Let's talk Jion

[cathal]

I've been practicing this kata for a while. Its easy to learn and I really enjoy it because its all about kime. I've even hard of it as a somewhat mysterious kata, with the origin unknown & a lot of opinions on it. The one thing most agree on is the name seems to resemble a Chinese temple called Jion-Li.

Jion is widely known in Shotokan circles as one of the "big four": Bassai-Dai, Kanku-Dai, Jion, and Enpi. This is because most (if not all) Shotokan organizations agree on them & use them.

The bunkai is also very interesting. Not everyone uses the palm heel strikes yet I've seen many occasionally utilize it for bunkai.

A few different versions:

Shotokan:

Aragaki Misako: https://www.youtube.com/watch?v=hz-riFkJy18

Wado-ryu: https://www.youtube.com/watch?v=N2PcEm9eXBw

Nathaie Moreau 2010:

International Hayashi-Ha Shito-Ryu:

Javier Hernandez:

What do you like, love, or hate about this kata? What insights do you have for those performing it? Does your dojo make changes to it?

I know Shukokai uses Jion but couldn't in a video. Anyone have a link?

[sensei8]

Another gem within the Shotokan Kata Syllabus. Much again, is upheld that the Bunkai offers so many possibilities, that, it might take a lifetime to discover the effective possibilities that await the practitioner. Unlike Chinte that has those darn hops at the end, Jion, too, doesn't seem to start and end at the same point amongst the Embusen.

Palm heel strikes/hammer fists are, imho, unique and special to Jion. Many escapes are found as well, including some direct counter-strikes. Yes, what I've just typed are things of my own interpretations. Funny thing, I suppose, is that I'm NOT a Shotokan practitioner by trade, but Shindokan; the foremost is Japanese and the latter is Okinawa; two different worlds, yet so similar in many observations.

I love Kata; a valuable and endless training tool, therefore, I don't train only in Shindokan Kata's; that to me limits me...NOT COOL!!

[Mark B]

Whilst not one of the kata which I teach as part of my syllabus it is one which I have taught during a two part seminar just last summer.

Jion is , without question , an excellent system for civilian self defence which teaches key strategies, principles and technique options.

Great kata

[cathal]

an excellent system for civilian self defence which teaches key strategies, principles and technique options.

Fantastic. Can you provide an example?

[Mark B]

In the first place the lessons taught in the Jion kata are, in my opinion , no different to the lessons taught by any other form. This would seem obvious to me, as kata are the training syllabus for the habitual acts of physical violence.

As we know , any approach to kata should be a personal thing (once you have sufficient knowledge, both mental and physical ), so this would be MY approach to Jion.

I like to have an application for the Yoi position - for Jion I imagine closing distance immediately upon losing the pre-engagement initiative (pre-emptive strike). I locate the back of the opponents head/neck to deliver short rising punches - so the first lesson/ strategy teaches how to regain lost initiative , and a good option for which technique to apply once there.

The Gedan Barai /Chudan Uke with weight dropping back section is in my approach the follow up to the initial regaining of initiative. In my approach this sequence teaches the clearing of limb obstruction to break posture/ set up locking &limb destruction ideas.

The 45° section teaches the redirecting of energy - manipulating to both the inside & outside of the combative engagement. The kata Jion offers preferred application options. On the inside destroy posture to facilitate a takedown using Ushiro Geri in combination with the first Oi -Zuki. On the outside (preferred) we apply a stamping kick to blow out the knee joint to set up a shoulder lock option. This sequence then teaches the strategy of redirecting energy and the specific techniques of takedowns, and set ups for a simple locking option.

The kata moves onto the Age - Uke ,Gyaku/Oi -Zuki sequences. My approach considers the fight distance has now shortened. For the sake of practice we say the opponent has seized the lapel. Simple response - smash into the face with Age -Uke/Tsuki. The Gyaku or Oi Zuki which follows actually links to the first turn into Manji Uke. In smashing Age - Uke to the opponents face he drops his head and attempts to stifle the techniques (a predictable response ). On FEELING this the kata instructs us to gain control of the opponents head and turn 180°. This will greatly disrupt his posture. We brace into back stance in response to the opponents aggressive energy. The Manji Uke is applied to rake/wrench the head/face, before the weight shift to deliver a strike with the inside forearm as the opponents head rises from the wrenching technique. This sequence teaches many strategies- control the head, shifting/rotating to break posture, wrenching techniques to open up further impact options.

