Wadokai Chinto

From musubi dachi, open the left foot, then the right to assume shizentai. Grip both fists lightly.

From musubi dachi, open the left foot, then the right to assume shizentai. Grip both fists lightly. Move the body backwards and align the heels to assume naname heiko dachi. Execute jodan haishu and jodan shuto nagashi uke. Take care to distribute the weight evenly. It is important to sufficiently use the momentum of your body and connect all as one. Especially Ten Tai should be a sharp and small movement. To facilitate momentum and create a narrow seichusen, you should become almost mahanmi. Itsuki in the back leg should be avoided. Hence, even though moving backwards, intent should be forward to avoid itsuki.

While maintaining position, execute morote chudan otoshi ude uke. The right arm should move below the left, palm facing up. The left palm should be facing down. Like Pinan Godan, the hands change of being on top. Do not twist the body, draw all of your power from the inside of your body. Do not move the arms alone. Any movement should be done with the whole body. Keep your knees flexible and the body stable. Remember that both hands should be regarded as being two independent actions, happening at the same time. Mind to execute otoshi uke on seichusen.

Continuously, execute chudan tsuki uke, again without changing position. Like Pinan Godan, the hands change rapidly. However, in Pinan Godan a relatively open stance is used compared to this kata. Because the body is quite ‘narrow’ your seichusen is now actually in line with your ribs instead of suigetsu due to the almost mahanmi posture. Take care striking sufficiently, mind your seichusen. Naname heiko dachi allows one to focus on energy generated from your internal muscle. This stance does not allow large movement.

Continuously, open the body to the left in tate Seishan dachi and execute chudan gyakuzuki. Don’t move your weight and momentum backwards, so use a horizontal centre line shift. A common error is to step back destroying potential impact. Imagine your weight moving backwards on impact. Naturally you can’t use all of your weight to generate impact. Although impact is not as easy as speed times weight, decreasing weight naturally lessens the impact. Hence, direct your energy forward as you change your stance into tate Seishan dachi.

Pull the elbow next to your face while bending and twisting your arm to the left. Simultaneously, rotate the body to the left, raise the right knee and pivot on your left foot to completely change direction. Finally, execute gedan barai when assuming shiko dachi. This movement can also be seen in Pinan Godan, but moving from the front instead of the back foot. There is an increase of difficulty here. Position your opponents at the sides instead of the front and back. Execute hiza no nuki on the supporting leg as you execute gedan barai to create vertical dropping.

Shift your weight to the left using a horizontal centre line shift. Open the body to the left and execute morote jodan uke using junzuki dachi. The change from shiko to junzuki dachi without compromising your centre is the most important. Use the momentum of your body to execute jodan uke. The left fist stays at the same place as you start to move with axis. Eventually this means that you should start to execute jodan uke as you start to move. Doing it this way will make jodan uke and the change of stance finish at the same time. Squeeze your elbow and keep your arm close to your body.

Execute morote chudan otoshi tettsui uke, without changing your position. The right hand should be on top. The change from the open hand to a gripped fist indicates a possible gripping action. Don’t press the right on the left as both can’t move properly in such case. They may touch lightly. Remember that kata is designed for efficient practice. Hence, practice both hands at the same time. Practically one hand may do something else than the other hand. Avoid unnecessary strength in the arms.

Without pushing the ground, jump in the air and kick with the right and then the left. As you jump and kick, relax the body as much as possible. A stiff body does not allow for agile and flexible movement. When doing the second kick with the left, execute a hikite on both fists. Do not act like a robot keeping your arms in exactly the same position, but do not swing your arms either. Hence, the kamae should be taken naturally, not in a fixed manner. A fixed manner might look nice, but chances are it is full of itsuki. As you kick you should lean slightly forward, take care not to over do it.

Execute morote uke as you land in junzuki dachi, right hand on top. Make sure to avoid itsuki in the front leg and use your whole body accordingly. The arms may contact slightly. Keep the arms alive. Hence, do not press them against each other. The width between the fists is not too important. Make sure both cross seichusen as both should be able to work independently. Although you should do morote uke sharply and with kime, avoid too much power in the arms. Use the momentum of the kick to generate power. Hence, timing should be like doing junzuki. 

Turn the body immediately to the right, pivoting on the right foot while pulling both fists besides the chest. Although this image shows a turning movement. Turning and moving should occur at the same time as you have to be able to avoid an attack. Do not think about the movement of the feet too much. It should be a movement of the whole body generated from the centre. Do an ayumi ashi and execute another morote uke using junzuki dachi. If you use excessive strength in the arms, both can’t be used properly for the next movement. Also, this could cause the upper body to lean forward. Make sure to keep the upper body upright and execute morote uke with the whole body.

