Kata Training: Wado-Ryu Pinan Nidan PDF

**Learning Objectives:** **At the end of the lesson, the students will be able to;** **A. Understand kata through its origin and history;** **B. Define kata;** **C. Know the stances of kata;** **D. Apply the stances of kata;** **E. Understand the principle of kata in karate;** **F. Discuss th...

**Learning Objectives:** **At the end of the lesson, the students will be able to;** **A. Understand kata through its origin and history;** **B. Define kata;** **C. Know the stances of kata;** **D. Apply the stances of kata;** **E. Understand the principle of kata in karate;** **F. Discuss the difference bet. Kata and drilling techniques.**  **Concept/Discussion:** **Kata** Is a Japanese word describing detailed patterns of movements practiced either solo or in pairs. Karate kata are executed as a specified series of a variety of moves, with stepping and turning, while attempting to maintain perfect form. The kata is not intended as a literal depiction of a mocking fight, but as a display of transition and flow from one posture and movement to another, teaching the student proper form and position, and encouraging them to visualize different scenarios for the use of each motion and technique. Karateka "read" a kata in order to explain the imagined events, a practice known as bunkai. There are various kata, each with many minor variations. Kata is predefined, specific patterns of movement that incorporate and encapsulate martial techniques, concepts, and applications. The exact movements of a kata often vary from one organization to another and even from one school to another within the same organization. The variations can range from goes deviations apparent to the untrained observer to very subtle minutiae. In his 1977 book on Wado-ryu (published in English in 1997), otsuka declared only nine official kata for Wado-ryu Pinan Nidan, Pinan Shodan, Pinan Sandan, Pinan Yodan, Pinan Godan , Kushanku, Naihanchi, Seishan and Chinto. Within his text, Otsuka provides detailed notes on the performance of these kata, which has resulted in less deviation across organizations on their performance. However, otsuka did teach other kata. Perhaps because otsuka did not provide specific notes for the performance of this other kata in his text, there is greater variation in these other kata across organizations and schools. Kata associated with Wado-ryu include: **Taikyoku** The Taikyoku series is a series of kata in use in several types of karate. The name Taikyoku refers to the Chinese philosophical concept of Taiji. The Taikyoku kata were developed by Yoshitaka Funakoshi and introduced by Gichin Funakoshi as a way to simplify the principles of the already simplified Pinan/Heian series. The Embusen or pattern of the kata's movements is the same as in Heian shodan. Students of karate systems that use the Taikyoku kata series are often introduced to the first, as a preparation for the Pinan/Heian kata. Goju Kai developed five of its own Taikyuko kata, based on the Shotokan katas and retaining the I-shaped **Pinan kata** Created by Anko Itosu and consisting of Pinan Shodan, Pinan Nidan, Pinan Sadan. Pinan Yodan, and Pinan Godan. Funakoshi renamed this series as the Heian series. **Pinan nidan** **Pinan Nidan**, pronounced \"Peen-ahn Knee-dawn,\" **meaning** \"Peaceful Mind Level Two,\" is one of the five **Pinan** kata created by Itosu Anko for inclusion in the Okinawan school system  **Pinan Nidan.** This is the first [Karate](https://www.blackbeltwiki.com/karate) kata used in the Wado-Ryu system. - [Written step-by-step instructions](https://www.blackbeltwiki.com/pinan-nidan#instructions) for Pinan Nidan are provided below. However, if you have any questions about a particular kata movement, please check with your instructor because kata instructions can vary by school and organization **Written Instructions for Wado-Ryu Kata -- Pinan Nidan** - From masuba dachi (atten­tion stance), rei (bow), then open to hachiji dachi (ready stance). - Drop your body,setting your left foot to your left, into a left mahamni neko ashi dachi (left side fac­ing cat leg stance), 90 degrees to your left, while doing a full motion agi uke (ris­ing block)dropping into a tet­sui uke (ham­mer fist block)with your left hand. - Step for­ward into a right jun­zuki dachi throw­ing a right junzuki. - Pull the front hand back across the chest. Pull the front foot back behind you twice the length of your pre­vi­ous stance, as you set it over to your left twice the width of your pre­vi­ous stance. Turn the body, to the right 180 degrees, with­out fur­ther move­ment of the feet (except to allow them to pivot around), into a right jun­zuki dachi (right front stance) throw­ing a right gedan uke (right low block.) - Pull your right foot back to a shazen­tai dachi (nat­ural stance)(keep the right foot as your front foot and keep the angle of the feet as they were, just pull the foot back, the front heel even with the back toes, and let the legs straighten (don't lock the legs). As you pull the foot back exe­cute a full motion agi uke (ris­ing block) drop­ping into a tet­sui uke (ham­mer fist block) with your right hand. - Step for­ward into a left jun­zuki dachi throw­ing a left junzuki. - Turn your body, to the left 90 degrees, as you set your left foot to the left into a left jun­zuki dachi (left front stance), and throw a left gedan uke (left low block). - Step for­ward into a right jun­zuki dachi (right front stance) throw­ing a right jodan uke (right high block). - Step for­ward into a left jun­zuki dachi (left front stance) throw­ing a left jodan uke (left high block). - Step for­ward into a right jun­zuki dachi (right front stance) throw­ing a right jodan uke (right high block). - Set your left (back) foot around behind you 45 degrees, and let your body fol­low (turn­ing around to the left 225 degrees) into a left jun­zuki dachi (left front stance), end­ing with a left gedan uke (left low block). - Step for­ward into a right jun­zuki dachi (right front stance) throw­ing a right jun­zuki (right front punch). - Turn your body, to the right 90 degrees, as you set your right foot to the right into a right jun­zuki dachi (right front stance), and throw a right gedan uke (right low block). - Step for­ward into a left jun­zuki dachi (left front stance) throw­ing a left jun­zuki (left front punch). - Turn your body, to the left 45 degrees, as you set your left foot to the left into a left jun­zuki dachi (left front stance), and throw a left gedan uke (left low block). - Step for­ward into a right jun­zuki dachi (right front stance) throw­ing a right jun­zuki (right front punch). - Step for­ward into a left jun­zuki dachi (left front stance) throw­ing a left jun­zuki (left front punch). - Step for­ward into a right jun­zuki dachi (right front stance) throw­ing a right jun­zuki (right front punch). - Pull your left foot back into a left shomen neko ashi dachi (left front fac­ing cat stance) as you pivot the body to the left 225 degrees. As you make the turn, open your hands (the left one is in a yohon nukite (spear hand) posi­tion and the right one is in a open hand posi­tion, do not turn the hands over) and allow the right arm to relax back slightly on your cen­ter line and pointed straight for­ward as the left hand moves for­ward to a posi­tion just above the right hand and par­al­lel to it. - Step for­ward with the left foot and turn into a left shiko dachi (four point stance) as you extend the left yohon nukite (left spear hand) (palm down), to your left side at belt level and draw the right arm back (palm up), fin­ish­ing across your body. The right upper arm is hang­ing down, pulling for­ward from the shoul­der just enough to allow the lower arm to be par­al­lel across the front of your body. The lower arm is angled up slightly, cross­ing over the solar plexus, with the wrist remain­ing straight and the fin­ger tips extend­ing past the edge of the body. - Turn your body for­ward (the direc­tion your left hand was strik­ing, which is 45 degrees to the left of your orig­i­nal front line when you bowed) and step for­ward with your right foot into a right shiko dachi (right four point stance) as you extend the right yohon nukite (right spear hand) (palm down), to your right side at belt level and draw the left arm back (palm up), fin­ish­ing across your body. The left upper arm is hang­ing down, pulling for­ward from the shoul­der just enough to allow the lower arm to be par­al­lel across the front of your body. The lower arm is angled up slightly, cross­ing over the solar plexus, with the wrist remain­ing straight and the fin­ger tips extend­ing past the edge of the body. - Pull your right foot back into a right shomen neko ashi dachi (right front fac­ing cat stance) as you pivot the body to the right 90 degrees (45 degrees to the right of your orig­i­nal front line when you bowed). As you make the turn, flip both hands over (the right one remains in a yohon nukite (spear hand) posi­tion and the left one remains in a open hand posi­tion) and allow the right arm to relax back slightly on your cen­ter line and pointed straight for­ward as the left hand moves for­ward to a posi­tion just below the right hand and par­al­lel to it. - Step for­ward with the right foot and turn into a right shiko dachi (right four point stance) as you extend the right yohon nukite (spear hand) (palm down), to your right side at belt level and draw the left arm back (palm up), fin­ish­ing across your body. The left upper arm is hang­ing down, pulling for­ward from the shoul­der just enough to allow the lower arm to be par­al­lel across the front of your body. The lower arm is angled up slightly, cross­ing over the solar plexus, with the wrist remain­ing straight and the fin­ger tips extend­ing past the edge of the body. - Turn your body for­ward (the direc­tion your right hand was strik­ing, which is 45 degrees to the right of your orig­i­nal front line when you bowed) and step for­ward with your left foot into a left shiko dachi (left four point stance) as you extend the left spear hand (palm down), to your left side at belt level and draw the right arm back (palm up), fin­ish­ing across your body. The right upper arm is hang­ing down, pulling for­ward from the shoul­der just enough to allow the lower arm to be par­al­lel across the front of your body. The lower arm is angled up slightly, cross­ing over the solar plexus, with the wrist remain­ing straight and the fin­ger tips extend­ing past the edge of the body. - Pull the right foot back and let the arms relax to your sides, end­ing in hachiji dachi (ready stance). - Close to masuba dachi (atten­tion stance), then rei (bow). - In every move of this kata, the hand that is either punch­ing or block­ing, is the front hand (the hand that is on the same side as the foot that is forward). - All turns are made by mov­ing the front foot, except the "big turns" (after your third high block and, after your third punch in suc­ces­sion). And ALL turns are made by mov­ing the foot toward the back of the non-moving foot (NEVER ACROSS THE TOES). - Use this to teach 45 degree's, it's the first time this is displayed in Kata. - Look at [Bunkai](https://www.blackbeltwiki.com/wado-ryu-bunkai), the kata is so rich in it if you look hard enough, an example, the second Muwatte, followed by Gedanbarai and the hammer fist. From the oi zuke before this, a grab and pull opponent aroung with the Muwatte Gedanbarai, hammer fist as a finisher. That's an easy one to find. **Kushanku "Sky Viewing"** Kushanku was the Okinawan name for Kwang Shang Fu, a Sapposhi (emissary of China's ruling class) sent to Okinawa in the 18^th^ century. This kata uses stances and attacks consisting of the five previous Pinan kata. No new techniques are introduced. Funakoshi renamed this kata as Kanku Dai  **Kushanku "Sky Viewing"** Kushanku was the Okinawan name for Kwang Shang Fu, a Sapposhi (emissary of China's ruling class) sent to Okinawa in the 18^th^ century. This kata uses stances and attacks consisting of the five previous Pinan kata. No new