Shitō-Ryū Kata:  Naifanchi Shodan (内播地初段)

 

Naifanchi Shodan (内播地初段) is classified as an Itosu-kei kata, primarily because it was passed down to Mabuni Kenwa by Itosu Ankō, but the exact origins of the kata are no longer known.  It is generally believed to be one of the oldest kata still practiced and can be traced at least as far back as Matsumura Sōkon (1809-1899).  Prior to the creation of the five Heian kata by Itosu Ankō, Naifanchi Shodan was often the first kata taught to beginners.  It is now taught in most Shitō-Ryū dōjō as an intermediate level kata.  The video presented below by the Shitō-Kai is similar to how the kata is taught at the Seishin-Kan.  Differences are explained in the written description that follows.

Naifanchi Shodan Description

After bowing and announcing the name of the kata ("Naifanchi Shodan") ...

Yōi (cross open hands at groin level in musubi dachi) and kiyomeri kokyū (purification breaths)
[NOTE:  kamaete is not performed in this kata]

  1 Side-step (left foot crossing in front of right foot) to the right into kiba dachi(1) with migi chūdan yoko ura-shutō uchi
  2 In place, hidari hiji-ate against right palm, followed by migi kansetsu waza (kote gaeshi), then hidari gedan barai and migi kagi-zuki(2)
  3 Maintaining kagi-zuki, side-step (right foot crossing in front of left foot) to the left into kiba dachi with migi yoko uke
  4 In place, hidari-te ue hasami uke, hidari age zuki(3) recovering to hidari yoko uke position with right fist palm down beneath left elbow, hidari nami-gaesshi geri(4), hidari soete kentsui uchi at jaw level to left side, migi nami-gaeshi geri, hidari soete kentsui uchi at jaw level to right side, migi kansetsu waza (kote gaeshi), and hidari yoko morote zuki(5) with kiai
  5 In place,  hidari chūdan yoko ura-shutō uchi, migi hiji-ate against left palm, followed by hidari kansetsu waza (kote gaeshi), then migi gedan barai and hidari kagi-zuki
  6 In place, migi-te ue hasami uke, migi age zuki recovering to migi yoko uke position with left fist palm down beneath right elbow, migi nami-gaesshi geri, migi soete kentsui uchi at jaw level to right side, hidari nami-gaeshi geri, migi soete kentsui uchi at jaw level to left side, hidari kansetsu waza (kote gaeshi), and migi yoko morote zuki with kiai

.......... NOTE:  zanshin yame is NOT performed in this kata
Naotte (perform tekagami movement while drawing right foot back into musubi dachi)
Rei (bow)

Key Training Aspects of Naifanchi Shodan

 
The Key

Naifanchi Shodan is the first of three Naifanchi kata in the Shimabukuro-Ha Shitō-Ryū karate-dō curriculum.   Shimabukuro Hanshi was not particularly fond of the Naifanchi kata.   Early in his teaching, this was undoubtedly because the Naifanchi kata rarely won tournaments, but even after his shift away from sport karate, he did not believe the Naifanchi kata added much value to a student's training.  Pellman Shihan, on the other hand, is convinced that the Naifanchi kata are essential to a thorough gounding in the fundamentals of karate-dō, particularly in developing powerful koshi mawari (hip rotation), body control, and stable stances.

The Naifanchi kata are the only kata in the Shitō-Ryū curriculum that utilize kiba dachi, which is probably why some sensei prefer to call it Naifanchi dachi.  Since Shimabukuro Hanshi's interpretation of kiba dachi differs somewhat from both the above video and how it is formed in the Shōtōkan style, it is explained in considerable detail below.

Diagram of Kiba DachiAs shown in the diagram at left, kiba dachi is slightly wider than shoulder width from heel to heel.  The correct foot position can be found by starting in heikō dachi, with both heels at shoulder width and the outside edges of the feet parallel.  Turn both feet outward 45 degrees into soto hachi-ji dachi, keeping the heels shoulder width, then pivot on the balls of both feet and swing both heels outward until the outside edges are again parallel.  This should result in the heels being about a half foot-length wider than the shoulders.

Your body weight should be centered between the feet, both side-to-side and front-to-back, as indicated by the intersection point (+) of the vertical and horizontal centre-lines in the diagram.  Ankles, knee, and hips should all be flexed slightly, but the back and neck must remain straight; not bent or hunched forward.  The hips should also be tucked in, so that the rump does not protrude.

