another.

With that, I close, for now. I remain, 

 *(with the privilege and permission of the superiors)

ENDNOTES:

1

2. It is interesting that during the Sign of the Cross, a practitioner can also chant, vis-a-vie, “In the name of the Father, the Son and the Holy Spirit.” To analogize the Sign with Kata, one needs to understand that prayer (chanting) can also be incorporated into Kata. See, for example: https://senseijohn.me/2022/10/03/katannabis-and-prayer-enhanced-meditation/

3. This includes all subsets of Esoteric Kata (Mikkyo Kata-Do):

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Sanchin-Dai Kata Learn For Free – Lesson Four: Advanced Mandala Module (3 Mandala)

3 Jan

  Now, let’s turn to the mechanics of incorporating the second and third mandala of Suparunpei Kata into your Sanchin-dai Kata. Using the video below, you can see that the second mandala is connected to the first mandala by the three transition movements of mawashi-uke performed in a cat stance, as shown in the end of the mandala one video and again below.

Mandala number 2 is performed in the same directions as mandala number one. It consists of:

  • •A closed fist mawashi-uke in a left sanchin stance;
  • •A step to a right Sanchin stance with a right low block and a left groin punch executed on top of the low block;
  • •Both step above are executed with full Kime (focus)

Mandala number 3 is performed on the angles that bisect the cardinal compass points of Mandala number one and number two. It consist of:

  • •A side stance with a left middle block and right hand in a fist by your solar plexus. Note the fists are all Ippon-ken, one knuckle fist;
  • •A hook stance, opening the left hand as if to grab, and a right vertical Nippon-ken punch to the solar plexus;
  • •A side stance with two low blocks with soft deep abdominal breathing and modest dynamic tension.

For ease in learning, I have the following diagram of the movement sequences, it assumes you started facing the “North” cardinal compass point.

One last point as to the mandala of Suparunpei Kata, and by reference, my Sanchin-dai Kata. This is an introductory “How-to” article. It is one small step towards the “Mandala rabbit hole.”  The mandala are very powerful aspects of both Kata. They are imbued with profound esoteric energy which is merged with your own Kime (energy) of the Kata performance. In fact, the mandala should be performed according to very specific, esoterically charged directions. Let me give you a hint – Although the video references a “North-facing” starting point, from a esoteric standpoint, Sanchin-dai is best performed while facing East so as to properly align the mandala. For that matter, Suparunpei Kata, from which the mandala where taken, is also best to perform by starting facing the East. Yeah, it is that specific. These discussions are beyond the ken of this “How-to” article. Until then, I remain,

  * (with the privilege and permission of the superiors)

Here is a video of Suparunpei Kata in the Atlantic Ocean on Cape Cod, MA:

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Sanchin-Dai Kata Learn For Free – Lesson One: Seienchin – The Path Module

3 Jan

  There are many aspects to each of the component Kata of the Sacred Trinity. So much so that choosing one aspect of each Kata to incorporate into the Sanchin-Dai Kata was not an easy process. First, I had to decide the esoteric objective of Sanchin-Dai. The next step was to find the components of the underlying Sacred Trinity Kata that would build to a crescendo whereby that objective was met. So far, I am satisfied with the results. Bear in mind; however, that any Kata process is always evolving. What is satisfying today is potentially lacking tomorrow. Now, let us turn to your learning my Sanchin-Dai Kata.

 Seienchin Kata has many esoteric attributes. The one I chose for my Sanchin-Dai Kata is the “Path” of Seienchin. (See endnote # 1 for another important martial and esoteric attribute). This path serves both a martial and esoteric purpose. The path is best described by the translation of Seienchin that is, “To walk far to quell and conquer.” The path of Seienchin is embodied in the three opening side stance movements of the Kata. 

 The Path that requires you to 1: walk far, 2: quell, and 3: conquer,  squarely fits within the goals of Esoteric Kata.  It symbolizes the start of the esoteric path. Such a path is long, even arduous. The difficulties of the path are manifested within this section of Seienchin Kata. Seienchin relies heavily on the side stance. This stance makes use of the muscles of the legs and thighs. It symbolizes the overcoming of discomforts that one will find on the esoteric path. This stance also grounds the practitioner to the Earth. This is of great esoteric importance. I will have more on this in future articles.

