Saiha
Introduction
This advanced southern Kyokushin kata combines short explosive and circular techniques, open hands, elbows, Uraken, double thrusts, sweeps, stamps, Sanchin/Nekoashi structure and an ibuki circular finish. It develops coordinated technical breakthrough with breath and balance. This sequence has 20 main teaching counts.
Historical background
Saiha is associated with Naha-te, Gōjū-ryū and southern Chinese influence through Okinawa’s Fuzhou contacts. Accounts differ: some connect its introduction to Kanryō Higaonna, others suggest Chōjun Miyagi developed or reshaped it after studying southern Chinese methods. Preserve that uncertainty. Kyokushin links it to Oyama’s Gōjū-influenced training under Nei-Chu So, emphasising breath, circular movement, close range, gathering and practical use.
Name and meaning
Saiha / Saifa (砕破) means crushing and tearing apart, pedagogically breaking through resistance. Sai conveys crushing/breaking; Ha/Fa conveys tearing/breaking apart. Some Okinawan pronunciation traditions render “ha” nearer “fa”. Galaz Dojo uses Saiha, common in Kyokushin; other traditions use Saifa. The name expresses gathered control, release, line-breaking and directed power with zanshin, not uncontrolled aggression.
Place in the system
Group: southern / Gōjū-influenced kata. Level: advanced foundation / dan. Establish stances, kihon, hikite, hips, ibuki, open hands, elbows, sweeps/stamps, rhythm and zanshin. Test gathered-to-explosive transitions, short elbow/Uraken/palm work, Nekoashi/Sanchin control, kick–stance–hand coordination, balanced sweeping/downward Tettsui and controlled circular completion.
Technical character
Three opening grip-release/elbow/side-Uraken groups lead to slow double open blocks, Mae geri and double Haitō/Seiken. Sweeps and stamps then support downward Tettsui with kiai, followed by quick Kake and short Shita tsuki. The finish unites palm control, Haitō hooking, Ura nukite and circular ibuki. Contrast stillness/explosion, release/counter, open hand/fist, circular/direct action, kick/stamp and soft control/firm finish while moving outside the main force line.
Embusen
Track lateral movement, 90°/180° turns, open hands, sweeping/stamping, Nekoashi/Sanchin transitions and the circular finish. Check all three opening directions, slow palm/Haitō controls, middle front kick, Zenkutsu/double high thrust, turn into sweep and Sanchin landing, Tettsui-to-Kake transition, final Nekoashi/mawashi and naore. No extra adjustment steps.
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.
Use the movement sequence as the technical reference for order and direction. It does not replace instruction in stance, footwork, hips, gaze, hand structure or breathing.
Stances
Fudō/Musubi/Yoi/Heikō: readiness, gathering and ibuki preparation. Heisoku: compact active opening grip-release position before elbow. Kiba: stable, not heavy, for side Uraken and straight-back foot movement; not too wide/high. Nekoashi: light active slow open control, post-Kake and finish without backward collapse. Zenkutsu: forward Morote jōdan tsuki and Gyaku. Sanchin: compact breathing-linked landing after sweep/stamp for downward Tettsui. Stance and technique finish together without rigidity.
Principal techniques
- Opening hikite/grip-release can represent release from a wrist grip. Hiji yoko jōdan ate: short circular rising close elbow. Uraken sayū ganmen uchi: quick directed side strike from Kiba with active Shōtei protection of the centre.
- Shōtei gedan barai / Haitō jōdan uchi uke: slow two-level open control in Nekoashi. Chūdan mae geri: middle kick from Nekoashi, changing distance/balance without leaning back; retract before placing the next stance.
- Haitō morote jōdan uchi: double neck-line attack, then hikite and Seiken morote jōdan tsuki, one body-driven double thrust.
- Tettsui hizō uchi, also described as Tettsui oroshi mawashi gedan uchi: large circles gathering into a firm strike against the open hand, not decorative swings.
- Ashi-barai: sweep linked to turn, balance and following stamp. Keep the knee high in the turns before stamping in 16 and 17. Tettsui oroshi ganmen uchi: structured heavy downward strike in Sanchin with kiai.
- Kake jōdan uke: quick structured Tenshō-like hooking/deflection after Tettsui. Seiken shita tsuki: immediate short, low, stable close thrust in Nekoashi. Seiken chūdan gyaku tsuki, 18: clear hip connection.
- Chūdan ura yonhon nukite, 19: directed open thrust after palm control and Haitō hooking; the right Haitō must not pass beyond the left Nukite position.
- Shutō gyaku mae mawashi uke: controlled circular finish in stable Nekoashi with ibuki and zanshin.
