Sushiho¶
Name: Sushiho / Sūshiho (五十四歩)
English: Fifty-four steps
Introduction¶
Sushiho is an advanced kata within Kyokushin and belongs to the kata forms usually counted among the northern tradition of the system. It has a background in Shuri-te and is connected to the kata family that in other karate traditions is often called Gojūshiho or Useishi.
The kata is technically extensive and requires high control of stances, direction, breathing, open-hand techniques, nukite, shōtei, haitō, shutō, uraken, elbow techniques, kicking techniques, bō-tori-like principles, kiai, and zanshin.
Sushiho should not be understood as a kata where the goal is to memorize many movements. The form trains technical maturity: the ability to maintain stable direction, strong form, body control, clear hand formation, and mental presence through a long and demanding sequence.
The modern Kyokushin version on this page follows a 50-count structure, where start, mokusō, yoi, naore, and yasume are treated separately from the technical movement sequence.
Historical background¶
Sushiho belongs to Kyokushin’s northern kata forms. This group is usually connected to Shuri-te, Shōrin-ryū, and the technical line Masutatsu Oyama received through his Shotokan training under Gichin Funakoshi.
The name Sushiho is connected to Useishi, the Okinawan pronunciation of the characters for fifty-four, and to the Japanese form Gojūshiho. In Shotokan, Gojūshiho appears in different forms, often named Gojūshiho Dai and Gojūshiho Shō.
The material also describes possible northern Chinese influence, including varied stances, forward-shuffling steps, and palm, claw, and nukite-like technical elements. Such historical connections should be understood as traditional and pedagogical background, not as a complete historical reconstruction.
Within Kyokushin, Sushiho was adopted by Masutatsu Oyama from his Shuri-te and Shotokan background and adapted to Kyokushin’s technical expression, where strength, stability, kime, clear direction, and practical usability are emphasized.
At Galaz Dojo, Sushiho is placed under Northern kata, because in the Kyokushin system the form belongs to the Shuri/Funakoshi-influenced kata family.
Name and meaning¶
Sushiho is written 五十四歩.
The name can be understood pedagogically as:
- fifty-four steps
- fifty-four movement directions
- fifty-four technical principles
- a long form where every step must be carried by direction, control, and zanshin
The characters 五十四 mean fifty-four, and 歩 means step, walking, or movement.
The name should not be interpreted as meaning that every modern technical main count corresponds exactly to one of the fifty-four steps. In kata history, names, counts, and technical divisions may vary between traditions and lines. At Galaz Dojo, the name Sushiho is used for consistency with Kyokushin romaji.
Position in the system¶
Group: Northern kata / advanced kata
Level: Dan level / advanced level
Technical focus: Moroashi-dachi, Sanchin-dachi, Kiba-dachi, Zenkutsu-dachi, Kokutsu-dachi, kakato ushiro age geri, uraken oroshi ganmen uchi, seiken morote uchi uke, kake jōdan uke, nihon seiken chūdan tsuki, jōdan yoko geri, seiken jun tsuki, hiji chūdan age ate, hiji oroshi ate, shutō morote gedan barai, haitō uchi uke, shōtei osae uke, shōtei chūdan uchi, seiken uchi uke, hiji chūdan ate, uraken ganmen uchi, shutō hizō uchi, seiken jūji jōdan uke, kakete uke, nukite no kamae, nihon chūdan yonhon nukite, seiken jōdan oi tsuki, uraken morote sayū ganmen uchi, haitō morote jōdan uchi, seiken morote jōdan tsuki, and chūdan yonhon nukite
Sushiho should be trained only after the practitioner has good control of:
- Moroashi-dachi
- Sanchin-dachi
- Kiba-dachi
- Zenkutsu-dachi
- Kokutsu-dachi
- open-hand techniques
- shōtei, haitō, and shutō
- uraken and elbow techniques
- yoko geri and mae geri
- nukite
- kake uke and kakete uke
- cross blocks
- bō-tori-like control
- endurance in long kata
- kiai and zanshin
The kata functions as a test of whether the practitioner can:
- preserve technical quality through a long kata
- shift between forward-driving Moroashi-dachi and stable Kokutsu-dachi
- perform slow kake and kakete movements without losing center
- use shōtei and haitō as control and attack
- perform several nukite sequences with clear hand formation
- coordinate kick, stance, and hand technique
- manage long subsequences without the rhythm collapsing
- use kiai at fixed technical finishes
- preserve zanshin throughout the form
Technical character¶
Sushiho has a long, dense, and technically varied character. It contains recurring themes: short forward movements, sanchin structure, open hands, shōtei control, haitō blocking, shutō gedan barai, kake jōdan uke, kakete uke, nukite, uraken, hiji ate, cross blocks, and morote techniques.
