Pinan sono yon ura¶
Name¶
Romaji: Pinan sono yon ura
Japanese: 平安その四裏 / 平安裏四段
English: Fourth Pinan kata ura / Pinan number four in reverse form
Sono yon means number four or fourth 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 yondan ura or 平安裏四段 is used. On Galaz Dojo, the page name Pinan sono yon ura is used for consistency with the other kata pages.
For shared background on the Pinan series, the name Pinan, and the place of the series in Kyokushin, see Pinan.
Introduction¶
Pinan sono yon ura is the ura version of Pinan sono yon. It is based on the same technical foundation as the regular form, but introduces larger circular rotations in several of the kata’s blocks, kicking sequences, punching sequences, and finishing shutō movements.
In the basic form, the practitioner trains, among other elements, double shutō-based defenses in Kokutsu-dachi, Seiken gedan jūji uke, Morote uchi uke, Jōdan yoko geri with Uraken jōdan yoko uchi, Hiji jōdan ate, Shutō ganmen uchi, Kake-dachi, Kake wake kamae, Chūdan mae geri, Nihon chūdan tsuki, Hiza geri, and the finishing Shutō mawashi uke.
In the ura version, the same basic principles are tested through larger rotational movements. The practitioner must 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 level / advanced basic level
Technical focus: Kokutsu-dachi, Zenkutsu-dachi, Tsuruashi-dachi, Kake-dachi, shutō uchi uke, shutō jōdan uke, seiken gedan jūji uke, morote uchi uke, jōdan yoko geri, uraken jōdan yoko uchi, hiji jōdan ate, shutō ganmen uchi, chūdan mae geri, kake wake kamae, nihon chūdan tsuki, hiza geri, shutō mawashi uke, 360°, 450°, and 540° rotations, balance, pivot, and zanshin
Pinan sono yon ura is trained after the practitioner can perform Pinan sono yon 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, stance, kick recovery, elbow technique, kake-dachi, shutō technique, and embusen of the regular form.
The kata functions as a check of whether the practitioner can:
- maintain the correct direction after 360°, 450°, and 540° rotations
- land in correct Kokutsu-dachi, Zenkutsu-dachi, Tsuruashi-dachi, or Kake-dachi
- perform double shutō blocks after rotation
- perform Seiken gedan jūji uke after a 450° rotation
- maintain structure in Morote uchi uke after a 360° rotation
- coordinate Jōdan yoko geri, Uraken jōdan yoko uchi, and Hiji jōdan ate
- perform Shutō ganmen uchi without losing the body’s center
- perform Chūdan mae geri and Nihon chūdan tsuki after a 360° rotation
- control the gripping marker and Hiza geri without losing posture
- finish with Shutō mawashi uke after rotation
- keep the gaze ahead of the technical finish
- avoid extra adjustment steps after rotation
- maintain zanshin throughout the kata
Technical profile¶
| Area | Content |
|---|---|
| Main focus | Rotation, kick recovery, kake-dachi, double defensive structure, and technical completion |
| Stances | Kokutsu-dachi, Zenkutsu-dachi, Tsuruashi-dachi, Kake-dachi |
| Hand techniques | Shutō uchi uke, Shutō jōdan uke, Seiken gedan jūji uke, Morote uchi uke, Uraken jōdan yoko uchi, Hiji jōdan ate, Shutō ganmen uchi, Uraken sayū ganmen uchi, Kake wake kamae, Nihon chūdan tsuki, Shutō mawashi uke |
| Leg techniques | Jōdan yoko geri, Chūdan mae geri, Hiza geri |
| Movement principles | 360° rotation, 450° rotation, 540° rotation, pivot, gaze, hip control, kick recovery, and zanshin |
| Kiai | Movements 10 and 19 |
| Character | Dynamic ura form with strong emphasis on kicking, elbow technique, kake-dachi, and shutō finish |
Pinan sono yon ura has the same technical foundation as Pinan sono yon, but the rotational moments 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 completion.
