Yantsu¶

Name¶

Romaji: Yantsu
Japanese: 安三
English: Yantsu kata / stability in three principles

Yantsu is written 安三. According to Japanese Kyokushin material, Yan (安) can be understood as safety, security, calm, or peace, while Tsu/San (三) means three.

At Galaz Dojo, Yantsu is therefore explained pedagogically as “stability in three principles” or “preserving calm and stability in three parts.” These three parts may be understood as body, technique, and mind, but this should not be presented as an absolute historical interpretation unless the source explicitly states it.

The name should not be understood as passive peacefulness. In kata understanding, it refers to the ability to preserve control, direction, posture, and technical integrity even when the body works under pressure.

In some materials, the spelling Yansu also appears. At Galaz Dojo, the page name Yantsu is used for consistency with modern Kyokushin romaji and the naming standard used in the rest of the kata section.

Introduction¶

Yantsu is a short but technically demanding kata in Kyokushin. It trains precision, balance, clean hand forms, and the ability to shift between forward power, backward-weighted control, and open-hand techniques.

The kata includes, among other techniques, Haitō jōdan morote uchi, Seiken jōdan morote tsuki, Uraken jōdan mawashi uchi, Chūdan yonhon nukite, Morote yoko yonhon nukite, Seiken chūdan oi tsuki, Shōtei uke, Koken uke, Shutō sakotsu uchi komi, Haitō uchi uke, Chūdan mae geri, and level-changing seiken punches.

Yantsu should not be treated as a simple kata merely because it is short. It shows whether the practitioner can maintain technical clarity, balance, and zanshin as the form shifts between closed fist, open hand, wrist structure, kicking, nekoashi-dachi, and zenkutsu-dachi.

Historical background¶

Yantsu is described in modern Kyokushin material as an older kata of uncertain origin. It is sometimes linked to Naha-te or Tomari-te, and some explanations mention a possible connection to a Chinese person or military presence on Okinawa during the nineteenth century.

Outside Kyokushin, kata forms resembling Yantsu appear in some Chinese kempo and Shitō-ryū contexts, sometimes under the name Ansan. The Kyokushin version practiced today is shorter and technically adapted to the Kyokushin expression.

Exactly how Yantsu was introduced into Kyokushin is not entirely certain. Some modern sources mention that Masutatsu Oyama may have taken in the form through contact with Shitō-ryū and then adapted it to Kyokushin’s technical system. Such claims should be treated carefully, since the sources are not always conclusive.

For Galaz Dojo, the most important point is to understand Yantsu technically: as a kata for precision, balance, clean hand form, transitions between stances, and clear practical intent.

Placement in the system¶

Group: Higher basic kata / superior kata
Level: Intermediate level
Technical focus: Uchi hachiji-dachi, Heikō-dachi, Zenkutsu-dachi, Nekoashi-dachi, Musubi-dachi, Haitō jōdan morote uchi, Seiken jōdan morote tsuki, Uraken jōdan mawashi uchi, Chūdan yonhon nukite, Morote yoko yonhon nukite, Seiken chūdan oi tsuki, Shōtei gedan uke, Shōtei chūdan uke, Koken jōdan uke, Shutō sakotsu uchi komi, Seiken gedan oi tsuki, Seiken jōdan gyaku tsuki, Chūdan mae geri, and Haitō uchi uke

Yantsu should be trained after the student has good control of:

basic stances
directional changes from the Pinan series
seiken punches
open-hand techniques
nekoashi-dachi
shōtei, koken, haitō, and shutō
kick recovery
kime and zanshin

The kata functions as a test of whether the practitioner can:

shift between open and closed hand forms
perform double punches without lifting the shoulders
use uraken and nukite without losing body line
move from Zenkutsu-dachi to Nekoashi-dachi while maintaining balance
perform shōtei, koken, haitō, and shutō techniques in the same kata
execute Chūdan mae geri with clear recovery
preserve zanshin in both slow and fast moments
finish each section with correct direction, breathing, and kime