If you know Seienchin Kata, then you can use the first three side stance movements to begin your Sanchin-Dai Kata. You can then progress to add the transition move shown in the video and then the full Suparunpei mandala module. If you do not know Seienchin Kata, you can use this video as a resource to learn the three moves.

A brief word about the Seienchin kata shown in the video. As with all kata, Seienchin kata is subject to stylistic and interpretive variations. Naturally, this is also true of the version presented herein. This version is the one that I learned in or around 1976 and is found in the Goshin-Do Karate style founded by Hanshi Frank Van Lenten and taught to me under the stewardship of Shihan Thomas DeFelice. In the event that this forma does not suit your needs you can search online for other variations that fill your personal needs. (See endnote # 2 for a full version of Seienchin Kata amongst the wild horse herd of Tonto National Forest, Arizona).

When you are comfortable with the movements of the Seienchin module, you can then proceed to add in the next two modules of the Sanchin-Dai Kata. After learning the full Kata, you can then add in the aspects of prayer (via “internal chanting”) and sacrifice. Until then, may you continue to “Walk far to quell and conquer.” 

*(with the privilege and permission of the superiors)

Endnotes: 

1. Another important martial and esoteric attribute of Seienchin Kata is that of balancing or harmonizing opposites. This is symbolized by the meaning, “Calm in the storm / storm in the calm.” In so far as the martial and esoteric applications are at least superficially apparent, I will not discuss them here. Suffice to say that such a discussion is quite a large conversation and is beyond the ken of this article. 

2 . 

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Sanchin-Dai Kata – Learn For Free: Introduction

3 Jan

 I fully believe that martial artists, and Karate-Ka in particular, need to perform the Sacred Trinity of Kata each and every day. For more on my belief, please use this convenient link: https://senseijohn.me/2023/10/18/you-must-do-these-3-kata-everyday-right-now/. . 

I realize that not every Karate-Ka would know all three Kata of the Sacred Trinity. To that end, I created the Sanchin-Dai Kata (“Great Three Battles” kata).

 I compiled Sanchin-Dai Kata from my Sacred Trinity of Kata. As such, Sanchin-Dai embodies the principle characteristics and components of each of the three individual kata that make up the Sacred Trinity. The Sanchin-Dai Kata utilizes the Sacred Trinity in the following order: Seienchin Kata (the “Path” section), Suparunpei Kata (mandala section) and Sanchin Kata (last three steps). It is therefore a condensed version of the three kata. For those of you that prefer video over the written word, here is a brief video I made to introduce you to my Sanchin-Dai Kata:

To create Sanchin-Dai Kata, I had to identify the key feature of each component Kata within the Sacred Trinity.  By key feature, I mean not only the key physical attributes that form the basic martial tenet of the Kata, I also mean key psychological (mental states), emotional (subjective to the performer and esoteric features (both objective and subjective). 

The other key foundational matter is to arrange each of the attributes incorporated into Sanchin-dai, into a logical and esoteric order. For example, one learns the Sacred Trinity Kata in the following order: Sanchin, Seienchin then Suparunpei. For decades this was the order that I practiced the Sacred Trinity. When I delved into the heart of esoteric kata practice I shifted the order of performance to Seienchin, Suparunpei then Sanchin Kata. It is this order that I used to create the Sanchin-Dai Kata.

Initially I called this kata the Sacred Trinity Kata. I changed the name because much of my prior articles and videos referred to the Sacred Trinity OF Kata. I therefore decided to pay homage to one of the three strongest Esoteric Kata, Sanchin Kata. Additionally, the name implies that there are three battles (of human existence) represented by the Sanchin Kata and that there are three greater battles. Those three greater battles are found within the Esoteric Kata now known as Sanchin-Dai Kata.

