Pinan sono ichi ura¶
Name¶
Romaji: Pinan sono ichi ura
Japanese: 平安その一裏 / 平安裏初段
English: First Pinan kata ura / Pinan number one in reverse form
Sono ichi means number one or first 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 shodan ura or 平安裏初段 is used. On Galaz Dojo, the page name Pinan sono ichi 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 ichi ura is the ura version of Pinan sono ichi. It is based on the same technical foundation as the standard form, but introduces circular rotations in several of the kata’s forward movements and technical transitions.
In the basic form, the practitioner trains clear turns, Gedan barai, Chūdan oi tsuki, Jōdan uke, Tettsui komekami uchi, and the closing Shutō mawashi uke. In the ura version, the same techniques are tested through larger rotational movements, where the practitioner must maintain balance, gaze, pivot, stance, breathing, kime, and zanshin.
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 still has to land in the correct direction, correct stance, and correct technique.
Position in the system¶
Group: Pinan ura
Level: Intermediate / advanced basic level
Technical focus: Zenkutsu-dachi, Nekoashi-dachi, Kokutsu-dachi, gedan barai, chūdan oi tsuki, jōdan uke, tettsui komekami uchi, shutō mawashi uke, 360° rotations, 405° rotations, balance, pivot, and zanshin
Pinan sono ichi ura is trained after the practitioner can perform Pinan sono ichi with stability. The ura version should not be used to learn the basic form from the beginning. It requires that the student already understands the direction, stance, basic technique, and embusen of the standard form.
The kata functions as a check of whether the practitioner can:
- maintain the correct direction after a 360° rotation
- use pivoting without losing balance
- land in correct Zenkutsu-dachi or Kokutsu-dachi
- perform Gedan barai, Jōdan uke, and Chūdan oi tsuki after rotation
- maintain technical line in Shutō mawashi uke after a 405° rotation
- set the gaze before the technique finishes
- coordinate footwork, hip, hikite, breathing, and kime
- avoid extra adjustment steps after rotation
- maintain zanshin throughout the entire kata
Technical profile¶
| Area | Content |
|---|---|
| Main focus | Rotation, pivoting, landing, stance control, and technical finish |
| Stances | Zenkutsu-dachi, Nekoashi-dachi, Kokutsu-dachi |
| Hand techniques | Seiken gedan barai, Seiken chūdan oi tsuki, Seiken jōdan uke, Tettsui komekami uchi, Shutō mawashi uke |
| Movement principles | 360° rotation, 405° rotation, gaze, pivot, hip control, and zanshin |
| Kiai | Movements 8 and 16 |
| Character | Pinan sono ichi with increased demand on rotation, balance, and landing |
Pinan sono ichi ura has the same basic technical character as Pinan sono ichi, but the rotational moments make the form more demanding. What in the basic form is a straight forward movement becomes, in the ura form, a test of pivoting, balance, and direction.
The kata contains three main types of technical challenge:
- Standard changes of direction with blocking.
- 360° rotations that finish with a thrust or block.
- 405° rotations that finish in a diagonal direction with Shutō mawashi uke.
Embusen and technical figure¶
The embusen in Pinan sono ichi ura follows the same basic structure as Pinan sono ichi, but several movements take a longer path through circular rotation. The basic pattern contains side lines, the main line, 270° turns, and closing diagonals.
The diagram shows the movement pattern for Pinan sono ichi 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, hand technique, or breathing.
During learning, the student should especially check:
- main directions and turns
- 360° rotations
- 405° rotations
- the transition to Nekoashi-dachi in movement 3
- transitions to Kokutsu-dachi in the closing section
- final position
- that no extra adjustment steps are added
- that the gaze is directed before the technique finishes
Stances¶
Pinan sono ichi ura uses three main technical stances:
| Stance | Function in the kata |
|---|---|
| Zenkutsu-dachi | Used in the main part of the kata with Gedan barai, Chūdan oi tsuki, and Jōdan uke. The stance must be stable even after a 360° rotation. |
| Nekoashi-dachi | Used in movement 3 before Tettsui komekami uchi. The stance should be light, controlled, and active. |
| Kokutsu-dachi | Used in the closing shutō sequence. The stance must be stable and rear-weighted without the body falling forward. |
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.
