Practical Kata Bunkai: Pinan Nidan / Heian Shodan Turning "Lower Block" 

That's been a frustration of mine for years. Iain's work and that of others is breathing life back into karate. Andy Allen

Simon Gauvin Neither nakayama nor his' Sensei knew proper karate. Seeing that shotokan is considered 'standard' karate is the reason karate is seen as a joke.

+Angelica Platten Thank you!

yes

I studied TSD and made it to green belt... Tang Soo do is basically shotokan. The korean version (tiger style)

There are some one-handed methods in kata, but they are in a minority. A common mistake in modern karate is almost everything is viewed as being one handed (hand on hip or across the chest viewed as doing nothing). In this case, the “technique” is both motions combined so the hikite is aligning with the enemy’s head on the first half (gedan barai). It’s therefore not inactive … because the sequence will be done without any pause. It’s very difficult to get these nuances across when not in person. I nevertheless hope that’s of some help.

Hi Sandro, The kata is showing us to be at the side of the enemy. The footwork used in actual combat will be entirely dependant on the situation. It may or may not be the same as the kata. How are you moving? How is the enemy moving? Is the floor flat? A slope? Are there any tripping hazards? Walls? Cars? Etc. Funakoshi was clear on this: “Always perform kata exactly, Combat is another matter.” The kata can’t record every single variation, so it states: Be at 90 degrees to the enemy; we can’t tell you how you get there, because that will be dependent on the situation. Because my partner and I were still (for instructional purposes) I slid to the side, and that’s totally OK and not variance with the kata (because it is not demanding specific footwork). This post provides more info: iainabernethy.co.uk/comment/5745#comment-5745 I hope that helps.

practicalkatabunkai it does help and I get that aspect, but in no kata is there a step forward with the outside foot to accomplish getting to the attackers’ flanks. Only the inside leg coming back. I would think that if the object was evasion to the side that both examples would be illustrated.

@@Bandy64 I'm pleased that was of some use. Often as not, the foot movement associated with change in direction are just linking septate methods together. It’s showing the angle for the new method now being shown. I call these “linking steps”. This is clearly established in Mabuni’s explanation of angles; as well as in a few other places (Motobu, Miyagi, Toguchi, et al). The kata shows the angle. Partner work will allow us to explore the various options of getting to the angle. Live practise ensures we can do it appropriately in the ever changing and highly variable world of actual combat. Kata is supposed to be part of a process. If you are looking for all the variations to be in the kata, you are mistaking the nature of kata. Kata gives a “core example” which is varied in partner training. Mabuni explained this too: “If one sufficiently and regularly practices kata correctly, it will serve as a foundation for performing, when a crucial time comes, any of the innumerable variations. However, even if you practice the kata of karate, if that is all that you do, and if the other elements of training are lacking, then you will not develop sufficient ability … [you must also study] things like body-shifting and engagement distancing, you will be inadequately prepared when the need arises to call on your skills.” I hope that gives further clarity. Hard to cover these things in short amount of text. The key things are the angle is key (not the step that get us there, because that is linked to the prior position in the kata … and you won’t be in the same position in combat), the kata gives a solid example of principle, it does not try to cover all variations (impossible to do), and it is supposed to be part of a process where variations are explored. All the best, Iain

practicalkatabunkai Thanks Iain, that is an excellent explanation and now I have some written info to pass onto other karateka I train with who, at times, are far too adamant that because that’s what the kata shows, that’s how you should move. Often same people who have gotten away from the static applications of fighting 8 different people from different angles , fail to apply the same sense to the footwork. I just never had a very good explanation. Appreciate it. Cheers.

@@Bandy64 I’m really glad that was of some use. As I say, it’s sometimes difficult to communicate the ideas when we can’t go over examples in person. I’m delighted that helped though. An analogy that can help is to think of the kata as a map; whereas combat is the terrain. The map is a representation of the terrain, but the images on the map should not be mistaken as the terrain. Nor should studying the map be mistaken for hiking. It’s when we follow the guidance of the map in the terrain that its value becomes clear. Thanks for the support of the videos.

Style is irrelevant. Iain’s bunkai is the common denominator for all styles.

If the crank sends the enemy further away then stepping to hit would be appropriate and the hammer fist would not be. Kata is made up of both “and’s” and “or’s” i.e. “do this AND then this” and “depending on the enemy’s response do this OR this”. A tactile awareness of the enemy’s position (proprioception) can greatly increase accuracy in the chaos of combat. That’s why grabbing and hitting (when possible and appropriate) is favoured over an inactive guard: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9I36exRa3Uc.html