Tensho

Name: Tensho (転掌), rotating palms / turning hands. Ten refers to turning or rotating; shō to the palm. The name expresses rolling, following and transforming force through palms, wrists and forearms.

Introduction and history

Tensho is an advanced southern Kyokushin breathing kata closely related to Sanchin. It combines circular open-hand control, ibuki and softness under tension with strong structure. It is usually associated with Chōjun Miyagi and Gōjū-ryū, possibly influenced by southern Chinese hands and Naha-te. Its Kyokushin context includes Oyama's Gōjū-ryū background and training with Nei-Chu So. Traditions describe origins and influences differently; retain that qualification.

The technical challenge lies in small precise actions, rather than large steps or complex routes. Open hands must remain connected to stable structure, centre, contact, breathing, direction, hara, kime and zanshin. Slow movement is active, not passive.

Position and technical character

Group: southern / breathing / Gōjū-influenced kata. Level: advanced foundation / dan. Main counts: 20. Prerequisites include Sanchin-dachi, ibuki, tension without rigidity, palms as striking/control surfaces, wrists/forearms, circular defence, centre line, slow technique and awareness.

Three advancing Sanchin passages develop right, left and double-hand actions; three double nukite follow, then two backward circular-block/double-palm actions. Maintain softness and firmness together, body-supported hands, lively wrists and coordinated completion. The source's technical focus also names uchi-hachiji-dachi; the specified performance stances are detailed below.

Embusen and technical diagram

Diagram unavailable: The source's embusen image is absent. Follow the straight advancing/retreating route and the 20 main counts below.

Check opening, right and left passages, morote passage, three nukite, backward steps and closing without extra adjustment steps. Breath guides movement without locking the body. A route diagram cannot supply all stance, wrist, tension or awareness details.

Stances and central techniques

Fudō starts/ends; Musubi serves mokusō and the return after 20; Yoi with ibuki finishes in Heikō. Sanchin-dachi is compact and stable: active knees without excess pressure, stable pelvis/hara, low shoulders and coordinated body/breath. Avoid excessive width or rigidity.

Morote uchi uke at 1/6/11 establishes the middle line. Tenshō distinguishes inside kake jōdan uke from outside ura kake uke while retaining contact and centre. Shōtei acts high, low and middle; circular shutō hizō addresses the side/ribs; koken works through active wrist/forearm structure; shutō sakotsu uchi komi directs the upper body line. Double-hand versions share one centre. Three morote chūdan yonhon nukite remain collected, straight and hara-connected. Backward shutō mae mawashi uke at 19–20 is quick but controlled and followed by high/low double shōtei with ibuki. Keep hikite active and breathing free from unnecessary throat, chest or shoulder tension.

Start and finish

Begin in Fudō facing shinden. Mokusō brings Musubi and collected body/mind; open the eyes on Tensho. Yoi is slow with ibuki to Heikō; hajime/ichi starts the first main count. Opening and closing commands are separate from the 20 counts. After 20 return the right foot to Musubi, retaining mokusō; naore returns to Fudō and yasume to rest.

Movement sequence

The pedagogical modern Kyokushin sequence supports practice and does not replace dojo instruction.

