Pinan sono ni¶

Name¶

Romaji: Pinan sono ni
Japanese: 平安その二 / 平安二段
English: Second Pinan kata / Pinan number two

Pinan is the Okinawan reading of the characters 平安 and can be understood pedagogically as peace, calm, safety, or serenity. In karate context, this should not be understood as passivity, but as the ability to maintain control, balance, and clarity during technical movement.

Sono ni means number two or second form. In some sources, the designation Pinan nidan or 平安二段 is used. On Galaz Dojo, the page name Pinan sono ni is used for consistency with Kyokushin romaji and the other kata pages.

Introduction¶

Pinan sono ni is the second kata in the Pinan series. In Kyokushin, the Pinan series functions as a continuation after the Taikyoku forms and introduces more varied technique, more stances, more changes of direction, and more complex technical transitions.

The kata is a clear step beyond Pinan sono ichi. It requires the student to coordinate a rear-weighted stance, double blocking, tettsui strikes, Kiba-dachi, kick and arm technique in the same moment, shutō-based blocking, nukite, mae geri, gyaku tsuki, morote uke, gedan barai, and finishing jōdan uke.

The purpose is not only to learn the order and embusen. The student must be able to alternate between still control, fast technique, side-directed kicking, forward kicking, diagonal lines, and finishing blocking without losing balance, hip, gaze, breathing, kime, or zanshin.

Position in the system¶

Group: Pinan-kata
Level: Basic to intermediate
Technical focus: Kokutsu-dachi, Kiba-dachi, Tsuruashi-dachi, Zenkutsu-dachi, double blocking, tettsui, yoko geri, uraken, shutō mawashi uke, osae uke, yonhon nukite, mae geri, gyaku tsuki, morote uchi uke, gedan barai, and jōdan uke

Pinan sono ni is trained after the student has understood Pinan sono ichi and can maintain technical form when changing between stances and directions.

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

perform simultaneous or compound arm techniques without losing structure
change between Kokutsu-dachi, Kiba-dachi, Tsuruashi-dachi, and Zenkutsu-dachi
use the hip and body line in Tettsui and Uraken
perform Jōdan yoko geri with simultaneous Uraken jōdan yoko uchi
unite Osae uke and Yonhon nukite in the same movement
perform Jōdan mae geri followed by Chūdan gyaku tsuki
control diagonal nukite and jōdan uke directions without extra adjustment steps
maintain zanshin throughout the kata

Technical profile¶

Area	Content
Main focus	Compound technical transitions, balance, turns, and technical variation
Stances	Kokutsu-dachi, Kiba-dachi, Tsuruashi-dachi, Zenkutsu-dachi
Hand techniques	Uchi uke, Jōdan uke, Tettsui, Uraken, Shutō mawashi uke, Osae uke, Haitō uke, Yonhon nukite, Gyaku tsuki, Morote uchi uke, Gedan barai
Leg techniques	Jōdan yoko geri, Jōdan mae geri
Directions	Side turns, main line, shutō lines, and diagonal finishes
Kiai	Movements 8 and 20
Character	More technically compound than Pinan sono ichi

Pinan sono ni begins with a double blocking structure in Kokutsu-dachi, moves into tettsui techniques in a side direction, introduces Tsuruashi-dachi with simultaneous kick and uraken, continues with shutō sequences, and finishes with diagonal nukite and jōdan uke directions.

Embusen and technical figure¶

The embusen of Pinan sono ni is more varied than in Pinan sono ichi. It contains side turns, forward movement, shutō lines, diagonal transitions, and a finishing section with nukite and jōdan uke.

The diagram shows the movement pattern of Pinan sono ni. The numbering corresponds to the kata’s 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, hip work, gaze, hikite, kicking technique, shutō positions, or breathing.

