The Miyama no Kata was developed by Hanshi Juchnik to teach the practitioner more about hand positioning, routine, movement, and fluidity. This first section emphasizes the rolling hand movements and the principle that the body moves the hands, not the other way around. The tape covers the three sections of the form (rolling movement, fluid plateaued motion, and rooted hand postures from the sword and jo), the comparison to fencing where the practitioner stays behind the weapon, the saying that the best Kempo technique is one that looks natural or like a mistake, and bunkai applications drawn from the opening neko stance through the juji dachi and outer block.
Up Next in Kata Series
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Miyama - Three Mountain #2
The second section of the Miyama Kata works with gliding movement, like a mountain range with climbs and plateaus, transitioning between long, intermediate, and close range. Hanshi Juchnik focuses on the shuto and how it functions as both a strike and a parry, and demonstrates timing and gliding ...
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Miyama - Three Mountain #3
The third section of the Miyama Kata deals with rooted technique, peaks rather than rolling hills or plateaus, and incorporates work from the sanchin and otoko atemi along with movements drawn from the jo, sword, and bladed technique. Hanshi Juchnik emphasizes that the form is frozen but the tran...
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Miyama: Three Mountain Revisited
This more advanced look at Miyama, primarily Miyama One, breaks through some of the barriers that arise when practitioners view the form through their existing assumptions about martial arts. Hanshi Juchnik emphasizes that kata and kumite are not separate, that any movement of the form should all...
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