Pinan sono go ura¶
Name¶
Romaji: Pinan sono go ura
Japanese: 平安その五裏 / 平安裏五段
English: Fifth Pinan kata ura / Pinan number five in reverse form
Sono go means number five or fifth form.
Ura means rear, reverse, or inner side. In kata context, the term is used for a circular or reverse variant of the basic form.
In some sources, the designation Pinan godan ura or 平安裏五段 is also used. On Galaz Dojo, the page name Pinan sono go ura is used for consistency with the other kata pages.
For shared background on the Pinan series, the name Pinan, and its place in Kyokushin, see Pinan.
Introduction¶
Pinan sono go ura is the ura version of Pinan sono go. It is built on the same technical foundation as the regular form, but introduces larger circular rotations in several of the kata’s blocks, thrusts, transitions, jumps, and final manji-like movements.
In the basic form, the practitioner trains, among other things, Kokutsu-dachi, Heisoku-dachi, Zenkutsu-dachi, Kiba-dachi, Tsuruashi-dachi, Kake-dachi, Uchi uke, Chūdan gyaku tsuki, Waki no kamae, Morote uchi uke, Gedan jūji uke, Shutō jōdan jūji uke, Ryō shō tsukami uke, Chūdan oi tsuki, Teisoku uke, Haishu uke, Teisoku mawashi geri, Hiji jōdan uchi, Morote jōdan age tsuki, Seiken gedan jūji uke, Shōtei gedan uke, and Manji uke.
In the ura version, the same basic principles are tested through larger rotational movements. The practitioner must be able to maintain balance, gaze, pivot, stance, breathing, kime, and zanshin even when the body rotates before the technique.
The kata should not be treated as a decorative spinning version of the basic form. Its purpose is to develop technical control when the body rotates and must still land in the correct direction, correct stance, and correct technique.
Position in the system¶
Group: Pinan ura
Level: Intermediate / advanced basic level
Technical focus: Kokutsu-dachi, Heisoku-dachi, Zenkutsu-dachi, Kiba-dachi, Tsuruashi-dachi, Kake-dachi, Musubi-dachi, uchi uke, chūdan gyaku tsuki, waki no kamae, morote uchi uke, gedan jūji uke, shutō jōdan jūji uke, ryō shō tsukami uke, chūdan oi tsuki, teisoku uke, haishu uke, teisoku mawashi geri, hiji jōdan uchi, morote jōdan age tsuki, shōtei gedan uke, manji uke, 360°, 405°, 450°, and 585° rotations, jump, landing, balance, pivot, and zanshin
Pinan sono go ura is trained after the practitioner can perform Pinan sono go stably. The ura version should not be used to learn the basic form from the beginning. It requires that the student already understands direction, stance, kick recovery, jumping, kake-dachi, manji-like structure, and the embusen of the regular form.
