Seipai¶

Name: Seipai (十八手)
English: Eighteen hands / eighteen techniques

Introduction¶

Seipai is an advanced kata within Kyokushin and belongs to the kata forms usually counted as part of the southern tradition in the system. It has a clear connection to Naha-te and Gōjū-ryū-influenced karate training, where close distance, open-hand techniques, circular movements, balance, kick-and-hand combinations, and body control are highly important.

The kata contains several technically demanding parts: Chūdan haishu uke, Seiken chūdan oi tsuki, Hiji jōdan ate, Jōdan yoko geri, Haitō uchi uke, Shutō gedan barai, Shutō ganmen uchi, Tobi mae geri, Morote seiken uchi uke, Seiken chūdan jun tsuki, Uraken oroshi ganmen uchi, Kake uke, Shutō hizō uchi, Morote gedan tsuki, Yama tsuki, Shutō mawashi uke, Ura yonhon nukite, Tettsui uchi, and the closing Seiken gedan oi tsuki.

Seipai should not be understood as a kata where each technique stands in isolation. The form trains alternation between block and counterattack, kick and hand technique, low and high line, lateral stability, close-range fighting, jumping, kake-dachi, and powerful finishing. It requires clear rhythm and the ability to shift between slow control, explosive technique, kiai, and zanshin.

Historical background¶

Seipai is a kata with a background in the southern karate tradition and is often associated with Naha-te and Gōjū-ryū. In modern Kyokushin material, it is described as a kata with both hard and soft movements, circular responses to close attacks, grips, locks, throwing-like principles, and techniques for both longer and shorter distances.

The history varies between traditions. Seipai is often connected to the older Naha-te environment and to the Gōjū-ryū line through Kanryō Higaonna and Chōjun Miyagi. On Galaz Dojo, this should be described carefully: Seipai is treated here as a Kyokushin version of an older southern kata, not as a form where all traditions perform the movements in exactly the same way.

Within Kyokushin, Seipai is counted among the southern kata forms. It is connected to Masutatsu Oyama’s Gōjū-ryū-influenced training under Nei-Chu So, who in turn stood in the Gōjū-ryū line in Japan. The southern group is often characterized by shorter movements, closer distance, circular control, breathing, and strong body gathering.

Seipai should therefore be trained as an advanced kata where the practitioner shows that basic dachi, kicking technique, hand technique, jumping, turning, hikite, kime, and zanshin can be held together in a complex form.

Name and meaning¶

Seipai is written 十八手.

The name can be understood pedagogically as:

eighteen hands
eighteen techniques
eighteen movement principles
eighteen forms of contact or hand work

The characters 十八 mean eighteen, and 手 means hand. The pronunciation Seipai is often presented as an Okinawan or Fujian-influenced reading, where sei corresponds to ten and pai corresponds to eight.

In some traditional explanations, the number eighteen is connected to symbolic number relationships or to the relationship between eighteen and thirty-six. Such interpretations should be understood pedagogically and traditionally, not as an exact technical count of all movements in the kata.

On Galaz Dojo, the page name Seipai is used for consistency with Kyokushin romaji and the other kata pages.

Position in the system¶

Group: Southern kata / advanced kata / Gōjū-ryū-influenced kata
Level: Dan level / advanced level
Technical focus: Mae kiba-dachi, Zenkutsu-dachi, Sanchin-dachi, Nekoashi-dachi, Tsuruashi-dachi, Kake ashi-dachi, Kokutsu-dachi, Chūdan haishu uke, Seiken chūdan oi tsuki, Hiji jōdan ate, Jōdan yoko geri, Haitō uchi uke, Shutō gedan barai, Shutō ganmen uchi, Tobi mae geri, Morote seiken uchi uke, Seiken chūdan jun tsuki, Uraken oroshi ganmen uchi, Kake uke, Shutō hizō uchi, Morote gedan tsuki, Seiken yama tsuki, Shutō mawashi uke, Ura yonhon nukite, Tettsui uchi, and Seiken gedan oi tsuki

