Pinan sono san ura¶

Name¶

Romaji: Pinan sono san ura
Japanese: 平安その三裏 / 平安裏三段
English: Third Pinan kata ura / Pinan number three in reverse form

Sono san means number three or third 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 sandan ura or 平安裏三段 is used. On Galaz Dojo, the page name Pinan sono san ura is used for consistency with the other kata pages.

For shared background on the Pinan series, the name Pinan, and the series’ place in Kyokushin, see Pinan.

Introduction¶

Pinan sono san ura is the ura version of Pinan sono san. It is built on the same technical foundation as the regular form, but introduces larger circular rotations and more demanding changes of direction.

In the basic form, the practitioner trains, among other elements, Kokutsu-dachi, Musubi-dachi, Zenkutsu-dachi, Kiba-dachi, Uchi uke, Uchi uke / Gedan barai, Morote uchi uke, Osae uke, Yohon nukite, Tettsui jōdan yoko uchi, Chūdan oi tsuki, kicking, elbow technique, Uraken sayū ganmen uchi, Hiji ushiro ate, and Jōdan ushiro tsuki.

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 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: Kokutsu-dachi, Musubi-dachi, Zenkutsu-dachi, Kiba-dachi, uchi uke, uchi uke / gedan barai, morote uchi uke, osae uke, yohon nukite, tettsui jōdan yoko uchi, chūdan oi tsuki, ushiro mawashi geri, yoko geri, hiji chūdan uke, uraken sayū ganmen uchi, hiji ushiro ate, jōdan ushiro tsuki, 360° rotations, 450° rotations, balance, pivot, and zanshin

Pinan sono san ura is trained after the practitioner can perform Pinan sono san stably. The ura version should not be used to learn the basic form from the beginning. It requires the student to already understand the direction, stances, basic technique, kick recovery, elbow technique, and embusen of the regular form.

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

maintain the correct direction after 360° and 450° rotations
land in correct Kokutsu-dachi, Zenkutsu-dachi, or Kiba-dachi
perform Uchi uke after a 450° rotation
maintain structure in Musubi-dachi after gathering movements
perform Yohon nukite after a 360° rotation
coordinate rotation, kick, recovery, and Hiji chūdan uke
perform Uraken sayū ganmen uchi without losing hip or stance
control the finish with Hiji ushiro ate and Jōdan ushiro tsuki
keep the gaze ahead of the technique’s finish
avoid extra adjustment steps after rotation
maintain zanshin throughout the kata

Technical profile¶

Area	Content
Main focus	Rotation, stance transition, lateral stability, close-range techniques, and technical finish
Stances	Kokutsu-dachi, Musubi-dachi, Zenkutsu-dachi, Kiba-dachi
Hand techniques	Uchi uke, Uchi uke / Gedan barai, Morote uchi uke, Osae uke, Yohon nukite, Tettsui jōdan yoko uchi, Chūdan oi tsuki, Uraken sayū ganmen uchi, Hiji ushiro ate, Jōdan ushiro tsuki
Leg techniques	Ushiro mawashi geri, Yoko geri
Movement principles	360° rotation, 450° rotation, pivot, gaze, hip control, lateral stability, and zanshin
Kiai	Movements 10 and 20
Character	The most compact and close-range-oriented Pinan ura form so far

Pinan sono san ura has the same basic technical character as Pinan sono san, but the rotational movements make the form more demanding. What in the basic form is a short change of direction or lateral movement becomes, in the ura form, a test of pivot, balance, direction, and technical finish.

The kata contains four main types of technical challenge:

450° rotations that finish in Kokutsu-dachi with Uchi uke.
360° rotations that finish with Yohon nukite, Chūdan oi tsuki, a kicking sequence, or a finishing lateral technique.
Changes between Musubi-dachi, Zenkutsu-dachi, and Kiba-dachi without losing center.
Short close-range techniques where rotation must not replace hip, stance, and kime.

Embusen and technical figure¶

The embusen of Pinan sono san ura follows the same basic structure as Pinan sono san, but several movements take a longer path through circular rotation. The basic pattern contains side lines, gathered positions, the main line, Kiba-dachi sequences, and a finishing lateral movement.

The diagram shows the movement pattern of Pinan sono san 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, elbow technique, or breathing.