Start and finish
Begin Fudō-dachi facing shinden. Mokusō: gather body/mind in Musubi-dachi. At the next command, open the eyes and await yoi: slow Yoi-dachi with ibuki into Heikō-dachi. Hajime begins the 20 main counts; formal commands are separate. After 20, draw the right foot back to Musubi-dachi and keep mokusō position. Naore: Fudō-dachi. Yasume: rest.
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° anticlockwise | Heisoku-dachi | Migi hikite-position | Advance the right foot and turn 90° anticlockwise into Heisoku-dachi. Bring the hands to right hikite: left shōtei above right seiken. Understand the movement as a grip release and control. |
| 2 | Same direction | Heisoku-dachi | Migi hiji yoko jōdan ate | Perform a short, circular upward right-elbow technique. Rotate the right fist into the open left hand. Follow the elbow direction with the gaze. |
| 3 | Backwards to the left | Kiba-dachi | Migi uraken sayū ganmen uchi | Lower left shōtei as protection just above belt level. Move the left foot straight back into Kiba-dachi and strike Migi uraken sayū ganmen uchi. |
| 4 | Turn 90° clockwise | Heisoku-dachi | Hidari hikite-position | Advance the left foot and turn 90° clockwise into Heisoku-dachi. Bring the hands to left hikite: right shōtei above left seiken. |
| 5 | Same direction | Heisoku-dachi | Hidari hiji yoko jōdan ate | Perform a short, circular upward left-elbow technique. Rotate the left fist into the open right hand. Follow the elbow direction with the gaze. |
| 6 | Backwards to the right | Kiba-dachi | Hidari uraken sayū ganmen uchi | Lower right shōtei as protection just above belt level. Move the right foot straight back into Kiba-dachi and strike Hidari uraken sayū ganmen uchi. |
| 7 | Turn 90° anticlockwise | Heisoku-dachi | Migi hikite-position | Advance the right foot and turn 90° anticlockwise into Heisoku-dachi. Return the hands to right hikite, left shōtei above right seiken. |
| 8 | Same direction | Heisoku-dachi | Migi hiji yoko jōdan ate | Perform a short, circular upward right-elbow technique. Rotate the right fist into the open left hand. |
| 9 | Backwards to the left | Kiba-dachi | Migi uraken sayū ganmen uchi | Lower left shōtei as protection and move the left foot straight back into Kiba-dachi. Strike Migi uraken sayū ganmen uchi. |
| 10 | Turn 90° clockwise | Migi nekoashi-dachi | Migi shōtei gedan barai / hidari haitō jōdan uchi uke | Keep the right foot in place and turn the body 90° clockwise. Move the left foot straight left, about two shoulder widths from the right foot. Slowly draw the right foot along the floor towards the left into Migi nekoashi-dachi. Perform a slow double open-hand block: right down as Shōtei gedan barai, left up as Haitō jōdan uchi uke. |
| 11 | Forwards, then left | Hidari nekoashi-dachi | Migi chūdan mae geri / hidari shōtei gedan barai / migi haitō jōdan uchi uke | Quickly face forwards and kick Migi chūdan mae geri, retaining the hands. Set the right foot down to the right, about two shoulder widths from the left. Look left and draw the left foot towards the right into Hidari nekoashi-dachi. Slowly double-block: left shōtei down, right haitō up. |
| 12 | Forwards | Migi zenkutsu-dachi | Hidari chūdan mae geri / haitō morote jōdan uchi / seiken morote jōdan tsuki | Kick Hidari chūdan mae geri. Return the foot so the body finishes in Migi zenkutsu-dachi. As the foot returns, perform Haitō morote jōdan uchi towards the neck line, draw the hands to hikite, followed by Seiken morote jōdan tsuki. |
| 13 | Same position | Migi zenkutsu-dachi | Migi tettsui hizō uchi into hidari shōtei | Open the left hand and move the hands in a large circle. Finish with Migi tettsui hizō uchi into the open left hand in a movement resembling tettsui oroshi mawashi gedan. |
| 14 | Turn 180° anticlockwise | Hidari zenkutsu-dachi | Haitō morote jōdan uchi / seiken morote jōdan tsuki | Step across with the right foot and turn 180° anticlockwise into Hidari zenkutsu-dachi. Perform Haitō morote uchi towards the neck line, draw both hands to hikite and strike Seiken morote jōdan tsuki. |
| 15 | Same position | Hidari zenkutsu-dachi | Hidari tettsui hizō uchi into migi shōtei | Open the right hand and move the hands in a large circle. Finish with Hidari tettsui hizō uchi into the open right hand. |
