PINAN SANDAN

Grand Master
  1. The second move keep elbow closer to body so muscles under armpit are tight. Also last two moves keep arms and elbows close to body as your spin and turn. Okinawa 1995
  2. After the three moves with your fist on your hips, the uraken-uchi, the palm should face your ear, and the fist reverberate. Okinawa 1995
  3. On the last two moves, keep close to the body and don't overextend on the punches. Okinawa 1995

Soke
  1. One application for the last two moves is that someone is grabbing you from behind and you use the swing punch to the face and elbow to the chest combination to defend. Okinawa 1999

Makishi Sensei
  1. The first move must be down with lightning speed, and when you turn to do the second nekoashi-dachi chudan-uke, make it fast! Okinawa 1995
  2. After the first move the standing morote barai-uke (augmented lower block) both sets and both blocks the arm that is up always goes to the "inside" of the arm that is coming up. Okinawa 1995
  3. 2nd move the morote-barai-uke elbows remain in and forearms one fist to the outside, mine was a bit too narrow. Also when executing chudan-zuki you need to hyper extend elbow joint then relax back-the joints separate and come back. Okinawa 1995
  4. When you do the nikute the idea is to be holding the opponents hand so you keep your hand stationery and move into the next move. Use opponent's energy to follow him then attack. Okinawa 1995
  5. Don't pull back the nukite; application is opponent's (left leading to left leading like shaking hands) are pulling at each other- hand grabbing at your wrist, you wrap (keeping a hold of them) the arm over your neck and swing up very close, you do elbow to their armpit which is fully exposed at this point. Wind up left foot closest to them in jigotai-dachi. (You started in standing position. Okinawa 1995
  6. The urakens, arm stays at a 45 angle. Okinawa 1995
  7. Last two moves are like you are in a movie house in a crowd and someone standing right at your back, so you are striking to their face and elbow strike to their stomach same time. Okinawa 1995
  8. After first move, stand up and do your blocks, making sure the inside hand comes on inside - so high hand swings on inside! Makishi Sensei says I should open up width of block, so the higher arm and the lower arm both need to move a little out. Okinawa 1998
  9. After nikute-zuki, as the right takes its first step out, at same time the nikute-zuki hand should fly to behind your head, than as you turn it goes over the head to in front of the face, and down into oi-zuki. Okinawa 1998
  10. The next move, your step and punch, then with right (standing) punch, right foot out, you take the right foot, place 45, spin on ball of feet (keeping your centerline) and drag the left foot back in to position (heels touching, toes open). Okinawa 1998
  11. Next you do the shoulder block/uraken-uchi. The application explanation by Makishi Sensei is that the samurai in robes in very cold might have hands tucked in folds and when attacked the blocked with shoulders, then the hands came out for uraken-uchi. Okinawa 1998
  12. The last two moves, the position of the elbow should not be cocked at 45 with some space between the arm and body - should be tight and you should drive straight back the same way you would for a punch drive back. Okinawa 1998
  13. Last two moves application: someone grabs you from behind; you elbow them. Can also have fist strike concept with their face directly behind your head. Okinawa 1998
  14. Second move, morote-barai-ukes, is one count, not two. Okinawa 1999
  15. On the morote barai-uke, keep it close to the body and use no power from the shoulders. Okinawa 1999
  16. Nukite-zuki straight elbow, change the timing, let the body lead first and do hand behind head and in front of head also, then oi-zuki. Okinawa 1999
  17. After the nukite-zuki and hand goes in front of face, speed the off-hand back at the same time/speed as the chase punch. Okinawa 1999
  18. When you turn and place your fists on your hips, the first two knuckles should dig into your hipbones. Okinawa 1999
  19. After the oi-zuki with kiai, you need to "step in", bringing right over three inches so your midline/T-line stays the same. Okinawa 1999
  20. Next moves are not just shoulder deflections, but also the elbow moves a lot. Okinawa 1999
  21. On the last moves, keep your hands in fists!! Okinawa 1999
  22. On the last move, make sure the groin is not too open, bring the forward leg in. Okinawa 1999
  23. After the nukite-zuki, you need to imagine the application and make your hand cover your whole head; remember to move into the hand as you step forward. Your hand need to go in front of, above, then behind your head as you spin, then drop and punch with a kiai. Osaka Temple 2000
  24. After the oi-zuki and kiai, make sure your right foot "steps over" just a little before you do the Buddha kamae. Osaka Temple 2000
  25. After setup with knuckles on hipbones, make sure elbows block inward. He said it should be like "a door swinging shut", so elbow is going in without dipping your shoulder. Osaka Temple 2000
  26. On the last two moves you need to elbow straight back, but he corrected my punching arm. The punch is very elastic and aims, not at a 45 angle, but directly behind the neck for an opponent directly in back. On the footwork for the second set make sure the left leading nekoashi-dachi is 45, and that when you move up to close the kata, that you move up to the centerline, don't step too far over. Osaka Temple 2000

Higa Sensei
  1. Make sure the third elbow block is the same as the first two. Okinawa 2003
  2. Again, relaxed during lower arc, accelerating over the top of the arc during the uraken-uchi after the third elbow-uke. Okinawa 2003

Nakamura Sensei
  1. The uraken-uchi was originally interpreted as a move to break someone's collarbone. Okinawa 1995

Shinjo Sensei
  1. On the swing over the head move, first step out 45 with foot, then when high hand is in front of face, pull back at the same speed as the punch goes out. Okinawa 1999
  2. On the last two moves keep the non-active hand in the armpit; don't dip. Okinawa 1999

Yaga Sensei
  1. Zenkutsu-dachi should be lower in front; knee needs to be over toe, straight rear leg. Okinawa 1999

Tamaki Sensei
  1. Last four shuto-uke keep your head level, body level does not bounce up and down. Also he teaches that in katas when you turn to do gedan-uke zenkutsu-dachi, when you are turning, to get there, first bring your elbow in. The arm is no longer one long unit. Okinawa 1995


113 Trescony St. • Santa Cruz, CA 95060 •
• Phone/Fax: 831.425.2249 • info@sczenkarate.org