Pinan sono ichi
Name
Romaji: Pinan sono ichi
Japanese: 平安その一 / 平安初段
Meaning: First Pinan form. Pinan (平安), the Okinawan reading of the characters, conveys peace, calm, safety or serenity. Here calm means controlled readiness, not passivity. Sono ichi identifies the first form. See Pinan for the shared name, history and place in Kyokushin.
Introduction
Pinan sono ichi follows Taikyoku and introduces more varied blocks, three stances, a retreating glide into a short tettsui, and a diagonal shuto finish. It develops clear transitions and technical intent while retaining a readable embusen. Learn it after the Taikyoku foundation is stable.
Place in the system
Group: Pinan. Level: Foundation / early intermediate.
Pinan sono ichi follows Taikyoku and introduces more varied blocks, three stances, a retreating glide into a short tettsui, and a diagonal shuto finish. It develops clear transitions and technical intent while retaining a readable embusen. Learn it after the Taikyoku foundation is stable.
Technical profile
The technical character combines the stances and techniques below with changes of direction, coordinated hips and hikite, breathing, rhythm, kime and zanshin. The teaching sequence has 20 main counts.
Kiai: counts 8 and 16. They mark a technical and mental finish, not a substitute for kime.
Embusen and technical diagram
Diagram unavailable: The embusen diagram described in the source is absent from this edition. Follow the directions and movement sequence in the text.
The pattern has side lines, a main line, 270° turns and a diagonal finish. Read the 20 counts together with their directions. Check the count-3 glide, turning foot, final direction, transitions to Kokutsu-dachi and finishing position. Direct the gaze before the technique finishes and do not add adjustment steps. A diagram alone would not specify stance, hips, hikite, gaze or breathing.
Stances
Zenkutsu-dachi supports Gedan barai, Chūdan oi tsuki and Jōdan uke. Nekoashi-dachi, in count 3 after Gedan barai, changes distance and centre of gravity through an active, controlled backward glide before Tettsui komekami uchi. Kokutsu-dachi gives rear-weighted stability to the final diagonal Shutō mawashi uke. Do not shorten or raise Zenkutsu-dachi, collapse backwards in Nekoashi-dachi, or fall forwards in Kokutsu-dachi. Stance and technique finish together.
Principal techniques
- Seiken gedan barai: low deflection, downward control or release, with a distinct low line and active hikite.
- Seiken chūdan oi tsuki: direct middle-level counter after a block or repositioning, aligned with the centre and hips.
- Tettsui komekami uchi: short strike towards the temple or side of the head after the backward glide or angle change; hips drive it, not a loose arm swing.
- Seiken jōdan uke: rising reception or deflection of an upper-level attack.
- Shutō mawashi uke: circular blocking, control or repositioning, finishing in stable Kokutsu-dachi.
- Diagonal directions: change the angle to an opponent and the line of attack. Keep each block’s path and purpose distinct.
Start and finish
Begin in Fudō-dachi, facing shinden. After announcing Pinan sono ichi, perform the slow yoi movement into Heikō-dachi according to the dojo standard. In mugōrei, perform without ongoing counts after hajime. Only the 20 main counts are numbered; start, yoi, naore and yasume are separate.
At naore, bring the left foot back through a 45° anticlockwise turn into Fudō-dachi. At yasume, return to the resting position.
Movement sequence
The following teaching sequence supports practice and revision according to the selected Galaz Dojo/modern Kyokushin standard; it does not replace dojo instruction.