It is especially important that Zenkutsu-dachi does not become short after rotation, that Nekoashi-dachi does not collapse backward, that Kokutsu-dachi does not fall forward, and that stance and technique finish at the same time.
Central techniques¶
| Technique | Function in the kata |
|---|---|
| Seiken gedan barai | Used in the changes of direction. The technique should have a clear low line, active hikite, and stable Zenkutsu-dachi. |
| Seiken chūdan oi tsuki | Performed after several 360° rotations. The thrust should be directed toward chūdan level with clear center line, hip connection, and kime. |
| Seiken jōdan uke | Performed on the main line in movements 6, 7, and 8 after 360° rotation. The block should finish with a clear rising line and stable stance. |
| Tettsui komekami uchi | Performed in Nekoashi-dachi after movement 3. The strike should be short, directed, and stable. |
| Shutō mawashi uke | Finishes the kata in Kokutsu-dachi. In the ura form, the technique requires clear gaze, stable landing, and zanshin after larger circular movement. |
| 360° rotation | Used before several thrusts and blocks. Rotation, gaze, pivot, hip, and stance must be coordinated. |
| 405° rotation | Used in the closing diagonal shutō movements. Rotation and diagonal direction must finish in stable Kokutsu-dachi. |
| Hikite | Essential for body gathering, line, and technical finish after rotation. |
The rotations are not separate techniques. They are movement principles that must serve the technique. 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 ichi ura, has been announced, the command yoi is given. A slow yoi movement is then performed and 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’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 by drawing the left foot back to the base position. The gaze remains in the previous direction until the turn is complete. 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 | Turn 90° left | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn counterclockwise to the left and block gedan barai. The right hand is drawn clearly to hikite. |
| 2 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Keep the left arm directed forward, rotate 360° clockwise on the left foot, and finish with chūdan oi tsuki. |
| 3 | Turn 180° right | Migi zenkutsu-dachi → Nekoashi-dachi | Migi seiken gedan barai / migi tettsui komekami uchi | Turn clockwise to Migi zenkutsu-dachi with gedan barai. Then draw the right foot back into Nekoashi-dachi and strike migi tettsui komekami uchi. |
| 4 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | With the right arm still in striking position, rotate 360° counterclockwise on the right foot to Hidari zenkutsu-dachi and chūdan oi tsuki. |
| 5 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Move the left foot across the line, turn counterclockwise onto the main line, and block gedan barai. |
| 6 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken jōdan uke | Rotate 360° clockwise on the left foot and finish with migi jōdan uke in Migi zenkutsu-dachi. |
| 7 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken jōdan uke | With the right arm still in blocking position, rotate 360° counterclockwise on the right foot to Hidari zenkutsu-dachi and hidari jōdan uke. |
| 8 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken jōdan uke, kiai | With the left arm still in blocking position, rotate 360° clockwise on the left foot to Migi zenkutsu-dachi and migi jōdan uke with kiai. |
| 9 | Turn 270° left | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Move the left foot across and turn 270° counterclockwise to Hidari zenkutsu-dachi with gedan barai. |
| 10 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° clockwise on the left foot and strike migi chūdan oi tsuki. |
| 11 | Turn 180° right | Migi zenkutsu-dachi | Migi seiken gedan barai | Move the right foot across and turn 180° clockwise to Migi zenkutsu-dachi with gedan barai. |
| 12 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Rotate 360° counterclockwise on the right foot and strike hidari chūdan oi tsuki. |
| 13 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Move the left foot across the line and turn counterclockwise onto the main line with gedan barai. |
