Pinan sono ni ura¶
Name¶
Romaji: Pinan sono ni ura
Japanese: 平安その二裏 / 平安裏二段
English: Second Pinan kata ura / Pinan number two in reverse form
Sono ni means number two or second form.
Ura means rear, reverse, or inner side. In kata context, the term is used for a circular, reverse, or more rotational variant of the base form.
In some sources, the designation Pinan nidan ura or 平安裏二段 is also used. On Galaz Dojo, the page name Pinan sono ni ura is used for consistency with the other kata pages.
For shared background on the Pinan series, the name Pinan, and its place within Kyokushin, see Pinan.
Introduction¶
Pinan sono ni ura is the ura version of Pinan sono ni. It is built on the same technical foundation as the regular form, but introduces larger circular rotations in several of the kata’s blocks, movements, kicks, and technical transitions.
In the base form, the practitioner trains, among other things, double blocks in Kokutsu-dachi, Tettsui hizō uchi, transition into Kiba-dachi, Jōdan yoko geri with Uraken jōdan yoko uchi, Shutō mawashi uke, Osae uke, Yohon nukite, Mae geri, Gyaku tsuki, Morote uchi uke, Gedan barai, and the final Jōdan uke.
In the ura version, the same techniques 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 base 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, Kiba-dachi, Tsuruashi-dachi, Zenkutsu-dachi, double blocking, tettsui, jōdan yoko geri, uraken, shutō mawashi uke, osae uke, yohon nukite, mae geri, gyaku tsuki, morote uchi uke, gedan barai, jōdan uke, 360°, 405°, and 450° rotations, balance, pivot, and zanshin
Pinan sono ni ura is trained after the practitioner can perform Pinan sono ni stably. The ura version should not be used to learn the base form from the beginning. It requires that the student already understands the direction, stance, basic technique, kick recovery, and embusen of the regular form.
The kata functions as a check of whether the practitioner can:
- maintain the correct direction after 360°, 405°, and 450° rotations
- land in correct Kokutsu-dachi, Kiba-dachi, or Zenkutsu-dachi
- perform double blocking after a 450° rotation
- maintain technical line in Shutō mawashi uke after 360° and 405° rotations
- coordinate kick, recovery, and stance after rotation
- perform Chūdan yohon nukite, Gyaku tsuki, Morote uchi uke, and Jōdan uke without losing the body’s center
- direct the gaze before the technique finishes
- coordinate footwork, hip, hikite, breathing, and kime
- avoid extra adjustment steps after rotation
- maintain zanshin throughout the kata
Technical profile¶
| Area | Content |
|---|---|
| Main focus | Rotation, balance, pivot, stance transitions, and technical finish |
| Stances | Kokutsu-dachi, Kiba-dachi, Tsuruashi-dachi, Zenkutsu-dachi |
| Hand techniques | Double blocking, tettsui, uraken, shutō mawashi uke, osae uke, yohon nukite, gyaku tsuki, morote uchi uke, gedan barai, jōdan uke |
| Leg techniques | Jōdan yoko geri, mae geri |
| Movement principles | 360° rotation, 405° rotation, 450° rotation, gaze, pivot, hip control, and zanshin |
| Kiai | Movements 8 and 20 |
| Character | Pinan sono ni with increased demands on rotation, balance, kick recovery, and landing |
Pinan sono ni ura has the same basic technical character as Pinan sono ni, but the rotational moments make the form more demanding. What in the base form is a straight forward movement or diagonal transition 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 double blocking.
- 360° rotations that finish with shutō, kick, nukite, gyaku tsuki, or morote technique.
- 405° rotations that finish in a diagonal direction.
- Regular changes of direction where the technique must still be kept as clean as in the base form.
Embusen and technical figure¶
The embusen of Pinan sono ni ura follows the same basic structure as Pinan sono ni, but several movements take a longer path through circular rotation. The basic pattern contains side lines, main line, shutō sequences, diagonal directions, and finishing gedan barai, nukite, and jōdan uke movements.
The diagram shows the movement pattern of Pinan sono ni 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, hand technique, or breathing.