During learning, the student should especially check:

main directions and turns
the 450° rotations in movements 1 and 4
the 360° rotations in movements 8, 10, 12, 14, 16, 18, and 20
transitions into Musubi-dachi
transitions between Kokutsu-dachi and Zenkutsu-dachi
transitions into Kiba-dachi
the kicking sequences in movements 12, 14, and 16
the finishing lateral movement in movements 19 and 20
the final position
that no extra adjustment steps are added
that the gaze is directed before the technique is completed

Stances¶

Pinan sono san ura uses four main technical stances:

Stance	Function in the kata
Kokutsu-dachi	Used in the opening Uchi uke movements after 450° rotation. The stance should be stable and rear-weighted without falling forward.
Musubi-dachi	Used in the gathered Uchi uke / Gedan barai movements and in the preparation for the kicking and lateral technique section.
Zenkutsu-dachi	Used in Morote uchi uke, Yohon nukite, Chūdan oi tsuki, and certain transitions after rotation.
Kiba-dachi	Used in the kata’s lateral techniques, kicking sequences, uraken techniques, and finish.

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 or the chosen yoi position according to local standard.

It is especially important that Kokutsu-dachi does not fall forward after rotation, that Musubi-dachi does not become passive, that Zenkutsu-dachi does not become short after a 360° rotation, and that Kiba-dachi remains stable in the lateral techniques.