The kata functions as a check of whether the practitioner can:
- maintain the correct direction after 360°, 405°, 450°, and 585° rotations
- land in correct Kokutsu-dachi, Zenkutsu-dachi, Kiba-dachi, or Kake-dachi
- perform Uchi uke and Chūdan gyaku tsuki after a 450° rotation
- maintain structure in Heisoku-dachi and Waki no kamae
- perform Morote uchi uke and Gedan jūji uke after a 360° rotation
- maintain control in Shutō jōdan jūji uke and Ryō shō tsukami uke
- perform Chūdan oi tsuki after a 360° rotation with kiai
- coordinate leg block, low block, and Kiba-dachi
- perform Haishu uke slowly without losing direction
- coordinate Teisoku mawashi geri, Hiji jōdan uchi, 360° rotation, and Kake-dachi
- perform jumping Seiken gedan jūji uke with stable landing
- finish with a manji-like structure in Kiba-dachi
- direct the gaze before the technical finish
- avoid extra adjustment steps after rotation
- maintain zanshin throughout the whole kata
Technical profile¶
| Area | Content |
|---|---|
| Main focus | Rotation, jump, landing, kake-dachi, manji structure, and technical finish |
| Stances | Kokutsu-dachi, Heisoku-dachi, Zenkutsu-dachi, Kiba-dachi, Tsuruashi-dachi, Kake-dachi, Musubi-dachi |
| Hand techniques | Uchi uke, Chūdan gyaku tsuki, Waki no kamae, Morote uchi uke, Gedan jūji uke, Shutō jōdan jūji uke, Ryō shō tsukami uke, Chūdan oi tsuki, Haishu uke, Hiji jōdan uchi, Morote jōdan age tsuki, Shōtei/Shutō gedan uke, Manji uke |
| Foot techniques | Teisoku uke, Teisoku mawashi geri, hiza-/jump-related landing control according to dojo standard |
| Movement principles | 360° rotation, 405° rotation, 450° rotation, 585° rotation, jump, pivot, gaze, hip control, and zanshin |
| Kiai | Movements 9 and 14 |
| Character | Final Pinan ura form with strong emphasis on rotation, jump control, and manji-like finish |
Pinan sono go ura has the same basic technical character as Pinan sono go, but the rotational elements make the form more demanding. What in the basic form is a direct change of direction or forward movement becomes, in the ura form, a test of pivot, balance, direction, and technical finish.
The kata contains five main types of technical challenge:
- 450° rotations that finish in Kokutsu-dachi with Uchi uke and Chūdan gyaku tsuki.
- 360° rotations that finish with Morote uchi uke, Gedan jūji uke, Chūdan oi tsuki, or Kake-dachi.
- Jump and landing in low Kake-dachi with Seiken gedan jūji uke.
- Large rotations in the final section, especially the 585° rotation before low shōtei/shutō control.
- Manji-like finish in Kiba-dachi, where arm structure, head direction, and zanshin must be held together.
Embusen and technical figure¶
The embusen in Pinan sono go ura follows the same basic structure as Pinan sono go, but several movements take a longer path through circular rotation. The basic pattern contains side lines, gathered positions, main line, jump, kake-dachi, 180° turn, diagonal transitions, and final manji-like positions.
The diagram shows the movement pattern for Pinan sono go ura. The numbering corresponds to the kata’s 20 main counts 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, pivot, hip work, gaze, hikite, rotation, kicking technique, jump, landing, manji structure, or breathing.
During learning, the student should especially check:
- main directions and turns
- the 450° rotations in movements 1 and 3
- the 360° rotations in movements 5, 6, 9, 12, and 15
- the jump and landing in movement 14
- the 450° rotation in movement 15
- the 585° rotation in movement 16
- the 405° rotation in movement 19
- transitions to Heisoku-dachi
- transitions to Kake-dachi
- transitions to Kiba-dachi
- final position and naore
- that no extra adjustment steps are added
- that the gaze is directed before the technical finish
Stances¶
Pinan sono go ura uses several central technical stances:
| Stance | Function in the kata |
|---|---|
| Kokutsu-dachi | Used in the opening with Uchi uke and Chūdan gyaku tsuki. The stance must be stable and rear-weighted even after the 450° rotation. |
| Heisoku-dachi | Used in the gathered waki no kamae preparations. The body should be gathered but not passive. |
| Zenkutsu-dachi | Used in Morote uchi uke, Gedan jūji uke, Chūdan oi tsuki, shōtei-/shutō-gedan control, and several transitions. |
| Kiba-dachi | Used in low blocking and the manji-like finish. The stance should be horizontal, laterally stable, and active. |
| Tsuruashi-dachi | Appears in the technical logic around kick recovery and balance moments, depending on dojo standard. |
| Kake-dachi | Used after rotation and jump. The landing must be stable and directed. |
| Musubi-dachi | Used in the final transition before the last manji-like structure. |
Formally, the kata begins and ends in Fudō-dachi. After the command yoi, the yoi movement is performed according to dojo standard and finishes in Heikō-dachi or the selected yoi position according to local standard.