Seipai should be trained only when the practitioner has good control of:

basic and advanced stances
Mae kiba-dachi and Kiba-dachi in motion
Tsuruashi-dachi and kick recovery
Zenkutsu-dachi and Kokutsu-dachi
Sanchin-dachi
Nekoashi-dachi
Kake ashi-dachi
open-hand techniques
elbow techniques
jumping and landing
high kicks
hikite and body connection
kiai and zanshin

The kata functions as a check of whether the practitioner can:

alternate between slow blocking and explosive finishing
keep Mae kiba-dachi stable through side-directed techniques
coordinate kick, elbow, hand technique, and stance
recover the kicking leg before the next technique
perform jumping and landing without losing structure
combine open hands and closed fists
use kake uke and nukite after the line has been opened
finish with clear technical gathering and zanshin

Technical character¶

Seipai has an advanced and varied technical character. It contains both linear and circular techniques, strong stances, high kicks, jumping, low attack, nukite, and final control.

The kata alternates between:

slow block and fast thrust
Mae kiba-dachi and Zenkutsu-dachi
Tsuruashi-dachi and kick
lateral stability and forward power
open hand and closed fist
jump and stable landing
block and direct counterattack
circular control and straight attack
kiai and zanshin

The form especially trains:

balance before and after kicking
direction in 90° and 180° turns
high kick without losing posture
elbow technique at close distance
shōtei, haitō, and shutō control
kake uke and nukite
jump into kake ashi-dachi
strong kiai at fixed technical points
zanshin after powerful changes of direction

Embusen¶

The embusen in Seipai is more complex than in basic kata. The form contains several 90° and 180° turns, side steps, Mae kiba-dachi sequences, Tsuruashi-dachi before kicking, jumping, Kake ashi-dachi, Kokutsu-dachi, Nekoashi-dachi, and final return to Musubi-dachi.

During learning, the student should especially check:

starting point
transition from Fudō-dachi to Musubi-dachi and mokusō
yoi with ibuki into Heikō-dachi
first 90° turn into Mae kiba-dachi
transition from Chūdan haishu uke to Zenkutsu-dachi and Oi tsuki
Hiji jōdan ate and Jōdan yoko geri
Tsuruashi-dachi before and after kicking
slow Haitō/Shutō blocks
Tobi mae geri and landing with Hiji jōdan ate
transition to Sanchin-dachi and Nekoashi-dachi
kiai points
jump into Kake ashi-dachi
Kokutsu-dachi sequence in the final part
return to Musubi-dachi and Fudō-dachi
that no extra adjustment steps are added
that the gaze is directed before the technique finishes

Embusen should be understood as the movement structure of the kata form. It shows the direction of training, but does not replace technical understanding of stance, hip, kick recovery, hand form, jump, landing, kiai, and zanshin.

Technical figure¶

The diagram shows the movement pattern for Seipai. The numbering corresponds to the kata sequence’s 30 points 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, hip work, kicking technique, open-hand techniques, jump, kake ashi-dachi, nukite, kiai, or zanshin.

Stances¶

Seipai uses the following central stances:

Fudō-dachi
Musubi-dachi
Yoi-dachi
Heikō-dachi
Mae kiba-dachi / Kiba-dachi
Zenkutsu-dachi
Sanchin-dachi
Nekoashi-dachi
Tsuruashi-dachi
Kake ashi-dachi
Kokutsu-dachi

Fudō-dachi is used as the starting and finishing preparedness stance.

Musubi-dachi is used during mokusō and in the return in movement 30.

Yoi-dachi is used in the opening with ibuki and finishes in Heikō-dachi according to modern dojo standard.

Heikō-dachi is the starting position after yoi and before the first technical movement.

Mae kiba-dachi / Kiba-dachi is used in several of the kata form’s side-directed techniques, especially during Chūdan haishu uke, Hiji jōdan ate, Haitō uchi uke, Shutō gedan barai, Shutō hizō uchi, and the Morote gedan tsuki sequences. The material often uses the term Mae kiba-dachi, and Galaz Dojo can keep it in the table when it is technically relevant.