The kata alternates between:
- stillness and movement
- slow control and explosive finish
- Moroashi-dachi and Kokutsu-dachi
- Sanchin-dachi and Kiba-dachi
- open hand and closed fist
- shōtei control and nukite
- bō-tori-like movement and direct attack
- high line and low line
- ibuki, kiai, and zanshin
The form especially trains:
- technical endurance
- direction through many submoments
- hand formation and striking surface
- forward-driving steps in Moroashi-dachi
- sanchin structure
- shōtei, haitō, and shutō control
- nukite series
- bō-tori-like pulling and control principles
- long combinations without losing center
- kiai in powerful technical finishes
- zanshin through a long kata
Embusen¶
The embusen in Sushiho is extensive and requires the practitioner to keep the starting point, directions, side movements, turns, and final return under control. The form contains several 90°, 135°, 180°, and 270° changes, repeated sequences in Sanchin-dachi and Kokutsu-dachi, several Kiba-dachi sequences, and a final return to Musubi-dachi.
During learning, the student should especially check:
- starting point
- transition from Fudō-dachi to Musubi-dachi and mokusō
- yoi with ibuki to Heikō-dachi
- the first two kakato ushiro age geri movements
- the Sanchin-dachi sequence with morote uchi uke and kake jōdan uke
- the yoko geri sequences in Kiba-dachi
- the elbow and kiai moment in movement 10
- the Moroashi-dachi sequence with shutō morote gedan barai
- the Kokutsu-dachi sequence with haitō, shōtei, and shōtei chūdan uchi
- the bō-tori sequence in Kiba-dachi
- the Sanchin-dachi sequence with uchi uke, hiji, uraken, and shutō hizō uchi
- jūji jōdan uke and morote gedan barai
- the kakete uke sequence in Kokutsu-dachi
- the nukite sequences with kiai
- the long morote sequence in movement 44
- the final Kokutsu-dachi with chūdan yonhon nukite and kiai
- return to Musubi-dachi
- that no extra adjustment steps are added
- that the eyes are directed before the technical finish
Embusen should be understood as the movement structure of the kata. It shows the direction of training, but does not replace technical understanding of stance, hip, hand formation, kick recovery, kime, kiai, and zanshin.
Technical figure¶
The diagram shows the movement pattern for Sushiho. The numbering corresponds to the kata’s 50 main movements and should be read together with the movement sequence below.
The figure is a technical reference for direction and order. It does not show all details of stance, hand formation, kicking technique, shōtei control, haitō, shutō, kake uke, kakete uke, bō-tori principles, nukite, kiai, or zanshin.
Stances¶
Sushiho uses the following central stances:
- Fudō-dachi
- Musubi-dachi
- Yoi-dachi
- Heikō-dachi
- Moroashi-dachi
- Sanchin-dachi
- Kiba-dachi
- Zenkutsu-dachi
- Kokutsu-dachi
In addition, Ushiro kosa ashi and Mae kosa ashi appear as transitions or footwork, but they should not be treated as main stances in the same way as the central dachi forms.
Fudō-dachi is used as the starting and ending readiness stance.
Musubi-dachi is used during mokusō and in the return after movement 50.
Yoi-dachi is used in the opening with ibuki and finishes in Heikō-dachi according to modern dojo standard.
Heikō-dachi is the starting position after yoi and before the first technical movement.
Moroashi-dachi is used in several forward-driving sequences, especially in the kakato ushiro age geri/uraken sequence and in shutō morote gedan barai. The stance should be short, directed, and active.
Sanchin-dachi is used in sequences where the body gathers for blocking, kake jōdan uke, tsuki, hiji, and uraken. The stance should be compact, stable, and connected to hara.
Kiba-dachi is used in yoko geri sequences, bō-tori-like moments, shutō morote gedan barai, and nukite sequences. The stance should be stable without becoming heavy or passive.
Zenkutsu-dachi is used in powerful forward-directed moments, especially in gyaku tsuki and certain cross-blocking sequences.
Kokutsu-dachi is used in several controlling sequences with haitō, shōtei, kakete uke, and the final yonhon nukite. The stance should be back-weighted, stable, and directed.
