naihanchi nidan

okay, I need some help with the opening sequence.

The first move is to raise the arms parallel to the floor, as if breaking a rear bearhug with arms trapped.

After that... I am lost. My instructor simply taught it was a stepping sideways with the right hand blocking out and the left guarding the chest. This is great for sparring from a sidefighting stance but I don't 'see it' as bunkai.

My impression is that the step across is a turn to face the attacker but I am not sure how the hands come into play. Is it a lead hand strike to the face?

And what about the next series of steps. Are you moving through your attacker?

How would you interpret the inside block during that next stepping sequence?

Thanks

"Remove all notions of combat"

Naihanchi is a very old form and it was split into three parts probably to make it easier to study (space allowance).

In its original form there is no 2nd or 3rd part. Naifaunchin opens to the right and then proceeds to the left to the end (or first half) of naihanchi ichi, and then continues immediately into naihainchi ni, and san all to the left before finally restarting all the way back again.

The version practiced in Shotokan as Tekki 1-3 demonstrates this point. In Tekki Shodan (naihanchi ichi) you perform a ritualised opening with the hands. (an ancient buddhist greeting) In Tekki 2 and 3 you move straight into the techniques.

When trying apply Naihanchi to combat related bunkai it wont work. Sure you can say there are a range of movements like elbows and short-range strikes but even you yourself have already commented that it must be taken from the frame of the form.

Ask yourself why the kata is practiced along one straight line (unique in this aspect from all others) There are also no turns or fancy footwork (something essential to boxing).

The opening move you speak of 'could' be an escape from a bear hug but within the next move or so you will become stuck as to what you are doing. In my system the technique isn't an opening move its a transitional one between part one and two. It is used to 'roll' your practice partner into another joint manipulation technique (cross armed lock)

Applied nahainchi (naifaunchin) fits perfectly EVERY SINGLE MOVE as a two man flow drill for practicing multiple unbalancing and grappling techniques.

It fits as snugly as a key or Cinderella’s slipper so there will be no changing it on my front!

The name Naifaunchin translates as "Internal Divided Conflict" this, aside from the opening bow hints of its deeper meditative (esoteric) aspects and thus I end by linking you back to a sound piece of advice when trying to 'work out' bunkai..

"Release all notions of combat"

Akiba
If you'd like me to discuss any aspects of this form further just let me know.

Kenposan,

Actually you could use the first movement as a left hand grab of their left arm arm (which was either striking or grabbing you)with your right elbow striking behind their elbow, this is an armbar strike and the left foot stepping across strikes into their leg.

They bend over.

Your stepping behind their left leg locks their lower body and then the righ hand strikes into their face, neck or throat.

This is just one sequence of application potential within the kata.

Another could be the rising left hand actually hooks their left arm against your body as your right hand strikes into their ribs and then under their arm with the 2nd inward hook.

Application is a complex issue to discuss. And the application potential, suggesting areas of study, does not limit how the technique could be used in actuality.

There are no rules the kata must be applied on a straight line. Motobu applied the techniques in many directions.

Nihanchi kata can also be done with turns in them, stepping forward, stepping backward and many other combinations.

Most don't explore these issues as most systems incorporate more and more kata to study too.

The full answer about Nihanchi's origin remains clouded. There are also parties that feel strongly that Nihanchi 1 was the original and 2 and 3 were cooked up to add more to do.

Really the history is irrelevant, unless you are in a lineage that the full history of the kata curcumscribes how you approach it.

Does your instructor teach kata application, or are you left on your own to work them out?

When an instructor teaches application that should be your only source of study until you actually know what they know.

And one of the most intersting threads to approach Nihanchi with for study is that you are countering grappling with all the technique, upper and lower body.

The lower body is really the most important to master. It contains the secrets of breaking down the opponents lower body, of lower strikes to set up the upper body work, and of use of the stance to lock the opponents body to let the application become much more destructive.

This is not peculiar to Nihanchi.