Zenkutsu-dachi is used during Seiken chūdan oi tsuki, Morote seiken uchi uke, and several forward-directed attacks.

Sanchin-dachi is used in movement 9, where Seiken chūdan jun tsuki is performed after a change of direction. The stance should be compact, stable, and gathered.

Nekoashi-dachi is used during Uraken oroshi ganmen uchi, Kake uke, Ura yonhon nukite, and some transitions in the final part. The stance should be active and not passive.

Tsuruashi-dachi is used before and after several kicking techniques. It should be controlled, not merely a quick intermediate position.

Kake ashi-dachi is used in the jumping sequence with Yama tsuki. The landing should be stable and directed.

Kokutsu-dachi is used in the final part with Shutō mawashi uke, uchi uke / gedan barai combinations, Tettsui uchi, and Seiken gedan oi tsuki.

It is especially important that:

Mae kiba-dachi does not become too high or too wide
Tsuruashi-dachi is held with balance before kicking
Zenkutsu-dachi does not become too short after landing
Sanchin-dachi does not become stiff
Nekoashi-dachi does not become passive
Kake ashi-dachi is landed stably
Kokutsu-dachi does not fall forward
stance and technique finish at the same time

Central techniques¶

The central techniques in Seipai are:

Chūdan haishu uke
Seiken chūdan oi tsuki
Hiji jōdan ate
Jōdan yoko geri
Haitō uchi uke
Shutō gedan barai
Shutō ganmen uchi
Tobi mae geri
Morote seiken uchi uke
Seiken chūdan jun tsuki
Uraken oroshi ganmen uchi
Kake uke
Shutō hizō uchi
Morote gedan tsuki
Seiken gedan barai
Ashi-barai
Seiken yama tsuki
Shutō mawashi uke
Seiken uchi uke
Seiken uchi uke / gedan barai
Ura yonhon nukite
Tettsui uchi
Seiken gedan oi tsuki
Te-kote
Kiai
Ibuki
Hikite

Chūdan haishu uke is used in movement 1 as a slow, controlled block. It should not become a loose hand movement, but should be connected to the body’s direction and the left shōtei cover.

Seiken chūdan oi tsuki is used in movements 2 and 12. The thrust should have clear hip connection, hikite, and support from the opposite hand when the material indicates this.

Hiji jōdan ate is used in movements 3 and 7. The elbow should come from the body and strike toward the upper line, not be performed as a large arm swing.

Jōdan yoko geri is used several times from Tsuruashi-dachi. The kick should be recovered in a controlled way before the foot is placed down.

Haitō uchi uke and Shutō gedan barai are used together in movements 4 and 5. They train control of two levels with open hands and bent wrists according to the material.

Shutō ganmen uchi is used in movement 6 after a 90° turn into Zenkutsu-dachi. The technique should be directed toward the facial line and should not become a loose swing.

Tobi mae geri is used in movement 7 and should be followed by a stable landing in Mae kiba-dachi with Hiji jōdan ate and kiai.

Morote seiken uchi uke is used in movement 8. It should have a clear supporting hand and centerline.

Seiken chūdan jun tsuki is used in Sanchin-dachi in movement 9. The thrust should be straight, gathered, and stable.

Uraken oroshi ganmen uchi is used in movement 10 from Nekoashi-dachi and should finish with the right elbow above the open left hand.

Kake uke is used in movement 11 as slow hooking control. The movement should grip, hook, or control the opponent’s arm according to the kata form’s close-range principle.

Shutō hizō uchi is used in movement 13 and should be directed toward the side line or rib area.

Morote gedan tsuki is used in movements 15 and 17 after the kicking sequences. The technique should be downward, gathered, and not two separate arm movements.

Ashi-barai is used in movement 19 before the jump into Kake ashi-dachi. The sweep should be connected to the turn and jump, not performed as a loose leg movement.

Seiken yama tsuki is used in movement 19 with kiai. It should land as a strong double technique, with the high and low lines clearly separated.

Shutō mawashi uke is used in movements 20 and 27. In movement 27, it should be performed without a shōtei strike according to the material.

