Naifanchin - ナイファンチ is a very old Okinawan Kata that starts at the Tomari-te traditions on Okinawa. The meaning of the name Naifanchin is ‘Internal Divided Conflict’ or ‘Inner Tension Stance’. The particle Nai means ‘inner’ or ‘inside’ and probably refers to pointing the toes inward. Fan means a clawed foot of a certain animal. Chi means the soil or foundation. So the original name probably meant something to the effect of being rooted to the ground in correct stance. Chin could mean ‘battle’ as it does in the word Sanchin. The word Naihan could refer to the narrow paths through rice fields that resemble squares. Therefore, it could mean ‘battle in a rice field’.



The oldest known reference to Naifanchin is in the books of Motobu Choki sensei. Motobu (1825-1921) learned the Kata from his teachers Anko Itosu and Sokon Matsumura. Itosu is reported to have learned the Kata from Sokon Matsumura who learned it from a Chinese man living in Tomari, Okinawa. Before Anku Itosu created the Pinan Kata, Naihanchin would traditionally be taught first in Tomari-te and Shuri-te schools, which indicates its importance.


Motobu Choki is quoted as saying: ‘The only Kata that was necessary for one to be a good fighter was Naihanchin’. This is because he believed that the Naihanchin Kata was also to teach how to enter the opponent’s space, get in close and defeat him decisively with one technique. ‘The blocking hand must be able to become the attacking hand in an instant. Blocking with one hand and then countering with the other is not true Bujutsu. Real Bujutsu presses forward and blocks and counters in the same motion’.


In Shotokan the name and Kata Embussen was changed by Funakoshi Gichin in 1924 to Tekki - 鉄騎, which translates to ‘Iron Horse’. It refers to the stance used in it and as a direct reference to his teacher, Anko Itosu, and to the Kata’s power. ‘Iron’ refers to its strength and stability. ‘Horse’ refers to the fact that it resembles a man riding a horse.


Sosai Masutatsu Oyama learned the Tekki Kata from Funakoshi Gichin in his Shotokan period. Below a picture kept in that period of his life. He achieved 4th Dan in Shotokan Karate. It was originally removed from the Kyokushin syllabus, but was officially reintroduced as Naifanchin into the Kyokushin Kan Style (Kancho Hatsuo Royama, one of the first students of Mas Oyama) and taught to Black Belt students at many international Kyokushin Karate summer camps.


The Naifanchin Kata is used in many different styles of Karate as well as Kempo and Taekwondo today. Because of the Kata's complexity and length it was divided into three sections for learning and practice.


Motobu Choki Funakoshi Gichin Masutatsu Oyama


The most important purpose of Naifanchin lies not in the fighting skills it develops, but in training the lower parts of the body through slow and steady sideward movements. Developing strong legs and hips are indispensable to Karate training. The Kata's side to side movements in a low stance also are aim at building up the balance and a low center of gravity to build up the necessary balance and strength for fast footwork and body shifting.


For proper Kata performance, obviously a strong horse stance is essential, but the student must also understand the difference between hip rotation and hip vibration. Often neglected but of great importance, head turns must be stressed in this Kata. Another distinct characteristic of the Kata is the technique where the circular movement of the arms protects the head in a block, while simultaneously setting up the opening for the Uraken.


The punching and blocking motions are short because space is very restricted. The short techniques make Naifanchin a very difficult Kata to master, and some consideration might be given to thinking of Naifanchin as a more technically advanced level form. Despite its simple and short form, the Bunkai that can be applied to this Kata from the feet up is vast. Hence while Kyu ranks may ‘learn’ it, the Kata offers extended Bunkai Henka ('alternates') that is usually re-visited for black belts to extended knowledge.


When undertaking research into any aspect of the Martial Arts it is difficult not to get drawn in to the dubious world of secret masters with secret teachings known only to the master’s personal student. Inevitably with any long standing tradition, ritual, or any body of knowledge that has to pass through many hands and numerous generations, not only are things added, but they are also lost. We have to accept that the Naihanchin that we know today has been toyed with. Various creditable masters have added their own ideas, some may say that they have improved the Kata, others may argue that much of the original content has been lost and only a sniff of its original essence remains. I doubt that any version seen today could claim to be the real Naihanchi as formulated by its founder, or founders.

Naifanchin Shodan
video instructions

Naifanchin Shodan is the first Kata in the series of three and is also the first Kata that does not start in the traditional Yoi position. Having 36 counts, it is performed almost entirely in Kiba Dachi - 騎馬立ち. The form makes use of close in-fighting techniques combined with whole body movement, Tai Sabaki, and grappling. Although the Embusen is simply a straight line (the Kata movies from side to side), the techniques can be applied against attackers at any angle.


