KARATE KATA: HE/AN 5 · Kata Heian 5 is a basic kata which a karate student learns early in his...

KARATE KATA: HE/AN 5

Kata are the formal exercises of karate-andthey are the essence of this martial art. It isthrough practice of these basic movementsthat the karateka ("user" of karate) learnsrhythm, coordination, balance, the principlesof the application of power, a multitude oftechniques for self-defense, and self-disci-

1· •pine.This is the only series to deal thoroughly

and exclusively with kata. Sequential, stop-action photos covering each technique recordall the fine points and are supplemented bydetailed diagrams and foldouts showing thecomplete kata. Special attention is given tothe more difficult movements, making thesevolumes valuable even to advanced studentswho err in performance because they are un-familiar with standard forms.

Standard texts in karate dčjčs throughoutthe world, these books are written by thechief instructor of the Japan Karate Associa-tion, who is widely recognized as the world'sleading authority on the art.

THEAUTHOR: Masatoshi Nakayama is assist-ant director of physical education at Taku-shoku University, from which he graduated in1937. Born in 1913, he began training underthe great master Gichin Funakoshi in 1931,went to Peking in 1937 to study Chinese andvarious styi es of Chinese fighting, and hasbeen chief instructor of the Japan Karate As-sociation since 1955. Mr. Nakayama holds aneighth dan black belt and continues to trave!and teach in Southeast Asia, Europe, and theUnited States, as well as Japan.

KARATE KATAHE/AN 5

This book is an official textbook of the JapanKarate Association. Mastery of kata Heian 5is a requirement of the JKA 4th kyu examination.

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KARATE KATAHEIAN 5

Text and Instructions by

M. NAKAYAMADemonstrated by

HIROKAZU KANAZAWA

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KODANSHA INTERNATIONAL LTD.

Tokyo, New York & San Francisco

LCC 69-16365ISBN 0-87011-078-0

JBC 2075-780906-2361

ContentsDistributors:

United States: Harper & Row, Publishers, Inc.10 East 53rd Street, New York, New York 10022

Canada: Fitzhenry & Whiteside Limited150 LesmilI Road, Don Mills, Ontario Introduction . 7Central and South America: Feffer & Simons Inc.31 Union Square, New York, New York 10003

Footwork Diagram

Kata Heian 5

12

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Glossary

Top View of Kata Heian 5 117

114

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Published by Kodansha International Ltd., 2-12-21 Otowe,Bunkyo-ku, Tokyo 112 and Kodansha International/USA l.td.,10 East 53rd Street, New York, New York 10022 and 44 Mont-gomery Street, San Francisco, California 94104.

Copyright © 1969 by Kodansha International Ltd. All rightsreserved. Printed in Japan.

First edition, 1969Seventh printing, 1974

DEDICATED

1. What are Kata?

Kata are the formal exercises of karate. They are sequence move-ments which are learned by the karateka in order to develop rhythmand coordination of technique. As such they are an integral partof his training and they are practiced regularly, along with newtechniques, strengthening exercises and sparring.

Kata consist of a logical combination of four fundamentalmovements: uke ("blocking"), tsuki ("punching"), uchi ("striking"),and keri ("kicking"). As he goes through these movements in thediijo ("practice gym") the karateka assumes himself to be sur-rounded bya number of imaginary enemies. Each movement of hisbody, hands and feet has its own meaning and function. None issuperfluous. They have been developed by past masters of karatethrough years of practice.

Today there are approximately fifty forms of kata-some dateback to the time when karate was first used, or were introducedfrom China during the middle ages, while others were developedfairly recently. Some are simple while others are complicated,

Introduction

to my teacher

GICHIN FUNAKOSHI

Karate is not, and never was, a technique of aggression. Ever sinceways and means of fighting with bare hands and feet were de-veloped and formalized into the art of karate it has been taughtand learned as a method of self-defense; and not until a karateka("user of karate") is provoked does he rely on his art to repu Isehis opponent. The defensive basis of the art is indicated by the factthat all kata ("formal exercises") begin with uke ("blocking").