Technical profile¶

Area	Content
Main focus	Precision, balance, hand forms, nekoashi control, open-hand techniques, and level changes
Stances	Fudō-dachi, Musubi-dachi, Yoi-dachi, Heikō-dachi, Zenkutsu-dachi, Nekoashi-dachi
Hand techniques	Haitō jōdan morote uchi, Seiken jōdan morote tsuki, Uraken jōdan mawashi uchi, Chūdan yonhon nukite, Morote yoko yonhon nukite, Seiken chūdan oi tsuki, Seiken gedan oi tsuki, Seiken jōdan gyaku tsuki
Blocks and controls	Shōtei gedan uke, Shōtei chūdan uke, Koken jōdan uke, Haitō uchi uke
Shuto technique	Shutō sakotsu uchi komi
Kicking technique	Chūdan mae geri
Kiai	Movements 13 and 18
Main counts	20 technical main counts
Technical character	Short, clean, concentrated, and alternating between fast technique and controlled structure

Technical character¶

Yantsu has a compact and precise technical character. The kata begins in a still position with a gathered hand sequence, where both hands are first used open in Haitō jōdan morote uchi, then drawn back to hikite and followed by Seiken jōdan morote tsuki.

After the opening, Uraken jōdan mawashi uchi is performed right and left, followed by Chūdan yonhon nukite right and left. This part trains the shift between closed fist and open hand, as well as control of hand form, wrist, direction, and hikite.

The middle section trains the transition between Zenkutsu-dachi and Nekoashi-dachi. Here, Seiken chūdan oi tsuki, Shōtei gedan uke, Koken jōdan uke, and Shutō sakotsu uchi komi are used. This requires the practitioner to shift from forward power to backward-weighted control without losing balance.

The later section trains side turns through Musubi-dachi, Shōtei chūdan uke, level-changing seiken punch sequences with kiai, Chūdan mae geri, Haitō uchi uke, and a final shōtei, koken, and shuto sequence.

The form especially trains:

clean hand form
active hikite
clear transition between closed fist and open hand
control in Nekoashi-dachi
power in short sequences
slow control without passivity
chūdan kick with recovery
zanshin after each block and attack

Embusen and technical figure¶

The embusen in Yantsu is compact and moves in three main directions: forward and to both sides. The form includes a central opening, forward movements, return to Nekoashi-dachi, side turns through Musubi-dachi, mirrored attack sequences, and a final return.

The diagram should be understood as a technical reference for direction and order. It does not show all details of hand form, wrist rotation, hikite, nekoashi weighting, kick recovery, koken angle, or shuto line.

During learning, the student should especially check:

starting point
opening hand movement
direction in Haitō jōdan morote uchi
direction in Seiken jōdan morote tsuki
transition from uraken to nukite
slow Morote yoko yonhon nukite
step into Zenkutsu-dachi
return to Nekoashi-dachi
sequence Shōtei uke → Koken uke → Shutō sakotsu uchi komi
turns into Musubi-dachi
level-changing punch sequences
kick recovery after Chūdan mae geri
final direction and naore
that no extra adjustment steps are added

Stances¶

Yantsu uses few stances, but the transitions between them are technically important.

Stance	Function in the kata
Fudō-dachi	Starting and ending readiness stance.
Musubi-dachi	Used during mokusō, gathered transitions, and naore according to dojo standard.
Yoi-dachi / Heikō-dachi	Used after yoi and in the opening hand sequence.
Zenkutsu-dachi	Used for forward punches and after forward steps.
Nekoashi-dachi	Used in shōtei, haitō, koken, and shutō sequences.

Zenkutsu-dachi¶

Zenkutsu-dachi should provide clear forward structure. In Yantsu, it is used especially in Seiken chūdan oi tsuki, Seiken gedan oi tsuki, Seiken jōdan gyaku tsuki, and level-changing punch sequences.

It is important that the front knee remains stable, that the body does not fall forward, and that the stance is set at the same time as the technique finishes.

Nekoashi-dachi¶

Nekoashi-dachi is central in Yantsu. It is used when the body is drawn back from a forward attack into a more controlled, backward-weighted position.

The stance must not become passive. It must support Shōtei uke, Koken uke, Haitō uchi uke, and Shutō sakotsu uchi komi with clear balance and zanshin.