Open the body to the right sharply and enter kokutsu dachi. The body should be mahanmi and the upper body should lean backwards. Bring the left fist in front of the chest and move the right fist into a gedan gamae. Compared to the previous position the body should move over a horizontal centre line. Although the whole movement should be sharp, put attention to the movement of the upper body, this is mikiri.

Move forward and enter kokutsu dachi again, this time the kamae is with both hands as shuto. Make sure to erect the body during the movement in order to practice moving into kokutsu dachi eventually. Remember to enter kokutsu dachi by unblocking the knee rather then bending the knee. This is hiza no nuki.

Change from kokutsu dachi to junzuki dachi and execute morote jodan shuto uke. The palms should be facing forward. The main point here is the weight shift and the change of the hands. Make sure to squeeze both elbows as you execute shuto uke. The name shuto uke refers more to the shape of the hands then the actual uke waza.

Open the body to the left, pivot on the right foot and execute morote jodan soto uke, palms facing the body. Use a narrow shiko dachi in order shift the centre of gravity over a horizontal centre line. This also facilitates the entering and avoiding function of the next movement using kokutsu dachi. A narrow shiko dachi is often called han shiko dachi. Using han shiko dachi is also quicker then using regular shiko dachi.

Lower both fists, look to the left and stand up without changing the position of the feet, extend the knees. Stand up as if you are being pulled up like a marionette. Do not put excessive power in the legs to stand up. Just relax. The fists should be lightly gripped just like yohi at the start of kata. Just like yohi, the mind should be in sente and the intent of this observation is to attack.

Drop into kokutsu dachi, by unblocking the right knee and changing the position of the left foot while executing gedan barai and jodan soto uke. Actually, this is kamae. The positioning of the body and the function and practice of kokutsu dachi is actually to avoid a jodan attack, originally avoiding a staff. Gedan gamae is covering the body and seichusen. This is also mikiri.

Pull the right foot while moving the body forward. Simultaneously, close the kamae and look straight forward. Ideally, both arms should be straight out of the shoulder. The opening and leaning of the body when entering kokutsu dachi is most important. The leaning of the body is actually ‘cutting the distance’. This is called mikiri. Hence, make sure to stand up completely, face the body forward and observe the opponents movement.

Drop into kokutsu dachi avoiding a jodan attack, by unblocking the left knee instantly while executing gedan barai and jodan soto uke. I have often heard students asking about the position of the front foot. Perhaps in other styles (or competition) this position is fixed. In Wado the movement should be alive and not fixed. Hence the quality of your body movement and the agility and bone structure determine the direction of the front foot.

Pull the body and rotate to the left. Make sure to erect the body and mind your equilibrium. Some sensei teach to stop here briefly to observe the movement of the opponent, others emphasise this to be one movement and do not stop here. In my opinion, the important elements occur at the end of this process when mikiri is done by sharply pulling the upper body as you drop into kokutsu dachi with hiza no nuki.

Drop into kokutsu dachi avoiding a jodan attack, by hiza no nuki while executing gedan barai and jodan soto uke. Again, remember this is kamae. Even though your left arm covers your ‘left’ chudan, the right side (front of the body) is completely opened. Always mind multiple opponents surrounding you. Nevertheless, you have to prioritise as well.

Protect the right side that becomes the front after moving the centre line to the left leg, placing the right leg behind the left. Use a yosei ashi dachi here. Simultaneously, execute morote uke with the right fist above the left. As with any juji uke, both hands are used at the same time. This is not impossible, but your face is completely open for attack. Since maai is now closed this is quite dangerous. Hence, it is better to control with one hand and attack with the other. Kaisetsu on the right shows the other hand in kamae.

Move the body slightly to the right in han shiko dachi and execute morote jodan soto uke. Han shiko dachi means half shiko dachi, this implies that the shiko dachi should be more narrow then usual. Don’t move the head, keep facing the opponent. Han shiko dachi allows to react faster and stay closer to the opponent. Imagine the opponent and try to use regular shiko dachi for a change.

Lower both fists and stand up without changing the position of the feet, extend the knees. Do not focus on the power of your legs. You can try this by focusing on pushing yourself up in this position with your legs. Then, do it again but thinking in terms of raising your centre. You can feel the difference. The main reasons for this movement is to observe the opponent and to prepare for the next movement. Hence, there is no reason to do it quick or slow. Do it naturally as you lower your fists.