Karate is more than a fighting skill-it is amental disciplinefrom which students learn the value of kindness and sincerityto others. To become an expert the student must develop self-control as well as mastery of the various techniques of the art.

7

some long and some short. But each kata has its own characteris-tics.

Kata can be roughly divided into two types. There are kata whichaim at body-building, muscle-strengthening and hardening thebones-movements in these kata are expansive and give the im-pression of power and strength. And there are speed training kata,which are designed to produce lightning-fast reflexes.

Because they involve the use of the whole body kata rnovementsare an ideal form of physical exercise. They can be learned andpracticed individually or in groups by anyone-young, old, maleor female. They can be done for five minutes or an hour at atime,in the dojo or in the privacy of one's own home.

2. Mental Attitude for the Performance of Kata

(1) CEREMONIAL Bow: Karate training begins and ends with aceremonial bow. To perform this movement a musubi-dachi("informal stance") is taken with hands relaxed, lightly touchingthe thighs. The body is then bent forward, while the eyes remainfocused straight ahead. Out of respect to his training partnerthe karateka must perform the bow with sincerity.

Courtesy and decorum are the first requirements of the karateka.As the famous instructor Gichin Funakoshi of ten told his pupils:"The spirit of karate is lost withoutcourtesy." And the karatekamust be courteous, not only in training but also in daily life.Furthermore he must be humble and gentie. Yet the karateka mustnever be servile-he must always perform the kata boldly andwith confidence. This combination of boldness and gentleness,which might seem paradoxical to the beginner, ultimately leadsto harmony.(2) KAMAE ("posture") and ZANSHIN ("perfect finish"): Afterbowing at the center of the embusen (kata "performance line")the karateka stands with his feet apart, toes pointing outward,in the hachiji-dachi ("open-Ieg stance") before beginning the kata.If the heisoku-dachi ("closed-feet stance") is taken the toes areplaced together. The karateka must avoid being too tense andmust not be over-conscious of the movements he is about to make.He must ease the tension in his body, particularly from the jointsof the shoulders and the knees, in order to be fully prepared forany slight or sudden movement. Power and concentration shouldbe centered on the tanden ("area of the navel"), breathing shouldbe relaxed and the karateka must instill in himself a fighting spirit.

8 KARATE KATA

/.\ The finish of the kata is most important; for no matter how bril-liantly the exercises are executed, if the ending is not good thekata is not perfect. And even after the kata is over the karatekamust not relax. He'must return to his original posture and be preparedfor further movements. The zanshin in Japanese martial arts hasalways been highly respected and the karate student shouldremember that it is important not only in training but also in dailylife.

3. Performing Kata

(1) Execute kata correctly and in the right order. The number ofmovements in each kata is fixed and the student must performthem all, in the right order, with out making any mistake.

(2) Move accurately on the embusen ("performance line"). Theembusen is the line from which all the kata movements (forward,backward, right and left) are made. The karate student must com-plete the kata at the spot from which the first movement was made.This is impossible if the wrong steps are taken or the breadth ofsteps is inconsistent. Intensive training is necessary to perfect this.

(3) Understand the meanings of the various moves and expressthem fully. The movements of each kata have their own meanings-either offensive or defensive-which the student must understandclearly and express fully.

(4) Be aware of the target. The karateka must realize from where hisimaginary opponent is attacking, be sure of his target and knowwhen to strike. His attention must not stray from his target, butat the same time he must be aware of further opponents. (1IIus-trations of how each of the techniques in kata Heian 5 can be appli-ed are shown throughout the book; the karateka must always beaware of the purpose of each move as he performs the kata.)

(5) Execute each kata clearly. Not only should the meaning ofeach move in the kata be c1early understood, but its characteristicsshould be clearly performed. Each kata should be interpretedaccording to its own characteristics-always boldly and power-fully, sometimes swiftly, sometimes slowly.

(6) Perform the kata rhythmically. All the moves in a kata are inte-grally related to each other. They should be performed rhythmically-not jerkily-from start to finish. The end of one kata is directlyrelated to the start of the next.

INTRODUCTION 9

(7) Remember the three basic rules of rhythm. In the martial arts,as with athletics and other sports, beauty and rhythm are inter-dependent. And the beauty and rhythm of kata are dependenton three factors: "application of power at the right moment""fluency of movement" and "body flexibility."