The footwork is accomplished in a sideways manner using the crossing step, or Kosa Ashi. The ‘returning wave’ or Nami Gaeshi involves sweeping the sole of one foot up to the thigh of the other leg (the term actually coined by Funakoshi sensei to explain an Okinwan technique of avoiding a sweep to the Japanese).


# Explanation s tep by step Black Belt
Begin the Kata from the base KAMAE position in FUDO DACHI.

On the command Naifanchin Shodan move the right foot into Heisoku Dachi. Place the right open hand over the left one (opposite as in MUSUBI DACHI KAMAE).

At the command REI bow.

This is the traditional opening of the Okinawan (Tomari-te) and Shotokan version.
1. On the command HAJIME/ICHI look to the left opponent, followed by looking at the opponent on the right, lower the body and slowly cross the left foot in front of the right foot, heel raised, into left MAE KOSA ASHI, while hands still stretched in front of you.
2. Put the left heel on the ground, then take a big step into KIBA DACHI, while making a right Haishu uke hand (left is a fist).
3. In the same position, still in kiba dachi, make a left CHUDAN HIJI ATE in the right open hand. The hips remain in front.
4. In the same position make a right Koshi no kamae (left fist above the right one) and turn face to the left.
5. In the same position block with a left GEDAN BARAI, right fist in HIKITE.
6. In the same position strike a right CHUDAN KAGI TSUKI (right fist is not moving out from the body), left fist HIKITE.
7. Move to the left, with the right foot cross in front of the left into MAE KOSA ASHI.
8. Put the right heel on the ground, then lift the left knee high and hit left with a left fumikomi (crushing kick) to get in the position of kiba dachi. Simultaneously, while stamping, make a right UCHI UDE UKE, left fist HIKITE. Look to the front and also the hips remain in front.
9. Stil in position, kiba dachi, parry simultaneously a low right gedan barai and a swept defense high left nagashi uke. The hips remain in front.
10. Immediately chained with a direct left URAKEN GANMEN UCHI (left-hand high-level punch), left elbow resting on the back of the right fist (in a right KAGI TSUKI-position), to the opponent’s face, with KIAI. Look to the front.
11. Turn the head to the left.
12. Make a left nami gaeshi (kick sweep up the left foot).
13. The nami gaeshi ends into kiba-dachi, simultaneously block a left Chudan Ude Seiken Uchi Ude Uke (fist in TETTSUI in blocking direction), right fist always under the left elbow.
14. Turn the head to the right.
15. Make a right nami gaeshi.
16. The nami gaeshi ends into kiba-dachi, simultaneously block with the same arm a CHUDAN Soto Ude Uke (fist turns) to the right, right fist still under the left elbow.
17. In the same position make a right Koshi no kamae (left fist above the right one) and turn face to the left.
18. Strike a MOROTE TSUKI to the left (simultaneously a left JUN TSUKI, left hand slightly ahead comes down below shoulder height, and a right KAGI TSUKI) with KIAI.
19. With the left hand make a big cirkel-movement that end into HAISHU UKE . Right fist into HIKITE.
20. In the same position strike a right CHUDAN HIJI ATE in the left open hand.
21. In the same position make a left Koshi no kamae (right fist above the left one) and turn face to the right.
22. In the same position block with a right GEDAN BARAI, left fist in HIKITE.
23. In the same position strike a left CHUDAN KAGI TSUKI (left fist is not moving out from the body), right fist HIKITE.
24. Move to the right, with the left foot cross in front of the right into MAE KOSA ASHI.
25. Put the left heel on the ground, then lift the right knee high and hit with a right fumikomi (crushing kick) to get in the position of kiba dachi. Simultaneously, while stamping, make a left UCHI UDE UKE, right fist HIKITE. Look to the front and also the hips remain in front.
26. Still in position, kiba dachi, parry simultaneously a low left gedan barai and a swept defense high right nagashi uke. The hips remain in front.
27. Immediately chained with a direct right URAKEN GANMEN UCHI, right elbow resting on the back of the left fist (in a left KAGI TSUKI-position), to the opponent’s face, with KIAI. Look in front of you.
28. Turn the head to the right.
29. Make a right nami gaeshi (kick sweep up the right foot).
30. The nami gaeshi ends into kiba-dachi, simultaneously block a right Chudan Ura Seiken Uchi Ude Uke (fist in TETTSUI in blocking direction), left fist always under the right elbow.
31. Turn the head to the left.
32. Make a left nami gaeshi.
33. The nami gaeshi ends into kiba-dachi, simultaneously block with the same arm a CHUDAN Soto Ude Uke (fist turns) to the left, left fist still under the right elbow.
34. In the same position make a left Koshi no kamae (right fist obove the left one) and turn face to the right.
35. Strike a MOROTE TSUKI to the right (simultaneously a right JUN TSUKI, right hand slightly ahead comes down below shoulder height, and a left KAGI TSUKI) with KIAI.
36. Move the right foot back into Heisoku Dachi and both fists in HIKITE (still looking to the right). Then stretch both arms and look forward.
The Kata is completed after the command NAORE the FUDO DACHI position is taken.

