The K-Zone: Kevin's Shotokan kata notes: heian shodan

Performance line for heian shodan; the starting position is shown as a blue spot

0. Preparation. The kata proper starts in yoi (`ready' or `attention') stance. Your feet are about shoulder-width apart, toes pointing north, hands in fists just in front of your waist. If you're doing it for a competition, there will be certain formalities, such as a bow before assuming attention stance.

1. The first move in heian shodan is a step to the west with your left foot into front stance, accompanied by a downward block with the left arm. So you finish the move in a basic left front stance, left arm extended with your left fist just about your knee, and right fist cocked on your right hip. In the jargon, this block is gedan barai (`low sweep').
      There is a particular sequence to this first move that most experts seem to follow. First, turn your head sharply to look to the east. Then drop you hips sharply and rotate your shoulders to the east. At the same time, put your left fist on your right shoulder, and your right arm out in front of you. What you're doing here is `cocking' your arms ready to deliver the downward block. At this point your shoulders are square to the east, but your feet are still facing north. Then, step to the east with your right leg, into front stance (zenkutsu dachi), keeping the shoulders and hips square to the east. Finally, deliver the downward block by sweeping downward with the left hand, while pulling the right hand sharply back to the right hip. During this movement, your hips and shoulders rotate sharply to your right -- it is this rotation that generates the power of the block. You'll end up with your hips and shoulders facing to the north-east.
      In summary, the first move breaks down like this: look left, drop and twist left, step left, downward block. The more expert the karate practitioner, the more obvious this independent sub-steps are, even when done quickly. It's important to do the move this way, first because straightforward common sense dictates that you ought to look before you move, and second because you need to generate enough hip movement to give a solid blocking action.

2. Stepping punch with the right fist. Step forward (to the east, as you're facing east) with the right foot, and punch firmly at midsection height with the right hand. You started this move with your right hip slightly further back than the left; you'll finish it with the both hips square to the east. This slight hip rotation gives a bit of extra oomph to the punch. In karate jargon, what you're doing here is chudan oi-tsuki (`midsection chasing punch').
      There are two common mistakes made even by quite competent practitioners with moves of this sort. The first is to step back fractionally with the front foot before making the step. The second is to rotate the front foot slightly to the left before making the step. Both these moves make the step easier to perform, but both are frowned on by experts. Why? Because you are giving your intention away to your imaginary oponent. You need to be able to make a basic stepping punch without giving any hints.
      Some experts do the stepping with the non-punching hand held low, as it was after the block. Some raise the non-punching hand before the step. Both will swear that their way is `correct', and will be prepared to argue the toss all day.
      In summary -- step with the right foot to the east and punch midsection with the right fist. End up facing east with shoulders and hips square to the east.

3. Turn 180 degrees to face the east, and downward block with the right arm. There are two common ways to break down this move, both in widespread use. Here's the first method. Start by looking sharply back (to the east) over your right shoulder, and immediately rotate on the heel of your left foot, sharply swinging you right arm (which is extended at the point) to the north and then west, bringing your right foot alongside your left foot. You'll end up facing square to the west, with your knees slightly bent. At the same time, cock your arms for the block. Your right arm -- which was extended -- gets pulled back onto your left shoulder, while your left arm -- which was cocked on your left hip -- gets pushed out in front of you. Note that you end up in the exact mirror image of the way your prepared yourself for the block in step one. Then step forward with your right foot, while blocking down with your right arm. So this particular breakdown has two distinct phases -- a rotation through 180 degrees, followed by a distinct downward block in the direction you are now facing.
      The other method is much easier to perform, but is frowned on by purists because, for a fraction of a secong, it leaves you in a poor state of balance. In this technique, swing your right left -- which is extended at the start -- all the way from in front of you to behind you in one movement, while maintaining your shoulders to the east. Then rotate your hips through 180 degrees, so your right leg, which was behind you, ends up in the front, and your left left leg ends up behind you. At the same time cock your arms for the block, then block from your current position.
      Whichever way you do it, you end up in a basic right front stance, with your right fist above your right knee to block, and your left fist cocked on your left hip. If you've done the block properly, your shoulders and hips will be facing north-east, because you'll have rotated your hips to strengthen the block.

4. Right hammer-fist strike to the head (some people say to the chest or throat). Draw your right fist, which is currently above your right knee, back to your right shoulder, while sliding your right foot back about halfway to your left foot. Then slide your right foot forward while at the same time striking your imaginary opponent with the base of your right fist. The left fist does not need to move at all in this step. Many experts interpret the initial preparation for the hammer-fist strike as dislodging someone's grip on your arm. The assumption is that you've done the downward block in step 3, then someone has grapped your outstretched wrist. So the initial movement is a sharp twist of the right wrist to dislodge the grip, then a draw back and a strike. In any case, whichever way you do it, most experts maintain the shoulders and hips facing north-east throughout the whole move. In summary, it's only the right foot and right arm that move. The power in the strike comes from the long-ish downward swing of the right arm to the target. So you finish with your hips and shoulders to the north-east, and your right fist in `hammer position' at about your shoulder height in front of you.

