Pinan Sandan - The Third Peaceful Mind Pinan Sandan is the third of a series of five kata s. The techniques in this kata are accelerated by body twisting in the same direction as the technique. The kata teaches us to coordinate blocking and body movement together, elbow techniques, back fist striking, body turning for defense technique, rising reverse punching and side hammer fist strike. Neko ashi dachi Morote uke Heisoku dachi Gyaku zenkutsu dachi Jun zuki Empi uke Chudan reiken uchi Ushero empi uchi Ushero jodan age zuki Zabuki waza - Cat stance - Double block - Closed foot attention stance - Reverse forward stance - Forward punch - Elbow block - Middle back fist strike - Back elbow strike - Back high rising punch - Full body turning technique The most important things to master in this kata are double blocking, blocking and striking with body movement.
The Movements of Pinan Sandan 1. In attention stance, (Musubi dachi) perform standing bow, (tachi rei). 2. Cross the hands in front of the body middle area, (chudan) fist closed, right over left. At the same time step with the left leg sideways into normal natural stance, (shizen hontai) or eight letter stance, (hachiji dachi). This is YOI or preparation stage for kata. (Figure 1). 3. Look left. Turn 90 degrees to the left into left cat stance (hidari neko ashi dachi) while performing left upper inside block (hidari jodan uchi ude uke). (Figure 2) 4. Step forward a half step with the right into closed toes attention stance (heisoku dachi) while performing right upper inside forearm block (migi jodan uchi ude uke) and left lower downward sweeping forearm block (hidari gedan otoshi bari ude uke) simultaneously. 5. While remaining in heisoku dachi perform left upper inside forearm block (hidari jodan uchi ude uke) and right lower downward sweeping forearm block (migi gedan otoshi bari ude uke). (Figure 4) 6. Look to the right. Turn 180 degrees to the right into right cat stance (migi neko ashi dachi ) performing a right upper inside forearm block (migi jodan uchi ude uke). (Figure 5) 7. Step forward a half step with the left into closed toes attention stance (heisoku dachi) while performing left upper inside forearm block (hidari jodan uchi ude uke) and right lower downward sweeping forearm block (migi gedan otoshi bari ude uke) simultaneously. (Figure 6) 8. While remaining in heisoku dachi perform right upper inside ude uke (migi jodan uchi ude uke) and left lower downward sweeping forearm block (hidari gedan otoshi bari ude uke) simultaneously. (Figure 7) 9. Look to the left. Turn 90 degrees to the left (front facing) into left cat stance (hidari neko ashi dachi) while performing left upper inside forearm block (hidari jodan uchi ude uke). ( Figure 8) NEKO ASHI DACHI The stance of the cat! Page 45
KIAI 10. Step into right forward stance (migi zenkutsu dachi) while performing a right vertical spear hand thrust strike (migi tate nukite kekomi uchi) KIAI. (Figure 9) 11. Still in migi zenkutsu dachi, bring the left leg forward to shorten the stance into right reverse cat stance (migi gyaku neko ashi dachi) while inverting the migi tate nukite 180 degrees to the the left so that the palm now faces outward. (Figure 9A) 12. Turn 180 degrees to the left and step out into left reverse forward stance (hidari gyaku zenkutsu dachi). (Figure 9A). 13. Step forward with the left leg behind the right into left crossover stance (hidari juji dachi). The left hand is drawn in behind the back in preparation for the next technique. (Figure 10) 14. Turn 180 degrees to the left into straddle stance (kiba dachi) while performing a left side middle hammer fist strike (hidari yoko chudan tettsui uchi). (Figure 11) 9A KIAI 1 5. Step into right forward stance (migi zenkutsu dachi) while performing right middle forward punch (migi chudan jun zuki). KIAI. (Figure 12) Page 46
16. Turn 180 degrees to the left by drawing the left foot to the right in opened toe attention stance (musubi dachi) placing the fist onto the hips (knuckles inward). (Figure 13) 17. Turn the right fist outward to the punch position (zuki kamae). Step forward into right crossover stance (migi juji dachi). Shift the body to the left into kiba dachi while performing a right arm block (migi kote uke) followed by a right middle back fist strike ( migi chudan reiken uchi). Draw the strike back to the hip. (Figure 14 & 15) 18. Turn the left fist outward to the punch position (zuki kamae). Step forward into left crossover stance (hidari juji dachi). Shift the body to the right into kiba dachi while performing a left arm block ( hidari kote uke) followed by a left middle back fist strike ( hidari chudan reiken uchi). Draw the strike back to the hip (Figure 16 & 17 ) KIAI 19. Turn the right fist outward to the punch position (zuki kamae). Step forward into right crossover stance (migi juji dachi). Shift the body to the left into kiba dachi while performing a right arm block (migi kote uke) followed by a right middle back fist strike ( migi chudan reiken uchi). Hold the back fist in the strike position. (Figure 18 & 19) 20. Stepping into left forward stance (hidari zenkutsu dachi) bring the hands to a left side set position (hidari zuki kamae with migi chudan kagi uke) and perform a left upper forward punch (hidari jodan jun zuki) KIAI. (Figure 20) Page 47
21. Draw the right foot forward into natural stance (shizen hontai) while maintaining the hidari jun zuki. 22. Draw the hands to the right set position (migi zuki kamae with hidari chudan kagi uke) while stepping behind the right leg with the left into crossover stance (hidari juji dachi). Turn 180 degrees to the left into natural stance (shizen hontai) while performing a simultaneous left back elbow strike (hidari ushero empi uchi ) and a right back rising punch over the left shoulder (migi ushero age zuki) (Figure 21) 23. Slide the feet to the right and perform simultaneously a right back elbow strike (migi ushero empi uchi) and a left back rising punch over the right shoulder (hidari ushero age zuki). (Figure 22). 24. Move to natural stance position (shizen hontai). Come into attention stance (musubi dachi) and perform standing bow (tachi rei). (Figure 23) Yasumi. * Notes of interest on Pinan Sandan (optional movement). 1. In figure 3 the double block movement gives the karateka training in using two hands in different ways at the same time. The hands can be opened and used for various strikes and blocking combinations such as ureiken and gedan bari uke, gedan zuki and ude uke, haito uchi and osae teisho uke. 2. In figure 9A and 10 and movement 11, 12 & 13 there are various optional movements. Movement 11 allows the defender to move into an attacker holding the wrist. The arm can be lowered weakening the attackers strength of the hold and the inverting outward of the palm you either break or weaken the opponents grip. 3. In movement 12 if the grip on the wrist is not broken free then the defender draws backwards pulling the opponent off balance so that the arm can be placed behind the back to allow a small circle turn with a striking technique. This striking technique can be hammer fist, back fist, elbow strike, back hand strike and ridge hand strike. The drawing backwards into reverse forward stance can also be used as an escape movement after you have freed the trapped wrist. 4. In the movement between figure 13 & 14 the fist is brought into zuki kamae position. This allows more power to the blocking arm technique and allows better support to the block. Also the twisting of the body out of crossover stance aids in power development of the block. 5. In figure 15 the back fist strike is kept to the middle area under the attackers arm. This technique can also be used with a bottom fist side strike. 6. In movement 20 & 22 the hands are brought into the set position for protection when movement takes place. In movement 20 the cover is set when moving into punch and movement 22 the cover is set when making a turning movement to the rear. pinan sandan/barry lane/revised aug/96 Page 48