The kata contains four main types of technical challenge:
- 450° and 540° rotations that finish in shutō-based blocks.
- 360° rotations that finish with a block, kick, punch, or shutō technique.
- Kicking sequences where recovery, landing, elbow, and stance must be coordinated.
- Short explosive transitions into Kake-dachi and finishing Shutō mawashi uke.
Embusen and technical figure¶
The embusen of Pinan sono yon ura follows the same basic structure as Pinan sono yon, but several movements take a longer path through circular rotation. The basic pattern contains side lines, main line, kicking sequences, kake-dachi, diagonal movements, and finishing shutō movements.
The diagram shows the movement pattern of Pinan sono yon 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, kake-dachi, or breathing.
During learning, the student should especially check:
- main directions and turns
- the 450° rotations in movements 1 and 3
- the 540° rotation in movement 2
- the 360° rotations in movements 4, 12, 14, 16, 17, 18, and 20
- transitions into Kokutsu-dachi
- transitions into Tsuruashi-dachi
- the transition into Kake-dachi
- kick recovery after Jōdan yoko geri and Chūdan mae geri
- the direction of Shutō ganmen uchi
- the gripping marker and Hiza geri in movements 18–19
- the final position
- that no extra adjustment steps are added
- that the gaze is directed before the technique is completed
Stances¶
Pinan sono yon ura uses four main technical stances:
| Stance | Function in the kata |
|---|---|
| Kokutsu-dachi | Used in the opening double shutō blocks and in the finish with Shutō mawashi uke. The stance should be stable and rear-weighted without falling forward. |
| Zenkutsu-dachi | Used in jūji uke, morote uke, shutō ganmen uchi, kake wake controls, punching sequences, and several forward-directed moments. |
| Tsuruashi-dachi | Used as a balance position before and after Jōdan yoko geri, and in some kicking transitions. |
| Kake-dachi | Used after Chūdan mae geri and before Uraken sayū ganmen uchi. The stance should be set with control and clear direction. |
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 selected yoi position according to local standard.
It is especially important that Kokutsu-dachi does not fall forward after rotation, that Zenkutsu-dachi does not become short after a 360° rotation, that Tsuruashi-dachi does not become a rushed balance moment, and that Kake-dachi is landed stably.
Central techniques¶
| Technique | Function in the kata |
|---|---|
| Shutō uchi uke / Shutō jōdan uke | Used in the opening of the kata as a double defensive structure. In the ura form, the technique finishes after a larger rotation. |
| Seiken gedan jūji uke | Performed after a 450° rotation and should have clear cross structure, centerline, and stable Zenkutsu-dachi. |
| Morote uchi uke | Appears several times and should be performed with a clear supporting hand, centerline, and body connection. |
| Jōdan yoko geri / Uraken jōdan yoko uchi | Performed together. Balance, hip control, supporting leg, and recovery are more important than height. |
| Hiji jōdan ate | Follows after the kick and landing. The elbow should connect to hip rotation and strike the open hand according to dojo standard. |
| Shutō ganmen uchi | Performed after body rotation and a protective hand position. The technique should not pass beyond the body’s centerline. |
| Chūdan mae geri / Uraken sayū ganmen uchi | Used in the transition into Kake-dachi with kiai. The kiai is on the uraken technique in the landing, not on the kick. |
| Kake wake kamae | Performed slowly and with control as a crossing preparation or opening structure. |
| Chūdan mae geri / Nihon chūdan tsuki | Performed after a 360° rotation. The kick should be recovered before the stance is set, and the two punches should finish in the correct order. |
| Gripping marker / Hiza geri | Marks control of the head or upper body followed by knee technique. |
| Shutō mawashi uke | Finishes the kata in Kokutsu-dachi. In the ura form, it appears after rotation and requires stable rear-weighted structure. |
| 360°, 450°, and 540° rotation | Movement principles that should serve the technique, not become decorative spins. |
| Hikite | Essential for gathering, line, and technical completion 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 the stance, direction, or kime to disappear has become an end in itself and must be corrected.