techniques are introduced. Funakoshi renamed this kata as Kanku Dai. - From masuba dachi, rei, then open to hachiji dachi but leave the hands open. Keep­ing the arms and hands relaxed bring the hands to the cen­ter, with the left over­lap­ping the right, so that the fin­ger­tips are even (the end of each index fin­ger is even with the end of each lit­tle fin­ger), palms fac­ing inward. - Slowly, keep­ing your arms and hands relaxed, raise the hands slowly until they are slightly above your eyes. This is done while main­tain­ing hachiji dachi. - Slowly let the hands sep­a­rate, keep­ing the arms and hands relaxed, and move in a semi-circle out to your sides and down, keep­ing the palms fac­ing for­ward, until the hands meet back at the cen­ter, side-by-side with lit­tle fin­gers touch­ing each other and the ring fin­gers touch­ing each other (hands are still fac­ing for­ward) This is done while main­tain­ing hachiji dachi. - Drop your body, set­ting your left foot to your left, into a left mahamni neko ashi dachi, 90 degrees to your left, while doing a haishu (back­hand) to your left with your left hand, and let your right hand come up so that the upper arm is hang­ing down, pulling for­ward from the shoul­der just enough to allow the lower arm to be par­al­lel across the front of your body. The lower arm is angled up slightly, cross­ing over the solar plexus, with the wrist remain­ing straight and the fin­ger tips extend­ing past the edge of the body. - Stay­ing low, pull your left foot back to it's orig­i­nal posi­tion then set your right foot to your right into a right mahamni neko ashi dachi, 90 degrees to your right, while doing a haishu (back­hand) to your right with your right hand, and let your left hand come up so that the upper arm is hang­ing down, pulling for­ward from the shoul­der just enough to allow the lower arm to be par­al­lel across the front of your body. The lower arm is angled up slightly, cross­ing over the solar plexus, with the wrist remain­ing straight and the fin­ger tips extend­ing past the edge of the body. - Pull your right foot back to it's orig­i­nal posi­tion in a hachiji dachi, and pull your arms to a right tae uke. - Throw a left gedan uke. This is done while main­tain­ing hachiji dachi. - Punch with your right hand, pulling the left hand into a hikite posi­tion. This is done while main­tain­ing hachiji dachi. - Drop your body as you set your left foot to your left, to about two shoul­der widths dis­tance, and about a half of a foot length for­ward as you allow both feet to pivot to the left, end­ing par­al­lel and 45 degrees to your left (your left knee should be bent so the knee is over the ankle, and the right leg should be relaxed straight) as you turn your shoul­ders 90 degrees to your left, and throw a right mid­dle block to the front (orig­i­nal front line). - Shift back to your right into a hachiji dachi as you turn your body to the right 90 degrees and throw a left punch to the front as you pull your right hand into hikite. - Drop your body as you set your right foot to your right, to about two shoul­der widths dis­tance, and about a half of a foot length back­ward as you allow both feet to pivot to the right, end­ing par­al­lel and 45 degrees to your right (your right knee should be bent so the knee is over the ankle, and the left leg should be relaxed straight) as you turn your shoul­ders 90 degrees to your right, and throw a left mid­dle block to the front (orig­i­nal front line). - Set your left foot below your body (1) and throw a right mid­dle block and a right front kick simul­ta­ne­ously (2), to your right (to the rear as related to your orig­i­nal front line), as the kick snaps back, set it down directly beside your left foot, and turned at a 115 degree angle to your orig­i­nal front line (3). Then drop your body, set­ting your left foot to your left, into a left mahamni neko ashi dachi toward your orig­i­nal front line and exe­cut­ing a left open hand block to the front (4). - Step for­ward into a right mahamni neko ashi dachi and exe­cute a right shoto uke. - Step for­ward into a left mahamni neko ashi dachi and exe­cute a left shoto uke. - Step for­ward into a right jun­zuki dachi and throw a right yohon nukite to the solar plexus. - Let your left hand open (thumb cocked) as you throw a left low block to your left and a right open hand agi uke to the front, as you turn your body to your left 270 degrees and set your left foot to your left 90 degrees to about two shoul­der widths dis­tance, and about a half of a foot length for­ward as you allow both feet to pivot to the left, end­ing par­al­lel and 45 degrees to the left of your orig­i­nal back line (your left knee should be bent so the knee is over the ankle, and the right leg should be relaxed straight). As you turn throw a left open hand agi uke to your left as you exe­cute a right hand sweep to the back line. - Throw a right front kick to the back line and set it for­ward (to your orig­i­nal back line) with the foot at 45 degrees to the left of the back line, then look to the front (your orig­i­nal front line) as you set over the right foot, keep­ing your body upright, allow the right heel to remain off the floor and drop the body until the point just before you totally drop as the quadri­ceps relax. Allow the left foot to pivot to 45 degrees off of the front line, and remain flat with the leg relaxed straight. As you drop into this posi­tion throw a block to your left with your left hand end­ing out over your left leg, and what Mr. Everett refers to as a bump block (agi uke --- the arm will come up in front of your head rolling over, at the end, palm out across the top of your head with a slight upward angle toward the hand) with your right hand. - Pulling your left hand back across the front of your body (not touch­ing your body), with the hand in front of your right shoul­der (palm up), while your right hand does a low scoop block across your body. - Use the right leg to stand as you draw your left foot back to a hachiji dachi, and throw a left gedan uke to your left (toward the front line) and pull your right hand into hikite. - Let your left hand open (thumb cocked) as you throw a left low block to your left and a right open hand agi uke to your front, as you turn your body to your left 180 degrees and set your left foot to your left 90 degrees to about two shoul­der widths dis­tance, and about a half of a foot length for­ward as you allow both feet to pivot to the left, end­ing par­al­lel and 45 degrees to the left of your orig­i­nal front line (your left knee should be bent so the knee is over the ankle, and the right leg should be relaxed straight). As you turn throw a left open hand agi uke to your left as you exe­cute a right hand sweep to the front line. - Throw a right mae geri to the front line and set it for­ward (to your orig­i­nal front line) with the foot at 45 degrees to the left of the front line, then look to the back (your orig­i­nal back line) as you set over the right foot, keep­ing your body upright, allow the right heel to remain off the floor and drop the body until the point just before you totally drop as the quadri­ceps relax. Allow the left foot to pivot to 45 degrees off of the back line, and remain flat with the leg relaxed straight. As you drop into this posi­tion throw a block to your left with your left hand end­ing out over your left leg, and what I call a bump block (agi uke --- the arm will come up in front of your head rolling over, at the end, palm out across the top of your head with a slight upward angle toward the hand) with your right hand. - Pulling your left hand back across the front of your body (not touch­ing your body), with the hand in front of your right shoul­der (palm up), while your right hand does a low scoop block across your body. - Use the right leg to stand as you draw your left foot back to a hachiji dachi, and throw a left gedan uke to your left (toward the back line) and pull your right hand into hikite. - Pull your left foot back to your right foot, as you pivot your right foot 90 degrees to the left, with your body fac­ing the back line in heisoku dachi. As you turn your hands come to a right tae uke posi­tion and you turn your head and look to the left. - Keep­ing your body fac­ing your orig­i­nal back line, simul­ta­ne­ously throw a left gedan uke and a left mae geri to your left (the bot­tom knuck­les, at the face of the fist, should be touched by the kick­ing shin). After the kick snaps back, set it to your left, then turn your body to your left, into a left gyakazuki dachi as you throw a right empi, par­al­lel to the floor and across your lower chest, into the palm of your left hand (thumb cocked). The right hand should end palm fac­ing your body, with the left arm in line with the right, and the left fin­ger­tips even with the tip of your right elbow. - Turn back 90 degrees to your right, as you draw your right foot to your left foot in heisoku dachi, your hands pull to a left tae uke, and you turn your head to the right (from your orig­i­nal back line). - Keep­ing your body fac­ing your orig­i­nal back line, simul­ta­ne­ously throw a right gedan uke and a right mae geri to your right (the bot­tom knuck­les, at the face of the fist, should be touched by the kick­ing shin). After the kick snaps back, set it to your right, then turn your body to your right, into a right gyakazuki dachi as you throw a left empi, par­al­lel to the floor and across your lower chest, into the palm of your right hand (thumb cocked). The left hand should end palm fac­ing your body, with the right arm in line with the left, and the right fin­ger­tips even with the tip of your right elbow. - Allow your left (back) foot to move toward the orig­i­nal front line as you turn your body to the left 90 degrees into a left mahamni neko ashi dachi, end­ing with a left shoto uke (to your orig­i­nal right line). - Step for­ward and to your right 45 degrees into a mahamni neko ashi dachi exe­cut­ing a right shoto uke (45 degrees off of your orig­i­nal back line). - Turn 135 degrees to the right into a right mahamni neko ashi dachi and exe­cute a right shoto uke (to your orig­i­nal left line). - Step for­ward and to your left 45 degrees into a left mahamni neko ashi dachi exe­cut­ing a left shoto uke (45 degrees off of your orig­i­nal back line). - Let your left hand open (thumb cocked) as you throw a left low block to your left and a right open hand agi uke to your front, as you turn your head to your left 45 degrees.Then set your left foot back and to your left, to about two shoul­der widths dis­tance, and about a half of a foot length for­ward as you allow both feet to pivot to the left, end­ing par­al­lel and 45 degrees to the left of your orig­i­nal back line (your left knee should be bent so the knee is over the ankle and the right leg should be relaxed straight), as you turn your shoul­ders 202 1/2 degrees to your left, and throw a left open hand agi uke to your left (90 degrees left of your orig­i­nal back line) as you sweep with your right hand to the back line. - Throw a right mae gari to the back line and set it for­ward a slightly extended dis­tance then draw your left foot to your right foot. The left foot remains back half a foots' length, with the toes at the instep of the right foot, and the heel raised slightly, the right foot is flat. Both feet are straight, and the knees are pressed together and bent with the left knee just slightly more for­ward than the right. The weight is car­ried evenly by both feet, and the body is straight for­ward. As you move into the gyaka shomen neko ashi dachi, both hands close into fists, and the left hand reaches for­ward over the top of the right as the right hand comes back to your body. They con­tinue a for­ward rolling motion with the fore­arms par­al­lel to the for­ward (back line) fac­ing body, and as the right hand moves over the top, it will reach out to throw a down­ward back­fist to the bridge of the nose, while the left hand pulls back into a hikite position. - Reach back with your left foot to an extended