During learning, the student should especially check:
- main directions and turns
- 360° rotations
- 405° rotations
- 450° rotations
- transitions into Kokutsu-dachi
- transitions into Kiba-dachi
- the transition into Tsuruashi-dachi
- transitions into Zenkutsu-dachi
- diagonal directions in movements 10, 12, 18, and 20
- final position
- that no extra adjustment steps are added
- that the gaze is directed before the technique finishes
Stances¶
Pinan sono ni ura uses four main technical stances:
| Stance | Function in the kata |
|---|---|
| Kokutsu-dachi | Used in the opening double blocks and in the shutō sequences. The stance should remain stable and rear-weighted even after rotation. |
| Kiba-dachi | Used in the tettsui transitions. The stance should have lateral stability and not simply become an intermediate step. |
| Tsuruashi-dachi | Used as a balance position before Jōdan yoko geri and Uraken jōdan yoko uchi. |
| Zenkutsu-dachi | Used in the nukite, mae geri, gyaku tsuki, morote, gedan barai, and jōdan uke sequences. |
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 Kokutsu-dachi does not fall forward after rotation, that Kiba-dachi is set stably to the side, that Tsuruashi-dachi does not become a rushed balance moment, and that Zenkutsu-dachi does not become short or misaligned after 360° and 405° rotations.
Central techniques¶
| Technique | Function in the kata |
|---|---|
| Uchi uke / Jōdan uke | Used as double blocking in the opening. In the ura form, it finishes after a 450° rotation. |
| Tettsui hizō uchi / Tettsui jōdan yoko uchi | Used in the transition from Kokutsu-dachi to Kiba-dachi. The techniques should be short, directed, and connected to the hip. |
| Jōdan yoko geri / Uraken jōdan yoko uchi | Performed in the kicking moment after Tsuruashi-dachi. Balance, recovery, and direction are more important than height. |
| Shutō mawashi uke | Performed in several shutō sequences. In the ura form, it appears after 360° and 405° rotations. |
| Osae uke / Chūdan yohon nukite | Used as a control-and-attack sequence in Zenkutsu-dachi. |
| Haitō uke / Uchi uke sequence | Performed slowly and with control. It must not lose the body’s structure. |
| Mae geri / Gyaku tsuki | Performed after rotation and requires clear kick recovery before the stance is set. |
| Morote uchi uke | Performed after a 360° rotation and should have a clear supporting hand and centerline. |
| Gedan barai / Jōdan uke | Used in the finish with diagonal nukite directions and 405° rotation. |
| 360°, 405°, and 450° rotation | Movement principles that should serve the technique, not become decorative spins. |
| Hikite | Essential for gathering the body, maintaining line, and completing the technical finish 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 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 ni ura, has been 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 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 the 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 uchi uke / migi jōdan uke | From the yoi position, prepare the hands at the right side. Rotate 450° counterclockwise on the right foot into Hidari kokutsu-dachi and perform double blocking. |
| 2 | Same direction / side transition | Hidari kokutsu-dachi → kiba-dachi | Migi tettsui hizō uchi / hidari tettsui jōdan yoko uchi | Strike migi tettsui hizō uchi, bring the left hand over the right shoulder, and move through into Kiba-dachi with hidari tettsui jōdan yoko uchi. |
| 3 | 450° clockwise | Migi kokutsu-dachi | Migi uchi uke / hidari jōdan uke | Prepare the hands at the left side. Rotate 450° clockwise on the left foot into Migi kokutsu-dachi and perform the mirrored double block. |
| 4 | Same direction / side transition | Migi kokutsu-dachi → kiba-dachi | Hidari tettsui hizō uchi / migi tettsui jōdan yoko uchi | Strike hidari tettsui hizō uchi, bring the right hand over the left shoulder, and move through into Kiba-dachi with migi tettsui jōdan yoko uchi. |
| 5 | Turn onto the main line | Tsuruashi-dachi → hidari kokutsu-dachi | Migi jōdan yoko geri / migi uraken jōdan yoko uchi / hidari shutō mawashi uke | Bring the right leg back and turn into Tsuruashi-dachi. Perform jōdan yoko geri and uraken with the right side. Set the right foot down and finish in Hidari kokutsu-dachi with shutō mawashi uke. |