Assume kamae. The position of the hands is similar to Pinan Sandan. Don’t fix this kamae in order to have a perfect looking stance. It is the intent that counts while the body is relaxed. You should be just as relaxed as in the previous position. Although this is a preparation to practice hiji uke, do not consider this the only reason and already have hiji uke in mind. Hiji uke should just ‘happen’. Hence, you should be relaxed in body and mind. On the other hand, because of the position of the hands people who try to not fix themselves on hiji uke alone tend to think about random possibilities with the arms. Do not forget about your legs and other parts of you body that you can use to attack.

Drop the body and twist to the left while executing chudan hiji uke. It is important to drop instantly and twist sharply at the same time. Of course, this is one movement. When doing this, don’t move the head too much and keep looking at the opponent. Don’t move the left foot excessively. Please remember that all movement is based on principle, not technique or trick. In this way, all is connected. Think about this movement and compare that to the first movement of Pinan Sandan and Godan. You should be able to find several similarities.

Pivoting on both feet, twist the body sharply to the right and execute another chudan hiji uke. The body should only rotate around its central axis, not moving up or down, forward or backward etc. In Pinan Sandan this is practised in a large movement and hiji uke is prepared before doing so. In Chinto, hiji uke is practised without moving the elbows by some sensei. If you do prepare, the movement is more smooth and you can weaken the grip of the opponent.

Using the right foot as a pivot, open the body to the right and twist sharply while executing jodan soto uke with both hands. Make sure to execute jodan uke not further then straight out of the shoulder line. Place the left foot behind and to the left of the right foot, enter yosei ashi dachi. Do this to keep the centre of gravity close to the position of the feet. This makes yoko geri easier.

Without changing the centre of gravity too much, facilitated by the previous position, execute jodan soto uke and gedan barai while raising the left leg. The left foot should not be wrapped around the supporting leg. The inside of the leg just above the ankle should contact the supporting leg slightly. Always remember that any part of the body should have freedom at all times. Both arms are straight out of the shoulder line.

Without changing position, pull the right fist to the side of the chest, palm facing upwards and bring the left fist in front of the chest, to prepare for the next movement. This stance is excellent to practice balance and controlling equal strength throughout the whole body. This is because any incompetence using equal strength can be seen and felt immediately.

Without changing the position of the right foot, execute chudan yokogeri and chudan barai simultaneously. Make sure the kick is practically vertical to the floor and that both techniques have equal strength. Don’t move the right fist. The position of the right foot should not have moved since yosei ashi dachi. A correct yosei ashi dachi facilitates the side kick done in this movement. As you kick, keep the heel of the supporting leg on the ground. A common error is to let the centre rise as you kick. Keep your weight down and kick with the whole body.

Continuously, lower the left foot naturally and use the momentum of the kick and move forward to execute chudan junzuki. Use the left arm in the transition to protect seichusen and use the hikite to stabilise the body. Actually, junzuki is eventually kamae and has taken over of the left arm protecting seichusen. Do not intend to move forward while kicking. First complete yokogeri and then smoothly follow with junzuki. Carry the body forward as you would in any junzuki.

Pull and raise the right leg to the supporting leg, pivoting on the left foot. Execute jodan soto uke and gedan barai. Make sure to use the whole body to assume this position and become mahanmi, prepare for the next movement. The right foot should not be wrapped around the supporting leg. The inside of the right just above the ankle should contact the supporting leg slightly. Always remember that any part of the body should have freedom at all times. Both arms are straight out of the shoulder line. 

Without changing position, pull the left fist to the side of the chest, palm facing upwards and bring the right fist in front of the chest, to prepare for the next movement. Some styles do this movement in slow motion, perhaps to show a degree of control and balance. In Wadoryu however, this movement is done quickly. It is a part of a combination with the next movement.

Without changing the position of the left foot, execute chudan yokogeri and chudan yoko barai simultaneously. Make sure the kick is practically vertical to the floor and that both techniques have equal strength. Don’t move the left fist. As you kick, keep the heel of the supporting leg on the ground. The leg tends to become heavy during the kick, which creates inertia. This position is very difficult to kick from. Practice regular maegeri and find out how you should kick in a relaxed manner. Apply your experience to this movement and improve.