A slow kata performed too quickly is spoiled, as is a fast kataperformed too slowly. The body must be flexible, always in theright position and never overstrained.

4. Kata Heian 5

Kata Heian 5 is a basic kata which a karate student learns earlyin his training. Practice can begin as soon as the elementarytechniques which are incorporated in the kata have been learned.Mastery of the kata is a requirement of the 4th kyu examination.

If the kata has been properly learned, the count-which isgiven by the instructor, if there is one present-is the same asthe number of stances in the kata. However, the instructor willgive more counts for beginners since the kata must be clearlybroken down into individual movements. There are pauses ofabout one second at certain points in the kata while other stancesare held just long enough for the corresponding technique to beproperly completed. Kata Heian 5 should take about 60 secondsto perform from beginning to end.

The breath is exhaled as the performer comes into positionfor each stance; it is inhaled as he begins the next movement.As in most kata, there are two points near the middle of the katawhere the performer utters a shout (called ki-ai). The soundmust feel as if it comes from the bottom of the stomach and ismade by expelling the breath very sharply at the point of tension,thus giving the museles extra power.

5. Do's and Oon'ts for Kata Training

(1) Never rush through the movements. Bear in mind thecorrect timing for each movement.

(2) Keep calm.(3) The benefit of daily training accumulates; so practice

each day-even if only for a few minutes.(4) Concentrate on the kata you find most difficult.(5) Be conscious of the relationship between kata practice

and kumite ("sparring") .

10 KARATE KATA

6. The Useof this Book

The sequence movements can be followed by reference to the pull-out section at the back of the book and the diagrams on pp. 12, 13.The main text shows details of the stances and techniques-withmore thorough treatment of those which cause difficulties or inwhich mistakes are commonly made. The application, or meaning,of each technique is illustrated in each instance .. The name and number of technique comes at the end of each

technique, at the position in which the karateka finds himselfwhen the technique is completed.

Quotation marks are put around key words of the Japanesetechnique names, indicating the abbreviated versions commonlyused in dojos.

The English version of names and stances are not always directtranslations of the Japanese; rather they are the most frequentlyused English equivalents.

The stances represent the position of the body at various pointsin the kata and indicate shifts in the center of gravity of the per-former and changes in the position of his feet. Techniques aredefensive or attacking actions which make up the kata, per-formed by the karateka in relation to an imaginary opponent.

7. Other Kata

Kata are the principal subjects for examinations for the advancementof kyu and dan. Kata performance is also an integral part of karatecompetition.

The following kata are necessary in examinations:8th kyu Heian 17th kyu Heian 26th ky;] Heian 35th kyu Heian 44th kyu Heian 53rd kvo Tekki 12nd kyu Choice of kata other than Heian

or Tekki1st kvu-: Choice other than above1st dan Choice other than above2nd dan and above Free kata

Free kata may be chosen from: Bassai, Kanku., Hangetsu, Empi,Jion, Tekki, Jitte, Gankaku, NijOshih6, GojOshih6, Unsu, Sčchin,Meiky6, Chintei, Wankan, and others.

INTRODUCTION 11

Footwork Diagram

This dfugram illustrates the position of the feet at each stage inthe kata. The numerals correspond to the stance numbers in thetext, and the small circles represent striking points.

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T e letters A, B, C and Dc rrespond to the letters ont e diagrams in the text. Thise ables the reader to makeq ick reference to this dia-g am while reading the text.

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12 KARATE KATA

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Stance 8 continues from the op-posite page to this page.

HE/AN FIVE 13

NOTE

Stance numbers are in black.

Technique numbers are in orange.

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14 KARATE KATA

Kata Heian 5

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NA TURAL POSITION

B•••

This picture is taken with thecamera in position A as indicatedin the diagram. Careful attentionshould be given to the anglefrom which the photographs aretaken throughout the book.

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16 KARATE KATA

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HE/AN FIVE 17

Top and sideview of Stance1, Technique 1.

