Taikyoku sokugi sono ni¶
Name¶
Romaji: Taikyoku sokugi sono ni / Sokugi Taikyoku sono ni
Japanese: 足技太極二段
English: Second Taikyoku kicking kata / basic kicking kata number two
Sokugi means foot or leg technique. In this kata, it means that the simple embusen of the Taikyoku series is used to train kicking techniques, supporting leg, recovery, stepping down, and technical completion.
Sono ni means number two or second form.
In some materials, the name Sokugi Taikyoku sono ni is used. On Galaz Dojo, the page name Taikyoku sokugi sono ni is used for consistency with the other kata pages.
Introduction¶
Taikyoku sokugi sono ni is the second basic kata form in the kicking variants of the Taikyoku series. It is based on the same simple embusen as the Taikyoku forms, but uses kicking techniques instead of hand thrusts.
In this kata, Jōdan yoko geri is performed at the turns, followed by stepping down into Zenkutsu-dachi and finishing with Kake wake uke. On the forward movements, Jōdan mae geri is performed, followed by stepping down into Zenkutsu-dachi.
Where Taikyoku sokugi sono ichi introduces basic kicking structure with Kansetsu geri and Mae keage, Taikyoku sokugi sono ni requires greater control through a high side-directed kick and a high forward-directed kick.
The kata should not be treated merely as a kicking series. Its purpose is for the student to be able to kick while maintaining body line, stability, direction, recovery, stance, kime, and zanshin.
Position in the system¶
Group: Basic kicking kata
Level: Beginner level / early kyu level
Technical focus: Zenkutsu-dachi, jōdan yoko geri, jōdan mae geri, kake wake uke, supporting leg, kick recovery, turns, and embusen
Taikyoku sokugi sono ni is trained after the student has begun to understand the basic embusen of the Taikyoku series and after Taikyoku sokugi sono ichi has introduced the relationship between kick, recovery, stepping down, and stance.
The kata functions as a check of whether the practitioner can:
- kick in connection with a turn
- perform Jōdan yoko geri with a stable supporting leg
- perform Jōdan mae geri with clear knee lift and recovery
- set Zenkutsu-dachi after the kicking technique
- perform Kake wake uke after Jōdan yoko geri
- maintain the body’s centerline
- avoid extra adjustment steps after stepping down
- preserve zanshin after each technique
Technical profile¶
| Area | Content |
|---|---|
| Main focus | High kick, supporting leg, recovery, stepping down, and technical completion |
| Stances | Zenkutsu-dachi |
| Foot techniques | Jōdan yoko geri, Jōdan mae geri |
| Hand technique | Kake wake uke |
| Movement | Basic embusen of the Taikyoku series with 90°, 180°, and 270° turns |
| Kiai | Movement 8 and 16 |
| Character | Basic kicking kata with higher demands on balance and hip control than sono ichi |
Taikyoku sokugi sono ni consists of the same basic embusen as the Taikyoku series, but with kick-based technical content. At the turns, Jōdan yoko geri is performed, followed by stepping down into Zenkutsu-dachi and Kake wake uke. On the forward movements, Jōdan mae geri is performed, followed by stepping down into Zenkutsu-dachi.
Embusen and technical figure¶
The embusen in Taikyoku sokugi sono ni follows the same basic movement pattern as Taikyoku sono ichi, ni, and san, as well as Taikyoku sokugi sono ichi. The difference lies in the technical content: the turns use Jōdan yoko geri followed by Kake wake uke, while the forward movements use Jōdan mae geri.
The diagram shows the movement pattern for Taikyoku sokugi sono ni. The numbering corresponds to the kata form’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 the supporting leg, kick path, hip work, recovery, Kake wake uke, or breathing.
During learning, the student should especially check:
- main directions and turns
- which leg is used as the supporting leg
- that the kicking leg is recovered with control
- that Zenkutsu-dachi is set after the kick
- that Kake wake uke finishes together with the stance
- that no extra adjustment steps are added
- that the gaze is directed before the technique finishes
Stances¶
Taikyoku sokugi sono ni uses one main technical stance:
| Stance | Function in the kata |
|---|---|
| Zenkutsu-dachi | Used after every kicking moment. The stance should be part of the technical completion, not a passive landing after the kick. |
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 chosen yoi position according to local standard.