In the event that your kata syllabus does not contain all three of the Sacred Trinity Kata, then you can easily learn my Sanchin-Dai Kata. Again, “Why?” It is because the Sacred Trinity Kata are imbued with spiritual energy. Additionally, the Sacred Trinity of Kata and the Sanchin-Dai Kata provide a means to explore two very important Esoteric Kata concepts. Namely,

For those of you that do not know all of the Kata within the Sacred Trinity of Kata, do not worry. The next three articles in this series will teach you my Sanchin-Dai Kata for free. Until then, I remain,

  * (with the privilege and permission of the superiors)

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Sanchin Kata – The Esoteric Three Battles

6 Nov

The three battles are a framework for the shifting emphasis in the ritual of Esoteric Kata – first from the physical emphasis of the Kata then towards the spiritual, nonphysical, battle. Then a transformation from the spiritual to the metaphysical battle.  The first transition being one you can manipulate through voluntary and directed mind practice. The second, transcendent, shift occurs when it is ready and wants to.

The concept of the three battles of Kata is taken directly from a unique Kata known as “Sanchin Kata.” This concept emanates forth to imbue itself within each and every Kata regardless of stylistic boundaries. Thus whether the original of any specific Kata is Karate-do, Tae Kwon-Do, Kung-fu, Tai Chi or any other martial art, the concept of esotericism  and the three battles of Kata applies. 

The translation of the Kanji for the word “Sanchin” offers insight into the attributes that are found within Sanchin Kata. As one may see from the Kanji, the word Sanchin is composed of two root words. The root word “San” (top character) means “Three” and the root word “Chin” (bottom character) means “Battle.” The word “battle” does not refer to warfare; rather, “battle” refers to conditions, or aspects requiring attention and cultivation by the performer of the Sanchin Kata. Thus, while Sanchin literally means “Three Battles.” From this simple translation, I extrapolate the interpretation of the Kanji to mean “three aspects of the human condition.” Through the regular performance of the Sanchin Kata the three aspects of the human condition are incubated, nurtured and evolved so as to facilitate an enraptured human experience. This concept is not limited to Sanchin. Sanchin merely codifies it for the practitioners to develop. It is also found within all Kata.

Historically, the interpretation of the three battles of Sanchin Kata has been limited to a martial arts perspective. There are many interpretations of the three battles of Sanchin that are derived from the Art of Karate. The central theme of the Karate-Do proclamation of the three battles is the development and unification of body and spirit. This development of mind and body is fundamental to the practice of Karate. In general terms, the three battles of Sanchin have been described in terms that summarily involve: breath, posture, and, spirit. 

I submit and will illustrate below that the traditional definitions of the three battles are superficial, at best. All three aspects are to be unified through the Kata. Thus, historically, it can be said that the Sanchin Kata unifies the body (through the elements of breath and posture) and spirit (through the moving-Zen concepts) of the Karate-Ka (one who practices Karate). Such a unification of mind and body elements are essential to the practice and execution of Karate technique and Kata. Esoteric Kata will always involve your mind and your body. I point this out because traditional methods of meditation, esotericism and other practices do not necessarily involve or unify the mind and the body. Clearly, and I’m not picking on religion, most do not pray while moving the body. Rather one sits quietly – Esoteric Kata will change that.

Further, the definition is redundant as it uses three manifestations (breath, posture and spirit, or similar expressions) of only two aspects of the human condition (body and mind). I note here that I am aware of a limited number of martial artists that define the three battles of Sanchin as the unification of body, spirit and “soul.” I submit that such a definition, while it appears hopeful in expanding the concept of Sanchin beyond the realm of martial arts, is dismally disappointing. One need simply explore the definition of soul to be disappointed. I submit that the soul is an improper aspect of the Sanchin Kata for the following reasons. The use of the word soul automatically (like Merlin’s magic wand) conjures up religious connotations that do not belong integrated within Sanchin. Even assuming, arguendo, that such religious inclinations can be suppressed, the traditional and philosophical view of the soul is that at some point it must reside within the human body. Thus again, the definition merely draws upon conditions that exist within the human and fails to account for external universal factors. This failure results in the human existing as separate and distinct from the universal environment on both a physical and conscious level.

