Naihanchi - Part 3

By Master David Allerton (5th Dan)

In this final instalment of the Tang Soo Do version of Naihanchi hyung I shall deal with some of the additional sequences provided by the second and third supplementary forms. By and large they follow the same theme as the “Master” hyung but with some interesting variations.

It is widely believed that Anko Itosu adapted the original Chinese form and then added the later hyungs. There is an alternative and equally plausible theory that the 3 parts were originally one and were broken up for ease of learning or constraints of space.

I have also taken the opportunity in each of the 3 articles to honour the memory of one of Okinawa’s most controversial pioneers, Choki Motubu (1870 – 1944). His legacy is a profound one. If a technique was not sound, obscure or did not work he discarded it or improved it’s fundamental application. This is one of the reasons why he did not leave an established style because he was constantly improving and challenging rather than standing still. Naihanchi was his main training tool together with supplementary makiwarra, resistance work and 2 man application drills. He would say “Copying someone else’s technique will never produce the same results as meticulous personal study and experience”. Our own GrandMaster Hwang Kee is another shining example of this ethos.

The opening sequence of the second form has a cross hand defence against a round attack (punch or kick) following the same principles as the first form by twisting the body into crossed leg stance then advancing side on with a hammerfist strike. This sequence continues by circling the neck and applying a guillotine chokehold using the transition into horse stance to unbalance the opponent and tighten the grip.

Hironori Ohtsuka the founder of Wado Ryu states “I prefer this kata over all else” but discounted the second and third hyungs as “almost useless”. My belief is that the latter forms do include some valuable Ho Sin Sul so in my school I have combined the 3 forms into one incorporating all the sequences which you have seen in this series of three articles. I feel this provides the most effective Personal Protection for my students which incorporates single knuckle strikes for both upward (middle knuckle) and downward (index knuckle) energy. These techniques were well known in Okinawa, Motubu even preferred extending both knuckles together which he believed from personal experience was “a more effective tool for energy transfer”.

The second sequence begins by seizing and locking the wrist to unbalance the attacker whilst turning the hip laterally and executing a low heel kick to the inside thigh/knee. As the opponent is pulled closer we continue with an elbow strike to the side of the jaw followed by a hook punch to the opposite side. A truly devastating and fast combination versatile enough to be used from a punch, grab or grappling.

Kwan Jang Nim Hwang Kee categorised Naihanchi hyung as Neh Ga Ryu meaning the power delivery is at close range with good stability and strong fluid motion. The most important aspect is to understand how to utilise the hips creating torque by twisting the body , drawing energy from the ground then transmitting to the waist a split second before applying force via the hands and feet. It can be likened to the energy created by drawing the string of a bow then releasing with speed.

The third Naihanchi form adds releases from holds to the wrist and upper arm by trapping and circling the opponents grip placing him in a weakened position for follow up strikes which in the example shown is a one knuckle strike below the ear.

“It is not necessary to use your hands in defence of an opponents kicks; they can be trapped, thwarted or even swept away by your own leg whilst simultaneously countering with your hands”. We can see in the final photo the hip turn and leg raise to counter a low round kick preventing it from impacting the outer thigh. At the same time the hands are in a position to apply follow up strikes to head and body once the foot is set back down.

I began the first article with the words “If you think this simple crab like sequence of a form is a waste of time then think again” … I hope you now view Naihanchi in a new light

It does require close attention to reap it’s many rewards. Recap on each of the sequences I have highlighted and work with as many partners as possible increasing the severity of the attacks as your experience grows. Even if it were the only hyung in your arsenal you would be well equipped from a Ho Sin Sul perspective. Motubu advises that stances and forms are just templates, “it is the function of their application which needs to be mastered”. It is indeed an ironic truth that we must immerse ourselves in the study and practise of a form eventually to let it go so all that remains is spontaneous action. I shall leave the last words to Master Choki Motubu - “If you were to ask me what is the best posture for real fighting I would have to respond by saying that effective posturing has no form”….

Yours in Tang Soo !

Many thanks to Sotiris Zenenos for appearing in the photos.
All quotes from “Watashi no Karate Jutsu” 1932 by Choki Motubu unless otherwise stated.

allertondavid@yahoo.com