Pinan sono ni ura
Name
Romaji: Pinan sono ni ura
Japanese: 平安その二裏 / 平安裏二段
Meaning: Second Pinan form, ura. Sono ni means the second form. Ura means rear, reverse or inner side; in kata it names a circular or reversed variant. Some sources use Pinan nidan ura; Galaz Dojo uses Pinan sono ni ura consistently. See Pinan for the shared background.
Introduction
Pinan sono ni ura develops the technical foundation of Pinan sono ni through larger circular movements. The same demands on direction, stance and technique remain, with increased difficulty in pivoting, balance and landing. This is controlled practice of technique through rotation, not a decorative spinning version.
Place in the system
Group: Pinan ura. Level: intermediate / advanced foundation. Learn this after performing Pinan sono ni steadily, with a sound understanding of its embusen, stances, techniques and transitions. Ura does not teach the basic form from scratch. Kicks require controlled recovery; close techniques and any crossed landings must already be understood.
Gaze must find the direction before rotation finishes. Turn through the pivot, hips and centre without throwing the upper body; maintain body height. Coordinate feet, hips, hikite, breathing, stance and kime. Land in a clear direction without extra adjustment steps, preserving zanshin between techniques and through the finish. Rotation serves the technique; speed cannot replace balance or a technical finish.
Technical profile
Rotation, pivoting, balance, stance transitions and technical completion organise the 20 main teaching counts. The principal rotation angles are 360°, 405°, 450°. The stances and techniques below retain their own structure throughout circular movement.
Kiai: 8 on Migi chūdan yohon nukite after 360°; 20 on Hidari jōdan uke after 405°.
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 underlying embusen follows the basic form, with side and main lines, transitions and the closing direction. Circular movements lengthen the route without removing its directional requirements. Read every direction with its sequence count; a diagram would not specify all details of hips, gaze, hikite, kicks, hands or breathing.
Check 450° rotations in counts 1 and 3 into the opening double block, the 360° shuto and attack combinations, and 405° diagonals in counts 10, 12, 18 and 20. Establish all four stances, coordinate kick and arm action, recover kicks and check final position.
Stances
Kokutsu-dachi is stable and rear-weighted for the opening double blocks and shuto after rotation. Kiba-dachi is a definite lateral base in tettsui transitions, not a passing step. Tsuruashi-dachi is controlled balance before Jōdan yoko geri/Uraken. Zenkutsu-dachi supports nukite, mae geri, gyaku tsuki, Morote, Gedan barai and Jōdan uke without becoming short or crooked after 360° or 405°.
Principal techniques
- Uchi uke / Jōdan uke: coordinated middle/high control after 450°, both blocks finishing in Kokutsu-dachi.
- Tettsui hizō uchi / Tettsui jōdan yoko uchi: short hip-driven body-side or high side strike/control in the transition to Kiba-dachi.
- Jōdan yoko geri / Uraken jōdan yoko uchi: coordinated side attack to two lines or levels from Tsuruashi-dachi; balance, direction and retraction matter more than height.
- Shutō mawashi uke: circular control or blocking after 360° and 405°, with a definite rear-weighted finish.
- Osae uke / Chūdan yohon nukite: downward control followed by a thrust through the opening after rotation.
- Haitō uke / Uchi uke: slow controlled sequence preserving body structure.
- Mae geri / Gyaku tsuki: kick to open distance or line, recover the leg before setting the stance, then counter from a stable centre after 360°.
- Morote uchi uke: reinforced middle defence after 360°, with functional supporting hand.
- Gedan barai / Yohon nukite / Jōdan uke: low deflection, diagonal thrust and upper protection, maintaining diagonal direction after 405°. Keep hikite active throughout.