| 6 | 360° clockwise | Migi kokutsu-dachi | Migi shutō mawashi uke | Keeping the arm structure, rotate 360° clockwise on the left foot into Migi kokutsu-dachi and perform shutō mawashi uke. |
| 7 | 360° counterclockwise | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Keeping the arm structure, rotate 360° counterclockwise on the right foot into Hidari kokutsu-dachi and perform shutō mawashi uke. |
| 8 | 360° clockwise | Migi zenkutsu-dachi | Hidari osae uke / migi chūdan yohon nukite, kiai | Rotate 360° clockwise on the left foot into Migi zenkutsu-dachi. Control with left osae uke and thrust migi chūdan yohon nukite with kiai. |
| 9 | Turn 90° left | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Move the left foot 90° counterclockwise and pivot on the right foot into Hidari kokutsu-dachi with shutō mawashi uke. |
| 10 | 405° clockwise | Migi kokutsu-dachi | Migi shutō mawashi uke | Rotate 405° clockwise on the left foot, equivalent to 360° plus a diagonal direction forward right, into Migi kokutsu-dachi with shutō mawashi uke. |
| 11 | Turn 135° right | Migi kokutsu-dachi | Migi shutō mawashi uke | Move the right foot and turn 135° clockwise to a new direction. Finish in Migi kokutsu-dachi with shutō mawashi uke. |
| 12 | 405° counterclockwise | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Rotate 405° counterclockwise on the right foot, equivalent to 360° plus a diagonal direction forward left, into Hidari kokutsu-dachi with shutō mawashi uke. |
| 13 | 45° left | Hidari zenkutsu-dachi | Migi haitō uke → migi uchi uke / sukui uke | Move the left foot 45° counterclockwise into Hidari zenkutsu-dachi. Bring the left hand to right jaw level and let the right hand block with haitō uke in an upward-sweeping motion. Continue slowly and finish as migi uchi uke / sukui uke. |
| 14 | 360° clockwise + kick | Migi zenkutsu-dachi | Migi mae geri / hidari chūdan gyaku tsuki | With the right arm still in blocking position, rotate 360° clockwise on the left foot. Kick migi mae geri, recover the leg, set Migi zenkutsu-dachi, and strike hidari chūdan gyaku tsuki. |
| 15 | 360° counterclockwise + kick | Hidari zenkutsu-dachi | Hidari mae geri / migi chūdan gyaku tsuki | Perform slow left uchi uke / sukui uke. Then rotate 360° counterclockwise on the right foot, kick hidari mae geri, set Hidari zenkutsu-dachi, and strike migi chūdan gyaku tsuki. |
| 16 | 360° clockwise | Migi zenkutsu-dachi | Migi morote uchi uke | Keeping the hand position, rotate 360° clockwise on the left foot into Migi zenkutsu-dachi and block migi morote uchi uke. |
| 17 | Turn 90° left | Hidari zenkutsu-dachi | Hidari gedan barai | Move the left foot 90° counterclockwise and pivot on the right foot into Hidari zenkutsu-dachi with gedan barai. |
| 18 | Direct nukite + 405° clockwise | Migi zenkutsu-dachi | Hidari jōdan yohon nukite / migi jōdan uke | Thrust directly with hidari jōdan yohon nukite 45° diagonally. With the hand kept in position, rotate 405° clockwise on the left foot into Migi zenkutsu-dachi and block migi jōdan uke. |
| 19 | Turn 135° right | Migi zenkutsu-dachi | Migi gedan barai | Move the right foot and turn 135° clockwise into Migi zenkutsu-dachi with gedan barai. |
| 20 | Direct nukite + 405° counterclockwise | Hidari zenkutsu-dachi | Migi jōdan yohon nukite / hidari jōdan uke, kiai | Thrust directly with migi jōdan yohon nukite 45° diagonally. With the hand kept in position, rotate 405° counterclockwise on the right foot into Hidari zenkutsu-dachi and block hidari jōdan uke with kiai. |
Breathing, rhythm, and kiai¶
The rhythm should show the difference between:
- the 450° rotations with double blocking
- the tettsui transitions into Kiba-dachi
- the kicking moment with Jōdan yoko geri and Uraken
- 360° rotations with Shutō mawashi uke
- 405° rotations in the diagonal shutō movements
- the slow Haitō uke / Uchi uke sequence
- 360° rotations with Mae geri and Gyaku tsuki
- 360° rotation with Morote uchi uke
- the finishing diagonal Yohon nukite and Jōdan uke movements
- the kiai points on movements 8 and 20
Kiai is performed on:
- movement 8
- movement 20
In movement 8, the kiai is placed on Migi chūdan yohon nukite after the 360° rotation. In movement 20, the kiai is placed on Hidari jōdan uke after the 405° rotation.