Although kagi-zuki is introduced in the kata, Shinsei, it is also featured repeatedly in Naifanchi Shodan.  Since it is performed somewhat differently in Shimabukuro-Ha, some additional explanation of its performance and use is provided here.  In many other styles of karate, including the video on this page, kagi-zuki is performed with the striking fist stopping roughly even with the opposite side of the body.  However, in Shimabukuro-Ha, the strike should continue past the opposite side until the striking arm is fully extended (without turning the shoulders), then rebound back to a point roughly even with the opposite side of the body.  This not only ensures that the strike will make powerful contact with the opponent, but also promotes the development of greater koshi mawari (hip rotation).

Another feature unique to Naifanchi Shodan is the nami-gaeshi geri that is performed twice with each leg in the kata.   Nami-gaeshi geri can function as either an up-swinging kick to the knee, potentially dislocating the joint, or as a foot-sweep.  In either use, maintaining balance and a lower centre of gravity than the opponent is vital to sucessful execution of the technique.  It is therefore essential to rise from kiba dachi as little as possible and to avoid shifting your weight side to side whilst executing the kick.  Instead, try to keep your head and body absolutely still during nami-gaeshi geri, as if some unseen force or support mechanism is holding you in place.  Although it is impossible not to shift slightly, the less you do so the more difficult it is for the opponent to counter the kick.

  (1) Be sure to perform kiba dachi as explained above, rather than as shown in the video
  (2) Be sure to perform kagi-zuki as described above, rather than as shown in the video
  (3) In age zuki, the non-striking hand should not move until the striking hand has reached full upward extension.  As the striking hand retracts, the non-striking hand should swing up parallel to the floor so that the back of its fist contacts the bottom of the striking arm elbow at the completion of the movement.
  (4) Be sure to perform nami-gaesshi geri with minimal rising or shifting of the weight side-to-side, as described above
(5) When performing  yoko morote zuki, be sure the fist striking with kagi-zuki makes a fully extended strike (and rebound) and the other hand performs a true yoko-zuki (straight sideways punch), rather than uraken zuki or yoko kentsui uchi

Performing Naifanchi Shodan in the manner described above will ensure that you receive the maximum benefit from your training in this kata and greatly improve your body control, stability, and koshi mawari for more striking speed and power.

Additional Information

MakimonoWhen learning any new kata, it is important to remind oneself of the adage: "Manabu no tame ni hyakkkai, jukuren no tame ni senkai, satori no tame ni manga okonau" (学ぶのために百回、熟練のために千回、悟りのために万回行う.).  A hundred times to learn, a thousand times for proficiency, ten thousand repetitions for complete understanding.   A related Okinawan saying is "ichi kata san nen" (一型三年):  one kata three years. 

As you perform Naifanchi Shodan repeatedly, you should grow increasingly aware of the differences in movement, footwork, tempo, and timing between it and the kata you've learned previously.  This awareness will lead you to think about why those differences exist, and what those differences might mean in terms of  bunkai (step-by-step analysis) and ōyō (practical application).   For instance, why are you moving only side-to-side in this kata?   Which movements in the kata are best suited as jūhō, rather than gōhō?  What are the advantages, disadvantages, and best uses of kiba dachi?  Why are so many strikes in this kata directed to the sides instead of the front?

The word bunkai (分解) literally means "disassemble and analyse."   It is the same term Japanese sports officials use for the slow motion frame-by-frame analysis of the video of a contested referee's call, and it has a similar purpose and application in budō.  It involves examining each technique in minute detail, as if frozen in time, to determine its potential uses and the factors that make it most effective.

Ōyō (応用) means "effective use" or "practical use," so ōyō is the application of the knowledge gained from bunkai.   Once you have analysed every movement of the kata and determined both its intended use and the principles that make it effective, you will be able to use each of the techniques in the kata against the types of attack for which it is best suited.  Although this takes years (at least three), it doesn't mean you have to study only one kata for three years.  Since many kata share some of the same movements, you can be performing bunkai and perfecting ōyō on several kata at once!

The ultimate purpose of analysing and perfecting kata is to develop a methodology and a habit of analysing and perfecting every important aspect of one's life:  knowledge, skills, capabilities, behaviour, attitudes, ethics, motivation, ambitions, desires, ideals, beliefs, values, relationships, and character.