Ura yonhon nukite is used in movement 26 after haitō positioning. The technique should be slow, directed, and connected to hara.

Tettsui uchi is used in movement 28, where the right tettsui strikes into the open left hand.

Seiken gedan oi tsuki is used in movement 29 with kiai and support from the left palm against the right forearm according to the te-kote principle.

Start and finish¶

The kata begins in Fudō-dachi, facing the shinden.

On the command mokusō, the practitioner moves to Musubi-dachi and gathers body and mind.

On the command Seipai, the eyes open according to dojo standard.

At yoi, a slow yoi movement with ibuki is performed, finishing in Heikō-dachi.

At hajime or ichi, the kata form’s first main count begins.

On this page, the movement sequence follows the material’s 30 numbered points. Movements 1–29 are technical main movements. Movement 30 is the return to Musubi-dachi while maintaining the mokusō position.

On the command naore, the practitioner returns to Fudō-dachi. On yasume, the practitioner returns to the resting position.

Movement sequence¶

The movement sequence below describes Seipai 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° counterclockwise	Migi mae kiba-dachi	Migi chūdan haishu uke	Step forward with the right foot and turn the body 90° counterclockwise. Cover with left shōtei and place the right arm for the block. Enter Migi mae kiba-dachi and perform slow Migi chūdan haishu uke while the left hand is drawn back to hikite.
2	Turn 90° clockwise	Hidari zenkutsu-dachi	Hidari seiken chūdan oi tsuki	Turn 90° clockwise and step forward into Hidari zenkutsu-dachi. Strike Hidari seiken chūdan oi tsuki with the right open hand placed on the left forearm.
3	Turn 90° counterclockwise	Migi mae kiba-dachi	Migi hiji jōdan ate	Step forward with the right foot and turn the body 90° counterclockwise into Migi mae kiba-dachi. Strike Migi hiji jōdan ate with the left hand placed over the right fist.
4	Kick and 180° turn	Hidari mae kiba-dachi	Migi jōdan yoko geri / migi haitō uchi uke / hidari shutō gedan barai	With the hands kept in the same position, draw the right foot back into Migi tsuruashi-dachi and kick Migi jōdan yoko geri. Recover the leg to Tsuruashi-dachi, turn the body 180° clockwise, look to the left, and place the right foot down into Hidari mae kiba-dachi. Block slowly with Migi haitō uchi uke and Hidari shutō gedan barai with bent wrists.
5	Kick and step down	Mae kiba-dachi	Hidari jōdan yoko geri / hidari haitō uchi uke / migi shutō gedan barai	Draw the left foot back into Hidari tsuruashi-dachi and kick Hidari jōdan yoko geri. Place the left foot down into Mae kiba-dachi, look to the right, and block slowly with Hidari haitō uchi uke and Migi shutō gedan barai with bent wrists.
6	Turn 90° counterclockwise	Hidari zenkutsu-dachi	Migi shutō ganmen uchi	Bring the left foot across to the left, cover with the right elbow, and prepare the strike. Complete the 90° counterclockwise turn into Hidari zenkutsu-dachi and strike Migi shutō ganmen uchi. The left fist is drawn back to hikite.
7	Jump forward and turn 90° clockwise	Mae kiba-dachi	Hidari tobi mae geri / hidari hiji jōdan ate, kiai	With the hands kept in the same position, kick Hidari tobi mae geri. Land in Mae kiba-dachi after a 90° clockwise turn and strike Hidari hiji jōdan ate with the right open hand placed over the left fist. Finish with kiai.
8	Turn 90° clockwise	Migi zenkutsu-dachi	Migi morote seiken uchi uke	Bring the right foot across, turn 90° clockwise into Migi zenkutsu-dachi, and block Migi morote seiken uchi uke with the left open hand supporting the right arm.
9	Turn 90° counterclockwise	Migi sanchin-dachi	Hidari seiken chūdan jun tsuki	Turn the body 90° counterclockwise and bring the right foot into Migi sanchin-dachi. Cover with the right fist while the left hand is drawn back to hikite. Look to the left and strike Hidari seiken chūdan jun tsuki.
10	Turn 90° counterclockwise	Hidari nekoashi-dachi	Migi uraken oroshi ganmen uchi	Bring the right foot forward, turn 90° counterclockwise into Hidari nekoashi-dachi, and strike Migi uraken oroshi ganmen uchi. The right elbow should finish above the open left hand.
11	Same position	Hidari nekoashi-dachi	Migi kake uke	Keep the same position and left hand position. Open the right hand and perform slow Migi kake uke as gripping or hooking control.
