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Heian Sandan: anchor your positions !!!

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Heian Sandan: double blocking

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)

So with Heian Sandan, Master Itosu, allows students to perfect their learning 3 fundamental positions what are Zenkutsu-Dachi, Kokutsu-Dachi et Kiba-Dachi.

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. icon wink Heian Nidan: Kata basic high level

(I put aside the break time you have to do sometimes.)

    1. Musubi Dachi, Rei (hello), announcement of the kata. (all without haste) (3s)
    2. Hachiji Dachi Yoi (3s)
    3. Kokutsu Dachi left, Chudan Uchi Uke left (1 / 2s)
    4. 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.)
    5. 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)
    6. Half turn on the left heel: Kokutsu Dachi right, Chudan Uchi Uke right (1 / 2s)
    7. Advance on the front leg into position Heisoku Dachi : Gedan Barai right + Uchi Uke left (this is the reverse movement of the 4)
    8. On site, Gedan Barai left + Uchi Uke right (this is the inverse movement of 5) (1s)
    9. 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!)
    10. 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!)
    11. Zenkutsu Dachi right, Chudan Shihon Nukite right
    12. 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 ;-))
    13. Zenkutsu Dachi right, Chudan Oizuki law - Kiai (2s)
    14. 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)
    15. 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.
    16. 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.
    17. 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)
    18. 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.
    19. 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)
    20. on the spot, Empi Yoko Uchi left (reverse movement of 16)
    21. Jodan Uraken Uchi left (17s inverse movement) (1s)
    22. You rotate from 90 ° to the left (on the front foot) then ditto to 15
    23. Same as 16
    24. Same as 17 (1s)
    25. 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.
    26. At the same time, the left fist goes into Ikité at the hip.
    27. Zenkutsu Dachi left, Chudan Oizuki left (Warning, there is no Kiaï here!) (1s)
    28. The 24 and 25 movements follow each other without pause. At the end of Tate shuto slow inspiring, we chained Oizuki fast expiring.
    29. 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)
    30. 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)
    31. Returns Hachiji Dachi by bringing back the right leg (3s)
    32. Returns Musubi Dachi (Bring each foot in half one after the other, half right, then half left.)
    33. 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.

>>> Download the video in HD

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.

This article did not leave you indifferent? You probably have a remark, a question, ...
Leave your comment below, thank you !!!

Good training to all and see you soon,
Bruno

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20 comments

  1. Thank you for this kata ... .on advance, we advance
    The last time I left a com I started.
    I move a little and am at the orange level, green passage possible in July.
    the decomposition of uchi uké at the beginning of the kata is great thank you very much
    Your courses are good work support
    always a pleasure to read your videos and repeat the ranges

  2. Hello Bruno, I actually wanted to know when are you going to finish the Taikyoku series. My previous question was for my teacher because I was talking about your classes.

  3. I wanted to thank you for all these courses that allow me to progress. Looking at you we can see that you like this sport.

    When are you going to attack the Pinan series in the kata?

  4. Hello Master,

    I really like your kata video, and it's thanks to you that I've become my favorite kata that I do best. Only here, I do not understand why all the world makes fun of me when I do it in the playground!

    Thank you very much for your teaching.

    • Hello Karate4life,

      I'm flattered, but please, do not call me Master. I am only a modest teacher. Bruno will amply suffice.
      In the playground, your friends laugh because they do not know karate.
      You have to gently explain what it is. But if they do not understand and avoid doing karate, even kata in the school yard, you will avoid boredom. Practice at the dojo and at home.

      A+
      Bruno

  5. Good evening everyone,
    The "Embusen" are important in a kata is true, as the "kiaï" often a little forgotten by beginners either shyness or lack of knowledge about what they represent ...
    To return to the Embusen, it remains a very theoretical diagram in fact! for example on the movement in the longest axis to go - we start with kokutsu-dashi (straight line through the heels) and then we move a width of hip on the right in zenkutsu-dashi, on stay in line with a kiba-dashi, then again we turn to the right in zenkutsu-dashi (kiaï). So at the time of the U-turn one is shifted 2 hip widths from the starting point (the bar of the inverted T is therefore oblique)
    for the return, we make 3 kiba-dashi (thus straight line) then shift to the left with a last zenkutsu-dashi (kiaï). In the end, with the round trip, we shifted 3 hip widths from the starting point.
    Voila! I did not advance the schmilblick too much, but thank you Bruno for your explanations, each time it makes the kata more alive, and we extracted a little more the essence of karate-do, so that the kata remain a kind choreography! :-))

    • Hello Grasshopper,
      Yes yes you're right, we are clearly shifted to the end of the second straight line, but it's normal, at the time of the half turn (No. 26) we come back on the other side about 3 hip widths, then redecalibration at Yori Ashi about a hip width that is compensated again by bringing the right foot when returning to Yoi (No. 29).
      A+
      Bruno

