Heian Sandan: anchor your positions !!!
Heian Sandan is in my opinion the kata of the basic positions of the Shotokan karate, with the appearance for the first time of Kiba-Dachi, the position of the rider and the position Heisoku Dachi (Standing, feet together)
Despite its apparent ease, Heian Sandan precisely presents difficulties in positions, or rather in the sequences positions.
It is often difficult to remain stable and solid on its positions because of the various displacements which are rather difficult and unusual with Heian Sandan.
- There is for example a rotation of 270 ° with release of seizure which will require a good management of its center of gravity to preserve a good mastery of the technique.
- There is very short blockage with the elbows that must be performed on a solid posture in Kiba-Dachi.
- Travel Ayumi-Ashi en Kiba-Dachi with Fumi Komi that fit into the displacement.
- At the end of the kata, we find again a rotation of 270 ° followed by the displacement Yori-Ashi, who will also ask for a good mastery of balance.
In addition, the changes of positions are almost systematic. Here is the order of the positions found in the Kata:
Kokutsu> Heisoku> Kokutsu> Heisoku> Kokutsu> Zenkutsu> Kiba> Zenkutsu> Heisoku> 3xKiba> ZenKutsu> 2xKiba
In short, in my opinion if we must give a pedagogical purpose to Heian Sandan it is undoubtedly the search for balance, the good management of the center of gravity in displacements and the stability in the basic positions.
The practitioner will have to focus on his center of gravity and seek to perfect at best the three basic positions that he must master perfectly for the black belt.
We will also see that the proper management of the balance, will allow a good control of the internal energy of Hara, but we will talk about it later.
Heian Sandan: Decomposition of Kata:
As usual, you do not have to remember all the names at the beginning but over time you will have to memorize them in order to prepare you as soon as possible for your future rankings.
(I put aside the break time you have to do sometimes.)
- Musubi Dachi, Rei (hello), announcement of the kata. (all without haste) (3s)
- Hachiji Dachi Yoi (3s)
- Kokutsu Dachi left, Chudan Uchi Uke left (1 / 2s)
- Advance on the front leg into position Heisoku Dachi : Gedan Barai left + Uchi Uke Right: The arms are crossed close to the body at the time of arming (The left to the right shoulder and the right to the left belt.)
- on the spot, Gedan Barai right + Uchi Uke Left: Be careful, you must actually arm the techniques by crossing your arms against the body. There is compression: The right arm on the left shoulder and the left on the right belt.
Double blocking is done without haste. He must "get out" of the belly with a well marked Kime. You must "feel" strength in your blockages.
The arms do not spread beyond the shoulders and shoulders remain low (1s)
- Half turn on the left heel: Kokutsu Dachi right, Chudan Uchi Uke right (1 / 2s)
- Advance on the front leg into position Heisoku Dachi : Gedan Barai right + Uchi Uke left (this is the reverse movement of the 4)
- On site, Gedan Barai left + Uchi Uke right (this is the inverse movement of 5) (1s)
- Kokutsu Dachi left, Chudan Morote Uchi Uke left to 90 °: the body pivots while the arms arm themselves on the side, then the two arms go together in the technique (they are one!)
- While advancing Ayumi Ashi, you do Osae Uke left (Be careful to get your hand down enough, it's a blockage! feel a downward pressure!)
- Zenkutsu Dachi right, Chudan Shihon Nukite right
- Clearance on capture: Now you have to imagine a sharp grip on your right wrist. While "twisting" your right arm inward (counter-clockwise), you will advance on your forearm while swiveling to the left on your heel, continuing to rotate for complete Kiba-Dachi (You did a rotation of 270 °). At the same time your right wrist has hardly moved in space, you came to wind on it doing a spin. Your right arm ends up in your back at the end of the rotation. You finish in Kiba-Dachi with Tettsui Uchi Chudan left, your right arm comes into Ikity at the time of Tettsui. (You will understand better on the video ;-))
- Zenkutsu Dachi right, Chudan Oizuki law - Kiai (2s)
- Ryo-ken-ryo-koshi-kamae: slowly turn on the front foot, while straightening up and pulling the left leg into Heisoku Dachi. You make a full half turn (180 °) and at the same time, you bring your fists back to the hips (Phalanges turned towards the back). This posture is actually an attitude of observation, it is a guard with the fists on the hips (Ryoken = two fists, Koshi = hips, Kamae = guard of combat) (2s)
- While leaving the fists at the hips, you lift your knee straight ahead (as if to make Mae Geri) then rotate 90 ° to the left by crushing the foot to the ground by Fumi Komi right in Kiba-Dachi.