12	Forward	Migi zenkutsu-dachi	Migi seiken chūdan oi tsuki	Draw the right hand back to hikite, slide forward into Migi zenkutsu-dachi, and strike Migi seiken chūdan oi tsuki.
13	Turn 90° clockwise	Kiba-dachi	Migi shutō hizō uchi	Draw the right foot back, turn the body 90° clockwise into Kiba-dachi, bring the right open hand back over the head, and strike Migi oroshi mawashi shutō hizō uchi. The left hand is kept in hikite.
14	Same position	Migi tsuruashi-dachi	Preparation for kick	Bring the right foot up into Migi tsuruashi-dachi and place both arms in front of the body with open hands in front of the face.
15	Kick sequence and step down	Kiba-dachi	Migi jōdan yoko geri / migi jōdan mae geri / morote gedan tsuki	From Tsuruashi-dachi, kick Migi jōdan yoko geri. Recover to Tsuruashi-dachi and kick Migi jōdan mae geri. Step down into Kiba-dachi and strike Morote gedan tsuki simultaneously without hikite.
16	Turn 180° counterclockwise	Hidari tsuruashi-dachi	Preparation for kick	Turn 180° counterclockwise into Hidari tsuruashi-dachi and place both arms in front of the body with open hands in front of the face.
17	Kick sequence and step down	Kiba-dachi	Hidari jōdan yoko geri / hidari jōdan mae geri / morote gedan tsuki	From Tsuruashi-dachi, kick Hidari jōdan yoko geri. Recover to Tsuruashi-dachi and kick Hidari jōdan mae geri. Step down into Kiba-dachi and strike Morote gedan tsuki simultaneously without hikite.
18	Turn 90° counterclockwise	Hidari zenkutsu-dachi	Hidari seiken gedan barai	Bring the left foot across, turn 90° counterclockwise into Hidari zenkutsu-dachi, and block Hidari seiken gedan barai.
19	90° clockwise and jump to the right	Migi kake ashi-dachi	Migi ashi-barai / hidari seiken yama tsuki, kiai	Bring the fists back to Hidari waki no kamae. Perform Migi ashi-barai, turn the body 90° clockwise, look to the right, and jump to the right into Migi kake ashi-dachi. Strike Hidari seiken yama tsuki with the right fist in ura gedan position and the left fist high at jōdan. Finish with kiai.
20	Turn 90° counterclockwise	Hidari kokutsu-dachi	Hidari shutō mawashi uke	Bring the left foot forward, turn 90° counterclockwise into Hidari kokutsu-dachi, and block Hidari shutō mawashi uke.
21	Same position	Hidari kokutsu-dachi	Hidari seiken gedan barai	Keep the same position and block Hidari seiken gedan barai.
22	Same position	Hidari kokutsu-dachi	Hidari seiken uchi uke	Keep the same position and slowly block Hidari seiken uchi uke.
23	Same position	Hidari kokutsu-dachi	Migi seiken uchi uke / gedan barai	Keep the same position and perform Migi seiken uchi uke / gedan barai as a combined block.
24	Same position	Hidari kokutsu-dachi	Hidari seiken uchi uke / gedan barai	Repeat the combined block with Hidari seiken uchi uke / gedan barai. Keep Kokutsu-dachi stable and the hip controlled.
25	Forward	Migi zenkutsu-dachi	Migi jōdan mae geri / migi seiken uchi uke	With the hands kept in position, kick Migi jōdan mae geri. Place the foot down into Migi zenkutsu-dachi and block Migi seiken uchi uke.
26	Turn 180° counterclockwise	Hidari nekoashi-dachi	Haitō position / hidari ura yonhon nukite	Pivot on the right foot 180° counterclockwise into Hidari nekoashi-dachi. Place the right arm with open hand in haitō position and the left open hand in ready striking position. At the end of the movement, the left hand slowly thrusts Hidari ura yonhon nukite.
27	Same position	Hidari nekoashi-dachi	Shutō mawashi uke	Keep the same position and block Shutō mawashi uke without a shōtei strike. The movement should be circular, controlled, and completed with stable Nekoashi-dachi.
28	Backward	Migi kokutsu-dachi	Migi tettsui uchi into hidari shōtei	Move the right foot back into Migi kokutsu-dachi while both hands are thrust upward. Bring both hands quickly outward and downward in a circular movement, close the right hand, and strike Migi oroshi mawashi tettsui uchi into the open left hand.
29	Backward	Kokutsu-dachi	Migi seiken gedan oi tsuki, kiai	Move the left foot back into Kokutsu-dachi. Draw both closed hands into ready striking position and strike Migi seiken gedan oi tsuki toward the center with kiai. The left palm supports the right forearm with the fingers pointing downward according to the te-kote principle.
30	Return	Musubi-dachi	Mokusō position	Move the right foot back to Musubi-dachi and maintain the mokusō position. The kata is then finished on the command naore by returning to Fudō-dachi.