Start and finish¶
The kata begins in Fudō-dachi, facing shinden.
After the name of the kata, Pinan sono yon 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 shutō uchi uke / migi shutō jōdan uke | From the yoi position, the right fist is brought back to ready position and the left fist is placed vertically on top. Rotate 450° counterclockwise on the right foot into Hidari kokutsu-dachi and perform the double shutō block. |
| 2 | 540° clockwise | Migi kokutsu-dachi | Migi shutō uchi uke / hidari shutō jōdan uke | Bring the left hand to ready position with the right hand on top. Rotate 540° clockwise on the left foot into Migi kokutsu-dachi and perform the mirrored double shutō block. |
| 3 | 450° counterclockwise | Hidari zenkutsu-dachi | Seiken gedan jūji uke | With the hands still in preparatory position, rotate 450° counterclockwise on the right foot into Hidari zenkutsu-dachi. Bring the hands to jūji position by the right ear and finish with Seiken gedan jūji uke, right arm over left. |
| 4 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken morote uchi uke | Bring the left fist to ready position with the right fist on top. Rotate 360° clockwise on the left foot into Migi zenkutsu-dachi and block Migi morote chūdan uchi uke. |
| 5 | Balance preparation | Tsuruashi-dachi | Waki no kamae | Slowly bring the left leg into Tsuruashi-dachi. Draw the right fist to ready position and place the left fist on top according to waki no kamae. |
| 6 | Kick and elbow | Hidari zenkutsu-dachi | Hidari jōdan yoko geri / hidari uraken jōdan yoko uchi / migi hiji jōdan ate | Kick Hidari jōdan yoko geri and strike Hidari uraken jōdan yoko uchi simultaneously. Recover the left foot to Tsuruashi-dachi, open the left hand in shutō position, set down into Hidari zenkutsu-dachi, and finish with Migi hiji jōdan ate against the open left hand. |
| 7 | 45° body turn | Tsuruashi-dachi | Waki no kamae | Turn the body 45° and lift the right leg into Tsuruashi-dachi. Bring the hands to hidari waki no kamae. |
| 8 | Kick and elbow | Migi zenkutsu-dachi | Migi jōdan yoko geri / migi uraken jōdan yoko uchi / hidari hiji jōdan ate | Kick Migi jōdan yoko geri and strike Migi uraken jōdan yoko uchi simultaneously. Recover the right foot to Tsuruashi-dachi, open the right hand, set down into Migi zenkutsu-dachi, and finish with Hidari hiji jōdan ate against the open hand. |
| 9 | Turn left | Hidari zenkutsu-dachi | Migi shutō ganmen uchi | Maintain Zenkutsu-dachi and partially turn the torso and gaze 135° counterclockwise. Bring the right hand behind the head for Shutō ganmen uchi and cover with hidari shōtei jōdan. Finish toward the left direction with Migi shutō ganmen uchi while the left hand returns in front of the forehead. |
| 10 | Kick and 270° turn | Migi kake-dachi | Migi chūdan mae geri / migi uraken sayū ganmen uchi, kiai | Kick Migi chūdan mae geri at 45° with the hands still in position. Before setting the right foot down, rotate 270° clockwise on the left foot and jump or step into Migi kake-dachi. Land with Migi uraken sayū ganmen uchi and kiai. |
| 11 | 135° left | Hidari zenkutsu-dachi | Kake wake kamae | From Kake-dachi, turn 135° left and bring the left foot into Hidari zenkutsu-dachi. Perform slow Kake wake kamae with the arms crossed downward. |
| 12 | 360° clockwise + kick | Migi zenkutsu-dachi | Migi chūdan mae geri / nihon chūdan tsuki | With the hands still in blocking position, rotate 360° clockwise on the left foot. Kick Migi chūdan mae geri, step forward into Migi zenkutsu-dachi, and perform two chūdan punches: left and right. |
