Nippon Budō Seishin-Kan

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

Yōi (cross open hands at groin level in musubi dachi) and kiyomeri kokyū (purification breaths)
Kamaete (shift right foot into nami heikō dachi while spreading open hands to knee width, thumb-sides up)

	1	Bend slightly forward from the waist whilst raising both hands morote shutō uke
	2	Step with the right foot into shiko dachi with migi yoko shutō barai
	3	Pivoting on the right foot, turn 90 degrees left into hidari neko-ashi dachi with hidari kakete uke (normal hikite)
	4	Yori-ashi forward in hidari neko-ashi dachi with gyaku-zuki
	5	Turning 90 degrees right into heisoku dachi perform morote hikite
	6	Step forward with the left foot, then sharply 45 degrees to the right into migi kōsa dachi and immediately leap backward into hidari sai-ashi dachi with simultaneous migi-te gedan shutō barai and hidari-te age shutō uke
	7	Step forward into migi han-zenkutsu dachi with hiji-sasae ura-shutō uke(1), then hiji-sasae kakete uke(1)
	8	Use right hand hikite to initiate stepping forward into hidari han-zenkutsu dachi with oizuki and gyaku-zuki
	9	Leap directly back onto left foot and pivot 90 degrees left into hidari sai-ashi dachi with simultaneous migi-te gedan shutō barai and hidari-te age shutō uke
	10	Step forward into migi han-zenkutsu dachi with hiji-sasae ura-shutō uke(1), then hiji-sasae kakete uke(1)
	11	Use right hand hikite to initiate stepping forward into hidari han-zenkutsu dachi with oizuki and gyaku-zuki, followed by simultaneous migi-ashi nami-gaeshi geri and hidari-te gedan shotei barai wide to the left side, then stepping to the right into shiko dachi with simultaneous hidari-te sukashi uke and migi-te gedan zuki and kiai
	12	Leap directly back onto left foot and pivot 90 degrees left into hidari sai-ashi dachi with simultaneous migi-te gedan shutō barai and hidari-te age shutō uke
	13	Step forward into migi han-zenkutsu dachi with hiji-sasae ura-shutō uke(1), then hiji-sasae kakete uke(1)
	14	Use right hand hikite to initiate stepping forward into hidari han-zenkutsu dachi with oizuki and gyaku-zuki
	15	Morote hikite whilst stepping forward into migi han-zenkutsu dachi then morote gedan hira-basami uchi(2)
	16	Draw right foot back into heisoku dachi and pull both hands to right hip in kansetsu waza (kote gaeshi) position
	17	Step forward into hidari han-zenkutsu dachi with migi-te ue morote zuki
	18	Draw lleft foot back into heisoku dachi and pull both hands to left hip in kansetsu waza (kote gaeshi) position
	19	Step forward into migi han-zenkutsu dachi with hidari-te ue morote zuki
	20	Draw right foot back into heisoku dachi and pull both hands to right hip in kansetsu waza (kote gaeshi) position
	21	Step forward into hidari han-zenkutsu dachi with migi-te ue morote zuki
	22	Draw left foot back into hidari neko-ashi dachi with shutō uke (normal hikite)
	23	Extend left hand into nukite position, then migi-ashi mikazuki geri against left palm and kiai, allowing the right foot to continue its arc and spin the body 180 degrees, then pivot another 180 degrees on the right foot into migi neko-ashi dachi with shutō uke (open-hand hikite at solar plexus)
	24	Step back with right foot into hidari neko-ashi dachi with shutō uke (open-hand hikite at solar plexus)

[Zanshin yame is not performed in Rohai]
Naotte (perform tekagami movement while drawing left foot back into musubi dachi)
Rei (bow)

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Rohai is typically taught to students of Shimabukuro-Ha Shitō-Ryū karate-dō in preparation for advancement to sankyu (brown belt).   It presents the student with new variations in technique that many find challenging initially.  As with other intermediate-level kata, its emphasis is on matching stances to the purpose and effectiveness of the techniques being employed, as well as the need to develop increased speed, power, stability, and focus in its performance.

Rohai begins with a two-handed block against an arm being swung so hard that it is necessary to lean forward to help absorb the impact.  Movement #2 serves as an arm-bar take-down of that opponent.

Note ⁽¹⁾:  the hiji sasae ura-shutō uke and hiji sasae kakete uke in steps #7, #10 and #13 should be performed with the  supporting left hand open and palm down like hira basami with the thumb touching the elbow and the index finger touching near the middle of the blocking hand forearm. 

Note ⁽²⁾:  the morote hirabasmi uke in movement #15 is used to block and trap the shin of an opponent's kicking leg, so the hands should be positioned to absorb the forced of the kick with the palms and performed with that use in mind.

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When learning a 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.  Think of it this way:  it takes about 40 seconds to perform Heian Nidan.  So in just ten minutes per day for only ten days (or twenty minutes a day for just five days), you can learn the correct sequences of movements in Heian Nidan.   But to become truly proficient-to be able to perform it correctly, and with the speed, power, timing, and bushi damashii (samurai spirit) necessary to make its techniques effective in a real self-defence situation will take a thousand repetitions, which equates to 100 days at ten repetitions a day.   And to fully understand and apply all of its principles, nuances, and variations will take 1,000 days (three years) at ten repetitions per day.

When performing bunkai (分解) and considering the ōyō (応用) of Jion, it will be necessary to apply one's accumulated knowledge and vivid imagination to visualise the potential uses for the techniques in the kata.  Consideration must be given to the possibility that some movements represent applications other than obvious blocks or strikes (gōhō), but may instead—or in addition—have jūhō applications.

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