The kata moves onto the Gedan Barai /Shotai Uchi sequence. This expands on the clearing or redirecting of energy to deliver devastating palm heel strikes. A similar sequence is repeated later in the form, this time with Tettsui strikes. Some versions include a knee/stamping option which is sensible - applying the Ashi Waza will break the opponent down which renders Shotai inappropriate - the Tettsui however is ideal. Here we have Jion teaching the correct impact option.

The second Manji Uke which shifts into Morote Uke in attention stance teaches another use for Manji Uke. Opponent attacks - we lean away (back stance) and flinch to cover (Manji Uke preparation ) , recieving the opponents technique. We immediately deliver a Gedan Barai descending hammer fist strike, then instantly pass the opponents received limb to shift ourself to the outside of the combative engagement. We press the opponents limb to affect is posture by moving into attention stance, this leaves us perfectly placed to strike with an uppercut strike (Morote uke ). So this sequence teaches how to recieve and pass energy, how to disadvantage the opponents posture.

Moving into the attention stance with double Gedan Barai allows us to draw the opponents head down, and onto the knee strike with Gedan Juji Uke.

The sequence of low block, shift back into double Gedan Barai teaches two things - what to do if the opponent forces your head down, and what to do if you force your opponents head down and he attempts to tackle your legs.

The double Chudan Uke -Shotai - Age Uke - Tettsui sequence considers the option of wedging/disrupting the opponent at source, by closing and disrupting his shoulder movement (Chudan Uke ). The opponent then gives striking , covering and redirecting options , all contained within Shotai -Age uke -Tettsui.

The Chudan Uke Oi - Zuki at 90°teaches us to get offline on receipt of energy. It also teaches how to break a wrist grab, which can then flow nicely into a limb destruction or locking option. The kata teaches the quick shifting offline , whilst simultaneously disrupting posture.

I've mentioned the Gedan Barai -Tettsui sequence already so we move onto the final sequence. The version I practice it's an arcing palm heel in combination with Empi with the other hand, which extends into a hammer fist strike. The final sequence deals with dire situations. The other lessons have either failed or are inappropriate. The opponent is at extreme close quarters, grappling and has the initiative. The final sequence teaches how to create space through a raking Shotai to create enough of a flinch to deliver Empi. This creates more space which allows the hand that delivered Shotai to trap both of the opponents arms, from here we can strike with the Tettsui. If possible you also endeavour to create an angle (90° in the kata ) to enhance the advantage you've created. The lesson taught in the final sequence is how to create space in the most desperate circumstance, and then take immediate and significant advantage. From there any one of the scenarios described can transpire, the kata will have taught you well as to how to handle whichever eventuality occurs.

This list is by no means exhaustive and each option should fluidly blend to another as required, without the hindrance of concious thought.

When I taught this seminar last summer it was over two parts.

The first included pad exercises to drill many of the close quarter impact options. We had two person sets which would inform the Bunkai which was to come. We then looked at my applications, as described.

The second seminar brought it all together.

"What ifs", likely outcomes, possible failures, personal preferences. The session finished with unscripted Tegumi, based on habitual acts of physical violence.

I think the people who came really began to understand why in the old days it was common practice to only study two or three kata. To take all those exercises for Jion, drill them all to unconscious competence, then practice all the "what ifs" and variation possibilities to the same level would be a lifetimes work indeed !!!

I hope that helps to illustrate what I feel Jion can teach, albeit in words, which is difficult ,and apologies for the very long post.

[sensei8]

In the first place the lessons taught in the Jion kata are, in my opinion , no different to the lessons taught by any other form. This would seem obvious to me, as kata are the training syllabus for the habitual acts of physical violence.

As we know , any approach to kata should be a personal thing (once you have sufficient knowledge, both mental and physical ), so this would be MY approach to Jion.

I like to have an application for the Yoi position - for Jion I imagine closing distance immediately upon losing the pre-engagement initiative (pre-emptive strike). I locate the back of the opponents head/neck to deliver short rising punches - so the first lesson/ strategy teaches how to regain lost initiative , and a good option for which technique to apply once there.