It is especially important that Kokutsu-dachi does not fall forward after rotation, that Heisoku-dachi does not become passive, that Zenkutsu-dachi does not become short after rotation, that Kake-dachi is landed stably, and that Kiba-dachi maintains lateral stability in the finish.
Central techniques¶
| Technique | Function in the kata |
|---|---|
| Seiken uchi uke / Chūdan gyaku tsuki | Used in the opening after the 450° rotation. Block and counterattack should finish in the same direction. |
| Waki no kamae | Used as gathered preparation in Heisoku-dachi. It should be active and directed. |
| Seiken morote uchi uke | Performed after 360° and 450° rotations. Supporting hand and centerline must remain clear. |
| Seiken gedan jūji uke | Performed after a 360° rotation and later in the jumping landing. The cross structure must be clear. |
| Shutō jōdan jūji uke | Performed from the same stance as gedan jūji uke and shows the shift between low and high cross structure. |
| Ryō shō tsukami uke | Marks a gripping or catching movement with both hands. It must not become a loose hand motion. |
| Seiken chūdan oi tsuki | Performed after a 360° rotation with kiai. The thrust should have clear line, hikite, and hip connection. |
| Teisoku uke / low block | Used in the 180° turn and transition to Kiba-dachi. Supporting leg, direction, and low control must be maintained. |
| Haishu uke | Performed slowly and with control. The head and gaze should follow the direction of the technique. |
| Teisoku mawashi geri / Hiji jōdan uchi | Used in the technical transition before rotating into Kake-dachi. Kick, recovery, and elbow should connect to the body’s center. |
| Morote jōdan age tsuki | Performed in a quick transition after Kake-dachi. The movement must not become a loose arm lift. |
| Shōtei/Shutō gedan uke | Used in the final transitions before the manji-like structure. Sources may vary in terminology; Galaz Dojo should follow the chosen dojo standard consistently. |
| Manji uke | Finishes the kata in Kiba-dachi. It requires clear lateral stability, active upper arm, and correct head direction. |
| 360°, 405°, 450°, and 585° rotations | Movement principles that should serve the technique, not become decorative spins. |
| Hikite | Essential for gathering, line, and technical finish after rotation. |
The rotations are not separate techniques. They are movement principles that should bring the body to the correct direction, stance, and technical finish. A rotation that causes stance, direction, or kime to disappear has become an end in itself and should be corrected.
Start and finish¶
The kata begins in Fudō-dachi, facing shinden.
After the name of the kata, Pinan sono go ura, has been announced, the command yoi is given. A slow yoi movement is then performed according to dojo standard.
In mugōrei, the kata is performed without continuous counting after the command hajime.
On this page, only the kata’s 20 main counts are numbered. Start, yoi, naore, and yasume are described separately.
On the command naore, the practitioner returns to Fudō-dachi according to dojo standard. The gaze remains in the previous direction until the turn has finished. On yasume, the practitioner returns to the resting position.
Movement sequence¶
The movement sequence below describes the kata in pedagogical order according to the modern Kyokushin standard for Pinan ura. It is intended as support for training and repetition, but does not replace instruction in the dojo.