Such a perspective of the three battles of Sanchin merely describes two states of the human condition. These two states represent a limited view of the source of physical power, spiritual insight and emotional stability of the Karate-Ka. The two states of human existence I am referring to are a physical state and a non-physical, spiritual state. After five decades of continued rigorous practice of and devotion to the Sanchin Kata, I came to realize that clearly lacking from the definition of the three battles is an additional third quality. It became apparent to me that the three battles of Sanchin must be allowed to break the limiting boundaries imposed upon it by the martial arts perspective. This means that the three battles must be viewed and defined from the perspective of the total human condition. The three battles of Sanchin, as expressed to date, account for two aspects of the human condition that are internal to the human (body and mind). It became apparent to me that the missing, heretofore undiscovered battle, or aspect, of the Sanchin Kata must be external to the physical body. I call this aspect the metaphysical aspect of the human condition. My ideology of Esoteric Kata extends the three battles of Sanchin Kata into a heretofore undiscovered new paradigm, to wit: the redefining the three battles of Esoteric Kata to recognize a metaphysical aspect of the human condition that exists external to the human bio-body. 

The metaphysical aspect of the Sanchin Rite recognizes the presence, consciousness and creative power that exists in the universe around us. In addition to recognizing the metaphysical aspect of the three battles of Sanchin Kata, I was enlightened to and developed a means of incorporating a methodology into the performance of Sanchin for perceiving this metaphysical realm. I submit that the Three Battles of Sanchin are:

1. Physical Battle, or the aspect of properly breathing while performing all components of the physical movements of Sanchin so as to experience the physical, metabolic benefits of Sanchin;

2. Spiritual Battle, or the aspect your mental processes, emotions, psyche and state-of-mind. Summarily, this is a non-physical battle;

3. Metaphysical Battle, or the foundation of Esoteric Kata practice, or ritual.

It is imperative to remove the boundary of the martial arts perspective and begin to think of the three battles of Esoteric Kata within the overall perspective of the entire human condition. Such a boundless interpretation of the three battles mandates that factors that are internal to the human must be considered as part and parcel of factors that are external to the human condition (including those factors that may exist beyond the ken of human perception). I was awakened to Esoteric Kata only after five decades of practice coupled with an introduction into newly developing sciences, including quantum physics, noetic sciences and traditional and non-traditional philosophic ideologies. 

To date, I am aware of no other martial artist that has not only defined the three battles of Esoteric Kata in the manner I set forth. Further, I am not aware of anyone that has promulgated a specific methodology and manner of performing Kata so as to experience the metaphysical aspect of the Rite (or Kata). Perhaps I am the only person willing to commit name and reputation to acknowledging the existence of a third, metaphysical aspect present in Esoteric Kata. 

  *  (with the privilege and permission of the superiors)

  ** Note: The Kanji (calligraphy) for Sanchin is from my private collection. The original was a Sumi-e writing on rice paper.

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Suparunpei Kata – The Mandala Effect

24 Jul

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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Ghost Hand Kata: Single Hand Version (FREE)

30 Jun

Ghost Hand Kata – Movements (single hand version)

This post is a component of a series of posts forming a syllabus within which you can learn a unique, ancient meditative Kata. To view the entire syllabus and this posts place within it, please click the “Ghost Hand Kata” category on the right side of this page, or you may use this convenient link:

The predecessor of my Ghost Hand Kata is an esoteric, ancient, karate kata called the Gassho-No-Kata (note: this is a common name for various kata). It is named for the gassho hand position used in various Eastern forms of greeting and meditation. Thus, the name Gassho-no-Kata. (Note: there are different Kata with this name. The one I refer to is little known, old-school Goju-Ryu ancestry & is very rarely taught today).

Gassho-No-Kata, as well as my Ghost Hand, makes prominent use of the gassho hand position used by various meditative disciplines. A full discussion of the kata and the gassho posture is beyond the ken of this work. What is important is for me to acknowledge the basis upon which I built my Ghost Hand method. 