It is especially important that:
- Moroashi-dachi does not become too long
- Sanchin-dachi does not become stiff
- Kiba-dachi remains stable through side techniques
- Zenkutsu-dachi does not become too short
- Kokutsu-dachi does not fall forward
- the kosa ashi transitions do not become extra adjustment steps
- stance and technique finish at the same time
Central techniques¶
The central techniques in Sushiho are:
- Uraken oroshi ganmen uchi
- Nihon seiken chūdan tsuki
- Seiken jun tsuki
- Hiji chūdan age ate
- Hiji oroshi ate
- Shōtei chūdan uchi
- Hiji chūdan ate
- Uraken ganmen uchi
- Shutō hizō uchi
- Seiken chūdan gyaku tsuki
- Nihon chūdan yonhon nukite
- Seiken jōdan oi tsuki
- Uraken morote sayū ganmen uchi
- Haitō morote jōdan uchi
- Seiken morote jōdan tsuki
- Chūdan yonhon nukite
- Seiken morote uchi uke
- Kake jōdan uke
- Shutō morote gedan barai
- Haitō uchi uke
- Shōtei osae uke
- Seiken uchi uke
- Seiken jūji jōdan uke
- Seiken morote gedan barai
- Kake morote chūdan uke / kakete uke
- Kakato ushiro age geri
- Jōdan yoko geri
- Chūdan mae geri
- Ibuki
- Kiai
- Hikite
Kakato ushiro age geri is used in the first two movements and leads into Moroashi-dachi with shōtei control and uraken oroshi ganmen uchi. The source material writes “kagato”, but Galaz Dojo uses the common romaji form kakato here.
Uraken oroshi ganmen uchi is used several times as a downward attack toward the face line. The technique should finish with the elbow against the open hand where the material indicates this.
Seiken morote uchi uke is used in Sanchin-dachi in movement 3. It should be slow, gathered, and connected to the body’s center.
Kake jōdan uke is used in movements 4 and 6. The movement should be slow and controlling, not a loose hand circle.
Nihon seiken chūdan tsuki is used in movements 5 and 7. The punches should be performed as a clear double series with correct hikite and body connection.
Jōdan yoko geri and seiken jun tsuki are used in movements 8 and 9. The kick should be recovered with control and followed by stable Kiba-dachi.
Hiji chūdan age ate and hiji oroshi ate are used in movement 10. Hiji oroshi ate finishes with kiai and should come from the body, not only from the arm.
Shutō morote gedan barai is used in several sequences. In some parts it can be understood as bō-related control or as a powerful low double block.
Haitō uchi uke, shōtei osae uke, and shōtei chūdan uchi are used in the Kokutsu-dachi sequence. Haitō controls the line, shōtei lowers or presses, and shōtei chūdan uchi finishes with attack.
Seiken uchi uke, hiji chūdan ate, uraken ganmen uchi, and shutō hizō uchi are used in the Sanchin-dachi sequence. They show close distance, body connection, and transition between block, elbow, uraken, and shutō.
Seiken jūji jōdan uke and seiken morote gedan barai are used in movements 27–28 and in the long movement 44. They should show clear cross structure and following downward control.
Kakete uke is used in the Kokutsu-dachi sequence, movements 29–32. The technique should be slow, round, and controlling.
Nukite no kamae and nihon chūdan yonhon nukite are used in movements 35 and 39 with kiai. The techniques should show control of the opponent’s hand and directed double nukite.
Uraken morote sayū ganmen uchi, haitō morote jōdan uchi, seiken morote jōdan tsuki, seiken jūji jōdan uke, and seiken morote gedan barai are part of the long movement 44. This movement should be trained as one integrated sequence, not as many loose techniques.
Chūdan yonhon nukite finishes the kata in movements 49–50, with kiai on movement 50.
Start and finish¶
The kata begins in Fudō-dachi, facing shinden.
On the command mokusō, the practitioner moves to Musubi-dachi and gathers body and mind.
On the command Sushiho, the eyes open according to dojo standard.
On yoi, a slow yoi movement is performed with ibuki, finishing in Heikō-dachi.
On hajime or ichi, the first main count of the kata begins.
On this page, only the kata’s 50 main movements are numbered. Start, mokusō, yoi, naore, and yasume are described separately.
After movement 50, the right foot returns to Musubi-dachi, and the mokusō position is maintained. On the command naore, the practitioner returns to Fudō-dachi. On yasume, the practitioner returns to the resting position.