Breathing and rhythm¶

Seipai should be performed with clear alternation between slow control, explosive kick, jump, kiai, and zanshin.

The breathing should support each technical finish. In slow blocks, the breathing should be controlled and connected to hara. In explosive moments, the exhalation or kiai should coincide with the completion of the technique.

The rhythm should show the difference between:

mokusō and yoi with ibuki
slow Chūdan haishu uke
Oi tsuki in Zenkutsu-dachi
Hiji jōdan ate and Jōdan yoko geri
slow Haitō uchi uke / Shutō gedan barai
Shutō ganmen uchi
Tobi mae geri and Hiji jōdan ate with kiai
Morote seiken uchi uke and Jun tsuki
Uraken oroshi and Kake uke
kick sequences with Yoko geri and Mae geri
Morote gedan tsuki
Ashi-barai, jump into Kake ashi-dachi, and Yama tsuki with kiai
final sequence with Shutō mawashi uke, Haitō position, Ura yonhon nukite, and Gedan oi tsuki

The student should avoid performing the whole kata at the same tempo. Seipai requires technically motivated rhythm: slow control where the body must gather, explosiveness where the technique must break through, and zanshin after each major finish.

Kiai¶

Kiai is performed on:

movement 7
movement 19
movement 29

Kiai should mark technical and mental gathering. It should come from the body’s center and coincide with the completion of the technique.

In movement 7, kiai is on Hidari hiji jōdan ate after Tobi mae geri and landing in Mae kiba-dachi.

In movement 19, kiai is on Hidari seiken yama tsuki in Migi kake ashi-dachi after Migi ashi-barai and the jump to the right.

In movement 29, kiai is on Migi seiken gedan oi tsuki in Kokutsu-dachi, with the left palm supporting the right forearm.

Kiai should not be used as decoration. It should coincide with kime, stable stance, and zanshin.

Technical key points¶

Control the first 90° turn into Mae kiba-dachi.
Perform Chūdan haishu uke slowly and with clear hand and shoulder structure.
Seiken chūdan oi tsuki should have hip, hikite, and stable Zenkutsu-dachi.
Hiji jōdan ate should be short, close, and body-connected.
Tsuruashi-dachi should be kept active before and after Yoko geri.
Jōdan yoko geri should be recovered before the foot is placed down.
Haitō uchi uke and Shutō gedan barai should show two different levels.
Shutō ganmen uchi should be directed toward the facial line and not become a loose swing.
Tobi mae geri should be followed by stable landing and kiai.
Morote seiken uchi uke should have a clear supporting hand.
Jun tsuki in Sanchin-dachi should be straight and gathered.
Uraken oroshi ganmen uchi should finish with the elbow over the open hand.
Kake uke should hook and control, not merely circle.
The kick sequence with Yoko geri and Mae geri should be performed without the upper body leaning.
Morote gedan tsuki should be coordinated with the step down into Kiba-dachi.
Ashi-barai in movement 19 should be connected to the jump and Yama tsuki.
The jump into Kake ashi-dachi should be landed stably.
Yama tsuki should be performed as a gathered double technique.
Ura yonhon nukite should have a clear line.
The final Gedan oi tsuki should have kime and zanshin.