| No. | Direction | Stance | Technique | Comment |
|---|---|---|---|---|
| 1 | 450° counterclockwise | Hidari kokutsu-dachi | Hidari uchi uke / migi chūdan gyaku tsuki | Rotate 450° counterclockwise on the right foot to Hidari kokutsu-dachi. Block hidari chūdan uchi uke and strike migi chūdan gyaku tsuki. |
| 2 | Gather 90° | Heisoku-dachi | Migi waki no kamae | Turn 90° and bring the left foot back to Heisoku-dachi. Slowly draw the right fist straight back to the ready position across the body, with the left fist above. |
| 3 | 450° clockwise | Migi kokutsu-dachi | Migi uchi uke / hidari chūdan gyaku tsuki | Rotate 450° clockwise on the left foot to Migi kokutsu-dachi. Block migi chūdan uchi uke and strike hidari chūdan gyaku tsuki. |
| 4 | Gather 90° | Heisoku-dachi | Hidari waki no kamae | Turn 90° and bring the right foot back to Heisoku-dachi. Slowly draw the left fist straight back to the ready position across the body, with the right fist above. |
| 5 | 360° clockwise | Migi zenkutsu-dachi | Migi morote uchi uke | With the hands kept in position, rotate 360° clockwise on the left foot to Migi zenkutsu-dachi and perform Migi morote chūdan uchi uke. |
| 6 | 360° counterclockwise | Hidari zenkutsu-dachi | Seiken gedan jūji uke | With the hands kept in position, rotate 360° counterclockwise on the right foot to Hidari zenkutsu-dachi. Block Seiken gedan jūji uke from jūji position by the right ear. |
| 7 | Same position | Hidari zenkutsu-dachi | Shutō jōdan jūji uke | Drive both arms up to Shutō jōdan jūji uke, with the left arm under the right according to dojo standard. |
| 8 | Same position | Hidari zenkutsu-dachi | Ryō shō tsukami uke / migi shutō waki no kamae | Perform a twisting movement with both shutō hands, mark a gripping movement, and draw back to migi shutō waki no kamae with the left hand above. |
| 9 | 360° clockwise | Migi zenkutsu-dachi | Migi chūdan oi tsuki, kiai | With the hands kept in position, rotate 360° clockwise on the left foot to Migi zenkutsu-dachi. Strike migi chūdan oi tsuki with kiai and draw the left hand closed to hikite. |
| 10 | Turn 180° | Kiba-dachi | Migi teisoku uke / low block | Turn 180° and block with the right leg in teisoku uke as if the attack comes from behind. Then place the right foot down in Kiba-dachi and finish with a low block according to dojo standard. |
| 11 | Slow blocking preparation | Kiba-dachi | Hidari haishu uke | Turn the head 180° to the left. Place the right shōtei in front of the face as protection and let the left open hand move slowly from under the right armpit to hidari haishu uke at about head height. The right hand is drawn to hikite. |
| 12 | Kick, elbow, and 360° rotation | Migi kake-dachi | Migi teisoku mawashi geri / migi hiji jōdan uchi / migi morote uchi uke | Use the right foot to strike the left hand with teisoku mawashi geri according to dojo standard. Recover the leg and strike migi hiji jōdan uchi against the left hand. As the right foot is placed down, rotate 360° clockwise on the left foot to Migi kake-dachi and perform migi morote uchi uke. |
| 13 | Quick transition | Kokutsu-like stance | Migi morote jōdan age tsuki | Maintain Kake-dachi, bring the right fist upward while the left hand follows the right arm. Turn the head forward and move quickly into a kokutsu-like stance with morote jōdan age tsuki according to dojo standard. |
| 14 | Jumping turn | Kake-dachi | Seiken gedan jūji uke, kiai | Take a small step forward with the left foot, draw both fists to the ready position, jump up and turn 90° left. Land low in Kake-dachi and block Seiken gedan jūji uke with kiai. |
| 15 | 450° clockwise | Migi zenkutsu-dachi | Migi morote uchi uke | Rise from Kake-dachi and rotate 450° clockwise on the left foot to Migi zenkutsu-dachi. Block migi morote chūdan uchi uke. |
| 16 | 585° counterclockwise | Hidari zenkutsu-dachi | Migi shōtei/shutō gedan uke | With the hands kept in position, rotate 585° counterclockwise on the right foot to Hidari zenkutsu-dachi. Block the low line with migi shōtei/shutō gedan uke according to dojo standard, while the left open hand is brought up by the right ear. |
