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

Migi Gedan Otoshi Bari Ude Uke (right lower downward sweeping forearm block)

*Special note: If attacked from the rear withdraw the right leg in front of the left, immediately turn to

come back to the same place and perform against a new attack. This movement takes the defender away

from a kicking attack from the rear moves your defense to the side as you turn to defend against the next

attacking technique. (Fig. 6)

8. Turn to the left 90 degrees into Hidari Zenkutsu Dachi (left forward stance) and perform Juji Uke

Jodan (X-block high) hands are open and facing outward. The elbows are not extended but bent so the

forearms are slightly bent inward giving proper protection in the block to the Men (head area) without

covering the vision of the eyes. Fig. 7)

“Chinto is a kata of balance and speed where the whole body has to function at

once to make the techniques work.”

“Do not make the shoulders work alone, this makes the kata

incomplete and weak.”

9. Form fists with both shuto hands and perform Chudan Morote Tettsui Otoshi Uke (double

hammer fist downward block) right hand over left. (Fig. 8).

10. Draw both fist back and into the chest. Bring the right leg forward and perform a Nidan Tobi Geri

(double jumping kick) first with the right leg then the left in the air. (Fig. 9) The fist should be drawn

back to the side position as the left kick is being executed.

11. Landing in Hidari Zenkutsu Dachi (left forward stance) perform Gedan Juji uke (lower X - block.).

(Fig. 9)

12. Draw both closed fist from the gedan X-block back into the right chest area, simultaneously draw

the left leg back into Neko Ashi Dachi. Do not pause in this position, using the right foot as the pivot

point turn 180 degrees step out into Hidari Zenkutsu Dachi (left forward stance) and perform Juji Uke.

(Fig. 10)

13. Pivot the body to the right 180 degrees and move the right front foot outward into Migi Kokutsu

Dachi (right back stance). Perform Migi Gedan Bari Uke (right downward sweeping block).

*Special Note: The left hand here does not come all the way back to the hip but is placed on the

chest. The kokutsu dachi used here is different than a normal stance with the knees bent distributing

the weight 60-40 % back to front. In this Kokutsu Dachi your body is bent backwards so that you can

avoid an attack to you face when you make your pivot 180 degrees. The front knee is not bent for the

purpose of avoiding. This is a very important movement in Chinto kata and can be found in Pinan Go-

dan in the last movements. Otsuka Sensei says, “Do as in Pinan Godan. Lean the body down toward

the left in response to a high attack from behind (an enemy’s staff) and place the right fist at the chest.

The face turns right.

14. Bring your left foot to your right foot, the right leg is slightly bent for balance and posture, the left

heel is slightly raised. In this position the last block is still held while moving forward.

*Special Note: This is to prepare for the next block, an to train in avoiding. This is only an intermedi-

ate stage and should be continuous into the next move. (Fig. 11a & 11b)

15. Continue to advance with your left foot into Hidari Kokutsu Dachi (left back stance).

Simultaneously perform a Hidari Gedan Shuto uke (left downward knife hand block). The right hand

shuto is placed at the chest in the protection position, palm upward. (Fig. 12)

*Special Note: the kokutsu dachi stance here is as in movement 13 of this kata leaning back with the

knee straight to avoid an attack to the face. Ohgami Sensei says, “The body is bent backward to

avoid the opponent’s attack to the face. At the same time you have a possibility to perform Ashi bari

(sweeping with the foot) with your front foot.

16. Step forward with your right foot into Migi Zenkutsu Dachi (right forward stance) perform a

Morote Jodan Shuto Uke (double high knife hand block). The double block is done from inside to

outside.

*Special Note: Otsuki Sensei, the double shuto block is done simultaneously to jodan and each side

at the same time. The defense crosses with the right on the inside and left on the inside with palms

facing outward. The forearms are turned inward to outward. Take care not to raise the elbows or put

strength in the arms. In Chinto, this defense must be done quickly, yet effectively. The defense must

complement the shift in the body’s posture and also the actions to the left and right with the shuto

must be done at the same time. (Fig. 13)

17. Turn to the left 90 degrees by moving the left foot into Hanshiko Dachi (half sumo stance - higher

than normal). Simultaneously perform Jodan Morote Haito Uchi Uke (high double ridge hand inside to

outside block). The right hand is on the outside when the arms cross to perform this double block. Also

note that to make the block more effective and using the principal of the small circular movements, hold

the set position of the shuto block until the arms have crossed then turn the forearms inward and block

each side as a defense with Haito. (Fig. 14)

*Special Note: Sensei Lane, Over the years of training with Chinto kata the modern version of Wado

has allowed in the 90 degree turn to the left that a Hidari Nami Ashi uke (left foot sweeping block) be al-

lowed. This movement allows the defender of the kata to avoid a left side attack of the back leg and move

into the next attack with an upper block. It will not be wrong to use this protection in the kata.

