Taikyoku sono ichi ura¶
Name¶
Romaji: Taikyoku sono ichi ura
Japanese: 太極その一裏
English: First Taikyoku kata ura / basic Taikyoku ura number one
Sono ichi means number one or first form.
Ura means rear, reverse, or inner side. In this kata, it refers to a circular version of the basic form in which the thrusts are performed after a 360° rotation.
For common background on the Taikyoku series, the name Taikyoku, and the series’ place in Kyokushin, see Taikyoku.
Introduction¶
Taikyoku sono ichi ura is the ura version of Taikyoku sono ichi. It is based on the same fundamental embusen and the same technical content as the basic form, but the thrusts are performed after a circular 360° turn.
In the basic form, the student trains simple turns, Gedan barai, and Chūdan oi tsuki in Zenkutsu-dachi. In the ura version, a new requirement is added: the practitioner must be able to preserve balance, direction, stance, and kime after a full circular turn.
The kata therefore trains not only order and technique, but above all control over rotation, footwork, gaze, center of gravity, breathing, and zanshin.
Position in the system¶
Group: Taikyoku ura
Level: Basic to intermediate
Technical focus: Zenkutsu-dachi, gedan barai, chūdan oi tsuki, hikite, 360° rotation, balance, direction, and zanshin
Taikyoku sono ichi ura is trained after the student can perform Taikyoku sono ichi with stability. The ura version should not be used to learn the basic form from the beginning. It should be used to develop control when the same basic technique is performed with more demanding rotation.
The kata functions as a check of whether the practitioner can:
- maintain Zenkutsu-dachi after a 360° rotation
- direct the gaze before the technique finishes
- perform Chūdan oi tsuki after rotation without losing center
- distinguish between the normal turn of the block and the ura turn of the thrust
- preserve the same height throughout the entire kata form
- avoid extra adjustment steps
- finish each technique with kime and zanshin
Technical profile¶
| Area | Content |
|---|---|
| Main focus | 360° rotation on the thrusts without losing direction, balance, or stance |
| Stances | Zenkutsu-dachi |
| Hand techniques | Seiken gedan barai, Seiken chūdan oi tsuki |
| Central principles | Gaze, pivot, hikite, hip control, kime, and zanshin |
| Movement | Basic embusen of the Taikyoku series with 360° rotation before the thrusts |
| Kiai | Movement 8 and 16 |
| Character | Technique of the basic form with higher demands on rotation and balance |
Taikyoku sono ichi ura uses the same techniques as Taikyoku sono ichi. The difference is that all thrusts are performed after a 360° rotation. This makes simple techniques harder to control. A thrust that is technically correct in the basic form can become weak, crooked, or unbalanced if the rotation is not controlled.
Embusen and technical figure¶
The embusen follows the same basic pattern as Taikyoku sono ichi. The practitioner moves left and right, along the main line, to the sides again, and back toward the finishing direction.
In the ura version, the embusen itself does not change. What changes is the path into the thrusts. At Chūdan oi tsuki, a 360° rotation is performed before the technique finishes in Zenkutsu-dachi.
The diagram shows the movement pattern for Taikyoku sono ichi ura. 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 footwork, gaze, pivot, hikite, hip work, or breathing.
During learning, the student should especially check:
- main directions and turns
- the 360° rotations on the thrusts
- which leg is used as the pivot leg
- that the body does not fall out of line
- that the finishing point is preserved
- that no extra adjustment steps are added
- that the gaze is directed early in the rotation
Stances¶
Taikyoku sono ichi ura uses one main technical stance:
| Stance | Function in the kata |
|---|---|
| Zenkutsu-dachi | Used in the kata form’s 20 main counts. The stance should be set clearly after both normal turns and 360° rotations. |
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 the front knee remains stable, that the height does not change during rotation, that the rear leg provides support after stepping down, and that stance and technique finish at the same time.
Central techniques¶
| Technique | Function in the kata |
|---|---|
| Seiken gedan barai | Performed at the blocks and should have the same quality as in the basic form. |
| Seiken chūdan oi tsuki | Performed after 360° rotation with stable body line, active hikite, and clear completion. |
| 360° rotation | Used before the thrusts. Rotation, gaze, pivot, hip, and stance must be coordinated. |
| Hikite | Essential for gathering, line, and technical completion after rotation. |
The 360° turn should not be treated as a decorative spin. It is a technical movement in which the gaze, pivot leg, hip, and stance must be coordinated so that the thrust can finish with kime.