dis­tance then draw your right foot back into a right jun­zuki dachi as you throw a right soto uke. - Throw a left gyakazuki to the solar plexus fol­lowed by a right jun­zuki to the solar plexus. - Pivot on the balls of both feet to your left 180 degrees. As you pivot let your arms extend out to your sides and par­al­lel to the floor. Your arms are relaxed, left hand open (thumb cocked) and palm fac­ing for­ward, and the right hand closed palm fac­ing upward. As you fin­ish your pivot draw your right knee up and to the cen­ter just below your solar plexus, at the same time you are mov­ing to the front (as a result of the draw­ing of the knee) and bring­ing your arms around to the cen­ter so the hands meet (right tet­sui to left palm) and barely graz­ing the right leg just above the knee. Then as you fall for­ward (hold­ing the leg and arms in posi­tion), catch your­self on the ball of your right foot (the body is over the right foot, lean­ing for­ward and almost par­al­lel to the right thigh, the left leg is stretched out behind you and also on the ball of the foot, the hips are low and the head is up), and as the hands go to the floor, they are both relaxed open, fin­ger­tips turned inward toward each other (the hands are barely touch­ing the floor). - Use the right leg to stand as you set your left foot over into a left mahamni neko ashi dachi and exe­cute a left shoto uke to your orig­i­nal back line. - Step for­ward into a right mahamni neko ashi dachi and exe­cute a right shoto uke. - Shift your body over your right foot as you pivot on the right foot 270 degrees (body is turn­ing 180 degrees) to your left, into a left shomen neko ashi dachi to your orig­i­nal left line as you throw a left soto uke fol­lowed by a right gyakazuki. - Turn and reach with your right foot 180 degrees to the right and pull onto the ball of the right foot, allow­ing the left foot to slip under­neath you in a right shomen neko ashi dachi to your orig­i­nal right line as you throw a right soto uke fol­lowed by a left gyakazuki and then a right junzuki. - Throw a right soto uke and a right mae geri simul­ta­ne­ously (2), to your right (to the rear as related to your orig­i­nal front line), as the kick snaps back, set it down directly beside your left foot (3), and turned at a 115 degree angle to your orig­i­nal front line. Then set your left foot to your left, into a left mahamni neko ashi dachi toward your orig­i­nal front line and exe­cut­ing a left shoto uke to the front (4). - Pivot your body to the front as you drop your left arm down across your body (par­al­lel to your orig­i­nal front line) and under­neath your right hand, which has remained fac­ing the front­line and changed to a yohon nukite posi­tion (thumb tucked). Step for­ward into a right jun­zuki dachi (leav­ing the left arm unmoved) and throw a right yohon nukite. - Lean your upper body for­ward as you pull your right hand (lower arm from the elbow) back beside your right ear. As you lean, shift your body over your right foot, and pivot 270 degrees to your left on your right foot into a shiko dachi, end­ing with a left gedan uke to your left (your body is fac­ing your orig­i­nal right line and the block is to your orig­i­nal front line). - Reach to your left (toward your orig­i­nal front line) with your left foot then draw your right foot into shiko dachii as you throw a uriken to your orig­i­nal front line at the height of the bridge of the nose (dur­ing your move for­ward, you allow the right foot to come around a lit­tle let­ting the body turn about 45 degrees to your left). - Reach to the front line with your left foot then draw your right foot into a left gyakazuki dachi, fac­ing the front line, as you throw a right empi, par­al­lel to the floor and across your lower chest, into the palm of your left hand (thumb cocked). The right hand should end palm fac­ing your body, with the left arm in line with the right, and the left fin­ger­tips even with the tip of your right elbow. - Pull your right hip back (the right foot will move so that you end in hachiji dachi), turn­ing the body 90 degrees to your right and look­ing straight ahead. As you turn, throw a left soto uke to your left side, and a right gedan to your right side. - Shift to your right, allow­ing your left foot to step in front of your right foot and turn your body 180 degrees to your right into a shiko dachi. As you fin­ish your turn throw a left low sukui uke across your body, and a right soto uke to your right side. - Throw a right low sukui uke across your body, going under­neath your left block (the arms are crossed at the mid forearm). - Remain­ing low in your shiko dachi, throw a jodan juji uke (your arms will be reversed from their usual posi­tion, right arm will be in front). - Step your left foot to your right 180 degrees into a right jun­zuki dachi fac­ing the back line. After a short pause drop your hands straight down (close them as they come down) as a dou­ble crossed tet­sui uke (don't pull the hands back to the body as they drop). - Raise the left knee as if to kick as you do a small jump off of the right foot, and kick to chin height with your right foot, land­ing the left foot then the right foot in a right jun­zuki dachi. Then throw a right down­ward uriken to the bridge of the nose, while the left hand pulls back into a hikite position. - Shift to your right, allow­ing your left foot to step in front of your right foot and turn your body 180 degrees to your right into a shiko dachi. As you turn, let the right arm to relax, allow­ing the body to turn into the arm (it will drop some, end­ing up across the body with the hand below the belt level, and turned palm up). As you fin­ish the turn, shoot the left hand under­neath the arm end­ing up across the body with the hand below the belt level, and turned palm up (the arms are crossed at the mid fore­arm). Then extend your legs (keep a small relaxed bend in the knees) rais­ing your body (which should have remained upright through the entire move), and as you rise, sep­a­rate your arms across your body until they are at your sides (about 45 degrees off the front line), then bring your arms up (sim­i­lar to upper­cuts) as you con­tinue mov­ing them straight out to your sides. - Open your hands as you drop your arms, bring­ing your hands to the cen­ter, with the left over­lap­ping the right, so that the fin­ger­tips are even (the end of each index fin­ger is even with the end of each lit­tle fin­ger), as you draw the right foot to the left into hachiji dachi. - Close to masuba dachi, then rei. **Naihanchi** Also known as Naifanchi): this was the original name for the three Tekki kata, but was change by Funakoshi. This is a lateral kata learned from Choki Motobu. Wado-ryu practices only the first Naihanchi kata. **Naihanchi** Also known as Naifanchi): this was the original name for the three Tekki kata, but was change by Funakoshi. This is a lateral kata learned from Choki Motobu. Wado-ry practices only the first Naihanchi kata. **Written Instructions for Wado-Ryu Kata -- Naihanchi** - Rei. Close the feet into heisoku dachi and leave the hands open. Keep­ing the arms and hands relaxed bring the hands to the cen­ter, with the left over­lap­ping the right, so that the fin­ger­tips are even (the end of each index fin­ger is even with the end of each lit­tle finger). - Slowly, keep­ing your arms and hands relaxed, raise the hands slowly until they are slightly above your eyes. - Slowly let the hands sep­a­rate, keep­ing the arms and hands relaxed, and move in a semi-circle out to your sides and down, keep­ing the palms fac­ing for­ward, until the hands meet back at the cen­ter, side-by-side with lit­tle fin­gers touch­ing each other and the ring fin­gers touch­ing each other (hands are still fac­ing forward). - Slowly, bend your arms at the elbows, bring­ing your palms up and toward your body, as the upper arms con­tinue to hang relaxed. As the hands reach their peak, let the right hand slide behind (closer to your body) the left hand, so that the fin­ger­tips are even (rounded, not par­al­lel). Then keep­ing the elbows as close as pos­si­ble to the body, and the wrists straight, let the hands go down, piv­ot­ing on the point that is at the cen­ter of the mid­dle bones of the mid­dle fin­gers, until the hands are at the cen­ter, with the left over­lap­ping the right, so that the fin­ger­tips are even (the end of each index fin­ger is even with the end of each lit­tle finger). - Slowly turn your head 90 degrees to look left. - Slowly turn your head 180 degrees to look right. - Step your left foot to your right, then your right foot to your right, as you drop into nai­hanchi dachi. As you step, the hands pivot on the mid­dle knuck­les of the mid­dle fin­gers, until the hands and arms are par­al­lel at the solar plexus level, and the right hand pushes straight out to your right, extend­ing your arm (not quite straight), and your hand open (thumb cocked), palm fac­ing for­ward, strik­ing with the knife edge of the hand, while you pull your left hand back in a hikite position. - Turn your shoul­ders 90 degrees to the right, throw­ing a left empi strike, par­al­lel to the floor and across your lower chest, into the palm of your right hand (thumb cocked). The left hand should end palm fac­ing your body, with the right arm in line with the left, and the right fin­ger­tips even with the tip of your left elbow. - Turn your shoul­ders 90 degrees to your left (to your front line) as you pull your hands to a right tae uke, and you turn your head 180 degrees to the left. - Throw a left gedan uke straight to your left side. - Bring your left hand into a hikite posi­tion as you throw a right jun­zuki, at chin height, across your body to the left, 45 degrees off of the front line, snap­ping it back so that you end up in a left tae uke. As you punch turn your head 45 degrees to the right (45 degrees left of the front line). - Step your right foot to your left, then your left foot to your left, throw­ing a right soto uke and turn­ing your head 45 degrees to your right (to your front line) as you set into nai­hanchi dachi. - Throw a left jun­zuki to chin height (keep­ing the palm up), while the right hand relaxes back toward your right shoul­der (let the elbow drop, but don't pull it back --- the upper arm hangs straight down from the shoul­der to the elbow). Then throw a right gedan uke to the front, while the left hand relaxes back toward your left shoul­der (let the elbow drop, but don't pull it back --- the upper arm hangs straight down from the shoul­der to the elbow). - Throw a left jun­zuki to chin height (keep­ing the palm up), as the hand comes back to a soto uke posi­tion, bring the right hand up to sup­port the block, push­ing into the side of the left elbow (palm down). - Turn your head 90 degrees to the left, then with­out shift­ing your body weight, lift your left foot toward your right leg, to the cen­ter of your body, then set it back to it's orig­i­nal position. - Turn your shoul­ders 90 degrees to the left, keep­ing the arms in the same posi­tion rel­a­tive to your shoulders. - Turn your head 180 degrees to the right, then with­out shift­ing your body weight, lift your right foot toward your left leg, to the cen­ter of your body, then set it back to it's orig­i­nal position. - Turn your shoul­ders 180 degrees to the right, keep­ing the arms in the same posi­tion rel­a­tive to your shoulders. - Turn your shoul­ders 90 degrees to your left (to your front line) as you pull your hands to a right tae uke, and you turn your head 180 degrees to the left. - Simul­ta­ne­ously throw the left hand to strike out to your left in a hor­i­zon­tal tet­sui toward the back side of your body at shoul­der level, and a right punch across your body to your left (keep­ing the right elbow at a 90 degree angle) at shoul­der level. - Slowly pull your right arm back to a low hikite posi­tion (fist to the belt) as you relax your left elbow slightly, turn your left hand palm up and open your left hand (thumb cocked). - Turn your shoul­ders 90 degrees to the left, throw­ing