Central techniques¶

Technique	Function in the kata
Haitō jōdan morote uchi	Opening double open-hand technique toward jōdan. It should be performed in a gathered way and not as a decorative arm movement.
Seiken jōdan morote tsuki	Double punch toward jōdan. It should be performed with a stable body, lowered shoulders, and clear seiken line.
Uraken jōdan mawashi uchi	Circular uraken technique toward jōdan. Right and left are performed in sequence.
Chūdan yonhon nukite	Four-finger thrust toward chūdan. Requires gathered hand form, straight line, and active hikite.
Morote yoko yonhon nukite	Slow opening to the sides with both open hands. The palms turn downward according to the technical material.
Shōtei chūdan uke	Palm-heel block or control toward the chūdan line. Appears before certain forward punches and in side turns.
Seiken chūdan oi tsuki	Forward punch in Zenkutsu-dachi. Should show clear hip connection and centerline.
Shōtei gedan uke	Low palm-heel block or downward control. Should be performed with stable wrist and body connection.
Koken jōdan uke	Upper block with bent wrist. It should not become a loose wrist movement but must be supported by the arm and body.
Shutō sakotsu uchi komi	Forward-driving shuto strike toward collarbone level. It is performed after wrist rotation from the koken position.
Seiken gedan oi tsuki	Low punch in Zenkutsu-dachi, the first part of the level-changing punch sequence.
Seiken jōdan gyaku tsuki	Gyaku punch toward jōdan, the second part of the level-changing punch sequence.
Chūdan mae geri	Forward kick toward chūdan. Recovery is essential before transitioning to Nekoashi-dachi.
Haitō uchi uke	Inner block or control with haitō. Used after kick recovery and transition to Nekoashi-dachi.
Hikite	Active pulling action that gathers the body and reinforces the technical finish.

Start and finish¶

The kata begins in Fudō-dachi, facing shinden.

On the command mokusō, the practitioner moves to Musubi-dachi and assumes the mokusō position. When the kata name, Yantsu, is announced, the eyes open and the practitioner waits for yoi.

On the command yoi, Yoi-dachi is taken with slow ibuki, and the movement finishes in Heikō-dachi according to dojo standard.

In mugōrei, the kata is performed without continuous counting after the command hajime.

On this page, only the kata form’s 20 main technical counts are numbered. Start, mokusō, yoi, naore, and yasume are described separately.

After movement 20, the practitioner turns 90° clockwise, brings the left foot back to Musubi-dachi, and keeps the mokusō position. On naore, the practitioner returns to Fudō-dachi. On yasume, the practitioner returns to the resting position.