My Ghost Hand Kata is the result of – well, I really can’t pinpoint it. All I can say is for sometime I have been working on a project called my Kata Laboratory. (Link:  https://senseijohn.me/kata-lab/ ).   The overriding theme (and motto) of this project is to “Think – Sweat – Experiment” with Kata. That motto is my modus operandi for kata practice. One night while using the Gassho-No-Kata to clear my mind for practice. Bazinga! It hit me. I wondered what would happen if I added movement to the non-moving hand. 

Since the universe is essentially the balancing of opposites, I added an equal and opposite hand movement. The double handed version of the kata was born. More and more practice and “Think-Sweat-Experiment” caused me to return to the single handed, original version, but with the goal of imagining and visualize the stationary hand as moving as if the double version is being performed.

The result was startling and mind altering. Given the visualization technique, I called the kata the Ghost Hand Kata. The Ghost Hand Kata is performed in a relaxed standing position. Place your feet flat on the ground, slightly pressing them downward with your heels together and toes pointed about forty-five degrees to the side. Your knees should be slightly bent. You align your spine by rotating your hips down and outward (as if you are thrusting your hips forward). 

Before discussing the movements of the kata, I need to introduce you to a fundamental hand posture, the Gassho posture and a movement that repeatedly links all movements, I call the “Bridge” movement.

All movements, including these two postures are performed with relaxed breathing. You will breathe fully and naturally using deep abdominal breathing.

The Gassho posture is the basic posture of the Ghost Hand Kata. To achieve this posture, place your hands at your side, open them so your fingertips point down at the ground. Now raise them to the Gassho position described below. NOTE: There is a video for your learning convenience at the end of this post.

Gassho position. 

The Gassho position is the starting and ending position for all movements to follow. Palms gently touching, fingertips point up, at a distance of about six inches from the chest. Height is so fingertips in line with the bottom of your chin. Hand position should be comfortable.

The “Bridge” movement. 

This movement links all movements in the kata. From the Gassho posture, the hands remain gently touching and are drawn inward to the chest. The hands are then extended outward back to the Gassho posture.

Now for the hand movements. Here’s a quick overview of the movements (each movement is separated by the bridge movement.

  • •a bow;
  • •a opening double hand movement;
  • •three hand movements with the right hand;
  • •three hand movements with the left hand;
  • •a closing double hand movement
  • •a bow.

At this juncture, I’m only giving you only the most basic description of the hand movements. This is so you can concentrate on simply learning these movements. Your goal is to be able to perform them without thinking. In subsequent sections I’ll give you the more advanced process that accompany each movement. These advanced concepts include,  inter alia, the “Ghost-hand gaze”, efficient breathing, contraction and expansion of internal energy and, most importantly, the mental state and internal perception that must accompany the movements. These advanced concepts facilitate the mediative process of the Ghost Hand Kata. This will assist you in your exploration of both Katannabis and Esoteric Kata.

The Ghost-Hand Kata (single hand movements). 

All movements should be as if your hand is floating, almost moving on its own.

Stand with feet together, as described above. Lower your hands to your sides, fingertips pointing down. 

Raise your hands to the Gassho posture;

Perform the bridge movement;

Reach for the sky. With palms pressed together, bring your hands in to your chest extend your hands to the side rotating palms outwards to the side, raise your hands above your head, palms facing upwards (fingertips touching), lower your hands back to the Gassho position;

Perform the bridge movement (You will now perform the first of three hand movements with the right hand). 

NOTE: During the next three right side hand movements, the left hand remains stationary. The stationary hand will take on a greater role in the visualization process (the “Ghost-hand Gaze”).

Upwards float – Allow the right hand to slowly rise, as your right palm reaches the height of your left finger tips, rotate your right wrist upwards so that the right finger tips point down, extend upwards over your head until your right elbow is almost fully extended. Allow the right hand to fall downward to again press gently against the left palm in the Gassho position.

Perform the bridge movement;

Sidewards drift – Allow the right hand to rotate outward to the side, palm facing out, as if waving in a circular manner (note that when the hand is extended to the side, the finger tips point outward to the side, continue the rotation until the hand points down, palm out and fingertips point to the ground. Retrace the semi-circle you made with your hand until the right palm is again pressing against your left palm in the Gassho posture.