  6. Hello bruno,
    The goal was not to note details ... I think in fact that you should not shift the foot you go from zenkutsu kiba before heisoku, which is to add a movement, so to change the essence of the kata. So what would be recognized as a serious mistake when passing a shodan ... My students connect to your site and take your courses and ask me questions.
    I find your work remarkable and it takes a long time and I thank you for your passion and the time you devote to it. I find enriching the fact to exchange on the notions of karate ... There is always controversy in our discipline. That is true. But some are justified others less ... Lol.
    Thank you again and your karate is of a good level ... Do not worry about that. But who am I to say? A passionate like you.

    • Fanny
      Do not worry, you can continue to comment. You're right, it can only be enriching for everyone.
      I'm glad to hear that your students are taking my classes and discussing them.
      So, above all, keep a critical mind and do not hesitate to say what you think is good or bad. That's the open-mindedness and I want this blog to be open to exchange.
      Now for the rotation of the foot, I am not persuaded of the seriousness of the fault. For me, we just have to turn around. And as I go forward, I start to turn around and turn my foot. I do not go to Kiba-Dachi. In fact I lift the foot slightly when I start to turn and when I rest in the other direction it is slightly shifted to the left. But suddenly my center of gravity remains on the same line. To be honest, I had never discussed it. I thank you for noticing this mistake (there are probably others ...) which is a mistake, but I think it is necessary to relativize its gravity.
      Continues to share your passion with us, there are no worries.
      A+
      Bruno

  7. Hello Bruno
    It is true that it is not the goal either to point out the errors, but hey, I can not go wrong.
    That says, yes you must not move your foot
    On the other hand I notice a lot of things that I did not see at the beginning at the level of the connections, pressure etc ... which make me happy, for my part and my vision you progress.
    good continuatio and see you soon
    a+

    • Johnny,
      Do not worry, your remarks do not bother me, on the contrary, they bring a plus to articles, videos and what I can say or do. It's all bonus for the readers.
      For my foot, in fact, it's because instead of turning on the forefoot to turn into Heisoku-Dachi, I tend to turn my foot first and then I shove it a little to the left to then come on; If it's a mistake, it's good that Fanny saw it because I did not realize it.
      For your comments on my progress, I thank you. Like what, an internship, some discussions, then a lot of research and personal work make progress. And again, for my taste I do not train enough at the moment for lack of time ... But I'm glad you're seen a progression (even very small ...)
      See you soon,
      Bruno

  8. It seems that the link does not work I went to get the video on you tube.
    Well done for the video ...
    I thought I noticed an error on the passage of zenkutsu oi zuki half turn in heisoku (end of the first straight line of 13 has 14) it seems that you move your foot forward to pass on 1 line before winding on your front leg (only qd you do it at normal speed) error that is not found qd you decompose the kata thereafter. It seems to me that it is an error that modifies the embusen ... so a serious error. And as johnny before me I could see the same small arming knee errors (should be right), blocking not enough 45 °.
    but apart from these small remarks, I admit that it is really not bad.

    • Hello Fanny,
      If you dig a little, you'll find mistakes. But the purpose of these videos is not to show you my karate, but just give lessons to allow everyone to train.
      Indeed at the end of the straight line, I tend to stay on the line for the half-turn. So I have to shift my right foot a few inches to the left (you have the eye!). Is this a serious mistake? I'm not even sure it's a mistake. You tell me about Embusen. Off the one is a T, with the return on the line of the go, so you have to shift your foot if you want to refocus on the line at the time of turning back.
      A+
      Bruno

  9. Hello
    Very good video, indeed H.sandan is a kata that requires a good mastery of the center.
    2-3 remarks:
    The uchi uké - gédan, you show very well the phase of compression arming (it tells me something :-)) but the execution is still a little too much odds, the gesture must be more forward.
    Weapon towards be and execute forward in 45 ° no lateral movement, short sides.
    For the fumikomi, you arm very well, but turn too early, you must maintain the front position for as long as possible and turn, crush, block at the same time and last time.
    To chain the other 2, when you show it slowly you're good arm while remaining in front but when you do it quickly, your knees make a circular trajectory, there is more stuff to arm and come crush.

    For the state shuto, it must be direct in a straight line, also no circular movement.

    Here is a good continuation, hoping that these remarks will help you.
    see you soon

    • Hello Johnny,
      Thank you for your compliment (it's not often ;-))
      Otherwise, of course your remarks will help me and they can help the readers.
      In fact at full speed, it's not always perfect, but you know what they say:
      "Do what I say, not what I do! "
      A+
      Bruno

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