| 17 | Hip turn left | Hidari kiba-dachi | Hidari gedan barai / manji uke | Turn the hips to Hidari kiba-dachi. Draw the right hand back and extend it upward above the right shoulder with a closed fist. At the same time, block Hidari gedan barai in Manji uke structure and keep the head directed to the left. |
| 18 | Gather | Musubi-dachi | Maintained manji structure | Maintain the arm positions and bring the left foot to the right into Musubi-dachi. Keep structure, direction, and zanshin. |
| 19 | 405° clockwise | Migi zenkutsu-dachi | Hidari shōtei/shutō gedan uke | With the hands kept in position, rotate 405° clockwise on the left foot to Migi zenkutsu-dachi. Block the low line with hidari shōtei/shutō gedan uke according to dojo standard, while the right open hand is brought up by the left side of the head. |
| 20 | Hip turn right | Migi kiba-dachi | Migi gedan barai / manji uke | Turn the hips to Migi kiba-dachi. Draw the left hand back and extend it upward above the left shoulder with a closed fist. At the same time, block Migi gedan barai in Manji uke structure and keep the head directed to the right. |
Breathing, rhythm, and kiai¶
The rhythm should show the difference between:
- the 450° rotations with Uchi uke and Chūdan gyaku tsuki
- gathered Waki no kamae positions in Heisoku-dachi
- 360° rotation with Morote uchi uke
- 360° rotation with Seiken gedan jūji uke
- Shutō jōdan jūji uke and Ryō shō tsukami uke
- 360° rotation with Chūdan oi tsuki
- leg block and low block in Kiba-dachi
- slow Haishu uke
- Teisoku mawashi geri, Hiji jōdan uchi, and 360° rotation into Kake-dachi
- jumping Seiken gedan jūji uke
- the 450°, 585°, and 405° rotations in the final section
- final Manji uke structures
- the kiai points on movements 9 and 14
Kiai is performed on:
- movement 9
- movement 14
In movement 9, the kiai is on Migi chūdan oi tsuki after the 360° rotation. In movement 14, the kiai is on the jumping landing in Kake-dachi with Seiken gedan jūji uke.
The rotations must not make the breathing shallow or rushed. Rhythm should be created through clear gaze, stable pivot, correct landing, breathing, kime, and zanshin.
Technical key points¶
- Direct the gaze before the rotation finishes.
- Let the rotation be guided by pivot, hips, and center, not by throwing the upper body.
- Control the 450° rotations in movements 1 and 3.
- Control the 360° rotations in movements 5, 6, 9, and 12.
- Control the 585° rotation in movement 16.
- Control the 405° rotation in movement 19.
- Clearly distinguish between Kokutsu-dachi, Heisoku-dachi, Zenkutsu-dachi, Kiba-dachi, Kake-dachi, and Musubi-dachi.
- Perform Uchi uke and Chūdan gyaku tsuki as a coordinated defensive and counterattacking movement.
- Keep Waki no kamae active in Heisoku-dachi.
- Perform Morote uchi uke with correct supporting hand.
- Perform Gedan jūji uke and Shutō jōdan jūji uke with clear cross structure.
- Perform Ryō shō tsukami uke as a controlled gripping movement.
- Let Chūdan oi tsuki in movement 9 finish with clear hikite.
- Perform Haishu uke slowly and with the direction of the gaze.
- In movement 12, connect kick, elbow, rotation, landing, and Morote uchi uke without losing balance.
- The landing in Kake-dachi must be stable.
- In movement 14, the jump must not become decorative; the landing and Gedan jūji uke are the technical finish.
- Perform the shōtei-/shutō-gedan control with a clear low line.
- Perform Manji uke with stable Kiba-dachi, active upper arm, and clear head direction.
- Maintain zanshin after the jumping moments.
- Avoid extra adjustment steps after rotation.
- Let the rotation serve the technique, not the other way around.
Common errors¶
- The student spins quickly but loses direction.
- The gaze arrives too late in the rotation.
- The 450° rotations in movements 1 and 3 become unclear.
- Kokutsu-dachi falls forward.
- Uchi uke and Gyaku tsuki are separated too much.