5. Stepping punch with the left first. Step forward (east) with your left leg and punch at midsection height with your left fist. As in the previous punch, you should strive to keep your leading foot in its place as you step forward. Also as in the previous punch, there is some debate about what should happen to the right hand during the punch. You can either leave it where it is, or extend it in front of you; either can be argued. However you do it, you'll end up in left front stance, left arm extended and right fist on the right hip.

6. Downward block to the north. In this move you step with your left foot to your left, while simultaneously preparing a downward block to the north with your left arm. Broken down, the moves go like this. First, look sharply to the north, while keeping the rest of your body still. Then step to the north with your left foot, at the same time cocking your arms for the block. Your left fist goes on to your right shoulder, while your right fist is extended out in front of you in preparation for the hip rotation. Next rotate your hips and shoulders from facing north-east to facing north. You'll find that your right foot will have to twist inwards as you do this, otherwise you'll end up with one foot facing north and the other facing east, which will be awkward for the next move. Purists will insist that your right foot should rotate on the heel, not on the ball. You're now facing north, with your hips and shoulders square to the north, and your hands cocked to block. Finally, block sharply downwards with the left arm, while pulling the right arm, right hip, and right shoulder back. You'll end up in a left front stance looking north, but with your hips and shoulders north-east after the hip rotation.
      Note that in this block, your shoulders start off facing square to the east, then rotate all the way north (in preparation for the block), then rotate sharply north-east (during the block). It is this rotation that gives the downward block its strength.

7. Step forward while executing an upper rising block with the right forearm. Step forward into a right front stance, while cocking your right first onto your right hip in preparation for the block. Your left fist, which starts off about your left knee, goes up to head height ready to pull down to give shoulder rotation. At the end of the step, you're shoulders and hips are square to the north. Then block sharply, as if deflecting a blow to your face, with your right forearm. The right fist comes up from the cocked position to just in front of your face, while your left fist pulls down sharply to rotate your shoulders and hips into the block. So you end up with your right forearm over your forehead, your left fist on your left hip, and your hips and shoulders square to the north west.
      Note that some authorities favour doing the step in two phases -- first, bring the two feet together while cocking the arms for the block, then step forward into front stance while doing the block itself. This method looks more elegant, but it much harder to to well.
      In the jargon, you are doing jodan age uke (`head rising receipt').

8. Step forward while executing an upper rising block with the left forearm. This move is the mirror image of the previous one.

9. Step forward while executing an upper rising block with the right forearm. This move is the same as the first rising block. Kiai as the block finishes. Note that most authorities like to see these three identical blocks done with a slight difference in tempo, perhaps if only to break the monotony. Usually there is a pause between the first and second blocks, and little or no pause between the second and third.

10. Downward block to the east. This is a very difficult move to do well, because you have to rotate through 270 degrees, towards your back. Note that, as in step 3, there are two different approaches in widespread practice. Here's the first. Rotate your whole body 270 degrees to your left, by swinging your left foot, which starts behind you, up to your right foot while rotating on the right heel. This part of the move finishes with your hips and shoulders square to the east, your feet toegether, and your arms cocked for the downward block. Your right fist gets extended in front of you, while your left goes onto your right shoulder. From this position, step forward with your left foot, and execute the downward block with your left hand. Note that, with this technique, you're doing the downward block as you would do it if you were stepping forward from the ready position.
      The second technique is much easier to perform but, again, not approved by purists, because it leaves you momentarily off balance. In this version, you swing your left leg from its starting point behind you, all the way to its finishing point to the east and in front. At the same time, your hips rotate to following the moving foot. When you settle in front stance facing east, do the downward block, with the usual rotation of the hips.
      Whichever way you do it, you should look over your shoulder to the east (the direction you'll be heading) before starting the move. You'll end up facing east in a left front stance.

11. Stepping punch to the east. This is exactly the same move as step 2, except that your facing, and stepping, to the east rather than the west. As in step 2, it's a midsection punch, and you finish with shoulders and hips square to the east.

12. Turn 180 degrees to face the west, and downward block with the right arm. This is the same move as step 3, except you're facing to the east now. Don't forget to look over your shoulder first.

13. Stepping punch to the west. This is the same as move 5: step forward with the left foot and punch midsection with the left fist.