Movement sequence¶

The sequence below describes Yantsu 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	Heikō-dachi	Haitō jōdan morote uchi / Seiken jōdan morote tsuki	On hajime/ichi, both open hands extend forward and strike Haitō jōdan morote uchi. Both hands close and draw back to hikite, Seiken jōdan morote tsuki is struck, and both hands return again to hikite.
2	Same direction	Heikō-dachi	Migi uraken jōdan mawashi uchi	Start with the right fist back, rotate the body clockwise, and strike right Uraken jōdan mawashi uchi. The right arm covers according to dojo standard.
3	Same direction	Heikō-dachi	Hidari uraken jōdan mawashi uchi	Start with the left fist back, rotate the body, and strike left Uraken jōdan mawashi uchi.
4	Same direction	Heikō-dachi	Migi chūdan yonhon nukite	Strike right Chūdan yonhon nukite. The left hand is also kept open according to the material.
5	Same direction	Heikō-dachi	Hidari chūdan yonhon nukite	Strike left Chūdan yonhon nukite. The right hand is also kept open according to the material.
6	Same direction	Heikō-dachi	Morote yoko yonhon nukite	Slowly draw the left open hand back to hikite, close both hands, and raise them slightly. Open the hands, turn them outward, and finish in Morote yoko yonhon nukite with the palms downward.
7	Forward	Migi zenkutsu-dachi	Hidari shōtei chūdan uke / Migi seiken chūdan oi tsuki	In the same position, block simultaneously with left Shōtei chūdan uke, draw the right fist to hikite, and step forward with the right foot to Migi zenkutsu-dachi with Migi seiken chūdan oi tsuki.
8	Backward transition	Migi nekoashi-dachi	Migi shōtei gedan uke / Migi koken jōdan uke / Migi shutō sakotsu uchi komi	Draw the right foot back to Migi nekoashi-dachi and immediately block Migi shōtei gedan uke. Continue with Migi koken jōdan uke, slowly rotate the wrist inward, and press out to Migi shutō sakotsu uchi komi.
9	Forward	Musubi-dachi → Hidari zenkutsu-dachi	Hidari seiken chūdan oi tsuki	Bring the right foot back to Musubi-dachi with the hands still in position. Then step forward with the left foot to Hidari zenkutsu-dachi and strike Hidari seiken chūdan oi tsuki.
10	Backward transition	Hidari nekoashi-dachi	Hidari shōtei gedan uke / Hidari koken jōdan uke / Hidari shutō sakotsu uchi komi	Draw the left foot back to Hidari nekoashi-dachi and immediately block Hidari shōtei gedan uke. Continue with Hidari koken jōdan uke, slowly rotate the wrist inward, and press out to Hidari shutō sakotsu uchi komi.
11	Turn 90° clockwise	Musubi-dachi	Hidari shōtei chūdan uke	Turn 90° clockwise to the right. Bring the left foot to the right foot into Musubi-dachi and slowly block Hidari shōtei chūdan uke.
12	Forward	Migi zenkutsu-dachi	Migi seiken gedan oi tsuki	Step forward with the right foot to Migi zenkutsu-dachi and strike Migi seiken gedan oi tsuki.
13	Same direction	Migi zenkutsu-dachi	Hidari seiken jōdan gyaku tsuki / Migi seiken chūdan oi tsuki, kiai	Strike Hidari seiken jōdan gyaku tsuki and then Migi seiken chūdan oi tsuki with kiai.
14	Kick and recovery	Migi zenkutsu-dachi → Migi nekoashi-dachi	Hidari chūdan mae geri / Migi haitō uchi uke	With the right arm still extended, kick Hidari chūdan mae geri. Draw the foot back to Nekoashi-dachi and block Migi haitō uchi uke. The left hand is closed in hikite.
15	Same direction	Migi nekoashi-dachi	Migi shōtei gedan uke / Migi koken jōdan uke / Migi shutō sakotsu uchi komi	From Nekoashi-dachi, immediately block Migi shōtei gedan uke. Continue with Migi koken jōdan uke, slowly rotate the wrist inward, and press out to Migi shutō sakotsu uchi komi.
16	Turn 180° counterclockwise	Musubi-dachi	Hidari shōtei chūdan uke	Turn 180° counterclockwise to the left. Draw the left foot back to the right foot into Musubi-dachi and block Hidari shōtei chūdan uke according to dojo standard.
17	Forward	Hidari zenkutsu-dachi	Hidari seiken gedan oi tsuki	Step forward with the left foot to Hidari zenkutsu-dachi and strike Hidari seiken gedan oi tsuki.
18	Same direction	Hidari zenkutsu-dachi	Migi seiken jōdan gyaku tsuki / Hidari seiken chūdan oi tsuki, kiai	Strike Migi seiken jōdan gyaku tsuki and then Hidari seiken chūdan oi tsuki with kiai.
19	Kick and recovery	Hidari zenkutsu-dachi → Hidari nekoashi-dachi	Migi chūdan mae geri / Hidari haitō uchi uke	With the left arm still extended, kick Migi chūdan mae geri. Draw the foot back to Nekoashi-dachi and block Hidari haitō uchi uke. The right hand is closed in hikite.
20	Same direction	Hidari nekoashi-dachi	Hidari shōtei gedan uke / Hidari koken jōdan uke / Hidari shutō sakotsu uchi komi	From Nekoashi-dachi, immediately block Hidari shōtei gedan uke. Continue with Hidari koken jōdan uke, slowly rotate the wrist inward, and press out to Hidari shutō sakotsu uchi komi. Finish with zanshin.

Breathing, rhythm, and kiai¶

Yantsu requires a clear shift between slow control and short, decisive technical finishes.

The rhythm should show the difference between:

the gathered yoi movement with ibuki
Haitō jōdan morote uchi
Seiken jōdan morote tsuki
right and left Uraken jōdan mawashi uchi
right and left Chūdan yonhon nukite
slow Morote yoko yonhon nukite
forward Chūdan oi tsuki
the transition to Nekoashi-dachi
the sequence Shōtei uke → Koken uke → Shutō sakotsu uchi komi
level-changing seiken punches with kiai
Chūdan mae geri with recovery
Haitō uchi uke
final mirrored control in Nekoashi-dachi

Kiai is performed on:

movement 13
movement 18

Kiai should coincide with the technical finish and must not be used as a substitute for kime.