During learning, the student should especially check:

main directions and larger turns
transitions into Kokutsu-dachi
transitions into Kiba-dachi
the transition into Tsuruashi-dachi
the diagonal steps in the finish
that no extra adjustment steps are added
that the gaze is directed before the technique is completed

Stances¶

Pinan sono ni uses four main technical stances:

Stance	Function in the kata
Kokutsu-dachi	Used in the opening blocks and in the shutō sequences. It provides rear-weighted stability and control.
Kiba-dachi	Used in the transitions after the tettsui techniques. It should be side-oriented, stable, and clear.
Tsuruashi-dachi	Used before the combination with Jōdan yoko geri and Uraken jōdan yoko uchi. It requires balance, support-leg control, and a gathered body line.
Zenkutsu-dachi	Used in forward-directed attack and block sequences. It provides line, power, and stability.

Formally, the kata begins and ends in Fudō-dachi. After the command yoi, the yoi movement is performed according to dojo standard and ends in Heikō-dachi.

It is especially important that stance and technique finish at the same time. Kokutsu-dachi must not fall forward, Kiba-dachi must not become an unclear intermediate step, Tsuruashi-dachi must be controlled, and Zenkutsu-dachi should have a stable front knee line.

Central techniques¶

Technique	Function in the kata
Uchi uke / Jōdan uke	Simultaneous or compound blocking structure in the opening.
Tettsui hizō uchi	Short strike or control toward the side of the body.
Tettsui jōdan yoko uchi	Side-directed strike toward jōdan level.
Jōdan yoko geri	Side-directed kick requiring balance and hip control.
Uraken jōdan yoko uchi	Arm technique performed simultaneously with, or closely coordinated with, yoko geri.
Shutō mawashi uke	Circular shutō-based block and control in Kokutsu-dachi.
Osae uke / Chūdan yonhon nukite	Downward pressing control followed by a straight fingertip thrust.
Haitō uke / Seiken uchi uke or sukui uke principle	Slow technical transition with a lifting or upward-sweeping blocking character.
Jōdan mae geri / Chūdan gyaku tsuki	Kick followed by a direct counter with the opposite hand.
Morote uchi uke	Reinforced middle-level block with supporting hand.
Gedan barai / Jōdan uke	Low and high block in the finishing directions.
Jōdan yonhon nukite	Fingertip thrust toward upper level in a diagonal direction.

The techniques should be performed with correct striking surface, line, hikite, hip connection, and finish. Where the form of the technique is already described in the kihon or atari-bu section, the kata page should link there instead of repeating all technical details.

In this kata, it is especially important that the student distinguishes between techniques that look similar but have different functions. Uchi uke, Shutō mawashi uke, Osae uke, Haitō uke, the Sukui uke principle, and Morote uchi uke should not merge into the same movement.

Start and finish¶

The kata begins in Fudō-dachi, facing shinden.

After the name of the kata, Pinan sono ni, is announced, the command yoi is given. A slow yoi movement is then performed, finishing 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 by drawing the left foot back according to dojo standard. On yasume, the practitioner returns to the resting position.