- on the spot, Empi Yoko Uchi right: The elbow continues the rotation of the previous movement to make a block at the middle level. Be careful not to lean the bust forward. Your body remains stable, only the elbow makes the blockage. The hips vibrate slightly, but there is no real rotation, your Kiba-Dachi must remain stable and strong.
- Always on the spot Kiba-Dachi, Jodan Uraken Uchi right: The forearm swivels around the elbow to make Uraken in circular motion forward (and not horizontally as sometimes seen). The fist returns to the hip directly by the shortest way. (1s)
- The movements 16 and 17 must follow each other and start from the belly. Your Kiba-Dachi must remain very stable so that the Hara can take support to transmit its energy to the bust and the arm.
- You rotate from 90 ° to the right (on the front foot), lift your knee left in front and then rotate again from 90 ° to the right by crushing the foot to the ground by Fumi Komi left in Kiba-Dachi. (reverse movement of 15)
- on the spot, Empi Yoko Uchi left (reverse movement of 16)
- Jodan Uraken Uchi left (17s inverse movement) (1s)
- You rotate from 90 ° to the left (on the front foot) then ditto to 15
- Same as 16
- Same as 17 (1s)
- Tate Shuto Uchi right: This movement is done directly (without the hand passes in front of the body) by making a slight arc of a circle very slowly and in inspiration.
- At the same time, the left fist goes into Ikité at the hip.
- Zenkutsu Dachi left, Chudan Oizuki left (Warning, there is no Kiaï here!) (1s)
- The 24 and 25 movements follow each other without pause. At the end of Tate shuto slow inspiring, we chained Oizuki fast expiring.
- Without moving your upper body, you put your right foot on the same line than the left foot to the width of the hips, then you rotate on the right foot of 180 ° to the left to finish in Kiba-Dachi with Empi Uchi left (this movement is the same asIkité) and Jodan Tate Zuki right over your left shoulder. (1 / 2s)
- Always Kiba-Dachi, you slip in Yori Ashi right (be careful of doing well Yori Ashi and not to make a kind of jump as we often see it :-(), then Empi Uchi right (idem Ikité) and Jodan Tate Zuki left over your right shoulder. (This is the reverse movement of 26) - Kiai (2s)
- Go back Hachiji Dachi by bringing back the right leg (3s)
- Go back Musubi Dachi (Bring each foot in half one after the other, half right, then half left.)
- Rei (Hi) (3s)
Here, as you will probably notice, apart from fumikomithere is no kicking in Heian Sandan.
In fact this Kata does not have visually impressive techniques, but it will allow you more internal work.
You will have to try to "feel" at best your center of gravity in order to fully control your balance.
You will also be able to work your Hara because most of the arm techniques are performed on stable positions without ample movement of the hips, as Kiba-Dachi et Heisoku Dachi.
The good stability of your positions will allow you to transmit the energy of the Hara to the arms.
This internal energy generated by a contraction of the transverse muscle and the pelvic floor will take support on a stable pelvis to be transmitted to the arms through the trunk. It is as if the ground was at the level of your pond. Each time, your position serves as a solid base on which the upper body can work and transmit energy to the arms.
Since there is no impressive technique from the outside, Heian Sandan does not really have the coast. However, you should not neglect it because it is very important for your progress in learning Karate.
Really try tolisten to your body inside in Heian Sandan and you will more easily manage your balance and thus better direct the energy in your techniques.
We will now move to the cloakroom. Do a warm up session by downloading the ABC of warm-ups and I'll meet you again for the detailed video ofHeian Sandan.
That's it, I hope the video has you more. Work often Heian Sandan by listening to your inner feelings and visualizing your center of gravity.
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Good training to all and see you soon,
"How to succeed your grade passes"