Continuously, use the momentum of the kick and execute chudan gyakuzuki. Make sure to enter tate Seishan dachi, so position the right foot correctly after kicking. Do not just drop the kick, apply hikiashi first. Hikiashi should be part of the dynamic of the kick and should occur naturally if the kick is done correctly. However, this is easier said than done. If you have any problems with this transition caused by incorrect hikiashi, focusing on putting energy in your heel to pull back your foot, could be advice that works for you. However, manual hikiashi should be discontinued eventually.

Pivot on the right foot and execute jodan soto uke and gedan barai while raising the left leg. The left foot should not be wrapped around the supporting leg. The inside of the leg just above the ankle should contact the supporting leg slightly. Always remember that any part of the body should have freedom at all times. Both arms are straight out of the shoulder line. Another point is to increase maai and change direction. You can not be too concerned with what is happening on your right side, as immediate threat is coming from your left. 

Without changing position, pull the right fist to the side of the chest, palm facing upwards and bring the left fist in front of the chest, to prepare for the next movement. As mentioned, the position of the arms should be attained quickly. Hence, both arms should be relaxed and contain no strength. Strength (incorrect tension) creates inertia and delays the next movement.

Without changing the position of the right foot, execute chudan yokogeri and chudan barai simultaneously. Kick with your whole body keep your weight down. This is called shizumi. Shizumi komu means to sink. Something that sinks is pulled by gravity and the natural cause is to lower. Although you should not actually lower the body, shizumi refers to dealing with the centre of gravity in your body. Never allow your centre to come up as you kick or punch. Hence, have the feeling as if your centre sinks inside of your body. Simply said, keep your body weight down.

Continuously, use the momentum of the kick and execute chudan gyakuzuki. Make sure to enter tate Seishan dachi, so position the left foot correctly after kicking. Keep the heel of the back foot on the ground, only pivot on the back foot. Many people hear this kind of comment. Apart from flexibility, it is not something you can correct with your feet. The intent and your technical level determine whether the heel can stay down or not. Of course, it also depends on agility and the structure of your bones.

Open the body to the right and use a small horizontal centre line shift to enter shiko dachi while executing chudan kake uke. Squeeze and use the elbow sufficiently, not exceeding the body with your elbow. During the movement, do not move your weight toward the supporting leg or towards the direction of kake uke. Turn quickly and apply hiza no nuki on the supporting leg briefly. Drop into shiko dachi.

Open the body to the right into tate Seishan dachi and execute chudan tate enpi. Enpi should be slightly on the inside of the shoulder line, hence it should be in front of the left side chest. Use the right hand as an imaginary target. The palm of the left hand should be facing inward. Kake uke transforms into a shuto, but in kaisetsu this could be taking hold of the opponent closing the fist into a strong grip.

Prepare to strike the opponent from below. Move both hands in kamae, slightly twist the body to the left. The left hand should be a shuto, palm facing forward and the fingers down. The right hand should be a fist, with the second joints touching the shuto lightly. Never force or press these kind of kamae. This idea is similar to explanations given at morote uke in Pinan Yondan and Godan.

Execute furiken (uraken) from below and place the left shuto in front of the chest. Simultaneously, withdraw your left leg. This movement allows kicking in the front, avoiding from behind and facilitating the final sequence. This movement is part of a rotational movement that allows you to completely change direction while minding opponents around you. Don’t think about turning around, because then furiken will weaken and the movement has no purpose.

Do a hikite on the right fist and lower the left shuto in kamae. This kamae is similar to the other kamae in these sequences. However, this kamae should be shomen (naturally slightly hanmi) instead of mahanmi like the previous kamae. Shomen is faster for counter attacking considering the opponent is behind you. If you use mahanmi you will be too late. The left arm slightly lowers into position, the right hand should move swiftly. It can be seen too often that students forget about the right hand and that is just ends up at the side of the chest somehow. It should be a live movement.

Continuously, execute chudan maegeri and chudan barai simultaneously. Don’t move the right fist. The feeling of this kick should be different from the other two as this is maegeri and not yokogeri. As with all movement, it should be connected and fluid. However, any movement must be performed as if it were the only one. Hence, execute maegeri sufficiently. Do not let the next movement affect maegeri.

Continuously, use the momentum of the kick and move forward to execute chudan junzuki. Use the left arm in the transition to protect seichusen and use the hikite to stabilise the body. Actually, junzuki is eventually kamae and has taken the left arm over protecting seichusen. Remember, the only way to improve is to built from a well-established kihon and to repeat, repeat and repeat again.

Pull the body away from any opponent behind yourself while turning to the left and assume shizentai.