Start and finish
Begin in Fudō-dachi, facing shinden. Announce Pinan sono ni ura, then perform a slow yoi according to dojo standard, finishing in Heikō-dachi or the locally selected yoi position. At mugōrei, continue without ongoing counts after hajime. The 20 numbered main counts exclude start, yoi, naore and yasume. At naore, return to Fudō-dachi according to dojo standard. Keep looking in the previous direction until the turn is complete. 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 | 450° anticlockwise | Hidari kokutsu-dachi | Hidari uchi uke / migi jōdan uke | From yoi, prepare the hands at the right side. Rotate 450° anticlockwise on the right foot into Hidari kokutsu-dachi and perform the double block. |
| 2 | Same direction / lateral transition | Hidari kokutsu-dachi → kiba-dachi | Migi tettsui hizō uchi / hidari tettsui jōdan yoko uchi | Strike migi tettsui hizō uchi, bring the left hand over the right shoulder and move through into Kiba-dachi with hidari tettsui jōdan yoko uchi. |
| 3 | 450° clockwise | Migi kokutsu-dachi | Migi uchi uke / hidari jōdan uke | Prepare the hands at the left side. Rotate 450° clockwise on the left foot into Migi kokutsu-dachi and perform the mirrored double block. |
| 4 | Same direction / lateral transition | Migi kokutsu-dachi → kiba-dachi | Hidari tettsui hizō uchi / migi tettsui jōdan yoko uchi | Strike hidari tettsui hizō uchi, bring the right hand over the left shoulder and move through into Kiba-dachi with migi tettsui jōdan yoko uchi. |
| 5 | Turn onto the main line | Tsuruashi-dachi → hidari kokutsu-dachi | Migi jōdan yoko geri / migi uraken jōdan yoko uchi / hidari shutō mawashi uke | Retract the right leg and turn into Tsuruashi-dachi. Perform jōdan yoko geri and uraken on the right. Set the right foot down and finish in Hidari kokutsu-dachi with shutō mawashi uke. |
| 6 | 360° clockwise | Migi kokutsu-dachi | Migi shutō mawashi uke | Retaining arm structure, rotate 360° clockwise on the left foot into Migi kokutsu-dachi and perform shutō mawashi uke. |
| 7 | 360° anticlockwise | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Retaining arm structure, rotate 360° anticlockwise on the right foot into Hidari kokutsu-dachi and perform shutō mawashi uke. |
| 8 | 360° clockwise | Migi zenkutsu-dachi | Hidari osae uke / migi chūdan yohon nukite, kiai | Rotate 360° clockwise on the left foot into Migi zenkutsu-dachi. Control with left osae uke and thrust migi chūdan yohon nukite with kiai. |
| 9 | Turn 90° left | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Move the left foot 90° anticlockwise and pivot on the right foot into Hidari kokutsu-dachi with shutō mawashi uke. |
| 10 | 405° clockwise | Migi kokutsu-dachi | Migi shutō mawashi uke | Rotate 405° clockwise on the left foot—360° plus the forward-right diagonal—into Migi kokutsu-dachi with shutō mawashi uke. |
| 11 | Turn 135° right | Migi kokutsu-dachi | Migi shutō mawashi uke | Move the right foot and turn 135° clockwise to a new direction. Finish in Migi kokutsu-dachi with shutō mawashi uke. |
| 12 | 405° anticlockwise | Hidari kokutsu-dachi | Hidari shutō mawashi uke | Rotate 405° anticlockwise on the right foot—360° plus the forward-left diagonal—into Hidari kokutsu-dachi with shutō mawashi uke. |
| 13 | 45° left | Hidari zenkutsu-dachi | Migi haitō uke → migi uchi uke / sukui uke | Move the left foot 45° anticlockwise into Hidari zenkutsu-dachi. Bring the left hand to the right jaw and let the right hand block with an upward sweep of haitō uke. Continue slowly, finishing as migi uchi uke / sukui uke. |
| 14 | 360° clockwise + kick | Migi zenkutsu-dachi | Migi mae geri / hidari chūdan gyaku tsuki | Keeping the right arm in its block position, rotate 360° clockwise on the left foot. Kick migi mae geri, retract the leg, set Migi zenkutsu-dachi and punch hidari chūdan gyaku tsuki. |
| 15 | 360° anticlockwise + kick | Hidari zenkutsu-dachi | Hidari mae geri / migi chūdan gyaku tsuki | Perform slow left uchi uke / sukui uke. Then rotate 360° anticlockwise on the right foot, kick hidari mae geri, set Hidari zenkutsu-dachi and punch migi chūdan gyaku tsuki. |
| 16 | 360° clockwise | Migi zenkutsu-dachi | Migi morote uchi uke | Retaining the hands, rotate 360° clockwise on the left foot into Migi zenkutsu-dachi and block migi morote uchi uke. |
| 17 | Turn 90° left | Hidari zenkutsu-dachi | Hidari gedan barai | Move the left foot 90° anticlockwise and pivot on the right foot into Hidari zenkutsu-dachi with gedan barai. |
| 18 | Immediate nukite + 405° clockwise | Migi zenkutsu-dachi | Hidari jōdan yohon nukite / migi jōdan uke | Thrust hidari jōdan yohon nukite immediately along a 45° diagonal. Retaining the hand position, rotate 405° clockwise on the left foot into Migi zenkutsu-dachi and block migi jōdan uke. |
| 19 | Turn 135° right | Migi zenkutsu-dachi | Migi gedan barai | Move the right foot and turn 135° clockwise into Migi zenkutsu-dachi with gedan barai. |
| 20 | Immediate nukite + 405° anticlockwise | Hidari zenkutsu-dachi | Migi jōdan yohon nukite / hidari jōdan uke, kiai | Thrust migi jōdan yohon nukite immediately along a 45° diagonal. Retaining the hand position, rotate 405° anticlockwise on the right foot into Hidari zenkutsu-dachi and block hidari jōdan uke with kiai. |
Breathing, rhythm and kiai
Distinguish the rotations, gathered preparations, ordinary turns, blocks, attacks and combinations described below. Slow controlled passages retain their timing; explosive passages still require a stable finish. Do not let rotation make breathing shallow or hurried. Gaze, pivot, landing, breathing, kime and zanshin create rhythm.