At the command Yasmee relax and at ease.


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Naifanchin Shodan

Naifanchin Shodan
source Youtube


Documentation

Instructions Naifanchin Shodan


Kihon Waza
Dachi Waza

Fudo Dachi
Heisoku Dachi
Mae Kosa Dachi
Kiba Dachi


Te Waza

Chudan Hiji Ate
Chudan Kagi Tsuki
Uraken Ganmen Uchi
Morote Tsuki
Jun Tsuki


Uke Waza

Haishu Uke
Gedan Barai
Chudan Ura Seiken Uchi Ude Uke
Chudan Soto Ude Uke
Nagashi Uke


Geri Waza

Fumikomi


Kihon Jutsugo

Kamae - 構え, means posture or base. Kamae is to be differentiated from the word Dachi - 立ち. Dachi refers to the position of the body from the waist down, Kamae refers to the posture of the entire body, as well as encompassing one's mental readiness.Kamae
Musubi Dachi Kamae (Ura Te)
Rei.Rei
Hajime - 始め, means begin.Hajime
Koshi no Kamae.Koshi no Kamae
Hikite - 引き手 means drawing hand: Hiku - 引き, to draw or pull, and Te - 手, the hand.Hikite
Tettsui.Tettsui
Nami Gaeshi.Nami Gaeshi
Naore - 直れ, is a command to go back into the beginning Kamae.Naore
Yasumi - 休み, is a command to rest or relax.Yasume


Naifanchin Nidan
video instructions

Naifanchin Nidan is the shortest Naifanchin Kata, consisting of 24 movements. Similar to Naifanchin Shodan in many ways, this Kata is also performed almost entirely in horse stance, with the exception of a few crossing steps and one Heisoku Dachi. The objective in this Kata is to develop grabbing, throwing, and locking applications while maintaining a strong Kiba Dachi.

To accomplish this, the student is introduced to many new techniques such as Ryo Zenwan Suhei Kamae, Zenwan Shomen Gedan Kensei, and Oshi Uke. The use of Tsukami Uke in this Kata teaches how to draw an opponent in for counter-attack.


# Explanation step by step 9e Kyu
Begin the Kata in FUDO DACHI. On the command Naifanchin Nidan move the right foot into Heisoku Dachi. Place the right open hand over the left one (opposite as in MOSUBI DACHI KAMAE).

At the command REI bow.
1. On the command HAJIME/ICHI move to the right into left MAE KAKE ASHI DACHI (left foot crossed before right foot), with a fist position similar to the start-position of Uraken Saya Uchi, except the fists have some space between them.
2. Move to the right into KIBA DACHI and strike right URAKEN JODAN UCHI.
3. Move to the right into left MAE KAKE ASHI DACHI (left foot crossed before right foot), with a setup for right UCHI UKE with a left SASAE UKE (augmented/supported wrist block with left SHUTO hand in front of your body).
4. Move to the right into KIBA DACHI and make the right UCHI UKE with a left SASAE UKE (supported by the left hand).
5. Move to the right into HEISOKU DACHI, with a fist position similar to the start-position of Uraken Saya Uchi, except the fists have some space between them.
6. Move to the left into KIBA DACHI and strike left URAKEN JODAN UCHI.
7. Move to the left into right MAE KAKE ASHI DACHI (right foot crossed before left foot), with a setup for left UCHI UKE with a right SASAE UKE (augmented/supported wrist block with right Shotei hand in front of your body).
8. Move to the left into KIBA DACHI and make the left UCHI UKE with a right SASAE UKE (supported by the right hand).
9. In the same Kiba Dachi make a left WAKI KAMAE (right fist on top of a left open hand).
10. In the same Kiba Dachi block with a right UCHI UKE with a left SASAE UKE (augmented/supported wrist block with left SHUTO hand in front of your body).
11. In the same position pull back your right fist in the ready punch position and the open left SHUTO hand is placed horizontally on the front of the right fist, at the same time hook with the right leg (like a De Achi Barai). Finish to the right and step into KIBA DACHI, and make a short HIJI UCHI movement with the right elbow, covering the right closed fist with a left open SHUTO hand (upwards).
12. Still in the same position make a right Jodan Kake uke followed with a left KAGI TSUKI.
13. Move to the right into left MAE KAKE ASHI DACHI (left foot crossed before right foot), make a left UCHI UKE and at the same time hook with the right leg (like a De Achi Barai) and step in Kiba Dachi.
14. In the same Kiba Dachi make a right JODAN UKE / GEDAN BARAI (ending with right fist upwards) and strike with a right URAKEN GAMNEN UCHI (movement right elbow ends on a left KAGI TSUKI-position) with KIAI.
15. In the same Kiba Dachi make a right WAKI KAMAE (left fist on top of a right open hand).
16. In the same Kiba Dachi block with a left UCHI UKE with a right SASAE UKE (augmented/supported wrist block with right Shuto hand).
17. In the same position pull back your left fist in the ready punch position and the open right SHUTO hand is placed horizontally on the front of the left fist, at the same time hook with the left leg (like a De Achi Barai). Finish to the left and step into KIBA DACHI, and make a short HIJI UCHI movement with the left elbow, covering the right closed fist with a right open SHUTO hand (upwards).
18. Still in the same position make a left Jodan Kake uke followed with a right KAGI TSUKI.
19. Move to the left into right MAE KAKE ASHI DACHI (right foot crossed before left foot), make a right UCHI UKE and at the same time hook with the left leg (like a De Achi Barai) and step in Kiba Dachi.
20. In the same Kiba Dachi make a left JODAN UKE / GEDAN BARAI (ending with left fist upwards) and strike with a left URAKEN GAMNEN UCHI (movement left elbow ends on a right KAGI TSUKI-position) with KIAI.