It is especially important that the supporting leg remains stable, that the kicking leg is recovered before the foot is placed down, and that Zenkutsu-dachi is set without extra correction steps. In the turning movements, Kake wake uke should finish at the same time as the stance is set.
Central techniques¶
| Technique | Function in the kata |
|---|---|
| Jōdan yoko geri | Used at the turns. The technique trains high side-directed kicking, supporting leg, hip control, and recovery. |
| Jōdan mae geri | Used on the forward movements. The technique trains high forward-directed kicking, knee lift, kick path, balance, and stepping down. |
| Kake wake uke | Performed after Jōdan yoko geri when the foot is placed down into Zenkutsu-dachi. It marks the technical completion of the movement. |
| Zenkutsu-dachi after the kick | Creates stability, direction, and control after each kicking moment. |
In this kata, the transition between kick, recovery, stepping down, and stance is decisive. A kick that is not recovered with control causes the practitioner to lose balance, direction, and the ability to continue with the next technique.
Start and finish¶
The kata begins in Fudō-dachi, facing the shinden.
After the name of the kata has been announced, Taikyoku sokugi sono ni or Sokugi Taikyoku sono ni according to dojo standard, the command yoi is given. The yoi movement is then performed according to the chosen dojo standard.
In mugōrei, the kata is performed without continuous counting after the command hajime.
On this page, only the kata form’s 20 main counts are numbered. Start, yoi, naore, and yasume are described separately.
On the command naore, the practitioner returns 90° counterclockwise to Fudō-dachi by drawing back the left foot according to dojo standard. The gaze remains in the previous direction until the turn is 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. 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 jōdan yoko geri / kake wake uke | Turn counterclockwise, perform jōdan yoko geri, set Hidari zenkutsu-dachi, and finish with kake wake uke. |
| 2 | Forward | Migi zenkutsu-dachi | Migi jōdan mae geri | Perform jōdan mae geri and move forward into Migi zenkutsu-dachi. |
| 3 | Turn 180° right | Migi zenkutsu-dachi | Migi jōdan yoko geri / kake wake uke | Turn clockwise to the opposite direction, perform jōdan yoko geri, set Migi zenkutsu-dachi, and finish with kake wake uke. |
| 4 | Forward | Hidari zenkutsu-dachi | Hidari jōdan mae geri | Perform jōdan mae geri and move forward into Hidari zenkutsu-dachi. |
| 5 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari jōdan yoko geri / kake wake uke | Turn counterclockwise onto the main line, perform jōdan yoko geri, and finish with kake wake uke. |
| 6 | Forward | Migi zenkutsu-dachi | Migi jōdan mae geri | Perform jōdan mae geri and move forward. |
| 7 | Forward | Hidari zenkutsu-dachi | Hidari jōdan mae geri | Continue along the main line with controlled balance and recovery. |
| 8 | Forward | Migi zenkutsu-dachi | Migi jōdan mae geri, kiai | Finish the first main line with jōdan mae geri, kime, and kiai. |
| 9 | Turn 270° left | Hidari zenkutsu-dachi | Hidari jōdan yoko geri / kake wake uke | Turn 270° counterclockwise, perform jōdan yoko geri, and finish with kake wake uke. |
| 10 | Forward | Migi zenkutsu-dachi | Migi jōdan mae geri | Perform jōdan mae geri and move forward. |
| 11 | Turn 180° right | Migi zenkutsu-dachi | Migi jōdan yoko geri / kake wake uke | Turn clockwise to the opposite direction, perform jōdan yoko geri, and finish with kake wake uke. |
| 12 | Forward | Hidari zenkutsu-dachi | Hidari jōdan mae geri | Perform jōdan mae geri and move forward. |
| 13 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari jōdan yoko geri / kake wake uke | Turn counterclockwise onto the main line, perform jōdan yoko geri, and finish with kake wake uke. |
| 14 | Forward | Migi zenkutsu-dachi | Migi jōdan mae geri | Perform jōdan mae geri and move forward. |
| 15 | Forward | Hidari zenkutsu-dachi | Hidari jōdan mae geri | Continue along the main line while maintaining height and direction. |
| 16 | Forward | Migi zenkutsu-dachi | Migi jōdan mae geri, kiai | Finish the second main line with jōdan mae geri, kime, and kiai. |