Perform the bridge movement;

Downward sink – Allow the right hand to drift downward towards your right hip, the fingertips face forward and the palm is flat facing the ground. Raise your right hand upward as if to return to the Gassho posture; however, your right palm faces upwards, fingertips out. Allow the right hand to drift out to the right side once fully extended rotate the palm so that it faces the front with fingertips pointing up. Bring the hand inwards to return to the Gassho position.

You will now perform the same three movements using the left hand. NOTE during these movements the right hand will remain in the gassho position.

  • •Perform the bridge movement;
  • •Upwards float with the left hand;
  • •Perform the bridge movement;
  • •Sideways Drift with the left hand;
  • •Perform the bridge movement;
  • •Downward sink with the left hand;
  • •Perform the bridge movement;
  • •Repeat the “Reach the sky” used to start the Ghost Hand kata;
  • •Perform the bridge movement;
  • •Bow. Finished, but –

You can then again perform the Ghost hand kata as many times as you would like.

Closing Comments – practice recommendations

The movements of the kata are relatively simply. As such, you should commit them to memory relatively quickly. Once the movements are memorized, you must integrate the “Ghost Hand Gaze” as early in your training as is feasible. The gaze is an integral part of the advanced concepts and should be mastered as early on as you can.

Video of Single Version of the Ghost Hand Kata filmed in beautiful Cape Cod, MA

I hope you enjoy experiencing and experimenting with the Ghost hand Kata. Until next time,

Cum superiorum privilegio veniaque *

Sensei John Szmitkowski

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Katannabis – Guideline # 4: Keep A Journal

30 Mar

Guideline # 4: Keep A Katannabis Journal

Notwithstanding my five decades of Karate and my over two decades of exploring Katannabis, I still memorialize my daily Katannabis session. Albeit, my session notes are rough. At a minimum the notes contain basic information as to the fundamentals of the session parameters. Namely, inter-alia, the strain of flower utilized, the dosage and frequency of cannabis, the type of incense or music, if any, the Kata performed and the order of performance. 

Using the parameters as a foundation, I then build my Katannabis session notes by memorializing my experiences, insights and inspirations as they occur to me. By spontaneously doing so, I am able to capture the essence of my Katannabis, without thought or preconception. This provides me with the purest documentation for further analysis, meditation and reflection. The “follow-up” considerations I do both while under the influence of the Katannabis cannabis entheogen and without same. 

I highly encourage you to maintain your own Katannabis journal. It is very important in early stages of Katannabis. I don’t think you can have a rewarding Katannabis experience without documenting your steps along the way. Trust me, your notes will be necessary as you modify your Katannabis syllabus. To this day, two decades later, though I have a core of Kata within my Katannabis syllabus, I still make adjustments to the order in which they are performed and other such adjustments. It is in the modifications that your experiences become heightened.

In addition, when you have a Katannabis experience, you want to document not only the experience but the conditions that gave rise to it. This serves a two-fold purpose. If the experience is positive, you will want to replicate it. If an experience cannot be replicated then it may not be an epiphenomenon of your Katannabis. It may simply be a one-time coincidence. 

If, on the other hand, your experience is one that is unpleasant, and “Yes,” you will have such an experience. You will want to fully understand the experience and the manner in which it arose. Then you can make an informed decision as to whether such an experience was an epiphenomenon of your Katannabis and if so, how to avoid it.

I know this sounds a bit like school and homework. You can make the process enjoyable. I love the feel of writing with a fountain pen, so I keep my pens handy during Katannabis. Each pen is filled with its own unique ink which adds to the enjoyment. I also include little sketches and diagrams. An artist I am not, but again, this adds to the overall experience. In fact, I look at the journaling process as a “Kata” within my syllabus. And, “Yes,” the act of writing can be looked at as a Kata. 