- Heisoku-dachi becomes passive and lacks active Waki no kamae.
- Morote uchi uke lacks the function of the supporting hand.
- Gedan jūji uke lacks clear cross structure.
- Shutō jōdan jūji uke becomes too high, too low, or lacks center.
- Ryō shō tsukami uke becomes a loose hand movement.
- Chūdan oi tsuki in movement 9 lacks hikite.
- The leg block in movement 10 becomes unclear.
- Haishu uke in movement 11 is performed too quickly and loses control.
- Teisoku mawashi geri and Hiji jōdan uchi in movement 12 lack coordination.
- The jump or rotation into Kake-dachi becomes uncontrolled.
- Morote jōdan age tsuki lacks upward structure.
- The jump in movement 14 becomes decorative instead of technical.
- The 585° rotation in movement 16 causes the direction to be lost.
- Shōtei/Shutō gedan uke loses the low line.
- Manji uke lacks clear arm structure and head direction.
- Musubi-dachi in movement 18 becomes a pause without zanshin.
- Extra adjustment steps are added after rotation.
- Kiai is used without kime.
- The end of the kata falls apart.
Bunkai and application¶
Bunkai for Pinan sono go ura should remain technically clear and close to the basic form. The focus should be on how rotation changes direction, distance, and angle without the technique losing structure.
| Movement or technique | Simple bunkai |
|---|---|
| Uchi uke / Chūdan gyaku tsuki | Block and direct counterattack after change of direction or rotation. |
| Waki no kamae | Gathers the body before the next direction and technique. |
| Morote uchi uke | Reinforced block against the chūdan line. |
| Gedan jūji uke / Shutō jōdan jūji uke | Control of low and high line through cross structure. |
| Ryō shō tsukami uke | Gripping or catching movement before counterattack. |
| Chūdan oi tsuki | Direct counterattack after open-hand control and rotation. |
| Teisoku uke / low block | Control of low line during change of direction. |
| Haishu uke | Control and direction through open hand. |
| Teisoku mawashi geri / Hiji jōdan uchi | Kick and elbow toward different lines at close range. |
| Kake-dachi / Morote uchi uke | Positional change with reinforced block. |
| Seiken gedan jūji uke in jump | Downward control with simultaneous change of distance and direction. |
| Shōtei/Shutō gedan uke | Low control that prepares a manji-like structure. |
| Manji uke | Simultaneous control of two directions or levels. |
| 360°, 405°, 450°, and 585° rotations | Change of direction, angle, or opponent before the technical finish. |
| Gaze and zanshin | Prepare direction, balance, technical intent, and continued readiness. |
Bunkai should be trained in a controlled way with a partner and should not be made more advanced than the technical level of the kata justifies.
Training method¶
Train the kata step by step:
- Repeat Pinan sono go without ura rotations.
- Check the embusen and main counts.
- Train the 450° rotations into Kokutsu-dachi separately.
- Train Uchi uke and Chūdan gyaku tsuki after rotation.
- Train Waki no kamae in Heisoku-dachi.
- Train 360° rotation followed by Morote uchi uke.
- Train 360° rotation followed by Gedan jūji uke.
- Train Shutō jōdan jūji uke and Ryō shō tsukami uke.
- Train 360° rotation followed by Chūdan oi tsuki with kiai.
- Train leg block and low block in Kiba-dachi.
- Train Haishu uke slowly.
- Train Teisoku mawashi geri and Hiji jōdan uchi separately.
- Train the rotation into Kake-dachi with Morote uchi uke.
- Train the transition to Morote jōdan age tsuki.
- Train the jump in movement 14 with Seiken gedan jūji uke and kiai.
- Train the 450° rotation in movement 15.
- Train the 585° rotation in movement 16 slowly.
- Train Shōtei/Shutō gedan uke and Manji uke.
- Add breathing, rhythm, kime, and kiai.
- Train the whole kata slowly without counting.
- Try simple bunkai with a partner and then return to the kata form.