Central techniques¶

Technique	Function in the kata
Seiken uchi uke	Performed in Kokutsu-dachi in the opening. In the ura form, the technique appears after a 450° rotation.
Uchi uke / Gedan barai	Performed in Musubi-dachi as a compound defense. The body should remain gathered and active.
Seiken morote chūdan uchi uke	Performed in Zenkutsu-dachi and should show a reinforced block with a clear supporting hand.
Osae uke / Chūdan yohon nukite	Used as a control and attack sequence after a 360° rotation.
Tettsui jōdan yoko uchi	Performed in Kiba-dachi after a 180° rotation. The technique should be short, directed, and laterally stable.
Seiken chūdan oi tsuki	Performed after a 360° rotation in movement 10 and after another rotation in movement 18.
Ryō ken koshi kamae	Used as a gathered preparation before the kicking and lateral technique section.
Ushiro mawashi geri / Yoko geri	Performed in movements 12, 14, and 16 before landing in Kiba-dachi with elbow block.
Hiji chūdan uke	Performed directly after the kicking sequence and should connect to stance and body rotation.
Uraken sayū ganmen uchi	Performed in Kiba-dachi after the elbow block. The strike should have a clear line and return.
Hiji ushiro ate / Jōdan ushiro tsuki	Finishes the kata in a laterally stable structure. The techniques require clear direction and zanshin.
360° and 450° rotation	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 into 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 san ura, is 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 been completed. 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 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 seiken uchi uke	Rotate 450° counterclockwise on the right foot into Hidari kokutsu-dachi and block chūdan with left Uchi uke.
2	Gather in	Musubi-dachi	Migi uchi uke / hidari gedan barai	Bring the right foot to the left foot into Musubi-dachi. Place the right hand in Gedan barai position and perform Uchi uke / Gedan barai according to dojo standard.
3	Same position	Musubi-dachi	Hidari uchi uke / migi gedan barai	Perform the mirrored Uchi uke / Gedan barai without losing body center or Musubi-dachi.
4	450° clockwise	Migi kokutsu-dachi	Migi seiken uchi uke	Rotate 450° clockwise on the left foot into Migi kokutsu-dachi and block chūdan with right Uchi uke.
5	Gather in	Musubi-dachi	Hidari uchi uke / migi gedan barai	Bring the left foot to the right foot into Musubi-dachi. Place the left hand in Gedan barai position and perform Uchi uke / Gedan barai according to dojo standard.
6	Same position	Musubi-dachi	Migi uchi uke / hidari gedan barai	Perform the mirrored Uchi uke / Gedan barai while maintaining posture, direction, and center.
7	Turn 90° left onto the main line	Hidari zenkutsu-dachi	Seiken morote chūdan uchi uke	Move the left foot 90° counterclockwise into Zenkutsu-dachi and block with Morote uchi uke.
8	360° clockwise	Migi zenkutsu-dachi	Hidari osae uke / migi chūdan yohon nukite	With the hands kept in position, rotate 360° clockwise on the left foot into Migi zenkutsu-dachi. Control with left osae uke and thrust migi chūdan yohon nukite.
9	180° counterclockwise	Kiba-dachi	Hidari tettsui jōdan yoko uchi	Pivot on the right foot and rotate 180° counterclockwise into Kiba-dachi. Let the left arm come over the right hand and strike Hidari tettsui jōdan yoko uchi.
10	360° clockwise	Migi zenkutsu-dachi	Migi seiken chūdan oi tsuki, kiai	With the left hand kept in position, rotate 360° clockwise on the left foot into Migi zenkutsu-dachi and punch Migi chūdan tsuki with kiai.
11	180° counterclockwise	Musubi-dachi	Ryō ken koshi kamae	Pivot on the right foot and turn 180° counterclockwise into Musubi-dachi. Place both fists at the hips in Ryō ken koshi kamae.
12	360° clockwise + kicking sequence	Kiba-dachi	Migi ushiro mawashi geri / migi yoko geri / migi hiji chūdan uke	With the hands kept in position, rotate 360° clockwise on the left foot and kick migi ushiro mawashi geri. Before placing the foot down, perform migi yoko geri. Recover the leg, set Kiba-dachi, and immediately block with migi hiji chūdan uke.
13	Same direction	Kiba-dachi	Migi uraken sayū ganmen uchi	Strike migi uraken sayū ganmen uchi and return the fist to the hip.
14	360° counterclockwise + kicking sequence	Kiba-dachi	Hidari ushiro mawashi geri / hidari yoko geri / hidari hiji chūdan uke	Rotate 360° counterclockwise on the right foot and kick hidari ushiro mawashi geri. Before placing the foot down, perform hidari yoko geri. Recover the leg, set Kiba-dachi, and immediately block with hidari hiji chūdan uke.
15	Same direction	Kiba-dachi	Hidari uraken sayū ganmen uchi	Strike hidari uraken sayū ganmen uchi and return the fist to the hip.
16	360° clockwise + kicking sequence	Kiba-dachi	Migi ushiro mawashi geri / migi yoko geri / migi hiji chūdan uke	Rotate 360° clockwise on the left foot and kick migi ushiro mawashi geri. Before placing the foot down, perform migi yoko geri. Recover the leg, set Kiba-dachi, and immediately block with migi hiji chūdan uke.
17	Same direction	Kiba-dachi	Migi uraken sayū ganmen uchi	Strike migi uraken sayū ganmen uchi and return the fist to the hip.
18	360° counterclockwise	Hidari zenkutsu-dachi	Hidari seiken chūdan oi tsuki	Rotate 360° counterclockwise on the right foot into Hidari zenkutsu-dachi and punch hidari chūdan oi tsuki.
19	Movement and 180° turn	Kiba-dachi	Hidari hiji ushiro ate / migi jōdan ushiro tsuki	Bring the right foot forward toward the left as protection of the gedan line, continue into Kiba-dachi, and proceed with a 180° turn on the right foot into a new Kiba-dachi. Strike simultaneously with hidari hiji ushiro ate and migi jōdan ushiro tsuki.
20	360° jump/movement to the right	Kiba-dachi	Migi hiji ushiro ate / hidari jōdan ushiro tsuki, kiai	Keep the arm position, jump or move the body 360° to the right in one gathered movement. Land in Kiba-dachi and finish with migi hiji ushiro ate, hidari jōdan ushiro tsuki, and kiai.

Breathing, rhythm, and kiai¶

The rhythm should show the difference between:

the 450° rotations with Uchi uke
the gathered Uchi uke / Gedan barai movements in Musubi-dachi
Morote uchi uke and Yohon nukite
the 360° rotation into Chūdan oi tsuki
Ryō ken koshi kamae as gathered preparation
the kicking sequences with Ushiro mawashi geri, Yoko geri, and Hiji chūdan uke
Uraken sayū ganmen uchi
the finishing Hiji ushiro ate and Jōdan ushiro tsuki
the kiai points on movements 10 and 20

Kiai is performed on:

movement 10
movement 20

In movement 10, kiai is placed on Migi seiken chūdan oi tsuki after the 360° rotation. In movement 20, kiai is placed on the finishing Migi hiji ushiro ate / Hidari jōdan ushiro tsuki in Kiba-dachi.