Movement sequence¶
The sequence below describes Sushiho in pedagogical order according to modern Kyokushin standard. It is intended as support for training and repetition, but does not replace instruction in the dojo.
| No. | Direction | Stance | Technique | Comment |
|---|---|---|---|---|
| 1 | Forward | Migi moroashi-dachi | Migi kakato ushiro age geri / migi uraken oroshi ganmen uchi | On hajime/ichi, kick Migi kakato ushiro age geri and lunge forward into Migi moroashi-dachi. Control the attack with Hidari shōtei and strike Migi uraken oroshi ganmen uchi. Finish with the right elbow against the left haishu/open hand. |
| 2 | Forward | Migi moroashi-dachi | Migi kakato ushiro age geri / migi uraken oroshi ganmen uchi | Repeat the same movement: Migi kakato ushiro age geri, forward to Migi moroashi-dachi, control with Hidari shōtei, and Migi uraken oroshi ganmen uchi with elbow finish against the left open hand. |
| 3 | Forward | Hidari sanchin-dachi | Seiken morote uchi uke | Step forward to Hidari sanchin-dachi and slowly block Seiken morote uchi uke. Keep center, breathing, and sanchin structure stable. |
| 4 | Forward | Migi sanchin-dachi | Migi kake jōdan uke | Step forward to Migi sanchin-dachi and slowly block Migi kake jōdan uke. The left hand is drawn to closed hikite. |
| 5 | Same position | Migi sanchin-dachi | Hidari nihon seiken chūdan tsuki | Strike Hidari nihon seiken chūdan tsuki, left/right. Keep hip and hikite connected to the stance. |
| 6 | Forward | Hidari sanchin-dachi | Hidari kake jōdan uke | Step forward to Hidari sanchin-dachi and slowly block Hidari kake jōdan uke. The right hand is drawn to closed hikite. |
| 7 | Same position | Hidari sanchin-dachi | Migi nihon seiken chūdan tsuki | Strike Migi nihon seiken chūdan tsuki, right/left. The technique should be straight, gathered, and clearly connected to the body. |
| 8 | 45° clockwise | Kiba-dachi | Migi jōdan yoko geri / migi seiken jun tsuki | Look to the right and kick from kagi tsuki no kamae 45° clockwise with Migi jōdan yoko geri. Set down in Kiba-dachi on the same diagonal and strike Migi seiken jun tsuki. |
| 9 | 90° counterclockwise | Kiba-dachi | Hidari jōdan yoko geri / hidari seiken jun tsuki | Look to the left and kick from kagi tsuki no kamae 90° counterclockwise with Hidari jōdan yoko geri. Set down in Kiba-dachi on the left diagonal and strike Hidari seiken jun tsuki. |
| 10 | 45° clockwise | Hidari zenkutsu-dachi → Kiba-dachi | Migi hiji chūdan age ate / migi hiji oroshi ate, kiai | From Kiba-dachi, pivot 45° clockwise to Hidari zenkutsu-dachi and perform Migi hiji chūdan age ate. Move the right foot in toward the left to Heikō-dachi, immediately move it out to the right into Kiba-dachi, and continue with Migi hiji chūdan age ate. Finish with downward Migi hiji oroshi ate with kiai. |
| 11 | Forward | Migi moroashi-dachi | Shutō morote gedan barai | Open both hands in front of the face with palms outward. Step forward to Migi moroashi-dachi and simultaneously block Shutō morote gedan barai. |
| 12 | Forward | Migi moroashi-dachi | Shutō morote gedan barai | Again bring both open hands in front of the face with palms outward. Step forward to Migi moroashi-dachi and block Shutō morote gedan barai a second time. |
| 13 | 180° counterclockwise | Hidari kokutsu-dachi | Hidari haitō uchi uke / hidari shōtei osae uke / migi shōtei chūdan uchi | Move the right foot across and turn 180° counterclockwise to Hidari kokutsu-dachi. Block Hidari haitō uchi uke, follow with Hidari shōtei osae uke, and immediately strike Migi shōtei chūdan uchi. Leave the left hand in place as control. |
| 14 | Forward | Migi kokutsu-dachi | Migi haitō uchi uke / migi shōtei osae uke / hidari shōtei chūdan uchi | Step forward to Migi kokutsu-dachi. Block Migi haitō uchi uke, follow with Migi shōtei osae uke, and immediately strike Hidari shōtei chūdan uchi. |
| 15 | Forward | Hidari kokutsu-dachi | Hidari haitō uchi uke / hidari shōtei osae uke / migi shōtei chūdan uchi | Step forward to Hidari kokutsu-dachi. Block Hidari haitō uchi uke, follow with Hidari shōtei osae uke, and immediately strike Migi shōtei chūdan uchi. |