Movement sequence¶

The movement sequence below describes the kata in pedagogical order according to modern Kyokushin/KWF standard. 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 kokutsu-dachi	Hidari uchi uke / migi jōdan uke	Turn counterclockwise and perform the blocks simultaneously after preparation through waki no kamae.
2	Same direction / side transition	Hidari kokutsu-dachi → kiba-dachi	Migi tettsui hizō uchi / hidari tettsui jōdan yoko uchi	Mark with migi tettsui hizō uchi, then slide into Kiba-dachi and strike hidari tettsui jōdan yoko uchi.
3	Turn 180° right	Migi kokutsu-dachi	Migi uchi uke / hidari jōdan uke	Draw the right leg back and turn clockwise to the opposite direction. Perform the blocks simultaneously.
4	Same direction / side transition	Migi kokutsu-dachi → kiba-dachi	Hidari tettsui hizō uchi / migi tettsui jōdan yoko uchi	Mark with left tettsui hizō uchi, then slide into Kiba-dachi and strike migi tettsui jōdan yoko uchi.
5	Turn onto the main line	Tsuruashi-dachi → hidari kokutsu-dachi	Migi jōdan yoko geri / migi uraken jōdan yoko uchi / hidari shutō mawashi uke	Turn into Tsuruashi-dachi, perform yoko geri and uraken with the right side, set the foot down, and turn into hidari kokutsu-dachi with shutō mawashi uke.
6	Forward	Migi kokutsu-dachi	Migi shutō mawashi uke	Step forward with stable rear-weighted structure.
7	Forward	Hidari kokutsu-dachi	Hidari shutō mawashi uke	Continue forward without losing height, direction, or control.
8	Forward	Migi zenkutsu-dachi	Hidari osae uke / migi chūdan yonhon nukite, kiai	Enter Zenkutsu-dachi, control with osae uke, and thrust with yonhon nukite. Finish with kiai.
9	Turn 90° left	Hidari kokutsu-dachi	Hidari shutō mawashi uke	Turn counterclockwise into Kokutsu-dachi.
10	Diagonal forward right	Migi kokutsu-dachi	Migi shutō mawashi uke	Step migi mae naname 45° and perform shutō mawashi uke.
11	Turn 135° right	Migi kokutsu-dachi	Migi shutō mawashi uke	Turn clockwise to the new direction and maintain rear-weighted stability.
12	Diagonal forward left	Hidari kokutsu-dachi	Hidari shutō mawashi uke	Step hidari mae naname 45° and perform shutō mawashi uke.
13	45° left	Hidari zenkutsu-dachi	Migi haitō uke → migi seiken uchi uke / sukui uke principle	Move the left foot 45° counterclockwise. Perform the upward-sweeping blocking sequence slowly and with control.
14	Forward	Migi zenkutsu-dachi	Migi jōdan mae geri / hidari chūdan gyaku tsuki	Kick jōdan mae geri, set down into Migi zenkutsu-dachi, and strike hidari chūdan gyaku tsuki.
15	Forward	Hidari zenkutsu-dachi	Hidari seiken uchi uke / sukui uke principle → hidari jōdan mae geri / chūdan gyaku tsuki	Perform the blocking sequence slowly, kick jōdan mae geri, and finish with chūdan gyaku tsuki according to dojo standard.
16	Forward	Migi zenkutsu-dachi	Migi morote uchi uke	Step forward into Migi zenkutsu-dachi and perform reinforced uchi uke with a clear supporting hand.
17	Turn 270° left	Hidari zenkutsu-dachi	Hidari gedan barai	Turn counterclockwise into Hidari zenkutsu-dachi and block low.
18	45° diagonal right	Hidari zenkutsu-dachi → migi zenkutsu-dachi	Hidari jōdan yonhon nukite / migi jōdan uke	Thrust with left yonhon nukite diagonally, then step into Migi zenkutsu-dachi and block jōdan uke.
19	Turn 135° right	Migi zenkutsu-dachi	Migi gedan barai	Turn clockwise to the right and block low.
20	45° diagonal left	Migi zenkutsu-dachi → hidari zenkutsu-dachi	Migi jōdan yonhon nukite / hidari jōdan uke, kiai	Thrust with right yonhon nukite diagonally, then step into Hidari zenkutsu-dachi and block jōdan uke with kiai.

Breathing, rhythm, and kiai¶

Breathing should be natural and coordinated with the finish of the technique. Each block, thrust, strike, and kick should have a controlled exhalation that supports kime without making the body stiff.

The rhythm should show the difference between the kata’s technical parts:

the opening double block in Kokutsu-dachi
the tettsui transition into Kiba-dachi
the kicking moment in Tsuruashi-dachi
the shutō sequences in Kokutsu-dachi
Osae uke and Yonhon nukite in Zenkutsu-dachi
the slow Haitō uke / Sukui uke principle
Mae geri and Gyaku tsuki
Morote uchi uke
the finishing diagonal nukite and jōdan uke sequence

Kiai is performed on:

movement 8
movement 20

Kiai should coincide with the technical finish and mark technical and mental focus. It should not be used as decoration or as a substitute for kime.