18 KARATE KATA

1Migi k6kutsu-dachiRight back stance

1Hidari chiidan 'uchi-uke'Left block from inside with top of wrist

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~--------------+ ••

HE/AN FIVE 19

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2 Migi chuden 'gyaku-zuki'Right reverse punch to body

Techniques 1 and 2 shouldbe made fast and with outpause. Puli back left fiststrongly.

Top and sideview of Tech-nique 2.

20 KARATE KATA HE/AN FIVE 21

APPLICATION: Block with insideof left wrist and retaliate with rightfist, if possible grabbing opponent'sright arm and pi.Jllingin at the sametime.

22 KARATE KATA

Turning point for next movement

While turning face to the right drawright foot in toward left foot; at thesame time place right fist by right hipand left fist at right side with forearmshorizontal to the ground.

HE/AN FIVE 23

I2 Heisoku-dachi

Closed feet stance

3Hidari zenwan mizunagare kamaeLeft forearm, right fist guard

••

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Move face, arms ,and legsslowly and fix stance simul-taneously. ln the water-flowstance the fists are loweredslightly and the forearms areapproximately horizontal.

u-- ----------------------+tTop and sideview of Stance2, Technique 3.


APPLICA TlON: Tech-nique 3 is aimed atguarding the solar plex-us. After grabbing op-ponent's right wrist andretaliating with left fist(application of Tech-niques 1 and 2) Tech-nique 3 providesprotection against apossible counter blow.

26 KARATE KATA

I Turning point for next movement

Move right fist under leftelbow, then bring it un tnan arc to right side (seefollowing page).

27


28 KARATE KATA

3Hidari k6kutsu-dachiLeft back stance

4 Migi chiidan 'uchi-uke'Right block from inside outward with wrist

~ ~--------------------------------------

HEIAN FIVE 29

5 Hidari chiidan 'gyaku-zuki'Left reverse punch to body

Techniques 4 and 5 are performed in quick succession.Top and sideview of Tech-nique 5.


APPLICA TlON: Blockopponent's right punch,grab wrist and retaliatewith left punch to body.

32 KARATE KATA


While turning face to left, movehands and feet slowly and simul-taneously (see next page).

HE/AN FIVE 33


34 KARATE KATA

4'Heisoku-dachiClosed feet stance

6 Migi zenwan mizunagare kamaeRight forearm, left fist guard

..---------------------------~

HEIAN FIVE· 35

APPLICATION: Though the water-flow position is usually aimed atguarding the solar plexus, in thiscase grab adversary's wrist withleft hand, draw him in, and strikewith right fist.

36 KARATE KATA


Turn hips to left with left leg as pivotwhile sliding right foot one paceforward; at the same time twistright forearm (see next page).

1HEIAN FIVE 37

Hidari kčkutsu-dechiLeft back stance5\

Migi chuden 'morate-uke",Right augmented forearm block7

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view of Stance5. Technique 7. ""----...;.--'------------

HE/AN FIVE 3938 KARATE KATA

-------- -- --- -

a

APPLICA T10N: From position of theaugmented forearm block either: (a)grasp opponent's wrist with righthand and strike with left fist; (b)grasp opponent's wrist with righthand and strike with urazuki ("closepunch"); (c) push down opponent'sfist with left hand and strike withright fist.

40 KARATE KATA

!

~b

\\ Turning point for next movement

Take one step forward with leftfoot; at the same time cross fists(with right on top. of left) andthrust them forward and downward(see next page).

HE/AN FIVE 41

// 6 Hidari zenkutsu-dachi

Left forward stance

8 Ry6ken gedan jt1ji-uke'Two fist downward X-block

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Raise body slightly and lookstraight ahead as stance is fixed.


42 KARA TE KA A HE/AN FIVE 43

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APPL/CA TlON: Block adversarv's kick with both fists. Or, block with one fistand strike opponent's shin with other.

44 KARATE KATA


/ Open fists and strike upward (seenext page).

HE/AN FIVE 45

46 KARATE KATA


With wrists stili crossed thrust upward as if to blockopponent's blow with back of hands.