a right empi strike, par­al­lel to the floor and across your lower chest, into the palm of your left hand (thumb cocked). The right hand should end palm fac­ing your body, with the left arm in line with the right, and the left fin­ger­tips even with the tip of your right elbow. - Turn your shoul­ders 90 degrees to your right (to your front line) as you pull your hands to a left tae uke, and you turn your head 180 degrees to the right. - Throw a right gedan uke straight to your right side. - Bring your right hand into a hikite posi­tion as you throw a left jun­zuki, at chin height, across your body to the right, 45 degrees off of the front line, snap­ping it back so that you end up in a right tae uke. As you punch turn your head 45 degrees to the left (45 degrees right of the front line). - Step your left foot to your right, then your right foot to your right, throw­ing a left soto uke and turn­ing your head 45 degrees to your left (to your front line) as you set into nai­hanchi dachi. - Throw a right jun­zuki to chin height (keep­ing the palm up), while the left hand relaxes back toward your left shoul­der (let the elbow drop, but don't pull it back --- the upper arm hangs straight down from the shoul­der to the elbow). Then throw a left gedan uke to the front, while the right hand relaxes back toward your right shoul­der (let the elbow drop, but don't pull it back --- the upper arm hangs straight down from the shoul­der to the elbow). - Throw a right punch to chin height (keep­ing the palm up), as the hand comes back to a mid­dle block posi­tion, bring the left hand up to sup­port the block, push­ing into the side of the right elbow (palm down). - Turn your head 90 degrees to the right, then with­out shift­ing your body weight, lift your right foot toward your left leg, to the cen­ter of your body, then set it back to it's orig­i­nal position. - Turn your shoul­ders 90 degrees to the right, keep­ing the arms in the same posi­tion rel­a­tive to your shoulders. - Turn your head 180 degrees to the left, then with­out shift­ing your body weight, lift your left foot toward your right leg, to the cen­ter of your body, then set it back to it's orig­i­nal position. - Turn your shoul­ders 180 degrees to the left, keep­ing the arms in the same posi­tion rel­a­tive to your shoulders. - Turn your shoul­ders 90 degrees to your right (to your front line) as you pull your hands to a left tae uke, and you turn your head 180 degrees to the right. - Simul­ta­ne­ously throw the right hand to strike out to your right in a hor­i­zon­tal tet­sui toward the back side of your body at shoul­der level, and a left punch across your body to your right (keep­ing the left elbow at a 90 degree angle) at shoul­der level. - Move your right foot to the left into heisoku dachi, as you open your hands and lower them bring­ing the hands to the cen­ter, with the left over­lap­ping the right, so that the fin­ger­tips are even (the end of each index fin­ger is even with the end of each lit­tle finger). - Open your feet to masuba dachi as your hands move to your side. Rei. **Chinto (Gangaku)** Formulated by Matsumura Sokon from the teachings of a sailor or pirate named Chinto (or Annan depending on the source). Crane stance occurs many times, and the flying kicks differentiate Chinto from other kata. Funakoshi renamed this kata as Gankaku.  **Written Instructions for Wado-Ryu Kata -- Chinto** 1\. Rei (bow)\ 2. Yoi (ready position)\ 3. Draw the right foot behind the left into Chinto Dachi (Chinto stance) and perform Migi Shotei Nagashi Uke (right palm slip block) and Hidari shotei Nagashi Uke (left palm slip block). The left hand will be in front of the right, crossed at the wrist.\ 4. Bring the hands down in front of the waist. The left hand is palm down, the right is palm up under the left hand.\ 5. Perform Hidari Jun Zuki Chudan (left front punch middle-level).\ 6. Perform Migi Gyaku Zuki Chudan (right reverse punch middle-level) as the left foot slides over into Hidari Tate Seisan Dachi (left vertical seisan stance).\ 7. Pivot on the left foot and bring the right foot in front of the left, turning counter clockwise 180 degrees into Shiko Dachi (Sumo stance). Perform Migi Gedan Barai (right downward block).\ 8. Slide the left foot and turn the body 180 degrees counter clockwise into Hidari Jun Zuki Dachi (left front punch stance) and perform Shuto Juji Uke Jodan (high x-block).\ 9. Bring the hands down forcefully to the waist closing them as they drop.\ 10. Perform Mae Tobi Geri (jumping front kick), kicking with the right foot first, then the left. As the left foot lands forward into Hidari Jun Zuki Dachi (left front punch stance), you should perform Juji Uke Gedan (low x-block).\ 11. Pivot 180 degrees clockwise on the right foot, stepping into Hidari Jun Zuki Dachi (left front punch stance) and perform Juji Uke Gedan (low x-block).\ 12. Turn the body 90 degrees to the right while sliding the right foot into Migi Kokutsu Dachi (right back stance). Perform Migi Gedan Barai (right downward block). The left fist is palm up across the chest.\ 13. Step the left foot forward into Hidari Kokutsu Dachi (left back stance) and perform Hidari Shuto Gedan Barai (left knife hand downward block). The right hand is open, palm up, across the chest.\ 14. Step the right foot forward into Migi Jun Zuki Dachi (right front punch stance) and perform Shuto Uke (knife hand block) with both hands simultaneously.\ 15. Turn 90 degrees to the left into Shiko Dachi (sumo stance) and perform Soto Uke (from the outside block) with both hands simultaneously.\ 16. Relax the arms, letting them slowly drop to the sides as the knees straighten. When the legs are straight, your head faces to the left.\ 17. Slide the left foot out to the left into Hidari Kokutsu Dachi (left back stance) and perform Hidari Gedan Barai (left downward block) and Migi Soto Uke (right from the outside block) at the same time.\ 18. Slide the right foot forward, turning the body 180 degrees counter clockwise, into Migi Kokutsu Dachi (right back stance) and perform Migi Gedan Barai (right downward block) and Hidari Soto Uke (left from the outside block) at the same time. The head faces over the right shoulder.\ 19. Turn the body 180 degrees counter clockwise, pivoting on the right foot, sliding the left foot into Hidari Kokutsu Dachi (left back stance). Perform Hidari Gedan Barai (left downward block) and Migi Soto Uke (right from the outside block) at the same time. The head faces over the left shoulder.\ 20. Turn the head 90 degrees to the right and move the right foot behind the left into Gyaku Neko Ashi Dachi (reverse cat stance), performing Juji Uke Gedan (low x-block).\ 21. Bring the right foot out to the right into Shiko Dachi (sumo stance) and perform Soto Uke (from the outside block) with both hands simultaneously.\ 22. Relax the arms, letting them slowly drop to the sides as the knees straighten. When the legs are straight, your head faces forward.\ 23. Place the fists, palm down, on the hips, and perform Migi Empi Uke (right elbow block) then Hidari Empi Uke (left elbow block). Immediately after the second block, turn 180 degrees clockwise, pivoting on the right foot, into Migi Gyaku Neko Ashi Dachi (right reverse cat stance), performing Soto Uke (from the outside block) with both hands simultaneously.\ 24. Turn the head to the left, raise the left knee, and perform Hidari Gedan Barai (left downward block) and Migi Soto Uke (right from the outside block) simultaneously. Then, keeping the left foot up still, return the arms to Hidari Tae Uke. Then perform Hidari Yoko Geri Chudan (left side kick middle-level) and Hidari Gedan Barai (left downward block). Set the left foot down and step the right foot forward into Migi Jun Zuki Dachi (right front punch stance), performing Migi Jun Zuki Chudan (right front punch middle-level).\ 25. Raise the right knee and perform Migi Gedan Barai (right downward block) and Hidari Soto Uke (left from the outside block). Then, keeping the right foot up, return the hands to Migi Tae Uke (right Tae block). Then perform Migi Yoko Geri Chudan (right side kick middle-level) and Migi Gedan Barai (right downward block) simultaneously. Then set the right foot down into Migi Tate Seisan Dachi (right vertical seisan stance) and perform Hidari Gyaku Zuki Chudan (left reverse punch middle-level).\ 26. Raise the left knee (face an opponent from the rear) and perform Hidari Gedan Barai (left downward block) and Migi Soto Uke (right from the outside block) simultaneously. Then, keeping the left foot up still, return the arms to Hidari Tae Uke. Then perform Hidari Yoko Geri Chudan (left side kick middle-level) and Hidari Gedan Barai (left downward block). Set the left foot down into Hidari Tate Seisan Dachi (left vertical seisan stance)and perform Migi Gyaku Zuki Chudan (right reverse punch middle-level).\ 27. Pivot on the left foot and turn the body 90 degrees to the right into Shiko Dachi (sumo stance) and perform Migi Kake Uke (right hook block). The head faces to the right.\ 28. Turn the body 90 degrees to the right into Migi Tate Seisan Dachi (right vertical seisan stance) and perform Hidari Tate Empi (left vertical elbow strike) into the right hand.\ 29. Twist counter clockwise slightly and drop the left hand to the left hip, palm up. At the same time, place the right hand, formed into Ippon Ken (extended knuckle strike), palm down on top of the left hand.\ 30. Raise the left knee forward as you strike upward with the right hand. Continue the movement by turning 180 degrees to the rear on the right foot. When you are facing the rear, bring the arms down into Hidari Tae Uke (left Tae block). Then perform Hidari Mae Geri Chudan (left front kick middle-level) and Hidari Gedan Barai (left downward block) at the same time. Then, set the left foot down and step forward with the right into Migi Jun Zuki Dachi (right front punch stance) and perform Migi Jun Zuki Chudan (right front punch middle-level).\ 31. Yame (stop) -- Pivot on the right foot, turning 180 degrees counter clockwise, bringing the left foot into Heiko Dachi (parallel stance).\ 32. Rei (bow) **Wanshu** The name means "flying swallow". This is a Tomari-te kata based on movements brought to Okinawa in 1683 by a Chinese envoy of the same name. The metaphorical name, "Flying Swallows," comes from the soft blocking sequences near the end of this kata. Funakoshi renamed this kata as Empi. Start position. From [shizen tai](https://en.wikipedia.org/w/index.php?title=Shizen_tai&action=edit&redlink=1) step into [heisoku dachi](https://en.wikipedia.org/w/index.php?title=Heisoku_dachi&action=edit&redlink=1), place the right fist (back of hand to the front) to your left hand side into the palm of your left hand, your fingers on the left hand should be pointed out to the front. 1. Step to the left with the left leg, bend both your knees and drop towards the floor on your right knee, performing a right handed [gedan barai](https://en.wikipedia.org/wiki/Gedan_barai) and the left fist on your chest. This opening move is interpreted either as a defense against an attack to the back of the hand, which is rarely considered in contemporary karate,[^\[7\]^](https://en.wikipedia.org/wiki/Enpi_(kata)#cite_note-tartaglia-7) or as a sweep against an opponent\'s kicking leg, while grabbing the opponent and pulling them close 2\. Step back into [hachiji dachi](https://en.wikipedia.org/wiki/Hachiji_dachi) with your right fist again at your left hand side, this time both hands closed. (back of right hand to the front, back of left hand towards the floor) 3\. Turn 90 degrees to the right, step into [zenkutsu dachi](https://en.wikipedia.org/wiki/Zenkutsu_dachi) but keeping the feet in line, performing gedan barai with the right arm. 4\. Move into [kiba dachi](https://en.wikipedia.org/wiki/Kiba_dachi) facing the front and perform [kagi tsuki](https://en.wikipedia.org/w/index.php?title=Kagi_tsuki&action=edit&redlink=1) with the left arm. 5\. Step forward with the left leg into zenkutsu dachi and perform gedan barai with the left arm. 6\. Punch [jodan](https://en.wikipedia.org/wiki/Jodan) [age tsuki](https://en.wikipedia.org/wiki/Age_tsuki) with the right arm. This movement simulates striking an opponent beneath the chin.