Shitō-Ryū Kata:  Saifa (砕破)

 

Saifa (砕破) is considered to be a Higaonna-kei kata, meaning that it was either created or primarily passed down by Higaonna Kanryō.   Little is known of its origins, other than it is from the Naha-te  lineage.  No documentation has been found to indicate that it predates Higaonna Kanryō, so most researchers believe it was created by him.  The name "Saifa" means "Smash and Destroy."   The video presented below was filmed at the Jikishin-Kai hombu dōjō in San Diego, featuring David Bertrand Sensei.

Saifa Description

After bowing and announcing the name of the kata ("Saifa") ...

Yōi (cross open hands at groin level in musubi dachi) and kiyomeri kokyū (purification breaths)
[Kamaete is not performed in Saifa]  

  1 Raise both hands to solar plexus level (left hand open; right hand in a tateken fist with its middle joints touching the base of the fingers of the left hand) whilst stepping 45 degrees to the right into migi zenkutsu dachi , then immediately pivot 135 degrees left, drawing the left foot into musubi dachi pulling both hands to the right hip with the left palm pressed against the right tateken
  2 Pull both hands sharply to the left hip, then step sideways with the left foot into shiko dachi as the left hand sweeps across the body and downward in shōtei-otoshi uke, followed by migi jōdan ura-ken uchi to the right side
  3 Reach forward with both hands at solar plexus level (right hand open; left hand in a tateken fist with its middle joints touching the base of the fingers of the right hand) whilst stepping 45 degrees to the right-front into hidari zenkutsu dachi , then immediately pivot 135 degrees right, drawing the right foot into musubi dachi pulling both hands to the left hip with the right palm pressed against the left tateken
  4 Pull both hands sharply to the right hip, then step sideways with the right foot into shiko dachi as the right hand sweeps across the body and downward in shōtei-otoshi uke, followed by hidari jōdan ura-ken uchi to the left side
  5 Reach forward with both hands at solar plexus level (left hand open; right hand in a tateken fist with its middle joints touching the base of the fingers of the left hand) whilst stepping 45 degrees to the left-front into migi zenkutsu dachi , then immediately pivot 135 degrees left, drawing the left foot into musubi dachi pulling both hands to the right hip with the left palm pressed against the right tateken
  6 Pull both hands sharply to the left hip, then step sideways with the left foot into shiko dachi as the left hand sweeps across the body and downward in shōtei-otoshi uke, followed by migi jōdan ura-ken uchi to the right side
  7 Looking 45 degrees to the right, side-step twice shoulder width to the left into hidari sagi-ashi dachi with migi-te ue shōtei hasami uke
  8 Migi choku geri, then (looking 45 degrees to the left) side-step twice shoulder width to the right into migi sagi-ashi dachi with hidari-te ue shōtei hasami uke
  9 Hidari choku geri, stepping back with the left foot to land in migi zenkutsu dachi whilst circling both arms outward and performing morote hikite, then chūdan heikō zuki
  10 Moving both arms in outward semi-circles migi gedan kentsui uchi striking the left palm
  11 Perform a Naha-te turn 180 degrees left into migi zenkutsu dachi with morote hikite, then chūdan heikō zuki
  12 Moving both arms in outward semi-circles hidari gedan kentsui uchi striking the right palm
  13 Use migi nami-gaeshi geri to initiate a 90 degree turn to the right into heikō dachi with migi jōdan uchi-otoshi to the right side with kiai
  14 Migi chonmage-dori, then hidari gedan ura-zuki pulling the right fist (palm down) to the right hip
  15 Hidari nami-gaeshi geri landing facing to left in heikō dachi with hidari jōdan uchi-otoshi to the left side and kiai
16 Hidari chonmage-dori, then migi gedan ura-zuki pulling the left fist (palm down) to the left hip
  17 Turn 90 degrees left into migi zenkutsu dachi with gyaku-zuki
  18 Shift into hidari han-zenkutsu dachi, drawing the right foot forward and perform simultaneous hidari yoko uke and gyaku-zuki
  19 Slide the left foot forward and pivot 180 degrees right into migi kōkutsu dachi with migi gedan barai
  20 Shift into migi han-zenkutsu dachi, drawing the left foot forward and perform simultaneous migi yoko uke and gyaku-zuki
  21 Open the left hand into shutō uke whilst stepping forward with the left foot, then pivot 180 degrees right into neko-ashi dachi so the left hand performs shōtei uke
  22 Pull both open hands sharply to the left hip (palms facing each other), then hidari-te ue mawari uke (karami nage)

[Zanshin yame is not performed in Saifa]
Naotte
Rei

Key Training Aspects of Saifa

 
The Key

Saifa is usually taught to students of Shimabukuro-Ha Shitō-Ryū karate-dō in prepartion for advancement to sankyū, since it is considered to be an intermediate-to-advanced kata.  Although it is a brief kata, Saifa presents students with some unfamiliar footwork and techniques they may find challenging. 

Important Note:  Chonmage-dori in movements #14 and #16 should be performed by reaching to arm's length with the hand open and bending the wrist fully outward as if performing kakete uke, then closing the fingers tightly into a fist and pulling about one fist-length toward you.  This movement should closely mimic the action of grasping a samurai topknot (chonmage) or an opponents hair with a twist of the wrist to secure the grip tightly.  The opponent's head is then yanked powerfully downward into the inverted punch (ura-zuki) that follows.

 


Additional Information

MakimonoAs with each new kata, it is important to remind oneself of the adage: "Manabu no tame ni hyakkkai, jukuren no tame ni senkai, satori no tame ni manga okonau" (学ぶのために百回、熟練のために千回、悟りのために万回行う.).  A hundred times to learn, a thousand times for proficiency, ten thousand repetitions for complete understanding.   A related Okinawan saying is "ichi kata san nen" (一型三年):  one kata three years.  To become truly proficient-to be able to perform it correctly, and with the speed, power, timing, and bushi damashii (samurai spirit) necessary to make its techniques effective in a real self-defence situation will take a thousand repetitions, which equates to 100 days at ten repetitions a day.   And to fully understand and apply all of its principles, nuances, and variations will take 1,000 days (three years) at ten repetitions per day.

When performing bunkai (分解) and considering the ōyō (応用) of Jion, it will be necessary to apply one's accumulated knowledge and vivid imagination to visualise the potential uses for the techniques in the kata.  Consideration must be given to the possibility that some movements represent applications other than obvious blocks or strikes (gōhō), but may instead—or in addition—have jūhō applications.