21. In the same Kiba Dachi make a left JODAN UKE / GEDAN BARAI (ending with left fist upwards) and strike with a left URAKEN GAMNEN UCHI (movement left elbow ends on a right KAGI TSUKI-position) with KIAI.

22. In the same Kiba Dachi make a left JODAN UKE / GEDAN BARAI (ending with left fist upwards) and strike with a left URAKEN GAMNEN UCHI (movement left elbow ends on a right KAGI TSUKI-position) with KIAI.

23. In the same Kiba Dachi make a left JODAN UKE / GEDAN BARAI (ending with left fist upwards) and strike with a left URAKEN GAMNEN UCHI (movement left elbow ends on a right KAGI TSUKI-position) with KIAI.

24. In the same Kiba Dachi make a left JODAN UKE / GEDAN BARAI (ending with left fist upwards) and strike with a left URAKEN GAMNEN UCHI (movement left elbow ends on a right KAGI TSUKI-position) with KIAI.

25. In the same Kiba Dachi make a left JODAN UKE / GEDAN BARAI (ending with left fist upwards) and strike with a left URAKEN GAMNEN UCHI (movement left elbow ends on a right KAGI TSUKI-position) with KIAI.

26. In the same Kiba Dachi make a left JODAN UKE / GEDAN BARAI (ending with left fist upwards) and strike with a left URAKEN GAMNEN UCHI (movement left elbow ends on a right KAGI TSUKI-position) with KIAI.

27. The Kata is completed after the command NAORE, moving the left foot back to the right one into HEISOKU DACHI and both fists in ready position (still looking to the left). Then stretch both arms and look forward. After the command Yasmee the FUDO DACHI position is taken.

The Kata is completed after the command NAORE, moving the left foot back to the right one into HEISOKU DACHI and both fists in ready position (still looking to the left). Then stretch both arms and look forward. After the command Yasmee the FUDO DACHI position is taken.


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Video

Naifanchin Nidan
source Youtube


Documentation

Instructions Taikyoku sono Ni


Kihon Waza
Dachi Waza

Fudo Dachi
Joi Dachi
Heiko Dachi
Zenkutsu Dachi


Te Waza

Jodan Oi Tsuki


Uke Waza

Gedan Barai


Geri Waza


Kihon Jutsugo

Kamae - 構え, means posture or base. Kamae is to be differentiated from the word Dachi - 立ち. Dachi refers to the position of the body from the waist down, Kamae refers to the posture of the entire body, as well as encompassing one's mental readiness.Kamae
Hajime - 始め, means begin.Hajime
Hikite - 引き手 means drawing hand: Hiku - 引き, to draw or pull, and Te - 手, the hand.Hikite
Naore - 直れ, is a command to go back into the beginning Kamae.Naore
Yasumi - 休み, is a command to rest or relax.Yasume


Naifanchin Sandan
video instructions

The last Naifanchin Kata, Naifanchin Sandan, has 36 movements. It is a very quick Kata, having a rapid timing with many consecutive techniques performed without pause. T3 offers some new techniques such as zenwan-uchiotoshi, zenwan-hineri, and zenwan-gedan-furisute. Many of the techniques in T3 are executed with the "added hand" (soete) for additional support. T3 teaches the student that the added hand may also be used for grabbing or trapping an opponent's techniques. Much of the bunkai of this kata revolve around this idea of "trapping," meaning to immobilize the adversary's attacking limbs so that they cannot make further attacks.


Video

Naifanchin Sandan
source Youtube