[^\[5\]^](https://en.wikipedia.org/wiki/Enpi_(kata)#cite_note-funakoshi-mt-5) 7\. Right hand opens, grab and then perform [hiza geri](https://en.wikipedia.org/w/index.php?title=Hiza_geri&action=edit&redlink=1) (knee strike) with the right knee, drop down into kosa ashi dachi, performing gedan tsuki (low punch) with the left, the right hand pulls back to side of face. 8\. Step backwards with the left leg into a deep zenkutsu dachi and perform gedan barai with the right hand over the back leg while facing towards the back leg. This is a characteristic application in this kate 9\. Straighten up and perform gedan barai with the left hand. 10.Punch jodan age tsuki with the right arm. 11\. Right hand opens, grab and then perform hiza geri (knee strike) with the right knee, drop down into [kosa ashi dachi](https://en.wikipedia.org/w/index.php?title=Kosa_ashi_dachi&action=edit&redlink=1), performing gedan tsuki (low punch) with the left, the right hand pulls back to side of face. 12\. Step backwards with the left leg into a deep zenkutsu dachi and perform gedan barai with the right hand over the back leg while facing towards the back leg. 13\. Straighten up and perform gedan barai with the left hand. 14\. Raise the left knee up and twist the body 45 degree to the right, the left hand rises into jodan [shuto uke](https://en.wikipedia.org/w/index.php?title=Shuto_uke&action=edit&redlink=1) and then the body rotates to the left 45 degrees into kiba dachi facing the front with the left arm out at 45 degrees. 15\. Strike the left hand with the right wrist (back of fist to the front), move the right foot to behind the left knee in Tsuru ashi dachi (gankaku dachi (crane stance)) and Kiai. 16\. Step out into kiba dachi with the right leg and perform tate shuto chudan uke with the left hand. 17\. Right chudan [choku tsuki](https://en.wikipedia.org/wiki/Choku_tsuki) 18\. Left chudan choku tsuki 19\. Move the left foot to the left into zenkutsu dachi whilst performing gedan barai. 20\. Punch jodan age tsuki with the right arm. 21\. Step forward into kokutsu dachi and perform shuto uke with the right hand. 22\. Bring the right leg back to the left and step out with the left leg into kokutsu dachi performing shukto uke with the left hand. 23\. Perform right chudan choku tsuki. 24.Step forward with the right foot into kokutsu dachi and perform shuto uke with the right hand. 25\. Pivot counter clockwise 180 degrees moving the left leg to the left into zenkutsu dachi performing gedan barai with the left arm. 26\. Punch jodan age tsuki with the right arm. 27\. Right hand opens, grab and then perform hiza geri (knee strike) with the right knee, drop down into kosa ashi dachi, performing gedan tsuki (low punch) with the left, the right hand pulls back to side of face. 28\. Step backwards with the left leg into a deep zenkutsu dachi and perform gedan barai with the right hand over the back leg while facing towards the back leg. 29\. Straighten up and perform gedan barai with the left hand. 30\. Right hand teisho oshi [age uke](https://en.wikipedia.org/w/index.php?title=Age_uke&action=edit&redlink=1) (rising pressing block). Head and hand turned 45 degrees to the front, left fist on left hip. This is interpreted as a counter-attack against the opponent\'s elbow. 31\. Bring the left foot half a step back and then, turning 90 degrees towards the right, step forward with the right leg into zenkutsu dachi. Perform right hand teisho oshi age uke and left hand teisho oshi gedan uke (downward pressing block). 32\. Step forward into left zenkutsu dachi whilst perform left hand teisho oshi age uke and right hand teisho oshi gedan uke (the left palm rises as the right palm lowers). 33\. Step forward with the right leg into zenkutsu dachi. Perform right hand teisho oshi age uke and left hand teisho oshi gedan uke. 34\. Slide both feet forward into kokutsu dachi and perform gedan barai with right hand. 35\. Slide both feet forward into hiza kussu (bent knee), lean forward and perform shuto gedan ni oshidasu (thrust downwards) with the right hand and jodan tsukami uke (upper level grasping block (palm upwards)) with the left hand. From this position and into the next, the opponent is first thrown to the ground over the front leg, and then leapt overtop of to avoid the opponent\'s sweep from the ground.[^\[7\]^](https://en.wikipedia.org/wiki/Enpi_(kata)#cite_note-tartaglia-7) 36\. Pivot counter clockwise on the left foot and jump into the air turning 360 degrees. Kiai. Landing in right foot forward kokutsu dachi performing shuto uke with the right arm facing the front. 37\. Step back with the right foot into kokutsu dachi performing shuto uke with the left arm. Finish position. Bring the left foot back into heisoku dachi, place the right fist (back of hand to the front) to your left hand side into the palm of your left hand, your fingers on the left hand should be pointed out to the front. Same as starting position **Rohai** Rohai has three variation invented by Itosu. Wado-ryu practices Rohai Shodan. Funakoshi renamed this kata as Meikyo. The name Meikyo is composed of two kanji: bright and mirror. The name of the kata can only be Bright Mirror. The name is probably taken from the opening technique where the performer pulls both palms up to his face and looks in them as if he is holding a mirror. Much like Kanku-Dai, Meikyo contains a symbolic opening technique which defines the name of the kata.  Directions 1\. Natural Position - Like Gankaku and Sochin, Meikyo does not begin with any special posture. Simply stand in the natural position with the hands resting at the 289 Meikyo sides in relaxed fists. There should be no tension in the body as you assume this posture, nor should there be any tension left as you stand here. 2\. Reach and Pull Back - Reach up with the hands open without bending the elbows until the hands are crossed at the wrists in front of the forehead. Most people do this as a wide, circular action out to the sides. As you begin to reach up, start sliding the right foot out into a horse riding stance as you lower your torso by bending both knees. Pull both hands back, clenching them into fists, and draw both arms back until the fists rest at the waist. Be sure that the elbows are not visible from the front. Perform this technique with deceleration and increasing tension. 3\. Look in the Mirror - Without any serious tension, keep the elbows close to the sides of the body as you bring your open hands up from their drawn positions to a point in front of the face where the little and ring fingers touch. The elbows should still be torso width apart, so your forearms are in a triangle shape. 4\. Open Handed Wedge Block - Flip the hands over so that the palms now face away from the face, and slowly add tension and decelerate the arms as you wedge block outward with both hands. The finishing posture should have the hands in front of the shoulders with the elbows at 90° angles. 5\. Down Block and Punch - Shift the left foot so that it becomes the front foot in a new front stance facing to the 45° angle to the left. Turn the hips to the side as the arm descends to block. Down block strongly as you do this. Step forward and punch middle level along the same angle, bringing the hips squarely to the front as the feet pass and then keeping them front facing for the rest of the step. Shift the right foot over 90° to the other 45° angle while throwing a down block, and then step forward and punch with the left hand along that same angle. 6\. Two Tiger Mouth Blocks - Step forward with the right foot into a new back stance. The step will be somewhat awkward because you must take a heading 45° to your left. Step quickly at first, but the last quarter of the step should decelerate as this technique is performed slowly. As the stance begins to take shape, bring the right forward and up from underneath so that it appears to scoop upward. The right hand should end up over the right knee. Lift the left elbow up and over the head so that the left hand ends up in front of the forehead palm up. Both hands should be palm up and open, and the thumbs should be out. 7\. Stab Downward - Shift forward about six inches in your back stance. As you shift, close both hands into fists, and then rotate the wrists as you stab downward with both of them. When you are finished, your left hand will be in front of your navel while the right hand will be extended forward to the low level. Shift the left foot forward as you shift into a front stance with the right leg forward as you stab. 8\. Pivot and Turn - Pivot on both feet into a front stance that faces the rear by looking over the left shoulder and turning counter-clockwise. Perform this quickly in one explosive motion. As you do this, leave your hands where they are in relation to the room, not in relation to your body. 9\. Reach and Pull Back - Step up with the right foot to the left and then outward so that you are in a new horse riding stance. As you do this, reach forward and pull back 290 Meikyo as in the beginning of the kata. Unlike the beginning of the kata, you will not do the mirror looking nor the wedge block, though. 10\. Repeat as Necessary - From your previous position with both hands at your waist drawn back, fold the arms for a left down block and head out on the 45° angle. Down block. Then, along the same heading, step in and punch middle level. Pivot as before to the right and down block again, then step in and punch at the other 45° angle. Step 45° to the left with the right foot as above, slowly decelerating as you perform the two tiger mouths. Stab downward while shifting into a front stance, and then turn, leaving the hands where they were, repeating the motions above. Then step up into the horse riding stance again, performing the reach and pull. 11\. Inside Block and Stepping Punch - Step out at the 45° angle and perform an inside block in a front stance with the left foot forward. Step and punch middle level. Shift to the right 90°, and inside block as you shift. Step forward and punch with the left fist middle level. 12\. Bottom Fist Strike - Step to the left 45° with the left foot, assuming a side-facing horse riding stance. Look to your left. As the foot settles, perform a bottom fist strike to shoulder level with your left fist. 13\. Crescent Moon Kick - Turn the left foot forward, open the left hand, and crescent moon kick into the left palm with the right sole of the foot. Do not step forward, instead, move to replace the foot where it came from. As you set the foot down, assume a back stance with the right foot becomes the rear foot. After the kick connects with the palm of the hand, down block strongly with both arms so that the left fist ends up over the left knee and the right fist ends up over the right knee. The blocks are not squared to the room, but rather are aimed in the directions the knees point in the back stance. 14\. Shades of Heian 2 - In place, without stepping, bring both hands up strongly into the opening double armed block of Heian Nidan. The right forearm should end up pointing forward at forehead height, and the left forearm should point at the ceiling. The knuckles of the right fist should line up with the wrist of the left arm as far as height is concerned, but when viewed from the front, there should be a space at least 8 inches wide between the right fist and the left forearm for your face to be seen through. 15\. Double Block Again - Step forward into a back stance with the right foot becoming the front foot, and bring the arms down to the left waist and then back up again strongly into the same posture as before. 16\. Double Down Block - Step forward with the left foot into a front stance with the hips square. Block with both hands by crossing them at the wrists and bring each down to the sides of the body pointing out at 45° angles to the floor. 