The Gedan Barai /Chudan Uke with weight dropping back section is in my approach the follow up to the initial regaining of initiative. In my approach this sequence teaches the clearing of limb obstruction to break posture/ set up locking &limb destruction ideas.

The 45° section teaches the redirecting of energy - manipulating to both the inside & outside of the combative engagement. The kata Jion offers preferred application options. On the inside destroy posture to facilitate a takedown using Ushiro Geri in combination with the first Oi -Zuki. On the outside (preferred) we apply a stamping kick to blow out the knee joint to set up a shoulder lock option. This sequence then teaches the strategy of redirecting energy and the specific techniques of takedowns, and set ups for a simple locking option.

The kata moves onto the Age - Uke ,Gyaku/Oi -Zuki sequences. My approach considers the fight distance has now shortened. For the sake of practice we say the opponent has seized the lapel. Simple response - smash into the face with Age -Uke/Tsuki. The Gyaku or Oi Zuki which follows actually links to the first turn into Manji Uke. In smashing Age - Uke to the opponents face he drops his head and attempts to stifle the techniques (a predictable response ). On FEELING this the kata instructs us to gain control of the opponents head and turn 180°. This will greatly disrupt his posture. We brace into back stance in response to the opponents aggressive energy. The Manji Uke is applied to rake/wrench the head/face, before the weight shift to deliver a strike with the inside forearm as the opponents head rises from the wrenching technique. This sequence teaches many strategies- control the head, shifting/rotating to break posture, wrenching techniques to open up further impact options.

The kata moves onto the Gedan Barai /Shotai Uchi sequence. This expands on the clearing or redirecting of energy to deliver devastating palm heel strikes. A similar sequence is repeated later in the form, this time with Tettsui strikes. Some versions include a knee/stamping option which is sensible - applying the Ashi Waza will break the opponent down which renders Shotai inappropriate - the Tettsui however is ideal. Here we have Jion teaching the correct impact option.

The second Manji Uke which shifts into Morote Uke in attention stance teaches another use for Manji Uke. Opponent attacks - we lean away (back stance) and flinch to cover (Manji Uke preparation ) , recieving the opponents technique. We immediately deliver a Gedan Barai descending hammer fist strike, then instantly pass the opponents received limb to shift ourself to the outside of the combative engagement. We press the opponents limb to affect is posture by moving into attention stance, this leaves us perfectly placed to strike with an uppercut strike (Morote uke ). So this sequence teaches how to recieve and pass energy, how to disadvantage the opponents posture.

Moving into the attention stance with double Gedan Barai allows us to draw the opponents head down, and onto the knee strike with Gedan Juji Uke.

The sequence of low block, shift back into double Gedan Barai teaches two things - what to do if the opponent forces your head down, and what to do if you force your opponents head down and he attempts to tackle your legs.

The double Chudan Uke -Shotai - Age Uke - Tettsui sequence considers the option of wedging/disrupting the opponent at source, by closing and disrupting his shoulder movement (Chudan Uke ). The opponent then gives striking , covering and redirecting options , all contained within Shotai -Age uke -Tettsui.

The Chudan Uke Oi - Zuki at 90°teaches us to get offline on receipt of energy. It also teaches how to break a wrist grab, which can then flow nicely into a limb destruction or locking option. The kata teaches the quick shifting offline , whilst simultaneously disrupting posture.

I've mentioned the Gedan Barai -Tettsui sequence already so we move onto the final sequence. The version I practice it's an arcing palm heel in combination with Empi with the other hand, which extends into a hammer fist strike. The final sequence deals with dire situations. The other lessons have either failed or are inappropriate. The opponent is at extreme close quarters, grappling and has the initiative. The final sequence teaches how to create space through a raking Shotai to create enough of a flinch to deliver Empi. This creates more space which allows the hand that delivered Shotai to trap both of the opponents arms, from here we can strike with the Tettsui. If possible you also endeavour to create an angle (90° in the kata ) to enhance the advantage you've created. The lesson taught in the final sequence is how to create space in the most desperate circumstance, and then take immediate and significant advantage. From there any one of the scenarios described can transpire, the kata will have taught you well as to how to handle whichever eventuality occurs.

This list is by no means exhaustive and each option should fluidly blend to another as required, without the hindrance of concious thought.

When I taught this seminar last summer it was over two parts.

The first included pad exercises to drill many of the close quarter impact options. We had two person sets which would inform the Bunkai which was to come. We then looked at my applications, as described.