| No. | Direction | Stance | Technique | Comment |
|---|---|---|---|---|
| 1 | Turn 90° left | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn anticlockwise and block low with clear hikite. |
| 2 | Forwards | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Advance and punch straight towards chūdan. |
| 3 | Turn 180° right | Migi zenkutsu-dachi → migi nekoashi-dachi | Migi seiken gedan barai → migi tettsui komekami uchi | Turn clockwise into gedan barai, slide back to Nekoashi-dachi and strike tettsui at temple height. |
| 4 | Forwards | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Advance and punch chūdan with the left hand. |
| 5 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn onto the main line and block low. |
| 6 | Forwards | Migi zenkutsu-dachi | Migi seiken jōdan uke | Advance and block jōdan. |
| 7 | Forwards | Hidari zenkutsu-dachi | Hidari seiken jōdan uke | Continue forwards with a rising block line. |
| 8 | Forwards | Migi zenkutsu-dachi | Migi seiken jōdan uke, kiai | Finish the first main line with kime and kiai. |
| 9 | Turn 270° left | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn anticlockwise to a new direction and block low. |
| 10 | Forwards | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Advance and punch chūdan. |
| 11 | Turn 180° right | Migi zenkutsu-dachi | Migi seiken gedan barai | Turn clockwise to the opposite direction. |
| 12 | Forwards | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Advance and punch chūdan with the left hand. |
| 13 | Turn 90° left onto the main line | Hidari zenkutsu-dachi | Hidari seiken gedan barai | Turn onto the main line and block low. |
| 14 | Forwards | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki | Advance and punch chūdan. |
| 15 | Forwards | Hidari zenkutsu-dachi | Hidari seiken chūdan oi tsuki | Continue along the main line at the same height and direction. |
| 16 | Forwards | Migi zenkutsu-dachi | Migi seiken chūdan oi tsuki, kiai | Finish the second main line with kime and kiai. |
| 17 | Turn 270° left | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Turn anticlockwise into Kokutsu-dachi with shutō mawashi uke. |
| 18 | Diagonally forwards right | Migi kokutsu-dachi | Migi shutō mawashi uke | Move migi mae naname 45° and block with shutō mawashi uke. |
| 19 | Turn 135° right | Migi kokutsu-dachi | Migi shutō mawashi uke | Turn clockwise to a new direction. |
| 20 | Diagonally forwards left | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Move hidari mae naname 45° and finish with zanshin. |
Breathing, rhythm and kiai
Use natural, controlled breathing and exhale with the technique. Breathing supports kime without making the body rigid. Distinguish the technical groups below: preparation, turns, blocks, attacks and transitions must not become a uniform race. Maintain zanshin between them.
Kiai: counts 8 and 16. They mark a technical and mental finish, not a substitute for kime.
Technical key points
Keep body height through turns and the backward glide. Coordinate gaze, footwork, hips, hikite and technique. Separate the rhythm of Gedan barai/Chūdan oi tsuki, the Nekoashi-dachi/Tettsui transition, the Jōdan uke main line and the final diagonal shuto sequence. Finish each stance and technique together and preserve readiness through the last movement.
Common errors
Watch for late gaze, unclear 270° turns or diagonals, extra steps, short or high Zenkutsu-dachi, a passive retreat in count 3, rising during the glide, an arm-only tettsui, weak hikite, indistinct block paths and a forward-collapsing Kokutsu-dachi. Avoid uniform rushed timing, kiai without kime and a loose finish.
Bunkai and application
Use the functions described under Principal techniques as simple applications, linking stance, direction, distance, defence and counterattack. Practise with a partner under control, at a complexity appropriate to this kata.
- Seiken gedan barai: low deflection, downward control or release, with a distinct low line and active hikite.
- Seiken chūdan oi tsuki: direct middle-level counter after a block or repositioning, aligned with the centre and hips.
- Tettsui komekami uchi: short strike towards the temple or side of the head after the backward glide or angle change; hips drive it, not a loose arm swing.
- Seiken jōdan uke: rising reception or deflection of an upper-level attack.
- Shutō mawashi uke: circular blocking, control or repositioning, finishing in stable Kokutsu-dachi.
- Diagonal directions: change the angle to an opponent and the line of attack. Keep each block’s path and purpose distinct.
Training method
- Review Taikyoku embusen and turns.
- Learn the sequence slowly without force.
- Isolate turns, pivot leg and final direction.
- Practise Gedan barai and Chūdan oi tsuki combinations.
- Isolate count 3: Gedan barai, glide to Nekoashi-dachi and Tettsui komekami uchi.
- Practise the main Jōdan uke and Chūdan oi tsuki lines.
- Practise the final Shutō mawashi uke in Kokutsu-dachi.
- Add breathing, rhythm, kime and kiai.
- Perform without counting, maintaining zanshin.
- Practise simple partner bunkai, then return to the kata.