17\. Double Inside Block - By now you should feel as though Jion and Heian Nidan were mixed and jumbled together in a strange fashion. Step forward again, this time into a back stance. Cross both arms over the torso and then perform double inside blocks that focus when you step. 291 Meikyo 18\. Snapping Punches - Shift forward with both feet about six inches as you uppercut punch with both fists from their current positions. Snap the punches and return the hands to their original positions immediately. 19\. Pivot and Upper Block - Turn to the rear 180° by pivoting on the heels counterclockwise. As you pivot, reach up over the forehead with the right open hand while you draw back the left hand. Strongly upper level rising block with the left hand as you complete the pivot into a new back stance with the left foot forward. 20\. Triangle Jump - One thing that\'s for sure is that Shotokan Kata seems to have an affinity for triangles. You make triangles with your hands at the beginnings of kata, triangle postures, triangles on the floor, and now a triangle in the air. Leap off of the left foot and jump upward, smacking the right elbow into the left palm at the mid point. Best Karate says that you should attempt to jump in place, but most people seem to travel about a stance length when they perform this kata. When you complete this jump, you should perform a right handed sword hand block and land in a back stance that has the right foot forward. Technically the jump is just like the one from Kanku-Sho, the only difference being the elbow strike and the fact that you change which shoulder you are looking over in mid jump. It is a 360 degree jump. Don\'t let the fact that you change directions fool you, you are still putting the feet back where they came from, just in different positions because you change which way the back stance faces during the jump. It isn\'t that hard of a jump, despite all of the press to the contrary in various kata books. The jump in Unsu is much more difficult, and so is the jump and duck in Kanku-Sho. 21\. Sword Hand Block - Step backward into a new back stance and sword hand block. 22. Finish - Pull the left foot back to the natural position and relax. **Jion** A Tomari-te kata part of the Jion kata group Jitte another Tomari-te kata of the Jion kata group; the name means "10 hands." The name Jion is of unknown origin. There are claims that the name comes from a temple named Jion-Ji, which literally means Jion Temple. While living in Japan, looking at a local map of the area I was in I saw that there must be a hundred temples in Japan that go by that name, so the reference is not very specific or informative. What does the name Jion mean, and where does it come from? No one knows. There are many different ways to write the word Jion. Some of them are presented here for consideration as possibilities Directions 1\. Fist in Hand - Stand with both feet touching from ball to heel with the toes forward. The knees should be straight. The left hand should be over the right fist. The elbows should be pointed down and no wider than the sides of the body, and the tallest knuckle on the left hand should be directly in front of the chin. Do not bend the wrists and point the elbows out sideways. Instead, keep the elbows in pretty close to the sides of the body and the wrists straight. 2\. Let\'s Go! - Jion, unlike some kata, does not begin with a dramatic and demonstrative hand waving exercise or painfully slow execution of some incomparable posture. Jion gets right down to business. Step backward with the left foot so that it becomes the rear foot of a right front stance. Do not move the torso to the rear as you do this. Simply bend the right knee, shoot the left foot backward, and lower the torso in place. Do this very suddenly and explosively. At the same time, unfold the hands from their positioning and down block with the left hand as you inside block with the right hand. These arm actions are not preceded by folding or crossing of the arms. Simply burst them into place, and focus the arm actions with action of planting the left foot. Your body should suddenly be in motion, and then should come to a halt like a bird flying into a window. 3\. Wedge Block - Step to the left 45° angle with the left foot so that you are in another front stance. The first half of the step should be pretty fast. As you move the foot forward and touch it to the floor, decelerate considerably so that your weight settles into the stance gently. As the feet cross, bring the fists up in front of your eyes about one foot away. The palm sides should be facing inward and the arms should be 228 Jion crossed at the wrists. Turn the wrists as you pull your elbows down to your sides to perform a wedge block. The action of bringing the hands up should be extremely fast, in time with the first part of the stepping motion. Parting the arms and performing the block should start with a very small burst of speed, and then lose speed and gain tension as you move. 4\. Kicking and Punching - Keeping your arms in the same position relative to your body, step forward and throw a right front snap kick to the middle level. As the foot touches the floor, a right middle level punch should be focusing. The punch is launched from the wedge block position of the arms. Do not pull back the right hand into a chambered position before throwing the punch. The timing for these two techniques is very quick with no pause between them. Pause after you throw the punch for just a moment. 5\. Double Punch - Throw two punches from your current position. Do not try to consciously wiggle your hips to power up the punches. Your hips should stay square to the front facing position. The first punch should be fast and snapped, the second punch is strong and thrusted. There is no time between the two punches. The kick and punch section and this form a rhythm of 1-2\-\-\--1-2. Most people ruin this part of the kata by turning their hips when they punch, pausing too long between punches, or by throwing all three punches in a row 1-2-3. Don\'t do that. 6\. Repeat as Necessary - Snap your head to the right 90° and them step in that direction first quickly then slowly to perform a wedge block. Perform the exact mirror image of everything you just did from the wedge block to the double punch above. Pause after the last punch. 7\. Upper Block Reverse Punch - Pivot on your right foot to the left 45° until you are in a left front stance again. During the first half of this pivot, draw the left arm back while you upper block with an open-handed covering action with the right hand. During the second half of the pivot, complete the upper block by blocking upward from the chambered position you are in. Draw the right arm back now. Your foot should land in time with the focus of the second blocking action. Actually, the whole movement is just a single upper block. It is pretty standard in Shotokan circles to perform an open-handed covering action before throwing the upper block, and it is especially common in Shotokan kata. As soon as the upper block completes, bring the right hip forward by straightening the right leg to rotate the hips to front facing as you throw a right reverse punch to the middle level. All three motions should have very fast timing 1-2-3. Pause after the punch. 8\. Upper Block and Punch Again - Step forward with the right foot. As you step the feet together, you should draw back the right arm and be upper blocking with the left hand open in a sword hand as in the last sequence. As you complete the step, upper block with the right hand using a fist, and then reverse punch quickly on the left side performing the mirror image of the above technique. 9\. Upper Block and Stepping Punch - Step forward with the left foot again and upper block with the two motions as above. As soon as the block is finished, step again strongly and throw a middle level punch with a kiai. The rhythm of these techniques performed in this particular direction is 1-2-3\-\--1-2-3\-\--1-2-3. 229 Jion 10\. Swastika Posture - Turn 270° while pivoting on the right foot. Be careful during this pivot to keep the torso erect. Most people tend to stick their rears out and bend forward during this turn. The other hideous habit that you don\'t want to acquire is that of reaching with the foot before you actually turn. Some people, even Kanazawa teaches this way, instead of pivoting completely and then stepping out, bend forward at the waist, stick their foot behind them, and then try to pivot on both feet to twist around and complete the turn. Don\'t do that. When you turn 270° or 180°, always stay straight up and down. Bring the left foot forward to the right as you turn on the right foot. Spin so that when you complete the step, you are now facing to your rear, but looking over your left shoulder. Without any pause, step out with the left foot into a back stance. That is how you should turn - always keep your support foot under your head when possible. To assume the swastika position the left arm is moved down into a downward block synchronized with the right arm being moved into an upper level inside block to the rear. There is a trick to doing this movement properly. Make sure that the right arm, while moving upward, takes a curved trajectory. Do not pull it away from your left side in a straight line. Instead, make the right fist travel in a diagonal arc away from your face so that your fist goes over your head and is never close to your head horizontally or vertically. Most people bend their right elbow too much and pull the fist under their chins. 11\. Hook Punch - There are two different ways to perform this technique, and both are legitimate. You can hook punch from the upraised position of the right arm, or you can lower it into a chambered position and then punch across your body. Either way, lift the left foot up and push with the right so that you shift to the left about one foot. Assume a horse riding stance facing to your right, but keep your nose pointed to the left 90° over your left shoulder. Punch across your body so that your finishing position has your right elbow even with the side of your body, your fist slightly lower than your elbow, and your whole right arm posture makes a nice, neat rectangle with your torso when viewed from above. This punch is middle level. 12\. Repeat, Repeat - Turn to the right 90° by pivoting on the heels. Don\'t shift the feet anywhere when you do this motion other than to turn the right foot. Shift your torso to the left, but not the feet, as you assume the back stance facing the other way. Perform the swastika block/posture and the hook punch as above. The timing for these four techniques is 1\--2\--3\--4. Be careful not to perform them in the very common 1-2\-\--3-4 fashion that most people do. 13\. Down Block - Look left 90° and step in that direction with the left foot into a left front stance. Fold the arms at the midpoint of the step and down block as the foot settles. Pause. 14\. Palm Heel Strikes - Step forward into a horse riding stance facing to the left so that your right side faces your imaginary opponent. Your head is still pointed in the same direction. Reach around widely from the chambered position your right hand was in instead of moving the hand directly from the hip. The idea is for this technique to take a very wide trajectory to give it a chance to wind up on its way to the target. Don\'t perform this as a block, but rather as if you are striking someone in the midsection with the bottom corner of the palm heel of the right hand. Focus the technique in time with the step. Step forward twice more, repeating this technique. 230 Jion 15\. More Swastikas - Turn 270° into a back stance. Follow the directions above. 16\. Double Hand Block - block to the left 45° angle with both arms in a double arm block posture. The left arm blocks like an inside block, and the right fist is pressed against the meaty portion of the forearm from the elbow toward the wrist, palm inward. As you block, bring the right foot up to the left and stand up with the feet together quickly. Do not chamber before throwing the block. Turn to the right 90° and step with the right foot into a back stance and repeat the sequence in the mirror image of itself. 