This is the core of all kata application potential.

And if 3 Nihanchi give you fits, switch to the Chinese systems and consider Tam Tuie. It is a 10 row (most frequent but there variations between 12 to 16 rows too) that moves back and forth on a single line too.

Of course the movement has nothing to do with karate, but it is very long and challenging.

Always another thought,

Victor Smith
bushi no te isshinryu

BTW isshinryu only uses nihanchi 1 and moves in the opposite directions of most other nihanchi (but not all). Any movement in Nihanchi 2 or 3 can be completely countered by Nihanchi 1 too. Which of course is not unique to any kata, just something to ponder.

Excellent post Sensei Smith! Great information.

I've never seen a version of this kata with turns in it?

Akiba,

I don't think Victor Smith was stating that the Naihanchi Nidan he practices has turns in it but to add turns or different stances (front, cat) when in a self defense situation to fit the particular situation you are in. Just because it is done in naihanchi stance does not mean it should only be done in naihanchi stance as long as you adhere to the basic principles of combat being presented in the kata.

Kind regards,

Raul

Hi,

Turning, Twisting Nihanchi All the Day.

Training with Carl Long in Penna long ago, (Carl was teaching shorin ryu descended from Shimabuku Ezio) one of the many different Nihanichi practices was doing the kata with turns.

For the step across movement, he would turn 180 degrees and complete the movment facing the opposite direction, and continue. Then at the next step across another 180 degree turn and finish facing the front as the beginning.

Besides the technical development it offers, the turning technique begins to present new training options for applications.

I've also seen people do Nihanchi on a zig zag pattern moving forward with the form.

Carl also used to practice Speed Nihanchi to see how fast (timed uner the stop watch) it could be done, shouting with the students to encourage faster time. And of course not at the expense of correct technque. Some how I remember shooting to break 10 seconds in the kata performance.

And for the really perverse I have a personal Nihanchi exercise with my teenage advancing kyu students. Where we incorporate jumping spinning crescent kicks in each direction. It helps them get rid of the excess teenage energy and helps them keep a health hate of my inventiveness. Of course having a jumping spinning crescent kick in reserve never hurts either.

O to be young and flexibile again....

Victor

Am I missing a point, is karate about fighting?

And call me pedantic but, if you take techniques from a form and then have to change them anyway then you are no longer practicing the form, but simply adapting movements that appear IN a form.

Aikiba,

First there are no rules as to right or wrong, excpet with individual schools of instruction.

Second kata are nothing more than shapes to develop the energy of the practitioner. The art of application is taking those shaped energies and inserting them into an attack or an opponent.

Kata are a way to guide the development, not an exact signpost to say stop don't go futher.

Now I didn't create the path, its been that way for a long time, with many different interpretations.

Motobu's son shows how Nihanchi is applied and it's not linked to exact kata performance, for one example. At the same time there is no simple answer.

My answers often infuriate others. Fine, I can step on the floor and shape what I say and teach it and have done so for a long time.

BTW there is nothing saying karate is about fighting either. Okinawa didn't develop karate because it was a violent place. Much was not shared in kata application potential because sutudents 1) had no need to know it 2) didn't have enough experience to believe in the shape presented to use it.

The truth is nothings changed, except for rare examples, thank God.

Most will never use their karate study for anything except practice. I'm happy about that. If the study was for instant street application, well it wouldn't be karate.

Karate's too deep and takes too long and most who follow the path don't have the patience to drink deeply.

But we can dissucss and share and perhaps grow together.

Victor Smith
bushi no te isshinryu

Mister Perez is correct. The Naihanchi kata practiced in Isshinryu has no 180 degree turns. It moves to the left, then the right, with opponents in front, also.

The way I do it, on the step-overs I turn my body 90 degrees for a short time. This allows for a "pivot" kick from a crane stance, as opposed to the feet getting tangled up when your legs are crossed and the hips face forwards.