Kiai: 8 on Migi chūdan yohon nukite after 360°; 20 on Hidari jōdan uke after 405°.
Technical key points
Gaze must find the direction before rotation finishes. Turn through the pivot, hips and centre without throwing the upper body; maintain body height. Coordinate feet, hips, hikite, breathing, stance and kime. Land in a clear direction without extra adjustment steps, preserving zanshin between techniques and through the finish. Rotation serves the technique; speed cannot replace balance or a technical finish.
Check 450° rotations in counts 1 and 3 into the opening double block, the 360° shuto and attack combinations, and 405° diagonals in counts 10, 12, 18 and 20. Establish all four stances, coordinate kick and arm action, recover kicks and check final position.
- Uchi uke / Jōdan uke: coordinated middle/high control after 450°, both blocks finishing in Kokutsu-dachi.
- Tettsui hizō uchi / Tettsui jōdan yoko uchi: short hip-driven body-side or high side strike/control in the transition to Kiba-dachi.
- Jōdan yoko geri / Uraken jōdan yoko uchi: coordinated side attack to two lines or levels from Tsuruashi-dachi; balance, direction and retraction matter more than height.
- Shutō mawashi uke: circular control or blocking after 360° and 405°, with a definite rear-weighted finish.
- Osae uke / Chūdan yohon nukite: downward control followed by a thrust through the opening after rotation.
- Haitō uke / Uchi uke: slow controlled sequence preserving body structure.
- Mae geri / Gyaku tsuki: kick to open distance or line, recover the leg before setting the stance, then counter from a stable centre after 360°.
- Morote uchi uke: reinforced middle defence after 360°, with functional supporting hand.
- Gedan barai / Yohon nukite / Jōdan uke: low deflection, diagonal thrust and upper protection, maintaining diagonal direction after 405°. Keep hikite active throughout.
Common errors
Common errors are late gaze, lost direction, short or misaligned stances after rotation, a forward-collapsing Kokutsu-dachi, passive gathered preparation, unstable lateral or crossed landings, techniques delivered before landing, weak hikite, missing supporting hands, disconnected combinations, unretracted kicks, arm swings without hip connection, extra steps and kiai without kime. Correct each against the specific stance, technique and count requirements on this page; maintain the finish and zanshin.
Bunkai and application
Keep applications technically clear and close to the basic form. The functions under Principal techniques cover defence, control, strikes and counters. Rotation changes direction, distance, angle or opponent before the technical finish; gaze and zanshin prepare balance, intent and continued readiness. Practise with a partner under control and keep complexity appropriate to the kata.
Training method
- Review Pinan sono ni without ura turns.
- Check embusen and main counts.
- Isolate 450° rotations to double blocks.
- Practise tettsui transitions to Kiba-dachi.
- Isolate Tsuruashi-dachi, Jōdan yoko geri and Uraken.
- Add Shutō mawashi uke after 360°.
- Practise the shuto sequence’s 405° turns.
- Practise Osae uke and Chūdan yohon nukite after rotation.
- Practise Mae geri and Gyaku tsuki after 360°.
- Practise Morote uchi uke after 360°.
- Practise closing Gedan barai, Yohon nukite and Jōdan uke.
- Add breathing, rhythm, kime and kiai.
- Perform the whole kata slowly without counting.
- Practise simple partner bunkai, then return to the kata.