17\. Crossed Arms - Standing in place with the feet together, cross the arms at the wrists and bring them down with deceleration as you place the shoulders at 45° and move the fists to your sides. Your arms should point outward and down at that angle. 18\. X-Block - Now raise your right knee strongly as you chamber both arms for punches quickly, and then lunge forward, stabbing the fists downward into X-blocks. Most people stab their arms down like this for all of their X-blocks, but usually the X-block does not require a chambering action. You should finish in the crossed leg stance with your knees bent. Don\'t bend forward - stay straight up and down. 19\. Sweep Up - Now, stab the left foot backward behind you, as you did during the first technique of the kata, leaving your torso in place and your front knee bent so that you end up in a front stance. As you do that, quickly block to both sides as you did with the Crossed Arms technique listed above, except this time go as fast as you can. There should be no time between the X-block and this block. 1-2 is the timing. 20\. Double Inside Block - Step forward into a front stance with the left foot forward and inside block with both arms. The left arm should fold inside the right. Be careful to focus in time with the placement of the foot. 21\. Shades of Tekki - Step forward again and X-block to the high level with your hands in fists. The right fist should be inside the left fist. Immediately raise the left fist up so that the left arm takes the final position of an upper level rising block. The right arm. should strike around somewhat and forward as a vertical back fist strike. You should nearly straighten the elbow and strike to your own nose height. Reverse arms by punching forward with the left fist at lower chest level quickly while you move the right fist so that it points to the right ear. The right elbow should collapse as the right fist comes back from the vertical back fist position. Now bend the left elbow so that the left fist comes back as the right fist circles around performing an outside block. The left fist should be directly under the elbow of the right arm, and the left arm should be in the hook punch final position described above. The entire sequence from the X-block forward should be 1\--2-3-4. 22\. Inside block punch - Turn 270° into a left front stance and perform an inside block. Step forward and punch. Turn 180° and inside block. Step forward and punch. Perform this sequence with even rhythm 1\--2\--3\--4. 231 Jion 23\. Down Block - Look left 90° and step in that direction with the left foot into a left front stance. Fold the arms at the midpoint of the step and down block as the foot settles. Pause. 24\. Dropping Blocks - Now, stepping three times as you did with the palm heel strikes, you will execute dropping blocks. Only this time, instead of stepping, you will also raise and drop your feet. Be careful how you do this. Do not raise the knee and then swing it around to drop. Rather, pivot the hips to front, raise the knee as if you were going to perform a front snap kick, and then continue the pivoting action as you lower the leg. That way, the knee will travel an under-curved course instead of an over-curved course, allowing you do bring the knee up strongly and snap it back down extremely quickly - which is your goal. Up and down quickly and strong. As you raise the knee, move the down block fist to cover the groin. Raise the right arm so that the elbow is nearly straight and the fist points upward, and then snap the arm back down immediately in synch with the knee\'s movements. Up with the knee, down with the knee. When you complete the block the palm should be inward on the right fist, and the arm should be in that same position it was in for the hook punch. Repeat this twice more, and be careful to move the blocking hand into position to protect the groin as you step. 25\. About Three Step Rhythm - The palm heel strikes and the dropping blocks are both examples of repeating a single technique three times in a row. When you do there are two possible rhythms allowed: even rhythm and enhanced. The even rhythm stepping is 1\--2\--3. The enhanced rhythm is more like 1\-\--2-3. Tournament performers tend toward the second rhythm as of this writing. 26\. Pull and Stab Slow - Turn 270° into a horse riding stance, and reach across your body with your right hand as if grabbing opponent. Arc the hand up over the head and bring it down. Slowly and powerfully punch to the side with the left arm while drawing the right fist to a position directly in front of the right breast with the palm down. 27\. Pull and Stab Fast -Pivot 180° so that you are looking over your right shoulder (don\'t move the feet), chambering the right fist at your hip as you reach over and across with the left arm. Perform this part of the motion very slowly, and then suddenly pull and punch with the right fist as you shift to the right six inches. Punch quickly and kiai. 28. Finish - Stand up by lifting and moving the right foot to a position next to the left foot. Return your hands to the fist in hand position from the beginning **Bassai** Also known as Passai a Tomari-te kata that uses dynamic stances and hip rotation. Funakoshi renamed this kata as Bassai Dai Bassai probably means something like \"Extract from a Fortress.\" In short, \"Rescue.\" The first character can be read as nuki or batsu, depending on the combination and the natural way of using them already intuited by native speakers. It means \"to extract\" or \"to draw out.\" The second character can be read fusagu or sai which means \"close, shut, obstruct, or get in the way of.\" There are many meanings that could possibly be drawn from this character combination.  Directions 1\. Yoi and Begin - Different people begin this kata differently. Depending upon your instructor and your reasons for doing this kata, you will perform different actions following the bow. This wasn\'t very important when you were doing the Heian kata, but beginning with Tekki 1 and Bassai-Dai, the opening posture of the kata is no longer the same old natural, relaxed posture. If you are performing in a tournament, the typical order to follow is (1) Stand at attention, (2) bow, (3) assume natural stance and announce the kata, and (4) assume the introductory posture for the kata commonly known as yoi. If you are performing this kata by yourself, and if you are not practicing for a tournament, you can skip all of the bowing and introductory nonsense and simply assume yoi (4) above and get to work. When performing the kata in front of others, but not using a tournament format, generally you (1) assume attention, (2) bow, and (3) assume the yoi posture of the kata. To take the yoi posture of this kata, move your left foot in to your right foot so that 山 Yama 189 Bassai-Dai both feet touch from ball of foot to heel. This is called Heisoku Dachi, the closed feet/close leg stance. Place your right fist inside your left open palm with your right wrist bent somewhat. The reason you bend the wrist is that you try to make the knuckles of both hands line up, and you should also try to straighten both elbows. Your wrist bending is not important, so don\'t worry about it. Stand in that position and look straight ahead. 2\. Falling Tree - The next technique is called a vertical back fist strike with a reinforcing left palm placed on the right wrist. Before you move, though, you begin leaning forward slowly. Count to yourself, 1..2..3.. then stop leaning forward and lunge forward with the right foot. When it lands, pull the left foot up right behind it and assume the crossing stance (kosadachi). The left foot should be very close against the right foot. Do not cross your legs at the knees or shins - cross them at the ankles. This is very difficult to learn. The hands should travel a striking trajectory, not a circular swooping one. As you lean forward, do not move the hands. As soon as you begin to lunge forward, raise both hands in the same posture into your chest as you turn it half facing. Then fire the fist forward sliding the left hand around the fist until it is positioned on the right wrist. Keep your fingers straight on your left hand. The left middle finger fingernail should be directly next to the very base of the palm. Does the left hand actually reinforce anything? More than likely - no. In fact, in all of the places in all of the Shotokan Kata where a technique is called \"reinforced\" - usually this is the appearance alone. Try to think of other meanings for such movements. 3\. Two Inside Blocks to Rear - Turn your head 180° to the rear, and fold your arms right over left in preparation for the inside block to follow. It is important that you stretch your arms as far into this folded position as you can. The right hand should be pointed in the direction you are turning. Don\'t wrap the right arm around the body. Unfold the arms into a block strongly as you step so that the focus of the block and the step itself are synchronized. You should be in a half facing posture - hanmi. Now prepare for the next block by folding the arms again. When you fold the arms, be sure that you do not turn the hips yet. Most people ruin this technique by turning their hips with the folding action. Don\'t move the hips until you block. Now throw the block and turn the hips sharply to the reverse half-facing position. No, there is really no such thing as this position - mostly you just assume the front facing position and then twist your spine a little and strain to do a reverse half-facing posture. 4\. Outside then Inside Block - Another 180° turn to the rear, so that you are facing the front again. Turn the head first. As you look over your right side, you should move your right leg over to the right so that it can become the front leg in a right side front stance. Raise the right fist so that it points directly to the rear with the elbow straight. Raise the left arm up so that the elbow is at 90°, ready to do an outside block. Strongly assume the stance by shifting your weight as you rotate your hips into another reverse half-facing posture. Time the block so that it focuses as you complete the weight shift and the hip rotation. Your shoulders should be at 45° from the front, even though no one\'s hips could ever do that in a front stance - make it look like you can. 190 Bassai-Dai Fold the arms for an inside block. Again, be careful not to turn the hips until you are blocked from the folded position. Don\'t turn your hips when you fold your hands. The hips should snap nicely around as you block. Also of importance is that you never move your head during these hip rotation movements. Point the nose directly ahead, and never allow your head to move from that spot, no matter what your shoulders are doing. You\'ll have to carefully time turning your head so that you don\'t end up cutting your eyes left and right. The hip turns are much more dramatic when the head does not move. 5\. The Scoop - This technique requires a little finesse. Most people bludgeon their way through this one. From the right side inside block, pull the right foot back to the left and pivot on both heels to the right 90°. Stay low as you pivot, but do not bend forward. As you come to fully face to your right and complete the scoop, straighten the knees gently. Finish this movement by smoothly continuing straight into the folded posture for a right side outside block. Raise the right hand up, putting the shoulder and the elbow both at 90° angles. 6\. Outside Block - Step forward strongly with the right foot and outside block strongly with the right side so that you finish in a half-facing posture. 