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.
- Maintain the same height through the rotations.
- Pay special attention to the 450° rotations in movements 1 and 3.
- Set Kokutsu-dachi stably after the shutō rotations.
- Set Zenkutsu-dachi stably after the mae geri, gyaku tsuki, morote, and jōdan uke movements.
- Let the double block finish with clear structure in Kokutsu-dachi.
- Perform the tettsui transitions with body line, not just the arm.
- Control Tsuruashi-dachi before Jōdan yoko geri.
- Recover the kicking leg before setting the stance.
- Perform Shutō mawashi uke with stable rear-weighted structure.
- Pay special attention to the 405° rotations in movements 10, 12, 18, and 20.
- Perform Mae geri and Gyaku tsuki without losing the center after rotation.
- Use hikite actively throughout the kata.
- Avoid extra adjustment steps after rotation.
- Maintain zanshin also 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 3 become unclear.
- Kokutsu-dachi becomes too short, too high, or falls forward after rotation.
- The double block becomes unsynchronized after rotation.
- Kiba-dachi becomes an intermediate step without lateral stability.
- Jōdan yoko geri and Uraken lose coordination.
- Shutō mawashi uke follows the rotation without finishing technically.
- The 405° rotations in the shutō and finishing sections become unclear.
- Mae geri is performed without recovery.
- Gyaku tsuki is struck before the body has landed stably.
- Morote uchi uke lacks the function of the supporting hand.
- Yohon nukite and Jōdan uke lose diagonal direction.
- 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 ni ura should remain technically clear and close to the base form. The focus should be on how rotation changes direction, distance, and angle without the technique losing structure.
| Movement or technique | Simple bunkai |
|---|---|
| Double blocking | Simultaneous control of the upper and middle line after a new direction. |
| Tettsui hizō uchi / Tettsui jōdan yoko uchi | Short strike or control from a side angle. |
| Jōdan yoko geri / Uraken | Coordinated attack against two lines or levels. |
| Shutō mawashi uke | Circular control, blocking, or positional change. |
| Osae uke / Yohon nukite | Downward pressing control followed by a thrust into an open line. |
| Mae geri / Gyaku tsuki | Kick that opens distance or line, followed by counterattack. |
| Morote uchi uke | Reinforced block against the chūdan line. |
| Gedan barai / Jōdan uke | Transition between low deflection and protection against the upper line. |
| 360°, 405°, and 450° rotation | Change of direction, angle, or opponent before the 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 ni without ura rotations.
- Check the embusen and main counts.
- Train the 450° rotations into double blocking separately.
- Train the tettsui transitions into Kiba-dachi.
- Train Tsuruashi-dachi, Jōdan yoko geri, and Uraken separately.
- Train 360° rotation followed by Shutō mawashi uke.
- Train the 405° rotations in the shutō sequence.
- Train Osae uke and Chūdan yohon nukite after rotation.
- Train Mae geri and Gyaku tsuki after 360° rotation.
- Train Morote uchi uke after 360° rotation.
- Train the finishing Gedan barai, Yohon nukite, and Jōdan uke.
- 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.