| 13 | Turn 90° right | Migi zenkutsu-dachi | Kake wake kamae | Move the right foot across without bringing the feet together and turn 90° clockwise into Migi zenkutsu-dachi. Perform slow Kake wake kamae with right over left. |
| 14 | 360° counterclockwise + kick | Hidari zenkutsu-dachi | Hidari chūdan mae geri / nihon chūdan tsuki | With the hands still in blocking position, rotate 360° counterclockwise on the right foot. Kick Hidari chūdan mae geri, step forward into Hidari zenkutsu-dachi, and perform two chūdan punches: right and left. |
| 15 | Diagonal left | Hidari zenkutsu-dachi | Hidari seiken morote uchi uke | Move 45° counterclockwise into Hidari zenkutsu-dachi and block Hidari morote chūdan uchi uke. |
| 16 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken morote uchi uke | Bring the left fist to ready position and place the right fist on top. Rotate 360° clockwise on the left foot into Migi zenkutsu-dachi and block Migi morote chūdan uchi uke. |
| 17 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken morote uchi uke | Bring the right fist to ready position and place the left fist on top. Rotate 360° counterclockwise on the right foot into Hidari zenkutsu-dachi and block Hidari morote chūdan uchi uke. |
| 18 | 360° clockwise | Hidari zenkutsu-dachi | Gripping marker toward the head | Bring the left fist to ready position and place the right fist on top. Rotate 360° clockwise on the left foot into Hidari zenkutsu-dachi. Open both hands and mark a grip toward an imagined opponent’s head in front of the body. |
| 19 | Knee technique and turn | Hidari kokutsu-dachi | Migi hiza geri / hidari shutō mawashi uke, kiai | Pull the hands downward and kick Migi hiza geri with kiai, as if pulling the opponent’s head into the knee. Place the right foot in front and turn 180° counterclockwise into Hidari kokutsu-dachi. Finish with Hidari shutō mawashi uke. |
| 20 | 360° clockwise | Migi kokutsu-dachi | Migi shutō mawashi uke | With the hands still in position, rotate 360° clockwise on the left foot into Migi kokutsu-dachi and finish with Migi shutō mawashi uke and zanshin. |
Breathing, rhythm, and kiai¶
The rhythm should show the difference between:
- the 450° and 540° rotations with double shutō blocks
- the 450° rotation with Seiken gedan jūji uke
- 360° rotation with Morote uchi uke
- slow balance preparation in Tsuruashi-dachi
- explosive Jōdan yoko geri with Uraken and Hiji jōdan ate
- Shutō ganmen uchi with protective hand position
- Kake-dachi with Uraken sayū ganmen uchi
- slow Kake wake kamae
- 360° rotations with Chūdan mae geri and Nihon chūdan tsuki
- 360° rotations with Morote uchi uke
- gripping marker and Hiza geri
- finishing Shutō mawashi uke
- the kiai points on movements 10 and 19
Kiai is performed on:
- movement 10
- movement 19
In movement 10, the kiai is placed on Migi uraken sayū ganmen uchi in Kake-dachi, not on the Chūdan mae geri itself. In movement 19, the kiai is placed on Migi hiza geri together with the pulling hand action.
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 is completed.
- Let the rotation be guided by pivot, hip, and center, not by throwing the upper body.
- Control the 450° rotations in movements 1 and 3.
- Control the 540° rotation in movement 2.
- Clearly distinguish between Kokutsu-dachi, Zenkutsu-dachi, Tsuruashi-dachi, and Kake-dachi.
- Perform Shutō uchi uke / Shutō jōdan uke as a coordinated double block.
- Perform Seiken gedan jūji uke with clear cross structure and centerline.
- Perform Morote uchi uke with the correct supporting hand.