9 Ry6sh6 joden 'it1ji-uke'Two hand upper X-block

HEIAN FIVE 47

APPLICATION: Block opponent's blow with back of crossedhands.

48 KARATE KATA

With wrists crossed, twist left handso that palm faces upward and pushforward to the right of the body; atthe same time drop left hand infront of chest to the right.


HE/AN FIVE 49

Top and sideview of Tech-nique 10. .......---~-........;;'--~~-"'--- .•...•••

50 KARATE KATA

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Keep wrists crossed.

10 Ryosho chiiden 'osae-uke'Two hand pressing block

HE/AN FIVE 51

Clench left hand and punch for-ward.

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52 KARATE KATA


Techniques 10 and 11 should beperformed as one.

11 Hidari ken 'chirdan-euki 'left fist blow to body

HEIAN FIVE 53

APPLICA TlON: Block ad-versarv's blow with X-block (Technique 9);tu rning wrists grab hiswrists with both hands andpuli downward (Tech-nique 10); punch oppo-nent in the solar plexus(Technique 11).

54 KARATE KATA

AL TERNA TIVE APPLICA TlON:Following the X-block (Technique9) block opponent's left strike byslapping down his fist with back ofright hand supported by left. Ifopponent then strikes with rightfist. block with left elbow andstrike opponent's right side withleft fist.

HE/AN FIVE 55

Details of Techniques 7-11

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56 KARATE KATA HEIAN FIVE 57

Slide right foot one step forward.


58 KARATE KATA·

7 Migi zenkutsu-dachiRight forward stance

12 Migi chiidan 'oi-zuki'Right lunge punch to body

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, HEIAN FIVE 59

APPLICATION: Fol-lowing left punch tobody (Technique 11) --------~---------- ••step forward as youradversary steps backand strike his solarplexus with right fist.


Turn to left with left leg as pivot, andtake a large step forward in thedirection of B (see next page).


62I


KARATE KATA

8 Kiba-dachiStraddle stance

Migi ken migi sokumen 'gedan berei'Right fist right side downward sweep

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HE/AN FIVE 63


APPLICATION: Blockadversarv's downwardblow with right wrist,and kick his knee or footwith edge of right foot.

While turning face to left, bringleft hand from under right elbow inan are and thrust it forward (seenext page).


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66 KARATE KATA

14

Hands should be in aposition similar to thatof drawing a bow.

Hidari sh6 hidari chiidan 'keke-ake'left hand left side hooking block

HE/AN F/VE 67

APPL/CA TlON: Blockadversarv's punch withleft wrist (top), or, withleft hand (above). Thensweep aside adversary'spunch with left handand stri ke to stomachor solar plexus (right).

68 KARATE KATA

rTurning point for next movement

Turn hips to left with left leg as pivot;at the same time bring right foot up (seenext page).

HE/AN FIVE 69

Bring sole of right foot to the palmof left hand, and immediately bring.down kicking leg to right sideof bodyin direction of A.

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70 KARATE KATA

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15 Migi 'rnikezuki-qeri'Right crescent kick

HEIAN FIVE 71

72 KARATE KATA

Top and side viewof Stance 9. Tech-nique 16.

9 Kiba-dachiStraddle stance

16 Migi 'enpi-uchi'Right elbow strike

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Bring right elbow to left palm. which remains about 12 in. in frontof chest.

HEIAN FIVE 73

APPLICA TlON: Grab op-ponent's wrist with left handand draw him in; at thesame time turn right footin an are and kick adver-sarv's chest (above); thenstrike him strongly withright elbow (below). Alter-natively (Ieft) block adver-sarv's punch with sole ofright foot and hit him withright elbow (below).

74 KARATE KATA

Bend right leg and draw left foottoward right foot.


HEIAN FIVE 75

76 KARATE KATA

Top and side viewof Stan ce 10, Tech-nique 17.

10 Migi ashi-dachiRight foot stance

17 Migi chiidan 'morate-uke I

Right augmented forearm block

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•••,...•HEIAN FIVE 77

APPLICA T/ON: Blockopponent's right lungepunch with outside ofright forearm. f:~~!!!!~======f::::::=====::I

78 KARATE KATA


With weight on right foot straightenknee while turning face to left;at the same time straighten leftleg and move in the direction of B;simultaneously raise right fist di-agonally behind head (see nextpage).