| 16 | 90° counterclockwise | Kiba-dachi | Hidari shutō morote gedan barai | Move the left foot forward and slide into Kiba-dachi while the body turns 90° counterclockwise. Block Hidari shutō morote gedan barai with both open hands from upper right to lower left, as if controlling a bō. |
| 17 | Backward with ushiro kosa ashi | Kiba-dachi | Hidari shutō morote gedan barai / aite no bō tori, kiai | Move backward with Ushiro kosa ashi, left behind right, into Kiba-dachi and block Hidari shutō morote gedan barai. Look toward the opponent’s bō up to the right, grip and perform Aite no bō tori with kiai. The gaze finishes forward. |
| 18 | Same position | Kiba-dachi | Migi shutō morote gedan barai | Look to the right and block Migi shutō morote gedan barai with both open hands from upper left to lower right, as if controlling a bō. |
| 19 | Backward with ushiro kosa ashi | Kiba-dachi | Migi shutō morote gedan barai / aite no bō tori, kiai | Move backward with Ushiro kosa ashi, right behind left, into Kiba-dachi and block Migi shutō morote gedan barai. Look toward the opponent’s bō up to the left, grip and perform Aite no bō tori with kiai. The gaze finishes forward. |
| 20 | Same position | Kiba-dachi | Hidari shutō morote gedan barai | Look to the left and block Hidari shutō morote gedan barai with both open hands from upper left to lower left. Keep Kiba-dachi stable. |
| 21 | 90° counterclockwise | Migi moroashi-dachi | Migi uraken oroshi ganmen uchi | Turn 90° counterclockwise and lunge forward to Migi moroashi-dachi. Control the attack with Hidari shōtei and strike Migi uraken oroshi ganmen uchi. Finish with the right elbow against the left haishu/open hand. |
| 22 | 180° counterclockwise | Hidari sanchin-dachi | Hidari seiken uchi uke / hidari hiji chūdan ate / hidari uraken ganmen uchi / migi shutō hizō uchi | Move the left foot across and turn 180° counterclockwise to Hidari sanchin-dachi. Block Hidari seiken uchi uke, draw the same arm to hikite, strike Hidari hiji chūdan ate, follow with Hidari uraken ganmen uchi, cover with the left arm, and strike Migi shutō hizō uchi. |
| 23 | Forward | Migi sanchin-dachi | Migi seiken uchi uke / migi hiji chūdan ate / migi uraken ganmen uchi / hidari shutō hizō uchi | Step forward to Migi sanchin-dachi. Block Migi seiken uchi uke, draw the same arm to hikite, strike Migi hiji chūdan ate, follow with Migi uraken ganmen uchi, cover with the right arm, and strike Hidari shutō hizō uchi. |
| 24 | Forward | Hidari sanchin-dachi | Hidari seiken uchi uke / hidari hiji chūdan ate / hidari uraken ganmen uchi / migi shutō hizō uchi | Step forward to Hidari sanchin-dachi. Block Hidari seiken uchi uke, draw the same arm to hikite, strike Hidari hiji chūdan ate, follow with Hidari uraken ganmen uchi, cover with the left arm, and strike Migi shutō hizō uchi. |
| 25 | Same position | Hidari sanchin-dachi | Migi shōtei jōdan uke | Remain in the same stance and slowly raise the right hand to Shōtei jōdan uke, as a lifting control of a jōdan attack. |
| 26 | Forward | Migi zenkutsu-dachi | Migi chūdan mae geri / hidari seiken chūdan gyaku tsuki | With the hands still in the same position, kick Migi chūdan mae geri. Move into Migi zenkutsu-dachi and strike Hidari seiken chūdan gyaku tsuki with the right shōtei supporting the top of the right forearm according to the Te-kote-sasae principle. |
| 27 | 135° counterclockwise | Hidari zenkutsu-dachi | Seiken jūji jōdan uke / seiken morote gedan barai | Quickly change direction by rotating the hip 135° counterclockwise to Hidari zenkutsu-dachi. Bring both arms upward into the cross block, Seiken jūji jōdan uke, and continue to Seiken morote gedan barai with both hands, as a kake wake uke-like movement. |
| 28 | 45° counterclockwise | Hidari zenkutsu-dachi | Seiken jūji jōdan uke / seiken morote gedan barai | Move both arms slowly in a full inward and upward circle, cross in the center, and lift again to Seiken jūji jōdan uke. Hold briefly, turn 45° counterclockwise to Hidari zenkutsu-dachi, and finish with Seiken morote gedan barai. |