- Keep Waki no kamae active in the balance preparations.
- Control balance in Tsuruashi-dachi before Jōdan yoko geri.
- Coordinate Jōdan yoko geri and Uraken jōdan yoko uchi.
- Recover the kicking leg before setting the foot down.
- Coordinate hip rotation and Hiji jōdan ate.
- Perform Shutō ganmen uchi with the opposite hand protecting.
- The landing in Kake-dachi must be controlled and directed.
- In movement 10, the kiai should be on Uraken sayū ganmen uchi in Kake-dachi, not on the Mae geri itself.
- Perform Kake wake kamae slowly without losing structure.
- Perform Nihon chūdan tsuki with clear order and hip connection.
- Control the gripping marker in movement 18.
- Pull the hands actively during the Hiza geri moment.
- Keep Kokutsu-dachi stable in the finishing Shutō mawashi uke.
- 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° and 540° rotations in the opening become unclear.
- The double shutō blocks become unsynchronized.
- Kokutsu-dachi falls forward.
- Gedan jūji uke lacks clear cross structure.
- Morote uchi uke lacks the function of the supporting hand.
- Tsuruashi-dachi becomes a rushed balance moment without control.
- Jōdan yoko geri is performed without a stable supporting leg.
- Uraken and the kick are not coordinated.
- Hiji jōdan ate becomes a loose elbow movement without hip connection.
- Shutō ganmen uchi lacks the protective opposite hand.
- Kake-dachi is landed unstably.
- Kiai is incorrectly placed on the kick in movement 10 instead of on Uraken in Kake-dachi.
- Kake wake kamae is performed too quickly or without structure.
- Chūdan mae geri lacks recovery.
- Nihon chūdan tsuki loses order or centerline.
- The gripping marker in movement 18 becomes unclear.
- Hiza geri becomes a loose knee lift without a pulling hand action.
- The finishing Shutō mawashi uke lacks stable Kokutsu-dachi.
- 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 yon 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 |
|---|---|
| Shutō uchi uke / Shutō jōdan uke | Double control against the middle and upper line after a change of direction. |
| Seiken gedan jūji uke | Downward cross block or catching control. |
| Morote uchi uke | Reinforced block against the chūdan line. |
| Jōdan yoko geri / Uraken | Coordinated attack against two lines or levels. |
| Hiji jōdan ate | Close-range technique after kick and landing. |
| Shutō ganmen uchi | Strike to head level after protective hand position. |
| Kake-dachi / Uraken sayū ganmen uchi | Short explosive attack from a crossed stance. |
| Kake wake kamae | Opening, separating, or controlling movement. |
| Chūdan mae geri / Nihon chūdan tsuki | Kick that opens the line, followed by two straight punches. |
| Gripping marker / Hiza geri | Control of the head or upper body followed by knee technique. |
| Shutō mawashi uke | Circular control, block, or positional change in Kokutsu-dachi. |
| 360°, 450°, and 540° rotation | Change of direction, angle, or opponent before technical completion. |
| 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 yon without ura rotations.
- Check the embusen and main counts.
- Train the 450° rotations into Kokutsu-dachi separately.
- Train the 540° rotation in movement 2 separately.
- Train the 450° rotation into Seiken gedan jūji uke.
- Train 360° rotation followed by Morote uchi uke.
- Train Tsuruashi-dachi and Waki no kamae.
- Train Jōdan yoko geri and Uraken jōdan yoko uchi together.
- Train Hiji jōdan ate after kick and landing.
- Train Shutō ganmen uchi with protective hand position.
- Train Kake-dachi and Uraken sayū ganmen uchi.
- Train Kake wake kamae slowly.
- Train 360° rotation with Chūdan mae geri and Nihon chūdan tsuki.
- Train the Morote uchi uke sequence.
- Train the gripping marker and Hiza geri.
- Train the finishing Shutō mawashi uke.
- 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.