HE/AN FIVE 79

Top and side viewoiStance 11, Tech-nique 18.

80 KARATE KATA

11 Re no ji-dachiL-stance

18

The body is bent in Technique 17and straightened in Technique 18.

Migi morote ushiro 'age-zuki'Right double-fist upward blow

,1-IIIIIII

II

/ .•~

HE/AN FIVE 81

After forearm block (Technique 17),straighten body and deliver up-percut to opponent's chin. At thesame time turn round in preparationfor attack of another adversary.

/82 KARATE KATA

Jump in the direction of B whilepulling the knees up high under thebody.


HEIAN FIVE 83

B

-- --- A------- --- --- --- --

84 KARATE KATA

----------------------------

--- --

HE/AN FIVE 85

86 KARATE KATA

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TJp ~nd side viewc[Stsnce 12, Tech-riiqu» 19.

12 Migi ashi-dachiRight foot stance

19 Ryoken gedan jilft-uke'Two fist lower X-block

HEIAN FIVE 87

Bend both knees deeply .


Turning face to right, straighten leftknee, slide right foot one steptoward Band push hips forward(see next page).

APPLICA T/ON: As your op-ponent tries to hit knees witha cudgel jump high, pullingthe knees well up; then strikeadversarv's shin with bothfists.


Top and side viewof Stan ce 13, Tech-nique 20.

90 KARATE KATA

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13 Migi zenkutsu-dachiRight forward stance

20 Migi chiidan 'rnorot.e-ulce'Right augmented forearm block

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HE/AN FIVE 91

APPLICATION: An alter-native application of Tech-nique 19 is two fist lowerX-block (Ieft) after whichretaliation can be madewith a kick. Below: Blockadversarv's punch withaugmented forearm block(Technique 20),

92 KARATE KATA


Without moving the feet sway bodyback in the direction of A.

HE/AN FIVE 93

J

Top and sideview of Tech-nique 21a.

94 KARATE KATA

21a Migi shutoqeden 'uchi-korni'Lower right knife-hand blowHidari sho migi kata ue 'nagashi uke'Left hand right shoulder block

Turn hips to the left and bring weight ,/forward bending left knee; at the,'same time strike with your right hand(dawn from your right shoulder and~bring left hand from in front of left hipto right shoulder.

HEIAN FIVE 95

96 KARATE KATA

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14 Migi k6kutsu-dachiRight forward stance

21bMi9i ken migi sokumen j6dan 'ucbi-uke'Right fist right side inside blockHidari ken migi sokumen 'gedan-uke'Left fist right side lower block

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Techniques 21a and 21b should beperformed quickly and smoothly.

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Immediately following Technique 21 shift body weight quickly to rightleg; at the same time close fists, raise right fist from left knee and bring downleft fist from right shoulder.

HEIAN FIVE 97

APPLICA T10N: Block adversary'spunch above the shoulder with leftpalm and strike opponent's groin withright knife hand; grab opponent'sthigh, draw him in, place left hand tohis throat and punch him down(Technique 21a).

98 KARATE KATA

APPLICA T10N: When attacked from be-hind and front. block kick from the frontand at the same time strike opponentbehind with back fist strike (Technique21b).

HEIAN FIVE 99

100 KARATE KATA

15 Heisoku-dachiClosed feet stance

22 As previous technique

••••••••····IIIII.IIIII.»Top and side view

ofStance 15, Tech-nique 22. '--------==--------'

HE/AN FIVE 101

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APPLICATION: This stance is heldin front of opponent in a menacingmanner.

102 KARATE KATA

f


Turn to the left using left leg aspivot and slide right foot in thedirection of A; at the same timestrike dawn with left hand towardright knee, and move right handdawn to right hip and up towardleft shoulder. Bend right knee (seenext page).

HE/AN FIVE 103

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Hidari Shutho d lower stnke hi uke'23 "fe- an , gas t-:a Left km. bideri kata ue na eping blockMiglsho 1 I ft shoulder sweRight hand e

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and sideTop f Tech-view onique 23a"

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KARATE KATA104 E 105HE/AN FIV

106 KARATE KATA

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Top and side viewofStance 16, Tech-nique 23b.