18. Stand up slowly by drawing in the left leg into Shiko Shizen Hontai (Sumo normal natural stance).

Bring the hands down fist closed and turn the head to the left, this is the preparation for the next move-

ment. Otsuka Sensei, “place both hands into fists and lower them to the front; extend both knees and

face towards the left, as in the posture for preparation. Do this silently. This prepares one for the next

movement. (Fig. 15)

19. Step out with your left foot into Hidari Kokutsu Dachi (left back stance) keep this stance a deep back

stance as in movement 13 & 15. Perform Hidari Otoshi Gedan Bari ude uke (left downward sweeping

low forearm block) and Migi Jodan Uchi Ude uke (right high inside to outside forearm block) (Fig. 16)

*Special Note: Over the years of training with Chinto kata modern Wado has allowed the defender of the

kata to perform a three point block when stepping out into this deep leaning kokutsu dachi. The advan-

tage of the three point block is to avoid a possible double attack from front and rear. The leaning and ex-

tension of the arm of a blocking punch gives rising energy to the technique. The defender steps out and

leans back avoiding a high attack from the front. The leaning puts the defender into the rear attack with a

block and an extension of the arm with Ura Zuki Uchi (close fist strike) the arm is then bent back to the

block position riding or deflecting the rear attacker forward and to the side. When the arm is brought

back to the block position the left front leg is shifted to a natural kokutsu dachi stance allowing natural

dropping and sweeping energy to be transferred to the frontal attack. The bending should be done as a

continuous flow into the next movement to give a downward moving energy.

20. Bring your right foot up to your left foot, the left leg is slightly bent and the right heel is slightly off

the floor. The arms remain in the last blocking position. This is an intermediate defense that is not held

and is continuous into the next movement. (Fig. 16a)

21. Perform the same movements as that of movement 19 only done on the right side. (Fig. 17)

22. Bring your left foot up to your right foot, the right leg is slightly bent the left heel is slightly off the

floor. The arms remain in the blocking position. This is the intermediate position and is not held and is

continuous into the next movement. (Fig. 17a) Otsuka Sensei: Imagine enemies to the sides and turn the

body backwards (right leg as pivot, turn left), and bring the left leg to the right leg (use the whole body to

move the leg,) erect the body upright (as if to pull in and avoid the enemies attack), look at the enemy to

the left and instantaneously turn the body left and face the enemy at the right.

23. Continue to turn 360 degrees and step out with your left leg into Hidari Kokutsu Dachi (left back

stance) and perform left lower block and high forearm block, same as in movement 19. (Fig. 18)

23. Continue to turn 360 degrees and step out with your left leg into Hidari Kokutsu Dachi (left back

stance) and perform left lower block and high forearm block, same as in movement 19. (Fig. 18)

24. Turn the head to the right, straight forward, draw the right foot to the rear of your left foot into Hidari

Gyaku-Neko Ashi Dachi (left reverse cat stance). At the same time the hands are drawn back to the hip

position. (Fig. 18a)

25. Perform Otoshi Gedan Juji Uke (downward lower X-block) from the sides of your body. Keep the

body straight during the performance and cross right arm over the left in the block. (Fig. 19).

*Special Note: Otsuka Sensei: Turn the head straight forward, (do not look down), bring the right leg

directly behind the left leg and stand on the right toes while lowering the body and with both hands in a

fist, do a Gedan defense forward with both arms together. Cross the arms with the right arm above the

left and keep the upper body straight. Do not place all the body’s weight on the left leg alone.

26. Step forward and outward with the right foot into Hanshiko Dachi (half sumo stance) lower the body

slightly. Perform Morote Jodan Uchi Ude Uke (double high inside to outside forearm block. (Fig. 20)

27. Stand up slowly and have Shiko Shizen Hontai. Bring your hands down slowly. This is identical to

movement 15.

28. Bring your hands back to your hips fist closed and prepare to perform Kote Uke (arm block) (Fig. 21)

29. Lower your body and twist to the left performing Migi Kote Uke (right arm block) (Fig. 23)

(*Special Note: This block is identical to that done in Pinan Sandan. Although generally the arm is that

which is being used in the block Otsuka Sensei specifically mentions the use of the elbow in making the

block effective. Otsuka Sensei: Lower the body while twisting at the waist to the left and turn to the left,

while using the right elbow to defend a Chudan attack from the front.

