Taikyoku sono san ura¶
Name¶
Romaji: Taikyoku sono san ura
Japanese: 太極その三裏
English: Third Taikyoku kata ura / basic Taikyoku ura number three
Sono san means number three or third 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 san ura is the ura version of Taikyoku sono san. It is based on the same basic structure and the same technical content as the basic form, but the thrusts are performed after a circular 360° rotation.
The kata uses Kokutsu-dachi with Uchi uke on the side lines, Zenkutsu-dachi with Gedan barai when the kata enters the main line, and both Chūdan oi tsuki and Jōdan oi tsuki after circular turns.
This makes Taikyoku sono san ura the most technically varied of the Taikyoku ura forms. The student must be able to switch between stances, blocks, thrust levels, and rotation without losing balance, direction, hikite, kime, or zanshin.
Position in the system¶
Group: Taikyoku ura
Level: Basic to intermediate
Technical focus: Kokutsu-dachi, Zenkutsu-dachi, uchi uke, gedan barai, chūdan oi tsuki, jōdan oi tsuki, hikite, 360° rotation, balance, and zanshin
Taikyoku sono san ura is trained after Taikyoku sono san and after the student has understood the ura principle in the earlier Taikyoku ura forms.
The kata functions as a check of whether the practitioner can:
- switch between Kokutsu-dachi and Zenkutsu-dachi
- perform Uchi uke without 360° rotation on the block
- perform Chūdan oi tsuki after 360° rotation
- perform Jōdan oi tsuki after 360° rotation
- distinguish between the normal turn of the block and the ura turn of the thrust
- maintain the embusen without extra adjustment steps
- control the 270° turns into Kokutsu-dachi
- preserve hikite, breathing, kime, and zanshin throughout the entire form
Technical profile¶
| Area | Content |
|---|---|
| Main focus | 360° rotation on the thrusts in a kata with several stances and thrust levels |
| Stances | Kokutsu-dachi, Zenkutsu-dachi |
| Hand techniques | Seiken uchi uke, Seiken gedan barai, Seiken chūdan oi tsuki, Seiken jōdan oi tsuki |
| Central principles | Gaze, pivot, hikite, stance transition, hip control, kime, and zanshin |
| Movement | Basic embusen of the Taikyoku series with 360° rotation before the thrusts |
| Kiai | Movement 8 and 16 |
| Character | The most varied of the Taikyoku ura forms |
Taikyoku sono san ura uses the same techniques as Taikyoku sono san. The difference is that the thrusts are performed after 360° rotation. Since the basic form already alternates between Kokutsu-dachi, Zenkutsu-dachi, Uchi uke, Gedan barai, Chūdan oi tsuki, and Jōdan oi tsuki, the ura version requires more control than Taikyoku sono ichi ura and Taikyoku sono ni ura.
Embusen and technical figure¶
The embusen follows the same basic pattern as Taikyoku sono san. 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 and Jōdan oi tsuki, a 360° rotation is performed before the technique finishes in Zenkutsu-dachi. The blocks are performed without 360° rotation.
The diagram shows the movement pattern for Taikyoku sono san 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, stance transitions, or breathing.
During learning, the student should especially check:
- main directions and turns
- the transition between Kokutsu-dachi and Zenkutsu-dachi
- the 360° rotations on the thrusts
- which leg is used as the pivot leg
- the difference between Chūdan oi tsuki and Jōdan oi tsuki
- 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 san ura uses two main technical stances:
| Stance | Function in the kata |
|---|---|
| Kokutsu-dachi | Used in the side-facing blocks with Seiken uchi uke. The stance should be stable, rear-weighted, and directed without the body falling forward or backward. |
| Zenkutsu-dachi | Used in Gedan barai, Chūdan oi tsuki, and Jōdan oi tsuki. 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 Kokutsu-dachi does not fall forward, that Zenkutsu-dachi is set stably after rotation, and that stance and technique finish at the same time.