Technical key points¶

Keep the opening hand sequence gathered and technically motivated.
Perform Haitō jōdan morote uchi without letting the arms become loose.
Perform Seiken jōdan morote tsuki without lifting the shoulders.
Let Uraken jōdan mawashi uchi be circular but not uncontrolled.
Perform Chūdan yonhon nukite with a straight line and gathered hand form.
Perform Morote yoko yonhon nukite slowly with the palms downward.
Set Zenkutsu-dachi at the same time as the punch finishes.
Draw back into Nekoashi-dachi without the body falling backward.
Perform Shōtei gedan uke with stable wrist and clear low line.
Perform Koken jōdan uke with arm structure, not only the wrist.
Rotate the wrist in a controlled way before Shutō sakotsu uchi komi.
Clearly distinguish between Shōtei, Koken, Haitō, and Shutō.
Perform the level-changing punch sequences in clear order: gedan, jōdan, chūdan.
Recover the kicking leg after Chūdan mae geri.
Keep zanshin after each mirrored sequence.
Avoid extra adjustment steps after transitions.
Let every technique show clarity, direction, and technical intent.

Common errors¶

The opening hand sequence becomes decorative and lacks technical intent.
Haitō jōdan morote uchi is confused with morote tsuki.
Morote tsuki is performed with raised shoulders.
Uraken mawashi uchi becomes a loose arm swing.
Yonhon nukite loses hand form or direction.
Morote yoko yonhon nukite is done too quickly or without control.
Zenkutsu-dachi becomes too short or too high.
The transition to Nekoashi-dachi becomes a passive backward step.
Shōtei uke lacks low or middle-level line.
Koken uke is performed only with the wrist and lacks body connection.
Shutō sakotsu uchi komi becomes too large or too soft.
Haitō uchi uke is confused with shōtei or koken.
The level-changing punches lose their order.
Kiai is used without kime.
Chūdan mae geri lacks recovery.
Kick height is prioritized over balance.
Musubi-dachi becomes a pause without zanshin.
Mirrored sequences differ in height, line, or tempo.
The end of the kata falls apart.

Bunkai and application¶

Bunkai for Yantsu should remain technically clear and close to the level of the kata. The focus should be on clean technique, hand forms, level changes, distance control, and transition between attack and defense.

Movement or technique	Simple bunkai
Haitō jōdan morote uchi	Double open-hand technique toward the upper level or control toward the head line.
Seiken jōdan morote tsuki	Double attack or pressure toward the upper level.
Uraken jōdan mawashi uchi	Circular strike toward the side of the head.
Chūdan yonhon nukite	Directed thrust toward the centerline or a softer target area.
Morote yoko yonhon nukite	Opening or separating control to the sides.
Shōtei chūdan uke	Palm-heel block or control against the middle line.
Chūdan oi tsuki	Forward counterattack after opening or control.
Shōtei gedan uke	Low deflection or downward control with the palm.
Koken jōdan uke	Upper block or deflection with bent wrist.
Shutō sakotsu uchi komi	Forward-driving shuto strike toward the collarbone or near-neck line.
Gedan oi tsuki / Jōdan gyaku tsuki / Chūdan oi tsuki	Shifting between low, high, and middle level to break the opponent’s structure.
Chūdan mae geri	Middle-level kick requiring control and recovery.
Haitō uchi uke	Inner control or block with the inner ridge of the hand.
Nekoashi-dachi	Distance control, withdrawal, and preparation for the next technique.

Bunkai should be trained in a controlled way with a partner. It should not be made more advanced than the technical content of the kata justifies.

Training method¶

Train Yantsu step by step:

Train the yoi movement with ibuki.
Train Haitō jōdan morote uchi.
Train Seiken jōdan morote tsuki.
Train Uraken jōdan mawashi uchi right and left.
Train Chūdan yonhon nukite with correct hand form.
Train Morote yoko yonhon nukite slowly.
Train Shōtei chūdan uke with Chūdan oi tsuki in movement 7.
Train the transition from Zenkutsu-dachi to Nekoashi-dachi.
Train Shōtei gedan uke.
Train Koken jōdan uke.
Train wrist rotation and Shutō sakotsu uchi komi.
Train the right and left nekoashi sequence separately.
Train movements 12–13 with clear level change and kiai.
Train Chūdan mae geri with recovery.
Train Haitō uchi uke after kick recovery.
Train movements 17–18 with clear level change and kiai.
Put the mirrored sequences together.
Add correct breathing, rhythm, and zanshin.
Train the whole kata slowly without counting.
Try simple bunkai with a partner.
Return to the kata form and correct technique, direction, and balance.