If dojo standard indicates a different kiai point, the local standard should be followed consistently.

Technical key points¶

Direct the gaze before the turn and technique are completed.
Clearly distinguish between Kokutsu-dachi, Kiba-dachi, Tsuruashi-dachi, and Zenkutsu-dachi.
Let footwork, hip, and technique finish as one unit.
Perform the opening double block without losing the stance direction.
Perform the tettsui techniques with body line and hip, not just the arm.
Set Kiba-dachi stably in the side transition.
Control Tsuruashi-dachi before and after the kick.
Coordinate Jōdan yoko geri and Uraken jōdan yoko uchi.
Perform Shutō mawashi uke with stable Kokutsu-dachi.
Perform Osae uke and Yonhon nukite as a unified control-and-thrust sequence.
Perform the slow blocking sequence without losing body structure.
Retract the kicking leg after Mae geri before setting the stance.
Perform Gyaku tsuki with hip connection and centerline.
Perform Morote uchi uke with a clear supporting hand.
Control the 270° turn and the diagonal finishes.
Avoid extra adjustment steps.
Maintain zanshin throughout the kata.

Common errors¶

The kata is treated as a longer version of Pinan sono ichi and the technical transitions become unclear.
The opening double block is unsynchronized.
Kokutsu-dachi falls forward.
Kiba-dachi becomes too narrow or lacks lateral stability.
The tettsui techniques become loose arm swings.
Tsuruashi-dachi becomes unstable.
Kick and uraken are performed without coordination.
Shutō mawashi uke is performed without clear stance and hip.
Osae uke and Yonhon nukite are separated too much or lose direction.
The slow blocking sequence becomes too fast or unclear.
Mae geri lacks retraction.
Gyaku tsuki is performed without hip connection.
Morote uchi uke lacks the function of the supporting hand.
The diagonal steps at the end become unclear.
Breathing, kiai, and kime are not coordinated with the technical finish.

Bunkai and application¶

Bunkai for Pinan sono ni should remain technically clear and close to the level of the kata. The analysis should show how stance, direction, block, kick, thrust, and strike connect.

Movement or technique	Simple bunkai
Opening double block	Simultaneous upper and middle control, or protection against two lines.
Tettsui hizō uchi	Short, powerful control or strike to the side of the body.
Tettsui jōdan yoko uchi	Side-directed strike toward head level after a change of direction.
Kiba-dachi	Angling and lateral stability after transition.
Jōdan yoko geri / Uraken jōdan yoko uchi	Coordinated kick and arm technique toward a side-directed line.
Shutō mawashi uke	Circular block, control, or positional change.
Osae uke / Yonhon nukite	Downward pressing control followed by a straight thrust into an opened line.
Haitō uke / Sukui uke principle	Lifting, deflecting, or controlling movement against the attack line.
Mae geri / Gyaku tsuki	Kick followed by direct counterattack.
Morote uchi uke	Reinforced middle-level block.
Finishing diagonals	Angling with gedan barai, nukite, and jōdan uke on a changed attack line.

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 and its basic directions.
Learn Pinan sono ni slowly and without force.
Divide the kata into technical sections.
Train the opening double block and tettsui transition separately.
Train the transition into Kiba-dachi.
Train Tsuruashi-dachi, Jōdan yoko geri, and Uraken jōdan yoko uchi.
Train the shutō sequences in Kokutsu-dachi.
Train Osae uke and Chūdan yonhon nukite as a unified sequence.
Train the slow Haitō uke / Sukui uke principle.
Train Jōdan mae geri and Chūdan gyaku tsuki with correct retraction.
Train Morote uchi uke.
Train the 270° turn and the finishing diagonals.
Add breathing, rhythm, kime, and kiai.
Train without counting and maintain zanshin from start to finish.
Try simple bunkai with a partner and then return to the kata form.