| 29 | Forward | Migi kokutsu-dachi | Migi kakete uke | Step forward to Migi kokutsu-dachi and slowly block Migi kake morote chūdan uke / kakete uke. The block begins on the left side of the body and follows a soft semicircle. |
| 30 | Forward | Hidari kokutsu-dachi | Hidari kakete uke | Step forward to Hidari kokutsu-dachi and slowly block Hidari kakete uke. Keep the movement round, controlled, and connected to the center. |
| 31 | Forward | Migi kokutsu-dachi | Migi kakete uke | Step forward to Migi kokutsu-dachi and slowly block Migi kakete uke. |
| 32 | 270° counterclockwise | Hidari kokutsu-dachi | Hidari kakete uke | Move the left foot across the right and turn the body 270° counterclockwise to Hidari kokutsu-dachi. Block Hidari kakete uke. |
| 33 | Mae kosa ashi | Kiba-dachi | Hidari shutō morote gedan barai | With the arms still in position, step forward with Mae kosa ashi, right in front of left, into Kiba-dachi while the body turns 90° clockwise. Look left and block Hidari shutō morote gedan barai from upper right to lower left, as if controlling a bō. |
| 34 | Forward | Kiba-dachi | Hidari shōtei osae uke / migi uraken oroshi ganmen uchi | Look forward, block with Hidari shōtei osae uke, and at the same time prepare Migi uraken oroshi. Strike Migi uraken oroshi ganmen uchi and finish with the right elbow against the left haishu/open hand. |
| 35 | Same position | Kiba-dachi | Migi nukite no kamae / hidari nihon chūdan yonhon nukite, kiai | Move directly into Migi nukite no kamae as control of the opponent’s hand and strike Hidari nihon chūdan yonhon nukite, left/right, with kiai. |
| 36 | Same position | Kiba-dachi | Migi shutō morote gedan barai | Look to the right and block Migi shutō morote gedan barai from upper left to lower right, as if controlling a bō. |
| 37 | Mae kosa ashi | Kiba-dachi | Migi shutō morote gedan barai | With the arms still in position, move to the right with Mae kosa ashi, left in front of right, into Kiba-dachi. Look right and block Migi shutō morote gedan barai. |
| 38 | Forward | Kiba-dachi | Migi shōtei osae uke / hidari uraken oroshi ganmen uchi | Look forward, block with Migi shōtei osae uke, and at the same time prepare Hidari uraken oroshi. Strike Hidari uraken oroshi ganmen uchi and finish with the left elbow against the right haishu/open hand. |
| 39 | Same position | Kiba-dachi | Hidari nukite no kamae / migi nihon chūdan yonhon nukite, kiai | Move directly into Hidari nukite no kamae as control of the opponent’s hand and strike Migi nihon chūdan yonhon nukite, right/left, with kiai. |
| 40 | Forward | Migi kokutsu-dachi | Seiken jōdan oi tsuki | Move the right foot forward to Migi kokutsu-dachi and strike Seiken jōdan oi tsuki. |
| 41 | Forward | Hidari kokutsu-dachi | Seiken jōdan oi tsuki | Step forward to Hidari kokutsu-dachi and strike Seiken jōdan oi tsuki. |
| 42 | Forward | Migi kokutsu-dachi | Seiken jōdan oi tsuki | Step forward to Migi kokutsu-dachi and strike Seiken jōdan oi tsuki. |
| 43 | 90° counterclockwise | Hidari sanchin-dachi | Uraken morote sayū no kamae | Pivot both feet to Hidari sanchin-dachi, turn the body 90° counterclockwise, and bring both closed fists to Uraken morote sayū no kamae. The elbows are kept at approximately shoulder height. |
| 44 | Same position | Hidari sanchin-dachi | Morote uraken / haitō / morote tsuki / jūji uke / morote gedan barai | Strike Uraken morote sayū ganmen uchi and return to kamae. Strike Haitō morote jōdan uchi from a low start and return to hikite while the hands close. Follow directly with Seiken morote jōdan tsuki and return to hikite. Then block Hidari seiken jūji jōdan uke and quickly follow with Hidari seiken morote gedan barai. Continue with a long slow circular movement inward–outward, from below, up, down, and finish high with Hidari seiken jūji jōdan uke, followed by fast Hidari seiken morote gedan barai. |
| 45 | 90° counterclockwise | Hidari zenkutsu-dachi | Seiken chūdan gyaku tsuki | Move the left foot, turn the body 90° counterclockwise to Hidari zenkutsu-dachi, and strike Seiken chūdan gyaku tsuki directly from the previous kamae. |