No.	Direction	Stance	Technique	Comment
1	Forward	Migi sanchin-dachi	Seiken morote uchi uke	On hajime/ichi enter right Sanchin and slowly block morote uchi uke. Finish in Sanchin no kamae with stable ibuki structure.
2	Same position	Migi sanchin-dachi	Migi tenshō / migi shōtei jōdan uchi	Slowly draw the left fist to hikite. Perform right tenshō moderately: inside high kake, turn the hand and hook outside with ura kake. Draw the open right hand to hikite, inhale briefly and strike high right shōtei with ibuki.
3	Same position	Migi sanchin-dachi	Migi shutō hizō uchi / migi shōtei gedan uke	Execute circular right shutō hizō. Draw the open right hand to hikite, inhale briefly and perform low right shōtei with ibuki.
4	Same position	Migi sanchin-dachi	Migi koken jōdan uke / migi shutō sakotsu uchi komi	Slowly block right high koken with tate koken structure. Inhale briefly and follow with right shutō sakotsu uchi komi and ibuki.
5	Same position	Migi sanchin-dachi	Migi koken yoko chūdan uke / migi shōtei chūdan uchi	Block or brush sideways with right middle koken. Inhale briefly and follow with right middle shōtei and ibuki.
6	Forward	Hidari sanchin-dachi	Seiken morote uchi uke	Advance to left Sanchin with morote uchi uke; keep height, centre and breath stable.
7	Same position	Hidari sanchin-dachi	Hidari tenshō / hidari shōtei jōdan uchi	Slowly draw the right fist to hikite. Perform left tenshō moderately, draw the open left hand to hikite, inhale briefly and strike high left shōtei with ibuki.
8	Same position	Hidari sanchin-dachi	Hidari shutō hizō uchi / hidari shōtei gedan uke	Execute circular left shutō hizō. Draw the open left hand to hikite, inhale briefly and perform low left shōtei with ibuki.
9	Same position	Hidari sanchin-dachi	Hidari koken jōdan uke / hidari shutō sakotsu uchi komi	Slowly block left high koken with tate koken structure. Inhale briefly and follow with left shutō sakotsu uchi komi and ibuki.
10	Same position	Hidari sanchin-dachi	Hidari koken yoko chūdan uke / hidari shōtei chūdan uchi	Block or brush sideways with left middle koken. Inhale briefly and follow with left middle shōtei and ibuki.
11	Forward	Migi sanchin-dachi	Seiken morote uchi uke	Advance to right Sanchin with morote uchi uke, beginning the double-hand passage.
12	Same position	Migi sanchin-dachi	Morote tenshō / shōtei morote jōdan uchi	Perform double tenshō moderately. Draw both open hands to hikite, inhale briefly and strike double high shōtei with ibuki.
13	Same position	Migi sanchin-dachi	Shutō morote hizō uchi / shōtei morote gedan uke	Execute circular double shutō hizō. Draw both open hands to hikite, inhale briefly and perform double low shōtei with ibuki.
14	Same position	Migi sanchin-dachi	Koken morote jōdan uke / shutō morote sakotsu uchi komi	Slowly block double high koken. Inhale briefly and follow with double shutō sakotsu uchi komi and ibuki.
15	Same position	Migi sanchin-dachi	Koken yoko morote chūdan uke / shōtei morote chūdan uchi	Block or brush sideways with double middle koken. Inhale briefly and follow with double middle shōtei and ibuki.
16	Same position	Migi sanchin-dachi	Morote chūdan yonhon nukite	Quickly make a double grip forward at throat height. Draw both open hands to hikite while inhaling and thrust double four-finger nukite toward the solar plexus with ibuki.
17	Same position	Migi sanchin-dachi	Morote chūdan yonhon nukite	Repeat the double grip, draw open hands to hikite while inhaling and thrust double nukite with ibuki.
18	Same position	Migi sanchin-dachi	Morote chūdan yonhon nukite	Repeat a third time, keeping nukite collected, straight and connected to hara.
19	Backward	Hidari sanchin-dachi	Shutō mae mawashi uke / shōtei morote uchi	Quickly move the right leg back to left Sanchin with a quick circular shutō block. Inhale, then perform double shōtei as part of the block: right high and left low, with ibuki.
20	Backward	Migi sanchin-dachi	Shutō mae mawashi uke / shōtei morote uchi	Quickly move the left leg back to right Sanchin with a quick circular shutō block. Inhale, then perform double shōtei as part of the block: left high and right low, with ibuki.

Breathing, rhythm and kiai

Use controlled ibuki with time for tension, direction and completion. Coordinate centre, diaphragm, hara, palms, kime and zanshin. Distinguish opening, Sanchin steps, right/left/double passages, three nukite, backward circular blocks and closing. Slow or moderate phases must remain alive. The source specifies no fixed kiai points: power is expressed through ibuki, especially at palm, shutō, koken, nukite and circular-block endings. A separately specified dojo/grading variant may provide points; none are invented here. Ibuki supports structure and attention rather than sound alone.

Key points and common errors

Keep Sanchin stable, shoulders low, hands centred and body-connected, kake/ura kake distinct, koken wrists alive, shutō directed and morote unified. Preserve nukite line, controlled backward steps and zanshin after every breath. Avoid empty slow movement, throat pressure, raised shoulders, wide/stiff stance, decorative circles without contact, indistinct tenshō, arm-only palms/shutō, collapsed koken, disconnected double hands, nukite without hara and backward steps or final circles without technical completion.

Bunkai and training

Explore catching/deflecting with high kake, outside-arm hooking with ura kake, short palm strikes, shutō to side/ribs or upper body, koken control of wrist/forearm/attack line, double-hand control, nukite after opening and circular shutō control. Ibuki supports stability and awareness. Practise with a partner under control; the form develops contact, structure and transformation of force.

Learn Sanchin and ibuki separately, then opening and count 1. Work 2–5 right, 6–10 left, 11–15 double, three nukite and backward circular blocks. Check shoulders and hara connection. Join slowly, add full ibuki, perform without counting, test simple bunkai and return to correct stance, breath, hands and zanshin.