The second seminar brought it all together.

"What ifs", likely outcomes, possible failures, personal preferences. The session finished with unscripted Tegumi, based on habitual acts of physical violence.

I think the people who came really began to understand why in the old days it was common practice to only study two or three kata. To take all those exercises for Jion, drill them all to unconscious competence, then practice all the "what ifs" and variation possibilities to the same level would be a lifetimes work indeed !!!

I hope that helps to illustrate what I feel Jion can teach, albeit in words, which is difficult ,and apologies for the very long post.

Solid post!!

[LeighSimmsMA]

Hi Guys,

I have never met Mark in person, but I do believe I have spoke with him on a number of occasions on facebook and we do have similar thoughts about a lot in the martial arts.

By luck, I recorded some footage of me drilling some Jion applications and how I train bunkai in my group (starting from non-contextual drilling and moving onto drilling the principles in live practice).

If I am reading Marks post correctly, it seems like we have similar views on this kata too! Below is a description of applications for the first two movements of the kata-

Application 1 – Jion Yoi

Principle 1 – control the head and strike the jaw

The first movement of the kata can show one way in which to control the attacker. The defender uses his right hand to grip the hair of the attacker. (if there is no hair, an alternative is to place the hand on the back of the attacker’s head).

Once the hair is gripped the defender pulls his elbow towards the ground and pulls the attacker hair to the side. At the same time, the defender uses his left hand to impact the jaw.

Principle 2 – Where the body goes the head will follow

After the strike, the defenders left hand has now control of the jaw and the right hand still has the back of the head located. From there the attacker can be manipulated and moved around or down to the ground, as long as the defender keeps control of the attackers head.

You could drill the “grab and strike” and the “control and twist” as two separate motions. However, the controlling of the head is a very logical thing to do if the initial strike has not incapacitated the attacker enough for an escape to be available.

Application 2 – Zenkustu Dachi, Ude Uke/Gedan Barai

Principle 3 – Break free from a vertical clinch by bringing your arms inside and/or on top of the attackers (2 arm scenario)

The second movement of the kata is a motion where one arm risings up in an outwards circle and one arms drops down in a similar circular motion.

During the initial stages of the fight it maybe difficult to locate the back of the opponent’s head (as described in Principles 1 & 2), this can occur for a number of reasons. The primary reason is that the attackers arms prevent a pathway for the defender to reach his taget.

In order to reach the attackers head, the defender will need to ensure his arms are either on the inside of the attackers and/or on top of the attackers. If the attacker manages to get his arms in these positions it will make the defenders mission difficult to accomplish.

Here the kata shows two ways in which the arms can be cleared. To demonstrate this, the attacker has the defender gripped in a clinch where his arms are both on the inside and above the attackers.

Simultaneously, the defender uses the backward step of the kata to create a little bit of distance and drops uses gedan barai motion to clear the attackers left arm whilst using the ude uke motion to clear the attackers right arm. Now the defender has his arms either on the inside or above the attackers and can go back to using principles 1 and/or 2.

How I practice bunkai application:

Practice Application 1 from basic position with no resistance

Practice Application 1 within specific scenarios (in order to adapt the technique to apply the principle(s))

Practice Application 1 with specific scenarios (increasing resistance to pressure test skill of principles learned)

Repeat with Application 2

Repeat by combining Application 1 and 2

i.e. defender will start by trying to seize the head of the opponent. The attacker will counter by controlling the defenders arms. The defender will need to break free from the clinch and locate the attackers head to locate and strike/twist.

Here is a video link to the practices described above!

https://www.youtube.com/watch?v=FuKerBynjsM&feature=youtu.be

(edited post to update link above as video on youtube has been re-edited)

I hope it is of value in showing how Jion can be a complete fighting system!

Edited April 15, 2015 by LeighSimmsMA

[Shotokannon]

I want to know who this John (Jion) person is, he seems really popular!

[sensei8]

I want to know who this John (Jion) person is, he seems really popular!

Yes...very popular amongst many Karateka!!

[Mark B]

Some nice ideas there Leigh, different to my applications for the opening few motions, which is as it should be.

I don't spend much time with recordings as I find it takes up training time, however , if I can find the opportunity I'll maybe try and get the sequence in question recorded to share on here ( if the interest is there)