| 46 | Forward | Migi moroashi-dachi | Shutō morote gedan barai | Step forward to Migi moroashi-dachi and simultaneously block Shutō morote gedan barai. |
| 47 | Forward | Migi moroashi-dachi | Shutō morote gedan barai | Step forward to Migi moroashi-dachi and block Shutō morote gedan barai a second time. |
| 48 | Forward | Migi moroashi-dachi | Shutō morote gedan barai | Step forward to Migi moroashi-dachi and block Shutō morote gedan barai a third time. |
| 49 | 180° counterclockwise | Hidari kokutsu-dachi | Hidari shōtei osae uke / migi chūdan yonhon nukite | Move the right foot across and turn the body 180° to Hidari kokutsu-dachi. Block Hidari shōtei osae uke and strike Migi chūdan yonhon nukite. |
| 50 | Forward | Migi kokutsu-dachi | Migi shōtei osae uke / hidari chūdan yonhon nukite, kiai | Step forward to Migi kokutsu-dachi. Block Migi shōtei osae uke and strike Hidari chūdan yonhon nukite with kiai. After the finish, the right foot returns to Musubi-dachi and the mokusō position is maintained. |
Breathing and rhythm¶
Sushiho should be performed with clear distinction between gathering, sanchin structure, short forward movements, shōtei control, bō-tori-like sequences, kakete uke, nukite, kiai, and final return.
Breathing should support the technique without making the body stiff. In the slow sequences, the breath should be gathered and connected to hara. In the explosive moments, exhalation or kiai should coincide with the technical finish.
The rhythm should show the difference between:
- mokusō and yoi with ibuki
- the first two kakato ushiro age geri and uraken movements
- Sanchin-dachi with morote uchi uke, kake uke, and nihon tsuki
- yoko geri and jun tsuki
- movement 10 with elbow sequence and kiai
- Moroashi-dachi with shutō morote gedan barai
- Kokutsu-dachi with haitō, shōtei osae, and shōtei chūdan uchi
- the bō-tori sequences with kiai
- the Sanchin-dachi sequence with uchi uke, hiji, uraken, and shutō hizō uchi
- jūji jōdan uke and morote gedan barai
- kakete uke in Kokutsu-dachi
- nukite no kamae and yonhon nukite with kiai
- the long morote sequence in movement 44
- final yonhon nukite with kiai
The student should avoid performing Sushiho as a long list of techniques. The form requires clear rhythm, direction, internal gathering, and zanshin.
Kiai¶
Kiai is performed on:
- movement 10
- movement 17
- movement 19
- movement 35
- movement 39
- movement 50
Kiai should mark technical and mental gathering. It should come from the body’s center and coincide with the technical finish.
In movement 10, the kiai is on Migi hiji oroshi ate after the sequence with Migi hiji chūdan age ate in Kiba-dachi.
In movement 17, the kiai is on Aite no bō tori after Hidari shutō morote gedan barai in Kiba-dachi.
In movement 19, the kiai is on the corresponding Aite no bō tori after Migi shutō morote gedan barai in Kiba-dachi.
In movement 35, the kiai is on Hidari nihon chūdan yonhon nukite after Migi uraken oroshi ganmen uchi.
In movement 39, the kiai is on Migi nihon chūdan yonhon nukite after Hidari uraken oroshi ganmen uchi.
In movement 50, the kiai is on Hidari chūdan yonhon nukite after Migi shōtei osae uke in Migi kokutsu-dachi.
Kiai should not be used as decoration. It should coincide with technical finish, kime, stable stance, and zanshin.
Technical key points¶
- Perform the opening calmly with clear ibuki.
- Kakato ushiro age geri in movements 1–2 should connect directly to shōtei control and uraken.
- Moroashi-dachi should be short, directed, and stable.
- Sanchin-dachi should be compact and alive.
- Kake jōdan uke should be slow and controlling, not decorative.
- Nihon seiken chūdan tsuki should be gathered and connected to hikite.
- Jōdan yoko geri should be recovered with control before stepping down.
- Hiji oroshi ate in movement 10 should come from the body and finish with kiai.
- Shutō morote gedan barai should have a clear low line and body connection.
- The bō-tori sequences in movements 17 and 19 should show gripping, direction, and zanshin.
- Haitō uchi uke, shōtei osae uke, and shōtei chūdan uchi should remain functionally distinct.
- The sanchin sequence in movements 22–24 should not become a series of loose techniques.