Start and finish¶
The kata begins in Fudō-dachi, facing the shinden.
After the name of the kata has been announced, Taikyoku sono ichi ura, 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 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 Galaz Dojo’s chosen kata 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 seiken gedan barai | Turn counterclockwise and block low. |
| 2 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° clockwise and finish with chūdan oi tsuki. |
| 3 | Turn 180° right | Migi zenkutsu-dachi | Migi seiken gedan barai | Turn clockwise to the opposite direction and block low. |
| 4 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Rotate 360° counterclockwise and strike chūdan oi tsuki. |
| 5 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Enter the main line and block low. |
| 6 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° and perform the first thrust on the main line. |
| 7 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Rotate 360° and perform the second thrust on the main line. |
| 8 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki, kiai | Rotate 360° and finish the main line with kiai. |
| 9 | Turn 270° left | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn 270° counterclockwise and block low. |
| 10 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° and strike chūdan. |
| 11 | Turn 180° right | Migi zenkutsu-dachi | Migi seiken gedan barai | Turn clockwise and block low. |
| 12 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Rotate 360° and strike chūdan. |
| 13 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Enter the main line and block low. |
| 14 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° and perform the first thrust on the second main line. |
| 15 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Rotate 360° and perform the second thrust on the second main line. |
| 16 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki, kiai | Rotate 360° and finish with kiai. |
| 17 | Turn 270° left | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn 270° counterclockwise and block low. |
| 18 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° and strike chūdan. |
| 19 | Turn 180° right | Migi zenkutsu-dachi | Migi seiken gedan barai | Turn clockwise and block low. |
| 20 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Rotate 360° and finish the final technical movement with zanshin. |
Breathing, rhythm, and kiai¶
The rhythm should show the difference between:
- blocks without 360° rotation
- thrusts with 360° rotation
- the 270° turns on movements 9 and 17
- the kiai points on movements 8 and 16
Kiai is performed on:
- movement 8
- movement 16
The rotations must not make the breathing shallow or rushed. Each rotation should finish with clear stance, technique, kime, and zanshin.
Technical key points¶
- Perform the 360° rotations on the thrusts, not on the blocks.
- Direct the gaze early in the rotation.
- Keep the same height throughout the entire turn.
- Set Zenkutsu-dachi clearly after each rotation.
- Let Chūdan oi tsuki finish at the same time as the stance.
- Control the 270° turns on movements 9 and 17.
- Use hikite actively.
- Avoid extra adjustment steps.
- Preserve zanshin after each technique.
- Let the rotation serve the technique, not the other way around.
Common mistakes¶
- The student spins without controlling the direction.
- The 360° rotation causes the stance to become short, crooked, or too high.
- The gaze arrives too late.
- The thrust is thrown before the body is stable.
- The height changes during the rotation.
- Hikite becomes passive.
- Chūdan oi tsuki loses centerline after the rotation.
- Extra adjustment steps are added after the rotation.
- Kiai is used without kime.
- The end of the kata form falls apart.
Bunkai and application¶
Bunkai for Taikyoku sono ichi ura should be kept simple. The focus should be on how the rotation changes direction, angle, and distance.
| Movement or technique | Simple bunkai |
|---|---|
| Gedan barai | Low deflection, downward control, or release. |
| Chūdan oi tsuki | Direct counterattack after change of direction or rotation. |
| 360° rotation | Change of direction, angle, or opponent before the thrust. |
| Zenkutsu-dachi | Stability and power transfer after rotation. |
| Gaze | Prepares direction, balance, and technical intent. |
| Zanshin | Maintained readiness after rotation and technique. |
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 Taikyoku sono ichi without ura turns.
- Train the 360° rotation separately without technique.
- Add Chūdan oi tsuki after the rotation.
- Train the difference between block without rotation and thrust with rotation.
- Check Zenkutsu-dachi after each rotation.
- Check gaze and pivot.
- Check the 270° turns on movements 9 and 17.
- 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.