OK, so why do you do the Pinan's.

GKR karateka, don't despair, this topic does still include you as your Taikyoku Shodan is a direct descendant of Pinan Nidan (the second in the series of 5 pinan kata).

Most of you reading this will be aware of my thoughts on kata encoding principles of one sort or another. So there's an easy answer, the kata encode principles that are of value in self-defence.

But I'd like to look at the subject from a slightly different point of view. Some years ago now I was introduced to the idea of particular kata having particular themes or ideas associated with them, that tie the techniques in the kata together in some way. Its not a theory I've wholly bought into. However, I do think this approach can be useful in allowing instructors give more structure to the learning process. An example...

In our dojo Pinan Nidan is either the first or second kata that students are introduced to. I use it to teach a number of principles, ideas and techniques. However, over time I've honed in on a particular subset of skills that I use this particular kata to teach. First off, it teaches the students about power generation through simultaneous pulling and pushing (horizontally, upwards and downwards). One could (and we do) use this power generation method in a number of different ways, but initially I find it most useful to teach applications that involve responses to arm grabs. I also find it appropriate to introduce arm-bars (hyperextending the elbow) at this stage of the student's training, and conveniently there are plenty of these to be found in Pinan Nidan.

So this particular kata is great for teaching several themes:
1. Power generation - simultaneous pushing and pulling
2. Defences against wrist and arm grabs
3. Joint lock: arm-bar

It teaches lots of other things too but the above are an excellent starting point given where the kata sits in our syllabus (ie. at 9th or 8th kyu). Other instructors might use the kata in a very different way and that’s totally appropriate.

So can we find such themes in the other Pinan kata? At least to a degree I believe so. Here are some that I use.

Pinan Shodan themes (8th/7th kyu):
1. Power generation - moving both arms in opposition to each other (eg. expanding & contracting in the opening sequence)
2. Defences against blows to the head and ches (covering simultaneous attack & defence) & also defences to the arms being grabbed from behind
3. Joint-locks: nikyo, kote-gaeshi, wrist reversal

Pinan Sandan themes (6th/5th kyu):
1. Power generation - i) drawing the feet together to bring the bodyweight to bear at one point, ii) stepping forwards and turning round (from the very end of the kata)
2. Defences against strikes to the abdomen
3. Joint-locks: hammer-lock, neck and face cranks

And so on…

Now what Pinan Yondan & Pinan Godan? Any thoughts from the audience?

Mike

I haven't done Pinan Yondan in 3-4 years. Gosh how time flies

Pinan Godan - I feel there's a lot of receiving grabs and strikes and applying armbars. Or takedowns.

Example - opening moves (assuming there's not much variation between versions) of turn into cat stance with block, strike then bringing feet together and hands come to the side (then rinse and repeat on other side). I see a potential response to a lapel grab by grabbing the elbow and pulling (the block) to turn the attacker which also moves their free hand farther from you. The other hand goes behind their head (the punch) to seize their far shoulder or around the back of the neck to grab the jaw and rotate the head to the shoulder. The rotation continues and you take them to the floor (stepping and bringing the hands to the side). There are others but that seems to work, although not very clear when it's put in writing.


Mick

I do peanut gonads cos sensei says to... Isn't that the main reason students do most kata?

I also do an arnis form (anyo) which was derived from the pinan pattern. I teach it because it gets immobile students moving their lower body, develops flow in their technique, highlights the different purposes of some strike angles, and gives them a little bit of confidence cos disarms are SO much easier on your own
It also has some base combinations that can be used for different results - strikes, blocks, counters and disarms for various weapons and empty hand technniques.

That's clear enough for me. I think there's lots of similar things you can do with this chambering the hands at the hip whilst turning the hip in the same direction. Same sort of idea as at the start of Saifa. Nice.

Mike

Yep. Last night, just for fun, spent an hour going through some applications from Pinan Godan.


Mick

... damn ...

Looking at Pinan Yondan in a little more detail...

juji-uke gedan (low cross block), step forward with morote-uke (augmented block), then step forward again with kagi-gamae (cup-and-saucer or hands-at-hip).

Pictures 6a, 7 & 8 here

What the bejesus is all that about then?

Mike