14. Downward block to the south. Look over your left shoulder to the south. Step to your left 90 degrees into front stance, with the left leg as the front leg of the stance. Then downward block strongly with the left arm. This is the same move as step 6, except you're facing south now.

15-17. Three midsection stepping punches. Step forward and punch three time -- right fist, left fist, right fist. Most authorities agree that these three stepping punches are three distinct moves; that is, there should be a pause between each technique. As for the three rising blocks earlier in the kata, most experts like to see a variation in the tempo -- a pause between punches one and two, and a much shorter pause between two and three. Kaii on the last punch, and hold the posture for a second or two. You should be in right front stance, shoulders and hips square to the south, with you back leg locked straight (as if to prevent the impact of the punch being lost in bending your own back leg).

18. Turn to the west and perform a knife-hand block. This move is similar to move 9, except that the block is a knife-hand and not a downward block. Consequently, you'll finish this move in back stance, not forward stance. Like move 10, you'll turn through 270 degrees. So, broken down the move looks like this. From the right forward stance you're in at the start, swing your left fist up on to your shoulder, fingers extended, while pivoting on your right heel to your left. You should finish up with your feet together, hips and shoulders square to the west, feet pointing to the south. As you pivot, your right arm remains extended, so you end up with your arms cocked to deliver the knife-hand block. For proper balance, your knees will need to be bent right through this rotating move.
      The instant your hips and shoulders face to the west, step out with your left foot to the west, and shift your weight to your back leg. At the same time, block with a knife-hand using the left hand, while pulling the left hand back to your chest. So you end up in back stance (kokutsu dachi), with knife-hand block. The pulling of the right hand, coupled with the blocking action of the left, rotates your shoulders to give the block its strength.

19. Knife-hand block to the north-west. This is the first move that is not on the path of the letter `I'. Step with your back (right) foot up to your left foot, and rotate hips, and shoulders to face north-west. Then step forward with your right foot into a new back stance, delivering knife-hand block at the same time with your right hand. Your blocking hand ends up pointing to the north-west, and your hips and shoulders square to the north east.

20. Knife-hand block to the east. Now step back with your front (right) foot, back to your left foot, and rotate hips, and shoulders to face north-east. Then step forward with your right leg into a new back stance, delivering knife-hand block with your right hand at the same time. Your blocking hand ends up pointing to the east, with your hips and shoulders square to the north.

21. Knife-hand block to the north-east. Now step your with your back (left) foot up to your right, while rotating your hips and shoulders square to north-east. Then step out with the left leg into a back stance, while delivering knife-hand block with the left hand. Your blocking hand will end up pointing north-east, while your hips and shoulders are facing south-east, your left leg extended and most of your weight on your right leg.

22. Finish. Traditionally the kata finishes by pulling up your left leg to your right leg, while pivoting slightly on your right heel so that you end up facing north in the attention position. If you've done all the moves consistently, you'll end up in exactly the same place you started from. In a competition, you'll probably need to bow at the end.

Heian shodan has only four different moves, and the purpose of performing it is to demonstrate (or achieve) absolute proficiency in these basic moves. Some of the moves, combining 270-degree turns with blocks, are surprisingly difficult to do well. Here are a few things that practitioners tend to get wrong, and which the judges will be watching out for in competitions.

• Moving the front foot before any stepping move. This is a classic karate no-no, as you need to be able to move without giving your intentions away to your opponent.
• Bobbing up and down. The shortest distance between two points is a straight line. As you step from one stance to another, your head should stay at about the same height above the ground. If you bob up and down you're using energy, travelling slightly further, and giving your opponent a clue.
• Not looking. You need to look over your shoulder in the direction you will be moving, before you move. You are demonstrating that you understand the purpose of each move.
• One-handed blocks. All the blocks in this kata rely on shoulder and hip rotation for their strength. You can get this rotation using only one arm to block, but you get more if you use two hands. You're demonstrating to the examiner/judge that you understand how to generate power using two-handed movements. And on the same subject...
• Not getting hip and shoulder rotation in the knife-hand blocks. Unless you are incredibly strong, swinging your forearm in a knife-hand block will not be sufficient to deflect a strong punch. To get a strong block, you have to involve your shoulders and hips. This means that, when you step into the back stance for knife-hand block, you should step with your hips and shoulders perpendicular to the direction your are stepping. In other words, you are stepping towards your imaginary opening facing directly towards him. Then, when your front foot settles into place, block strongly while turning hips and shoulders. Your shoulders should turn through 90 degrees during the block -- from facing your opponenent, to facing at right angles to your opponent. This is very difficult to do smoothly, and takes years of practice.