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, hip, and center, not by throwing the upper body.
Pay special attention to the 450° rotations in movements 1 and 4.
Clearly distinguish between Kokutsu-dachi, Musubi-dachi, Zenkutsu-dachi, and Kiba-dachi.
Keep the body gathered in Musubi-dachi without becoming passive.
Perform Uchi uke / Gedan barai as a coordinated block, not as two loose arm movements.
Perform Morote uchi uke with the correct supporting hand and a clear centerline.
Coordinate Osae uke and Yohon nukite as control and attack.
Set Kiba-dachi stably before the lateral techniques are completed.
In movement 9, the left arm should come quickly over the right before Tettsui jōdan yoko uchi finishes.
Perform Chūdan oi tsuki in movement 10 only once the body has landed stably.
Keep Ryō ken koshi kamae active, not loose.
In movements 12, 14, and 16, rotation, kick, recovery, Kiba-dachi, and Hiji chūdan uke must be coordinated.
Perform Ushiro mawashi geri and Yoko geri with control, not as two loose leg swings.
Perform Uraken sayū ganmen uchi with clear line and return.
Control the finish with Hiji ushiro ate and Jōdan ushiro tsuki.
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.
The 450° rotations in movements 1 and 4 become unclear.
Kokutsu-dachi becomes too high or falls forward.
Musubi-dachi becomes passive and lacks kamae.
Uchi uke / Gedan barai become two loose arm movements.
Morote uchi uke lacks the function of the supporting hand.
Osae uke and Yohon nukite are separated too much.
Kiba-dachi becomes too narrow, too high, or unstable.
Tettsui jōdan yoko uchi becomes a loose arm swing.
Chūdan oi tsuki is punched before the body has landed stably.
Ryō ken koshi kamae becomes passive.
The kicking sequences in movements 12, 14, and 16 become uncontrolled.
Ushiro mawashi geri and Yoko geri are confused or lack recovery.
Hiji chūdan uke is performed without body connection.
Uraken sayū ganmen uchi lacks a clear striking line.
The movement in movement 19 becomes too large or loses Kiba-dachi.
The movement in movement 20 becomes an uncontrolled jump without stable landing.
Kiai is used without kime.
The end of the kata falls apart.

Bunkai and application¶

Bunkai for Pinan sono san ura should remain technically reasonable and close to the basic form. The focus should be on how rotation changes direction, distance, and angle without the basic technique losing structure.

Movement or technique	Simple bunkai
Uchi uke	Inner middle-level block or control against the chūdan line after a new direction.
Uchi uke / Gedan barai	Simultaneous control of two levels or two lines.
Morote uchi uke	Reinforced block against the chūdan line.
Osae uke / Yohon nukite	Downward pressing control followed by a thrust into the open line.
Tettsui jōdan yoko uchi	Short side-directed strike from stable Kiba-dachi.
Ushiro mawashi geri / Yoko geri	Rotation and side-directed kick that changes distance, angle, and attack line.
Hiji chūdan uke	Close blocking or control after kick and landing.
Uraken sayū ganmen uchi	Fast side-directed technique toward head level.
Hiji ushiro ate / Jōdan ushiro tsuki	Techniques toward the rear or side direction after a position change.
360° and 450° rotation	Change of direction, angle, or opponent before 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 san without ura rotations.
Check the embusen and main counts.
Train the 450° rotations into Kokutsu-dachi separately.
Train Uchi uke / Gedan barai in Musubi-dachi.
Train Morote uchi uke and Yohon nukite.
Train 360° rotation followed by Chūdan oi tsuki.
Train the transition into Kiba-dachi with Tettsui jōdan yoko uchi.
Train Ryō ken koshi kamae.
Train 360° rotation without kick.
Train Ushiro mawashi geri separately.
Train Yoko geri separately.
Train the kicking sequence with recovery into Kiba-dachi and Hiji chūdan uke.
Train Uraken sayū ganmen uchi in Kiba-dachi.
Train the finish with Hiji ushiro ate and Jōdan ushiro tsuki.
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.