Katannabis ritual meditation is a serious endeavor. That being said, in addition to be enlightening, thought-provoking and eye-opening, it should be enjoyable. In my experience, I find the act of memorializing my experiences adds to such enjoyment. Have a puff or an edible, do you Kata and get out that pen and paper. Until next time, 

Cum superiorum privilegio veniaque * 

Sensei John Szmitkowski

* (with the privilege and permission of the superiors)

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External Factors Involved In Katannabis – Part 2 of 2

12 Sep

Katannabis Ritual Meditation, my entheogenic combination of Kata-Rx and Cannabis, is an acutely, intense practice. It is solemn. I am compelled to practice, experiment, and memorial my experiences. Most recently I have been deeply exploring internal and external factors, processes, and “unknowns” that affect, intermingle with and are present during a Katannabis session.

My desire to memorialize and sometimes publish my findings is tempered by a nagging feeling that by publishing my experiences, I am trivializing them by making them too easily attainable. To put my concerns at rest, I’m not going to re-type my notes. Rather, I simply going to upload them as Jpegs. You’ll have to go through the “effort” of clicking on the to read. That may dissuade all those save those who are really interested in probing the profound meditative effects of Katannabis. All others, press the “escape” button and click off this site then go purchase your self-help books, crystals, new yoga pants and incense. This isn’t for you.

External factors – Overview:

External factors – Discussion:

You can learn My Kata-Rx to use in your Katannabis ritual meditation using this safe, convenient link to my online school: https://kata-rx.teachable.com/p/preview-kata-as-moving-meditation The course is FREE! 

How far you want to explore its depths is up to you.

Cum superiorum privilegio veniaque 

(with the privilege and permission of the superiors)

Sensei John Szmitkowski

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Internal Factors Involved In Katannabis – Part 1 of 2

8 Aug

Katannabis Ritual Meditation, my entheogenic combination of Kata-Rx and Cannabis, is an acutely, intense practice. It is solemn. I am compelled to practice, experiment, and memorial my experiences. Most recently I have been deeply exploring internal and external factors, processes, and “unknowns” that affect, intermingle with and are present during a Katannabis session.

My desire to memorialize and sometimes publish my findings is tempered by a nagging feeling that by publishing my experiences, I am trivializing them by making them too easily attainable. To put my concerns at rest, I’m not going to re-type my notes. Rather, I simply going to upload them as Jpegs. You’ll have to go through the “effort” of clicking on the to read. That may dissuade all those save those who are really interested in probing the profound meditative effects of Katannabis. All others, press the “escape” button and click off this site then go purchase your self-help books, crystals, new yoga pants and incense. This isn’t for you.

Internal factors – Overview:

Internal factors – Discussion:

You can learn My Kata-Rx to use in your Katannabis ritual meditation using this safe, convenient link to my online school: https://kata-rx.teachable.com/p/preview-kata-as-moving-meditation The course is FREE! 

How far you want to explore its depths is up to you.

Cum superiorum privilegio veniaque 

(with the privilege and permission of the Superiors)

Sensei John Szmitkowski

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(Wish’in I was) “On The Road (again) With Kata”

21 Nov

Ah, the call of the open road.

For as long as I can remember, I ride my motorcycle every day regardless of weather. Not; however when the roads are covered in snow or black ice. But give me clear asphalt and I’m on two wheels logging the miles. Even if its “just” my daily commute, the trip is always something new.

Dojo (Winter) – circa 2001

Still, I find myself missing a nice long road trip. A few days on the road, nights in a cheap motel meeting people along the way, changing scenery. When I lived in Arizona, I logged at least two road trips a year to New Jersey to work or see family. Since I’ve moved back to my home state, that “need” is gone.

Yup, I’ve got the itch to burn the miles. Unfortunately, its the busy season at work and a few days off is impossible. So, what to do?

The answer – Kata!

My last road trip was the return trip back to New Jersey after the Arizona house sold. I made that trip alone as my wife flew out ahead of me and my road companion Chloe had passed.

Chloe on the road – circa 2006

I started the trip the Monday of Thanksgiving week 2014 and arrived in New Jersey Thanksgiving Day. Too late for either Thanksgiving dinner or pumpkin pie. But it was another safe road trip in the books.