[QUOTE]Originally posted by Victor Smith:
Aikiba,

First there are no rules as to right or wrong, excpet with individual schools of instruction.

Second kata are nothing more than shapes to develop the energy of the practitioner. The art of application is taking those shaped energies and inserting them into an attack or an opponent.

Kata are a way to guide the development, not an exact signpost to say stop don't go futher. [/QUOTE]

I'm going to have to concur with Victor on this.

Kata is merely a set of techniques and fighting principles for all ranges of combat. As long as you adhere to the principles that the kata is displaying you are not deviating from the form at all.

If I were to use the single block, Double Block, Nose punch combination (which is done in a naihanchi stance) in a front stance have I deviated from the form? I say no. Actually I am still adhereing to it because I am actually using the techniques located in this seemingly simplistic form.

All basic stances are located in the Naihanchi Katas. As mentioned before stances are merely a snap shot in time. Transitional movements from one technique to the next. Here are some examples during the Naihanchi Cross over:

Naihanchi Stance - Self explanitory.

Front Stance - As you are transitioning to a Naihanchi cross step (lets say moving to the left) your left foot opens to the left in a 45 degree angle. Now before you transition your foot. Now as your hips rotate to the left your right foot will straighten naturally to maintain a 50/50 ratio. If you snap shot reality for that second you will notice you are in a front stance facing 45 degrees to the left.

Cat Stance - As you are transitioning from that psuedo front stance all your weight is transferred to the left foot. As your right foot begins to cross over your big toes on both feet line up and take a snap shot there. BAM now you are in a cat stance.

So you see if I change my foot work I am not seeing outside the scope of the form but merely taking a stance that is already located within and placing it somewhere else.

Kata was not meant to be practiced literally (although most of the techniques practiced in sequence are the most efficient and disabling). If you do, you are not fluid and can not adapt to the ever changing tempo of a violent encounter.

A few principles held within the Naihanchi Series:

If you are in a Naihanchi stance you are either on the side or behind your opponent. Never in front of him (groin is not covered)

The only time you are in front of your opponent is when you are in the "hidden" cat stance (groin is protected).

Crossing the legs could mean that you are on the ground scissoring the neck or performing an arm bar.

Crossing the legs could mean you are pivoting out of the way of the attack.

turning and positioning at 45 degrees in the "hidden" front stance means that the most efficient and effective blows are done when you are 45 degrees to your opponent.

turning and positioning at 45 degrees also could mean that you are applying a joint lock/break and turning this way can either increase the pain or finish the break.

Everytime you strike the air or touch a body part on yourself you are teaching yourself vital points on your OPPONENT'S body and at what angles to Strike/Grab/Rub at.

Both hands are always working together. The hand on the floating rib is never there JUST to PROTECT the floating ribs.

I'll stop there. Just a few examples.

Kind regards,

Raul

Change-body training; close range striking, Rising ("spitting") and Falling ("swallowing") power; firm root and supple torso; utilizing hip torque to maximize short punching acceleration (and power). These are all some of the training aspects of Naihanchi. There is a lot of tuite, but more importantly the close range striking is more relevant.

Because you seem to be doing an outward block, doesn't mean it isn't a blade of the arm (forearm) strike, it doesn't mean it isn't a sweep, trip or throw either.

Mnemonics give you hints, they don't detail specifics. Your kihon and ryuha does that. Your sensei's and your own experience fills in the gaps. I think kata is definitely for fighting, SD at least, but it's also a reminder of the way the Okinawan teach fighting. Culture baby. It's also good chigong!

It's a diamond with lots of facets. If you want "straightforward" without individual thought and interpretation do martial sports or MMAs. They're good for the average athletic cat. Leave traditional arts to those who can appreciate them.

Oh and yeah, I already mentioned in another post the fact that Naihanchi/Tekki should not be seen as "against the wall fighting" or "rice-paddy fighting" only. It should be thought of in terms of tai-sabaki and ashi-sabaki. Those are extremely important lessons in karate movement.

Good training!!!