| 17 | Turn 270° left | Hidari zenkutsu-dachi | Hidari jōdan yoko geri / kake wake uke | Turn 270° counterclockwise, perform jōdan yoko geri, and finish with kake wake uke. |
| 18 | Forward | Migi zenkutsu-dachi | Migi jōdan mae geri | Perform jōdan mae geri and move forward. |
| 19 | Turn 180° right | Migi zenkutsu-dachi | Migi jōdan yoko geri / kake wake uke | Turn clockwise to the opposite direction, perform jōdan yoko geri, and finish with kake wake uke. |
| 20 | Forward | Hidari zenkutsu-dachi | Hidari jōdan mae geri | Finish the final technical movement with controlled posture, direction, and zanshin. |
Breathing, rhythm, and kiai¶
The rhythm should show the difference between:
- Jōdan yoko geri at the turn
- stepping down into Zenkutsu-dachi
- Kake wake uke as technical completion
- Jōdan mae geri on the forward movements
- the longer 270° turns on movements 9 and 17
Kiai is performed on:
- movement 8
- movement 16
The kick, recovery, stepping down, and finishing technique should be experienced as one connected technical unit. It is more important to show balance, recovery, and stable completion than to kick high without control.
Technical key points¶
- Direct the gaze before the turn and kick finish.
- Pivot clearly before Jōdan yoko geri.
- Pay special attention to the 270° turns on movements 9 and 17.
- Keep the supporting leg stable throughout the kick.
- Perform Jōdan yoko geri with clear side direction and hip control.
- Perform Jōdan mae geri with clear knee lift, controlled kick path, and recovery.
- Recover the kicking leg before placing the foot down.
- Set Zenkutsu-dachi without extra adjustment steps.
- Perform Kake wake uke as part of the movement’s completion.
- Keep the upper body upright and centered.
- Avoid leaning backward during high kicks.
- Coordinate hip, kick, recovery, stance, and block.
- Never let kick height take priority over technical control.
- Preserve zanshin between techniques.
Common mistakes¶
- Kake wake uke is forgotten after Jōdan yoko geri.
- Jōdan yoko geri becomes a leg swing without side direction and hip control.
- Jōdan mae geri lacks clear knee lift and recovery.
- The student kicks high but loses balance.
- The kicking leg is not recovered before the foot is placed down.
- The upper body leans backward during Jōdan mae geri.
- The pivot occurs without a stable supporting leg.
- The 270° turns on movements 9 and 17 become unclear.
- The foot is placed down in the wrong direction after the kick.
- Zenkutsu-dachi becomes too short, high, or unbalanced.
- Kake wake uke becomes an afterthought without stance and kime.
- Extra adjustment steps are added after the kick.
- Breathing, kiai, and kime are not coordinated with the completion of the technique.
Bunkai and application¶
Bunkai for Taikyoku sokugi sono ni should be kept simple and close to the kata form’s technical level. The analysis should show how kick, direction, distance, stance, and blocking are connected.
| Movement or technique | Simple bunkai |
|---|---|
| Jōdan yoko geri | Side-directed attack toward the upper level or control of an opponent from a new angle. |
| Kake wake uke | Opening, deflecting, or separating block after the kick. |
| Jōdan mae geri | Forward-directed kick toward the upper level requiring balance and recovery. |
| Pivot and kick | Direction change toward a new attack. |
| Supporting leg and hip | Foundation for balance, direction, and technical power in the kick. |
| Zenkutsu-dachi after the kick | Stability and direction after the technique. |
| Zanshin after the kick | Maintained readiness after the kick, recovery, and stepping down. |
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 form justifies.
Training method¶
Train the kata form step by step:
- Repeat the embusen from Taikyoku sono ichi.
- Repeat the structure from Taikyoku sokugi sono ichi.
- Train Jōdan yoko geri separately.
- Train Kake wake uke separately.
- Train Jōdan yoko geri followed by stepping down and Kake wake uke.
- Train Jōdan mae geri separately.
- Check the supporting leg and recovery.
- Add the turns slowly.
- Check the 90°, 180°, and 270° turns.
- Set Zenkutsu-dachi after every kick.
- 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.