| 16 | Turn 180° clockwise | Migi sanchin-dachi → Migi nekoashi-dachi | Migi ashi-barai / migi tettsui oroshi ganmen uchi, kiai / migi kake jōdan uke / hidari seiken shita tsuki | Bring the right foot towards the left and slightly in front for Migi ashi-barai. Place the right fist above and behind the head. Turn 180° clockwise on the left leg, keep the right knee high and stamp into Migi sanchin-dachi with Migi tettsui oroshi ganmen uchi and kiai. Open the right hand, perform quick tensho-like Kake jōdan uke, move into Migi nekoashi-dachi and strike Hidari seiken shita tsuki. |
| 17 | Turn 180° anticlockwise | Hidari sanchin-dachi → Hidari nekoashi-dachi | Hidari ashi-barai / hidari tettsui oroshi ganmen uchi, kiai / hidari kake jōdan uke / migi seiken shita tsuki | Perform Hidari ashi-barai. Place the left fist above and behind the head. Turn 180° anticlockwise on the right leg, keep the left knee high and stamp into Hidari sanchin-dachi with Hidari tettsui oroshi ganmen uchi and kiai. Open the left hand, perform quick tensho-like Kake jōdan uke, move into Hidari nekoashi-dachi and strike Migi seiken shita tsuki. |
| 18 | Forwards | Migi zenkutsu-dachi | Seiken chūdan gyaku tsuki | Advance the right foot into Migi zenkutsu-dachi and punch Seiken chūdan gyaku tsuki. |
| 19 | Turn 180° clockwise | Nekoashi-dachi | Hidari shōtei kontroll / migi haitō-krokning / hidari chūdan ura yonhon nukite | Advance the left foot in line with the right and open the left hand to shōtei. Pivot on the left foot, quickly turning 180° clockwise into Nekoashi-dachi. Slowly control with left shōtei. In the same position, circle right haitō towards the body as a hook towards the neck, while the left hand slowly thrusts Chūdan ura yonhon nukite, palm up. Finish the right hand above and aligned with nukite, without passing it. |
| 20 | Same position | Nekoashi-dachi | Shutō gyaku mae mawashi uke, ibuki | Perform Shutō gyaku mae mawashi uke, left hand up, with clear ibuki. Finish with stable nekoashi-dachi and zanshin. |
Breathing and rhythm
Distinguish preparation, three short release/elbow groups, Kiba Uraken, slow Nekoashi double blocks, kick/recovery, double Haitō/Seiken, large gathered Tettsui circles, sweep/stamp/downward strike, Kake/Shita and final palm/hook/Nukite/mawashi. Breath supports completion without stiffness; opening and closing ibuki come from the centre, not shallow throat pressure.
Kiai
Kiai: 16 on Migi tettsui oroshi ganmen uchi after right Ashi-barai and stamping into Migi sanchin-dachi; 17 on the corresponding left Tettsui after left sweep/stamp into Hidari sanchin-dachi. Gather from the centre with technical completion and kime.
Technical key points
Keep opening Heisoku compact, elbow close and palm protection active. Maintain Kiba stability as the foot moves back, Nekoashi hips/balance in slow blocks and recovered kicks. Unite double Haitō/Seiken, gather the large circles, connect sweeping/turn/stamp/Tettsui, preserve the high knee, quick functional Kake and stable Shita tsuki. Respect the count-19 hand limit and finish with controlled ibuki.
Common errors
Avoid large swinging elbows, unclear Uraken line, passive palm cover, high/wide Kiba, collapsed Nekoashi, unretracted kicks, two separate double-punch arms, decorative Tettsui circles, leg-only sweeps, unstable stamping, kiai without kime, empty Kake circles, unsupported Shita, off-line Ura nukite and a mawashi finish without breath or zanshin.
Bunkai and application
Study close release, circular control, leaving the main force line, opening distance, balance breaking and directed countering through the functions above. Keep bunkai technically reasonable, controlled and clear, with respect for the partner’s safety; powerful techniques do not justify exaggerated applications.
Training method
- Learn start, mokusō, yoi and ibuki separately.
- Practise the three opening hikite/elbow/Uraken groups slowly.
- Check Heisoku-to-Kiba transitions.
- Practise slow double blocks in Nekoashi.
- Practise Chūdan mae geri with recovery.
- Unite Haitō morote jōdan uchi and Seiken morote jōdan tsuki.
- Practise large Tettsui circles without exaggeration.
- Isolate Ashi-barai.
- Practise 16: sweep, turn, stamp, downward Tettsui, kiai, Kake and Shita tsuki.
- Practise 17 the same way on the opposite side.
- Practise Gyaku tsuki in 18.
- Practise 19 slowly: palm control, Haitō hook and Ura nukite.
- Practise final Shutō gyaku mae mawashi uke with ibuki.
- Add correct rhythm and breathing.
- Perform without counting.
- Practise simple partner bunkai.
- Return and correct stance, direction, breathing and zanshin.