Common mistakes¶

The kata is performed as a long series of techniques without clear rhythm.
Chūdan haishu uke lacks structure.
Oi tsuki lacks hip connection.
Mae kiba-dachi becomes too high or too wide.
Hiji jōdan ate becomes an arm swing instead of a close body elbow technique.
Tsuruashi-dachi becomes only a quick intermediate position.
Yoko geri is performed without controlled recovery.
Haitō uchi uke and Shutō gedan barai are confused.
Shutō ganmen uchi lacks protection and direction.
Tobi mae geri is performed as a jump without technical finish.
Morote seiken uchi uke lacks a supporting hand.
Sanchin-dachi becomes stiff.
Nekoashi-dachi becomes passive.
Kake uke becomes decorative.
Morote gedan tsuki becomes two separate arm movements.
Ashi-barai is performed without connection to the jump.
The jump into Kake ashi-dachi lands unstably.
Yama tsuki lacks center.
Ura yonhon nukite loses its line.
Kiai is used without kime.
The end of the kata lacks zanshin.

Bunkai and application¶

Bunkai for Seipai should focus on close distance, open-hand techniques, control of arm and line, kick and direct counterattack, jumping, elbow technique, and final nukite.

For this kata, bunkai should especially examine:

how Chūdan haishu uke can be used as a parry or deflection
how Oi tsuki follows after the line has been opened
how Hiji jōdan ate is used at close distance
how Jōdan yoko geri can be combined with previous control
how Haitō uchi uke and Shutō gedan barai control two levels
how Shutō ganmen uchi is used after a direction change
how Tobi mae geri breaks distance before Hiji jōdan ate
how Morote seiken uchi uke reinforces the defensive line
how Kake uke can hook, pull, or control the arm
how Shutō hizō uchi is used against the side line or ribs
how Ashi-barai can disturb balance before the jump and Yama tsuki
how Yama tsuki can be understood as a simultaneous high and low attack
how Shutō mawashi uke controls an incoming arm
how the haitō position opens the line for Ura yonhon nukite
how the final Gedan oi tsuki can be understood as a low attack after control

Bunkai should be trained in a controlled way with a partner. Seipai contains several powerful and risky moments, especially high kicks, jumps, elbow techniques, and nukite. The application should therefore be adapted to the partner’s level and safety.

Training method¶

Train Seipai in the following order:

Learn start, mokusō, yoi, and ibuki separately.
Train the first Haishu uke sequence slowly.
Train the transition to Zenkutsu-dachi and Oi tsuki.
Train Hiji jōdan ate in Mae kiba-dachi separately.
Train Tsuruashi-dachi before and after Jōdan yoko geri.
Train Haitō uchi uke and Shutō gedan barai slowly.
Train Shutō ganmen uchi with correct protection and direction.
Train Tobi mae geri and landing with Hiji jōdan ate.
Train Morote seiken uchi uke and Jun tsuki.
Train Uraken oroshi ganmen uchi and Kake uke.
Train the kick sequences with Yoko geri and Mae geri.
Train Morote gedan tsuki in Kiba-dachi.
Train Ashi-barai and the jump into Kake ashi-dachi.
Train Yama tsuki with kiai.
Train the final sequence with Shutō mawashi uke, Haitō position, and Ura yonhon nukite.
Train the final Gedan oi tsuki with kiai.
Add breathing and rhythm.
Train kiai on movements 7, 19, and 29.
Train the whole kata slowly without counting.
Try simple bunkai with a partner.
Return to the kata form and correct stance, direction, kick recovery, jump, and zanshin.