16 Hidari kokut su dachileft back stance

2 3 Hidari ken hidari joden 'uchi-uke'b Left fist left si de inside upper block

Migi ken migi sokumen 'gedan-uke'Right fist right side lower block

Techniques 23a and 23b shouldbe performed smoothly. Im-mediately transfer weight to leftleg; at the same time clenchfists and bring the left fist upbehind head and right fist downin front of thighs.

HEIAN FIVE 107


••108 KARATE KATA HEIAN FIVE 1 09 ~

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••110 KARATE KATA HEIAN FIVE 111


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112 KARATE KATA

NA TURAL POSITION

HEIAN FIVE 113

Glossary of Japanese Karate Terms

The pronuneiation of Japanese words is very simple: the vowelsare like those in Italian and the eonsonants like those in English(g is always hard). There are no silent letters (e.g., keage =ke-a-ge).

Age-zuki: Rising punch.Ashi: Leg or foot.

Barai: Sweep.

ChOdan: Middle.

Daehi: Stance.Dan: Grade.Dojo: Gymnasium or practice

hall.

Embusen: (Kata) performa nceline.

Enpi: Elbow.Enpi-uchi: Elbow stri ke.

Gedan: l.ower area of the body.Gyaku-zuki: Reverse punch.

Haehiji-daehi: Open-Iegstance.

Haiwan: Back-arm.Heisoku-daehi: Closed-feet

stance.Hidari: Left.

Joden: Face area.

114 KARATE KATA

Juii-uke: X-block.

Kake-uke: Hooking block.Kamae: Postu re.Karateka: User of karate.Kata ue: Above shoulder.Keage: Snap kick.Ken: Fist.Keri: Kicking.Ki-si: Loud, deep cry from

bottom of stomach.Kiba-daehi: Straddle stance.Kčkutsu-dechi: Back stance.Koshi: Hips.KyO: Class.

Migi: Right.Mikazuki-geri: Crescent kick.Mizunagare: Water-flow.Morote: Both hands.Musubi-daehi: Informal stan ce,

feet turned out.

Nagashi-uke: Sweeping block.

Oi-zuki: Lunge punch.

!

Osae-uke: Pressing block.

Re-no-ji-daehi: L-stance.Rvoken: Two fists.

Shizen tai: Natural postu re.

Tanden: Area of the navel.Te: Hand.Tsuki: Punch.

Vehi: Striking.Vehi-uke: Block from inside

outward.Vehi-komi: Oeep strike.

Uke: Blocking.Vraken: Back fist.Vshiro: Back, rear.

Zanshin: Completion of thetechnique in which aware-ness of opponent and sur-roundings are maintained.

Zenkutsu-daehi: Forwardstance.

Zenwan: Forearm.Zuki: Punch.

HE/AN FIVE 115

STANCE2

1 3

TECHNIQUE 1

I, I ,r-----a~.

1'----

STANCE

TECHNIQUE

2 3 4 5

16

23a

Top View of Kata Heian 5

3

6

6 8 109

15---- 1 ~~

14 13

23a 22 21b 21a

8

1 1 12 13

129

14

l

.-19 18 17 16 15

Other Books in This Series:KARA TE KA TA: HE/AN 1 TEKK/ 1KARATE KA TA: HE/AN 2 . HE/AN 3KARATE KATA: HE/AN 4

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THEDEMONSTRATOR:Hirokazu Kanazawa hasbeen an instructor for the Japan Karate As-sociation since 1958 and is now chief instruc-tor for the association in Europe. Born inMiyako, Iwate Prefecture, he graduated fromTokvo's Takushoku University. He holds asixth dan black belt and is noted for the speedand style of his technique.

Also by Masatoshi Nakayama:DYNAM/C KARATE

Printed in Japan

Jacket design by M. Kuwata showing authorNakayama executing kata movements.

KARATE KATA: HE/AN 5 · Kata Heian 5 is a basic kata which a karate student learns early in his...

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