Central techniques¶
| Technique | Function in the kata |
|---|---|
| Seiken uchi uke | Performed in Kokutsu-dachi on the side lines. The technique should have a clear chūdan line, active hikite, and stable body posture. |
| Seiken gedan barai | Performed when the kata enters the main line. The technique should have a clear low line and be coordinated with Zenkutsu-dachi. |
| Seiken chūdan oi tsuki | Performed after 360° rotation on the short forward movements. The thrust should be directed to chūdan level without the body losing center. |
| Seiken jōdan oi tsuki | Performed after 360° rotation on the main lines and in the final movement. The thrust should be directed to jōdan level without raising the shoulder or breaking the wrist line. |
| 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 san 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 kokutsu-dachi | Hidari seiken uchi uke | Turn counterclockwise and block chūdan in Kokutsu-dachi. |
| 2 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° clockwise and strike chūdan. |
| 3 | Turn 180° right | Migi kokutsu-dachi | Migi seiken uchi uke | Turn clockwise to the opposite direction and block chūdan. |
| 4 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Rotate 360° counterclockwise and strike chūdan. |
| 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 jōdan oi tsuki | Rotate 360° clockwise and strike jōdan. |
| 7 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken jōdan oi tsuki | Rotate 360° counterclockwise and strike jōdan. |
| 8 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken jōdan oi tsuki, kiai | Rotate 360° clockwise and finish the main line with kiai. |
| 9 | Turn 270° left | Hidari kokutsu-dachi | Hidari seiken uchi uke | Turn 270° counterclockwise into Kokutsu-dachi and block chūdan. |
| 10 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° clockwise and strike chūdan. |
| 11 | Turn 180° right | Migi kokutsu-dachi | Migi seiken uchi uke | Turn clockwise and block chūdan in Kokutsu-dachi. |
| 12 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Rotate 360° counterclockwise 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 jōdan oi tsuki | Rotate 360° clockwise and strike jōdan. |
| 15 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken jōdan oi tsuki | Rotate 360° counterclockwise and strike jōdan. |
| 16 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken jōdan oi tsuki, kiai | Rotate 360° clockwise and finish with kiai. |
| 17 | Turn 270° left | Hidari kokutsu-dachi | Hidari seiken uchi uke | Turn 270° counterclockwise into Kokutsu-dachi and block chūdan. |
| 18 | 360° clockwise | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Rotate 360° clockwise and strike chūdan. |
| 19 | Turn 180° right | Migi kokutsu-dachi | Migi seiken uchi uke | Turn clockwise and block chūdan in Kokutsu-dachi. |
| 20 | 360° counterclockwise | Hidari zenkutsu-dachi | Hidari seiken jōdan oi tsuki | Rotate 360° counterclockwise and finish the final technical movement with jōdan oi tsuki and zanshin. |
Breathing, rhythm, and kiai¶
The rhythm should show the difference between:
- Uchi uke in Kokutsu-dachi
- Gedan barai in Zenkutsu-dachi
- Chūdan oi tsuki after 360° rotation
- Jōdan oi tsuki after 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.
- Clearly distinguish between Kokutsu-dachi and Zenkutsu-dachi.
- Clearly distinguish between Chūdan oi tsuki and Jōdan oi tsuki.
- Perform Uchi uke with a stable rear-weighted structure.
- Perform Gedan barai with a clear low line.
- Keep the same height throughout the rotations.
- Set Zenkutsu-dachi clearly after each 360° rotation.
- 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 kata is confused with Taikyoku sono ichi ura or Taikyoku sono ni ura.
- Kokutsu-dachi falls forward or becomes too high.
- Uchi uke loses structure and becomes a weak arm movement.
- The 360° rotations make the thrusts crooked.
- Chūdan oi tsuki and Jōdan oi tsuki are confused.
- The gaze arrives too late in the rotation.
- The thrust is thrown before the body is stable.
- The height changes during the rotation.
- Hikite becomes passive.
- 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 san ura should be kept simple and close to the kata form’s technical level. The focus should be on how the rotation changes direction, angle, and distance without the basic technique losing structure.
| Movement or technique | Simple bunkai |
|---|---|
| Uchi uke | Inner middle-level block or control against the chūdan line. |
| Kokutsu-dachi | Rear-weighted stability during blocking and distance control. |
| Gedan barai | Low deflection, downward control, or release. |
| Chūdan oi tsuki | Direct counterattack to the middle level after rotation or change of direction. |
| Jōdan oi tsuki | Direct counterattack to the upper level after rotation or change of direction. |
| 360° rotation | Change of direction, angle, or opponent before the thrust. |
| Zenkutsu-dachi | Stability and power transfer after rotation. |
| 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 form justifies.
Training method¶
Train the kata form step by step:
- Repeat Taikyoku sono san without ura turns.
- Repeat the 360° rotation from Taikyoku sono ichi ura and sono ni ura.
- Learn where Kokutsu-dachi is used.
- Learn where Zenkutsu-dachi is used.
- Train Uchi uke in Kokutsu-dachi.
- Train Gedan barai in Zenkutsu-dachi.
- Train Chūdan oi tsuki after 360° rotation.
- Train Jōdan oi tsuki after 360° rotation.
- Check the difference between chūdan and jōdan thrusts.
- 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.