7\. Inside Block - Fold the arms without turning the hips, and then turn the hips strongly in the reverse half-facing posture. Inside block strongly. Some people, on this particular technique, pull the front foot back about 6 inches. You are not supposed to do that on any of the previous reverse side blocks. However, I think because Osaka Yoshiharu, of Best Karate fame, did this particular block that way on a video tape repeatedly, everyone has started copying his little foot tugging action. The feet should not move. 8\. Stand and Deliver - Pulling the left foot back parallel with the right, take a natural standing posture with your legs while you put both fists on your right waistline. The right fist is in a typical draw hand posture. The left fist sits on top of it in a vertical posture. Keep the shoulders square to the front, but do try to pull both fists back directly to your side at the same time. 9\. Vertical Sword Hand Block - Now slowly extend the left hand outward in a circular blocking action. At first move the hand quite rapidly, but then use increasing slowness and tension. Some people like to flare their hand by beginning the movement with the palm up so that they can turn their hand around at the very end. This is for show only, and it really doesn\'t matter which way you do it. 10\. Punch and Block - After you feel that the extended vertical sword hand has enjoyed enough hang time to produce drama, quickly punch with the right hand without turning your hips or your shoulders. Immediately fold your arms for a right side inside block, but do not turn your hips. Step to the side with the left foot strongly assuming a moderate-depth front stance. Some people turn their front foot to the side, others try to keep both feet to the front. I recommend turning to the side. The stance you assume should be in-line, don\'t try to give it width by stepping back. As the foot lands, violently turn the hips and shoulders in synch with your block. It is extremely important that the hips turn with the block as you step. Do not fold the arms as you step, or you will lose the hip rotation from your blocking action. Keep 191 Bassai-Dai your nose facing forward at all times. Turn your head to the right strongly to prevent cutting your eyes. 11\. Punch and Block - Stand up quickly and mirror the action you just performed above exactly. 12\. Four Sword Hands - Keeping the head pointing forward as you change directions, pivot on your left foot and pull the right foot in next to it as you fold your arms for a right sword hand block. Step forward smoothly and block sharply. After the block, pause for a moment. Then step foward and block again. Pause for a moment. Now step forward and block again. Without pausing, step backward and perform another block. The entire sequence should count as 1\...2\...3.4. The small pauses you insert after blocks one and two will ensure the dynamics of blocks three and four showing nicely. 13\. Wanna Wrastle? - Shift the front foot to the left by about 12 inches and assume a left front stance. Move the hips into the reverse half-facing posture you tried to make earlier. Leave the left and right arms where they are. The right arm should be resting on the middle of the torso. The left arm should be moved so that it stays in the same place relative to the rest of the room - not your body. Let your left shoulder move as you turn to the front and then the left with your shoulders. Raise the right hand, palm up and open, underneath the left arm. As it passes the left hand, extend the left thumb and have the left hand follow the right. Do not allow the left hand to touch the right, but keep them close together, with the left middle finger pointed at the right wrist, and the left thumb pointed at the center of your right forearm. Turn the right wrist at the top of the motion, and begin to slowly bring both arms down by bringing your elbows closer to your sides. Both hands should be open with thumbs extended. Some people try to curve their right hand as if they are grabbing a small tree - that\'s unnecessary and ugly. Your shoulders are now 45° to the left. 14\. Low Side Thrust Kick - Raise the right knee up into the space in between your elbows. Don\'t move your arms as you raide the leg. As you kick strongly down at a 45° angle, pivot on the rear foot and turn your hips to the left side so that you are fully side facing. To do otherwise is to invite injury with repetitive action. Pull both arms up simultaneously so that they are in fists and you appear as though you are trying to pull on an enormous boot over your right foot with both hands. The thumb sides of your hands should be close together. Kiai on this technique. 15\. Two Sword Hands - Raise the knee out of the kick and continue turning until you are facing the rear. Execute a left sword hand block as you step down into a back stance with the leg you just kicked with. Pause a moment. Step forward and perform another sword hand block in a back stance. 16\. Upper blocks - Pull the right foot back to the left gently. When you do this, it is important that you do not put weight on the right foot first and then push off. Lift the foot and pull it back. Pull both arms in front of your abdomen as you pull in with your fists palm up knuckles down. Stand upright with your knees straight. Raise both arms upward slowly into upper level rising blocks. Keep the base knuckles of your index and middle fingers close together as you do this with both hands. 192 Bassai-Dai 17\. Tear a Sheet of Paper - Now pull the hands away from each other about six inches each and stop strongly as if you are tearing a sheet of paper in half over your head. 18\. Around and in - Raise the right knee moderately high and then lunge forward into a front stance. As you move into the stance, bring both fists from their upraised posture around and down in a circular fashion until finally both are striking inward with the palm sides up. Focus the action when the fists are even with the sides of the body. 19\. Lunge Punch - Lift the front foot slightly and push off with the rear foot so that you advance about one foot. Middle level punch. The timing for the techniques from the upper blocks should be \....1..2.3..4. 20\. Two Handed Grab - Look to the rear. Move the left foot just enough that it becomes in-line with the front foot. Open both hands and your arms so that your left hand is over your left knee in a lower level sword hand block position. Your right hand should be a sword hand as well, and it is raised up as if you are about to perform an outside block. Now quickly bring the left hand up so that it stops over the right shoulder with the palm facing inward to the neck. Be careful not to wrap the hand around the neck - keep the fingers straight. Bring the right hand around and down so that it stops as if an inside moving lower level sword hand strike. Keep the elbows of both arms very close together. Your shoulders should be pulled inward toward each other. The hips should attempt to turn forward, however, in an in-line stance which will probably not be possible. Just do your best to turn forward without falling down. 21\. Swastika - Slowly pull your front foot back to your rear foot so that both feet are facing to your right. Keep your head pointed forward as you come up into a full standing position with the knees straight. The left arm is moved down into a downward block synchronized with the right arm being moved into an upper level inside block to the rear. There is a trick to doing this movement properly. Make sure that the right arm, while moving upward, takes a curved trajectory. Do not pull it away from your left side in a straight line. Instead, make the right fist travel in a diagonal arc away from your face so that your fist goes over your head and is never close to your head horizontally or vertically. Most people bend their right elbow too much and pull the fist under their chins. 22\. Big Stomp and Down Block - Still looking to your left, pivot to the left on your left foot, and then raise your right knee into the air. You should be facing squarely to the left when your knee is up in your chest like this. Leave your left arm where it was in physical space, not in relation to your body. When you pivot, move into it and collapse your shoulder inward. Reach over your left shoulder with your right fist and prepare a down block. All of the above happens simultaneously. Now continue pivoting to your left and lower your foot strongly into the floor, stomping as you assume a horse riding stance facing to the left. During the entire turn, keep your eyes to the front. Sharply downblock to your side, keeping all of these movements synchronized. 193 Bassai-Dai 23\. Back Hand Block - Turn your head sharply to the left 180°, then fold your arms so that your right arm and fist are reaching over your left arm and open hand. Fold before the block quickly and strongly. Quickly at first, then very slowly move your open hand, formed like a sword hand with the fingers straight, palm side following. Some people prefer to face the palm downward at first and then turn the wrist only at the last portion of the movement for drama. Either way is OK. 24\. Crescent Moon Kick - Once you have reached the pinnacle of this motion, turn to your left and crescent kick into the palm of your hand with the sole of your right foot. Do not move the left arm while you do this - keep it in position relative to the room, not the body. Your left shoulder will close inward as you perform the kick and turn the body forward. Leave the right hand at the right hip. Keep it in position relative to the body. As you connect with the palm of your hand during the kick, you will continue turning and step down into another horse riding stance facing the opposite way from the last one. 25\. Elbows - As your foot makes contact with the floor, simultaneously strike the palm of your left hand with your right elbow. Turn your right fist so that your palm faced inward or downward - it doesn\'t matter, your elbow doesn\'t change. Your left arm, as you were stepping through, eventually started to bend at the elbow to facilitate this move. Now in place, without moving the feet, down block from that position with the right hand. Leave the left fist touching the inside of the right elbow, and make that hand into a fist as well. Then, sharply reverse the position without any folding or preparing. Just flip the arms. Flip them again so you are back where you were. This should be performed with a count of kick.elbow..downblock..downblock.downblock. 26\. Yama Means Mountain - Move both hands sharply to your left waist in the cup and saucer position, turn your head to the right, do not widen stance but shift into a front stance facing what was your right side. The stance should have no width to it at all. As you shift into this front stance, punch strongly with both hands. The right hand should punch as an undercut or close punch. The palm is up at the finish point, and the elbow is touching the side of your body. The Left hand punches over your head, palm down. Try to keep your fists perfectly vertical to each other when viewed from all angles. Your body should be side facing, not front. If you turn your body front facing for this technique, as is probably the original way to do it, then you cannot punch and make the mountain shape properly because your shoulders will be at the wrong angle. 27\. More Mountains - Pull the right foot back to the left so that the feet touch from front to back. The knees should be straight. The fists come back to the right side of the body in a cup and saucer shape. After a lengthy pause here (about a second), raise the left knee sharply and stomp down while throwing another mountain punch, this time with the left side forward. Pull back and repeat again on the right side. There are a total of three mountain punches. Some people do some very ugly and unnecessary things during these three techniques. (1) Some people bend their knees in the heisoku dachi posture. Don\'t lock them, but don\'t bend them visibly either. There\'s no reason to bend them. (2) Most people have an ugly mountain punch. The reason for that is pretty simple: It\'s a difficult technique to shape properly, and in order to focus it, you must truly understand sy