- Jūji jōdan uke and morote gedan barai should have clear cross structure.
- Kakete uke should be performed softly and with control without losing center.
- Nukite no kamae should show control of the opponent’s hand.
- Yonhon nukite should have correct hand form and clear line.
- Movement 44 should be trained as one integrated technical sequence.
- The final yonhon nukite in movement 50 should have kiai, kime, and zanshin.
Common errors¶
- The kata becomes a long list of techniques without rhythm.
- The first kakato ushiro age geri movements become unclear.
- Uraken oroshi ganmen uchi lacks elbow finish against the open hand.
- Sanchin-dachi becomes stiff.
- Kake jōdan uke becomes a loose hand circle.
- Nihon seiken chūdan tsuki lacks body connection.
- Jōdan yoko geri is performed without stable recovery.
- Kiba-dachi becomes too high when the legs become tired.
- Hiji oroshi ate is performed with arm strength instead of body technique.
- Shutō morote gedan barai lacks a low line.
- The bō-tori movements become formal and lack gripping feeling.
- Kokutsu-dachi falls forward.
- Shōtei osae uke and shōtei chūdan uchi are confused.
- Nukite loses hand form.
- Movement 44 becomes too fast and disconnected.
- Kiai is used without kime.
- The final return lacks zanshin.
Bunkai and application¶
Bunkai for Sushiho should focus on the kata’s main themes: control, short attack, open-hand techniques, bō-tori-like principles, nukite, elbow technique, kicking, balance breaking, and clear zanshin.
For this kata, bunkai should especially examine:
- how kakato ushiro age geri can be combined with shōtei control
- how uraken oroshi ganmen uchi is used after the line has been opened
- how kake jōdan uke can hook, control, or deflect an attack
- how nihon seiken chūdan tsuki is used after blocking
- how yoko geri is followed by jun tsuki in Kiba-dachi
- how hiji chūdan age ate and hiji oroshi ate are used at close range
- how shutō morote gedan barai can control a low line or weapon-like line
- how Aite no bō tori can be understood as pulling control and disarming practice within the logic of the kata
- how haitō uchi uke and shōtei osae uke open the line for shōtei chūdan uchi
- how the sanchin sequence with uchi uke, hiji, uraken, and shutō hizō uchi shows close fighting
- how jūji jōdan uke and morote gedan barai can control high and low lines
- how kakete uke can catch, pull, or redirect an arm
- how nukite no kamae creates control before yonhon nukite
- how the long morote sequence in movement 44 can be divided into blocking, attack, and re-control
- how the final chūdan yonhon nukite is used when the opponent’s center has been opened
Bunkai should be trained in a controlled way with a partner. Sushiho is long and technically extensive, so bunkai should be divided into smaller sections and not made more advanced than the technical level of the kata justifies.
Training method¶
Train Sushiho in the following order:
- Learn start, mokusō, yoi, and ibuki separately.
- Train movements 1–2 with kakato ushiro age geri, shōtei control, and uraken.
- Train the Sanchin-dachi sequence with morote uchi uke, kake jōdan uke, and nihon tsuki.
- Train jōdan yoko geri and seiken jun tsuki separately.
- Train movement 10 with elbow sequence and kiai.
- Train Moroashi-dachi with shutō morote gedan barai.
- Train the Kokutsu-dachi sequence with haitō, shōtei osae, and shōtei chūdan uchi.
- Train the bō-tori sequence in movements 16–20.
- Train movement 21 as a return to the first uraken principle.
- Train the Sanchin-dachi sequence, movements 22–24, in smaller parts.
- Train shōtei jōdan uke, mae geri, and te-kote-sasae tsuki.
- Train jūji jōdan uke and morote gedan barai in movements 27–28.
- Train kakete uke in Kokutsu-dachi, movements 29–32.
- Train the Kiba-dachi sequence with bō control, uraken, and nukite.
- Train kiai on movements 35 and 39.
- Train seiken jōdan oi tsuki in Kokutsu-dachi.
- Train movements 43–44 slowly and as a separate block.
- Train movements 45–48 with gyaku tsuki and shutō morote gedan barai.
- Train the final movements 49–50 with shōtei osae uke and yonhon nukite.
- Add breathing and rhythm.
- Train kiai on movements 10, 17, 19, 35, 39, and 50.
- Train the whole kata slowly without counting.
- Divide the kata into logical blocks and repeat them separately.
- Try simple bunkai with a partner.
- Return to the kata and correct direction, stance, hand form, kiai, and zanshin.