30. Twist the body back to the right performing Hidari Kote Uke (left arm block) (Fig. 24)

31. Turn 180 degrees using the right foot as a pivot into Migi Gyaku Neko Ashi Dachi (right cat stance)

Perform Morote Jodan Uchi Ude Uke (double high inside to outside forearm block) (Fig. 25)

32. The following four moves should be done in a sequence.

1. Turn the head to the left and raise the knee up as if you are ready to kick. Saigi Ashi Dachi (heron

stance) and perform Hidari Otoshi Gedan Bari Ude Uke (left downward lower sweeping forearm block) at

the same time perform Migi Jodan Uchi Ude Uke (right high inside to outside forearm block. (Fig. 26)

2. Bring your fist back to the right side of the chest while remaining in Sagi Ashi Dachi.

3. Perform Hidari Chudan Otoshi Bari Ude Uke (left middle downward sweeping forearm block),

simultaneously perform Hidari Mar Geri (left front kick).

4. Step out with your right leg into Migi Zenkutsu Dachi and perform Migi Seiken Junzuki (right fore

fist front punch) (Fig. 27)

*Special Note: Otsuka Sensei: Turn to the left and raise the left leg, bend the knee and place the foot

near the right knee, touching slightly, place both fists to the left, right arm high to the right, then place

both fists beside the right chest. Do not place the right fist on top of the left fist. As a block is done with

the left fist to the enemies Chudan attack, do a left front kick. Step forward left with the right foot, do a

right jun-tsuki and bring the left fist beside the chest. One should be especially cautious as the foot is

placed near the knee of the standing leg, as the body can lose its balance easily. The bent leg’s knee

should only touch the standing leg slightly. Assume this posture as if to kick an enemy. Remember to

create an opportunity to attack as one defends from the enemy. Always be prepared to attack, or counter

attack in any movement, or at any time. Do not pull the leg with the strength of the legs alone. If one

thinks of countering the enemy’s attack, the pulled leg will naturally assume a position with which to

kick. Keep in mind that every movement must be “alive” in kata.

Ohgami Sensei: If an opponent sweeps you with a Bo or his foot. You avoid it by raising your left foot.

Then his attack comes to your Chudan, so you block with left gedanbari and counterattack with your left

front kick, which is followed by Junzuki. This will give you excellent training of quickness and balance.

33. Repeat movement 32-1, 32-2 & 32-3 to the opposite direction, right side. (Fig. 28)

34. Perform Hidari Gyaku Zuki (left reverse punch) in Migi Tate Seishan Dachi (right vertical wide

uneven stance). (Fig. 29)

35. Turn to the left 180 degrees Repeat movement 32-1, 32-2 & 32-3 (Fig. 30 - 31)

36. Perform Migi Gyaku Zuki (right reverse punch) in hidari Tate Seishan Dachi (left vertical wide un-

even stance) (Fig. 31a)

37. Turn the body to the right 180 degrees and have Shiko Ashi Dachi (sumo stance) perform Migi Shuto

Kake Uke (right knife hand hooking grasping block) (Fig. 32)

*Special Note: Otsuka Sensei: An incomplete defense will result if the right shoulder is made tense, the

elbow will rise. Keep the elbow low, block to the side and bend the right wrist as if to grab something.

38. Perform Hidari Tate Empi Uchi (left vertical elbow strike). The stance is Migi Tate Seishan Dachi.

Here the body twisting must be used to accelerate the elbow strike. (Fig. 33)

39. Twist the body back and draw the hands back to the left side of the body. The left hand is opened

into a shuto hand palm upward. The right fist is placed at the left palm. This is preparation for the next

movement and at the same time indicates a reverse technique (seizing the opponent’s hand). (Fig. 33a)

40. Draw the left leg in to Sagiashi Dachi (the lifted knee indicates one may kick to the front.) Turn the

body 180 degrees on your right heron stance using the right foot as the pivot point. Simultaneously per-

form Migi Ipponken Zuki (right one finger hand punch) to the opponents facial area. The left hand is a

shuto uke guard and can also be used as an augment to the punch. One the completion of the turn the

hands are placed to the left side of the chest. (Fig. 34 - 35)

*Special Note: Otsuka Sensei: Imagine the enemies to be in front and rear, pull the left leg in to seem

like one is about to kick the enemy in front and place it at the right knee while striking upward with the

right fist at the enemies nose, place the left shuto at the chest and using the right leg as a pivot, turn to the

right placing both fist at the right chest, followed by a left kick and a left chudan block.

41. Perform the same movement again as 32-2, 32-3 & 32-4 (Fig. 36)

42. Perform Yame (finish), turn 180 degrees by drawing back the left foot into Shizen Hontai (natural

stance) . Move into Musubi Dachi (open toe attention stance) and perform Tachi Rei (standing bow) (Fig.

37).

9a

11a

11b

16a

31a

Highland Wado Kai Karate - Jujitsu Organization of Canada

Modern Wado Kai Formulated Kata

Chinto Kata / Sensei Barry Lane (Shichidan)

Jan/90 / Revised Feb/98