Naturally I used kata along the way to enhance the pleasure of being on the road and to refresh myself physically and mentally during the four day, 2,600 mile trip. As I knew it would be my last long trip for a while, I videoed my kata and journey. Looking at my videos, I realized I can again enjoy the memory of the journey through my kata. So, Monday of this week, I began to perform my “On The Road Kata.” As for this writing, I’ve completed the first two days (Monday and Tuesday) kata and am working on day three (Wednesday) as this is posting. Tomorrow, I’ll symbolically end my journey.

Come along, try a kata or two (some I recreated based upon my needs during the trip) and watch the videos. Here’s the journey:

Day 1: Monday – San Tan Valley, Arizona to Shamrock, Texas ( 789 miles)

1. Takiyouku Shodan modified to use Sanchin Kata method on the blocks – last kata performed in my house

2. Wansu Kata – Route 66 Casino/Truckstop west Albuquerque, New Mexico

3. Seipai Kata – slow to stretch my muscles Flying C Ranch Truck-stop, west of Santa Rosa, New Mexico

4. Sanchin Kata Hybrid – Best Western Motel, Shamrock Texas

Day 2: Tuesday – Shamrock, TX to West Memphis, Tennessee (1,169 miles traveled)

1. Hybrid Kata – using Seienchin, Suparunpei and Sanchin Kata to get the “blood flowing” (5:30 a.m. illuminated by truck headlights)

2. Ananku Kata – Truckstop Shawnee, Oklahoma

3. Fuku Kata – Rest Area, Altus, Arkansas

Day 3: Wednesday – West Memphis, TN to Salem, Virginia

1. Hybrid Kata 5:30 a.m. using Suparunpei and Hakutsuru Kata)

2. Kunchaba Kata – my weekly Wednesday Kata tribute to Shihan Wayne Norlander filmed at Loretta Lynn’s Country Kitchen, Hurricane Mills, Tennessee. (See Endnote # 1 for a video which includes a touching soundtrack by Warren Zevon).

3. Gekisai Kata (Deconstructed) – Comfort Inn Motel, Salem, VA. Kata on the road like this led to my “Kata Laboratory.”

Day 4: Thursday, Thanksgiving Day (2014) Salem, VA to Bergen County, New Jersey

1. Sanchin Kata (Shobu version) at a gas station on highway I-78 in Pennsylvania.

Thanks for reading and watching. Have a really Happy Thanksgiving, 2017.

Sensei John Szmitkowski

     For information on my “no-risk”, kata seminars, please visit the seminar page using this convenient link https://senseijohn.me/seminar-kata/
My seminars are the ONLY seminars that allow you to pay at the conclusion, thus insuring your complete satisfaction!

ENDNOTES:

1. My video tribute from the road to Shihan Wayne Norlander featuring the song, “Keep Me In Your Heart” by Warren Zevon. I miss the Karate-Do training we shared and motorcycle rides we took.

 For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/category/kata-laboratory/

© Copyright 2017 Issho Productions & John Szmitkowski, all rights reserved.

You may wish to view my other blogs –
   my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
and
 the Goshin-Do Karate blog at http://defeliceryu.com

Hatsu Bon For Shihan Wayne Norlander

18 May

Today marks the 10th anniversary of the passing of my friend and karate-do comrade, Shihan Wayne Norlander. To his eternal spirit I offer my training this month and the following Hatsu Bon poem. May his spirit find my training and poem worthy.

Shihan Wayne Norlander with friend & comrade, Shihan Peter Urban, circa 1970’s, West New York, NJ

HATSU BON POEM

Please don’t cry before my grave
That’s not where I am
Nor am I sleeping for eternity
SEE!!
I am already part of the breezes
numbering a thousand
I am part of the light
that brightens this world
Like a diamond glittering in the snow
Like the sun that coaxes seeds to sprout
And in the Fall I become the gentle rain
that nurtures all.
When you open the window in the morning
I am the breeze
That causes your hair to flutter;
And at night, I am the star
That watches over your sleep.
So, please . . . don’t cry before my grave
That’s not where I am.
I am not dead.
I have been born anew.

With Shihan Norlander after a spirited workout. Circa 2008

My graveside Sanchin memorial to Shihan:

Sincerity in sweat, Sensei.


Sensei John Szmitkowski