| 14 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° clockwise on the left foot and strike the first thrust of the three-step sequence. |
| 15 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Rotate 360° counterclockwise on the right foot and strike the second thrust of the three-step sequence. |
| 16 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki, kiai | Rotate 360° clockwise on the left foot and finish the main line with chūdan oi tsuki and kiai. |
| 17 | Turn 270° left | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Move the left foot across and turn 270° counterclockwise to Hidari kokutsu-dachi with shutō mawashi uke. |
| 18 | 405° clockwise | Migi kokutsu-dachi | Migi shutō mawashi uke | Rotate 405° clockwise on the left foot, corresponding to 360° plus the diagonal forward-right direction, to Migi kokutsu-dachi with shutō mawashi uke. |
| 19 | Turn 135° right | Migi kokutsu-dachi | Migi shutō mawashi uke | Move the right foot across and turn 135° clockwise to Migi kokutsu-dachi with shutō mawashi uke. |
| 20 | 405° counterclockwise | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Rotate 405° counterclockwise on the right foot, corresponding to 360° plus the diagonal forward-left direction, to Hidari kokutsu-dachi with shutō mawashi uke. |
Breathing, rhythm, and kiai¶
The rhythm should show the difference between:
- standard direction changes with Gedan barai
- 360° rotations with Chūdan oi tsuki
- 360° rotations with Jōdan uke
- the transition to Nekoashi-dachi and Tettsui komekami uchi
- the 270° turns
- the 405° rotations with Shutō mawashi uke
- the kiai points on movements 8 and 16
Kiai is performed on:
- movement 8
- movement 16
In movement 8, the kiai is on Migi seiken jōdan uke after the 360° rotation. In movement 16, the kiai is on Migi seiken chūdan oi tsuki after the 360° rotation.
The rotations must not make the breathing shallow or rushed. The 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, hip, and center, not by throwing the upper body.
- Maintain the same height through the 360° rotations.
- Set Zenkutsu-dachi stably after every rotation.
- Let Gedan barai and Jōdan uke finish with a clear line.
- Perform Tettsui komekami uchi short and controlled in Nekoashi-dachi.
- Pay special attention to the 405° rotations in movements 18 and 20.
- Keep Kokutsu-dachi stable in the closing Shutō mawashi uke.
- Use hikite actively throughout the kata.
- Avoid extra adjustment steps after rotation.
- Maintain zanshin even between techniques.
- 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.
- Zenkutsu-dachi becomes short or crooked after the 360° turn.
- Jōdan uke follows the spin without finishing technically.
- Chūdan oi tsuki is struck before the body has landed stably.
- Nekoashi-dachi in movement 3 becomes too heavy or passive.
- Tettsui komekami uchi becomes a loose arm swing.
- The 405° rotations in movements 18 and 20 become unclear.
- Kokutsu-dachi falls forward in Shutō mawashi uke.
- 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 ichi ura should remain simple and close to the basic form. The focus should be on how rotation changes direction, distance, and angle.
| Movement or technique | Simple bunkai |
|---|---|
| Gedan barai | Low deflection, downward control, or release. |
| Chūdan oi tsuki | Direct counterattack after a direction change or rotation. |
| Jōdan uke | Protection or redirection against the upper line after rotation. |
| Tettsui komekami uchi | Short strike to the side of the head after withdrawal or angle change. |
| Shutō mawashi uke | Circular control, block, or positional change in Kokutsu-dachi. |
| 360° / 405° rotation | 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 ichi without ura rotations.
- Check the embusen and main counts.
- Train the 360° rotation in place without technique.
- Train 360° rotation followed by Chūdan oi tsuki.
- Train 360° rotation followed by Jōdan uke.
- Train movement 3 separately: Gedan barai, Nekoashi-dachi, and Tettsui komekami uchi.
- Train the 270° turns separately.
- Train the 405° rotations in movements 18 and 20 separately.
- Add breathing, rhythm, kime, and kiai.
- Train the entire kata slowly without counting.
- Try simple bunkai with a partner and then return to the kata form.