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Bushido-kai Kata Comparison Series


Analysis and Applications

The "J-series":

Ji-in, Jutte, Jion


Seminar support materials
from Shihan Tony Annesi, Takeshin Sogo Budo
BUSHIDO-KAI SEMINARS
c/o 300 Eliot St. #369
Ashland, Mass. [01721]
usA
(508) 881-4007
Teiji KAZE (France) performs Shotokan Jion.

JI-IN / JUTTE / JION


Additional Information compiled by Shihan Tony Annesi
History & Name
The definitions we in Takeshin use are as follows: Ji-in means Temple Ground, Jion means Temple Sound
but is also the name of a Buddhist saint, and Jutte means Ten Hands. However Jutte is also pronounced
and spelled Jite in which case it can mean Temple Hand, thus unifying the three forms.
One theory suggests that one of these kata may have been named Jion because it was developed in the
Jion-ji (Jion Temple)
Ryusho SAKAGAMI, as seems to be his custom, prefers to use variant ideographs for the same pronunciation, thus yielding the following translations: Ji-in = Love Sincerity; Jutte = Skilled Hand; Jion = Love
Sound.
Funakoshi renamed Ji-in as Shkyo (Elimination) but the original name survived.
All three forms come from Tomari-te but at least one (perhaps two) were often practiced in Shuri-te
(Shorin) styles as well.

General
Arhat Boxing (Monk Fist), a Chinese style related to White Crane, uses older versions of kata Sanchin,
Seisan, Jutte, Seipai, Ueseishi (Gojushiho), Peichurin. The fact that Monk Fist does not use Ji-in or Jion
perhaps suggests that these three kata may have not originally been related.
Each kata starts with a similar but differently detailed fist and cover kamae, reminiscent of Shaolin
boxing, and a rearward step followed by a leftward, rightward and forward step.
Each kata uses manji-uke (Buddhist swastika shaped block).
Hirokazu KANAZAWA holds that Jutte was used as a defense to the bo (staff); however, others claim that
it was meant to be used with bo in hand.
Ironically, the Japanese form of the Okinawan sai (truncheon) is jutte and the kata can be done with
double sai in hand (sai were often used in Okinawa to defend against bo); this interpretation is attractive
until one realizes that the Japanese truncheon or jutte has only one prong and it is usually very close to the
main shafta bo would not fit in this opening. The Jutte was a police officers weapon meant to defend
against a sword. Therefore, the identical names of the Okinawan kata and the Japanese truncheon may be
just coincidental. Another, simpler, version of the coinciding names is that the katas yama-uke (mountain
block) reminds one of the shape of a sai or jutte.
Reminiscent of Jutte is Kenwa MABUNIs Shito-ryu form Aoyagi , also called Seiryu (both mean Blue
Willow), which also has elements of Gojus Seienchin (means "Lull in the Storm"). Most probably, Mabuni
based this kata on Seienchin, Jutte and/or the J-series in general.

Other Versions
Generally, Shorin styles practice these kata. Versions of them are done dominantly in Shotokan, Wadoryu and Shito-ryu.

References:
KANAZAWA, Hirokazu, Shotokan Karate International Kata (Vol. 1), 1981
KANAZAWA, Hirokazu, Shotokan Karate International Kata (Vol. 2), 1981
McCarthy, Patrick (trans.),Bubishi, The Bible of Karate, Tuttle, 1995
Morris, Vince & Aiden Trimble, Karate Kata and Applications, Vol 2, Stanley Paul Pub., 1990
Morris, Vince & Aiden Trimble, Karate Kata and Applications, Vol 3, Stanley Paul Pub., 1990
NAKAYAMA, Masatoshi, Best Karate (Vol. 7), Kodansha International, 1981
NAKAYAMA, Masatoshi, Best Karate (Vol. 8), Kodansha International, 1981
SAKAGAMI, Ryusho, Karate-do Kata Taikan, Japan Publications, 1978.
BUSHIDO-KAI SEMINARS, c/o 300 Eliot St., Ashland, Mass. [01721] 508 881-4007

Roland Habersetzer (France)


performs Shotokan-style Ji-in

JI-IN
(Temple Ground)
The major variation in Shotokan methods has to
do with which hand performs the middle and
which the lower block from the front stance (#1,
below and ff). Note: if the lower block were performed over the forward foot (unlike our example
below), it would provide an opening movement
similar to but subtly different from that of Jutte and
Jion, thus giving us 3 distinct openings which look
alike.
Originally, the end of the kata had additional
upper blocks and lunge punches on a horizontal
embusen, West and East.
This ending negated the need for the slide into
sochin-dachi (see #19) and thus put the kata back
on the proper tome (ending point).

Ryusho SAKAGAMI performs Itosu-kai Jite (Jutte)

JUTTE
(Ten Hands)
Major variations have to do with the bo or jo
block. Most Shotokan schools do a shuto upper
block and then a hiigh/low koko-uke.
The bo/jo "defense" can also be done as if wielding a bo offensively or as if wielding a sai
defensively.

BUSHIDO-KAI SEMINARS,
c/o 300 Eliot St., Ashland, Mass.
[01721] 508 881-4007

The illustrated outline of all


the kata in this manual comes
from
KARATE-DO NO SHOSAI
(The Details of Karate-do)
Volume 4: Nidan by Tony
Annesi
(Available through
BUSHIDO-KAI BUDOYA,
this manual includes 9 other
forms, suggested bunkai, as
well as Takeshin Nidan sparring and kicking requirements.)
NOTE: The presentation of
this seminar on videocassette,
professionally edited in vinyl
library case is available from
BUSHIDO-KAI BUDOYA at
the above phone number.

Teiji KAZE (France) performs


Shotokan-style Jion

JION
(Temple Sound)
The double down-blocks (see # 25) were
originally side bottom-fist strikes and thus
were more logically suited for a release vs. a
rear body hold.)