Hello and welcome to karate-blog.net, clear and net karate. So I BANDELIER Bruno and today we see the fifth Heian. Okay, so the last of the series of Kata Heian. So what is the Kata, in general, we ask for brown or blue belt, everything depends on the clubs. There are clubs that request from the blue belt, especially old clubs I think those … In time, the black belt, asked much more Katas So, automatically, belts below … Here, we went a little further so … It’s a bit like that, but I think now, many clubs ask Heian Godan to brown belt. But hey, there, some ask for blue. Me, it depends. I know it depends on the student, it depends on many things. Heian Godan, forgiveness. So Heian Godan, we will do as usual. I’ll do a little in every sense and then, secondly, we shall dissect. If you know it, well, enjoy the video with me to remake the same time. You are at home before you and redone with me so I would not feel alone. Come on! Heian Godan! Yame. So you see, nonchalantly, it is relatively complicated. There are still many different techniques. It is quite mixed. Me personally, I find that for black belt, Kata is the hardest. I find it harder than the first advanced Katas. I remember when I had my black belt, I remember all the Katas … yet at the time, we had to learn Bassai Dai and Kanku Dai, therefore, there was still a larger workload than now. Even back then, I was Heian Godan harder. Here, so that’s a personal choice. I find it is not obvious, the jump is not easy, and the end of the sequence zenkutsu, KoKutsu, it’s not easy. I find it quite complicated. So we will see it together. So, I do it again the other way. So you, you start with me, always. Come on! Heian Godan! Sorry, I was just thinking. maybe we will do it again in the way. Here, I do not know if you noticed, the Kiai, I did a bit on purpose. The Kiai, I did it when Morote Uchi Uke, instead of doing it here. In fact, following the Masters, we can, in fact, in the entire area, when it is there. There are beginning their Kiai here and ends here. Me, that’s why I did it. I did a little bit late in my opinion. Anyway, then resumes. You put with me, you do it once in a sense, a shot in the other. Heian Godan! Come on, here it is hot! I do not know if I’m still on the top line. You shift a little, we’ll go from there. Heian Godan! I do not know if you have also noticed, the, this is the first time the three that I’ve done before, I come back to the same place. Other before, in fact, at the break, is never far enough so I can get to every shot … but we’ll talk about it when we will detail. Come on, we detail it together. Start of Kata, always the same: Hi! Kata is announced. We wait two or three seconds. It takes time. Hachiji Dachi, we wait two or three seconds and share. So, not that, relaxed. Come on! So there is rotation to switch KoKutsu Dachi. I turn my hips there and I lock. I turn and I just locked. So, I’ll just open. And I open my leg there, it brings me to. Do not make the mistake I made in Heian Godan I make the mistake of doing it then it must be that. One must come… this is the kind of mistake that I make pretty easily because I am quite flexible at the ankles. And suddenly, once again, I tend to have the foot that opens then he should not, but it does not bother me at all mechanically. But now normally requires that the knee and my ankle are in the same axis. So, think about it! That’s why – I’m going to digress but be careful in videos not all watching with binoculars. Listen to what I say above, but errors, it is sure that I make. It can happen to everyone in fact. When one is in a class, the advantage is that the student can tell you: are you sure it’s good? And then we can correct. In video, I can not. If I made a mistake, it stays there. So when I see, I usually marks you. That is, it can happen to make mistakes, so be careful not to … I am not the absolute reference so beware! Come on, we start rotating, Uchi Uke at Chudan; and there, directly, without moving – as I told you there is belly. There is no rotation of the hips. The hips do not move from there, it goes away and it comes to rest on the stand there, not moving. There is a slight vibration, that’s all, but the shot goes by and not the hips. It’s not hip that part, it’s the belly that sends the bust, upper body: one, two. Is Yoko Zuki. So it’s on the side. Yoko Zuki or … I have a doubt … No, it’s Gyaku Zuki, simply. This is Gyaku Zuki but I do not move. Then I turn. My arms come here, I’ll come on foot there; I turn on the heel. Excuse me, my arms do not come there. This one comes in and one Hikite here is Kagi Zuki. And this is actually the position … there is Mizu Nagare Kamae. Let me explain why. Mizu, I think it means “water” and Nagare: it means “flow” or unless the other way around, I do not know for sure. But I think that’s it. So in fact, it is the position of the flowing water. What you need to understand – I’ll get a little closer is that the position there, if you put a drop of water here, it must be here. So it should not be any angle at any time. You must not look there. If you look a bit there, the water will flow in the biceps. If you look there, the water will flow there. If you overreach there, the water will flow there. You see, it really … I flow. I let it flow. Mizu Nagare Kamae. This is the position Mizu Nagare Kamae. So here we are in position Heisoku Dachi, the pelvis retroversion; the almost straight legs, but at least in tension. The tension in the legs and I … I just rest on the ground. I pull my gaze and Hikite going there. My gaze is on the side where I will do the following technique. So, I’ll do the same on the other side: Uchi Uke, Gyaku Zuki, Mizu Nagare Kamae. Position, I’m Kagi Zuki there. Yes, Kagi Zuki. Here, Heisoku Dachi. So here, for cons, the look goes before since I will make the following technical front. Just now, I was the technical there. This is important because we often see the error. We often see from people who are there and who look ahead then we must look to the side. One, two and then I look ahead. And there are many, once again, they look there. It did seem like nothing, I tell you, but it’s important. These are mistakes often seen. Come on, Morote Uchi Uke. Therefore, the two arms come against each other and the two arms forward. Remember, both arms forward. Both arms are one alone. I continue. I advance, the arms come to waist level and Juji Uke. Juji Uke, that’s to stop a kick. There, on the spot So there I am zenkutsu I go, Juji Uke open hands. So, look good: from there, I do that, and I do not … There are not two times. It is similar, this is important because often in books, seen it, where there are marked: intermediate time; and that. And after, when translated, there are plenty who do that. While that’s not it. That is: I bring arms to me and I send them up. I bring them, and a pulse of the stomach, I send them up. There I actually relax. From there, it’s a little tension, relaxation, tension. Okay. Think about it, this is just a movement. From here, then there, the hand – I’ll put myself in the same direction as you because otherwise we lose I’ll put your hands in the air. In reality, they are before you, they are not there. It is for you to see. I’ll get slightly aside. There, the hands, I left hand which is to come on the right hand. I start again. all we did: the left hand comes. She passes and the palm is on the right hand. I place myself in front of you. So that’s it, and that I take to me. While there, there are two variants is – me is what I do – hand as soon as she arrives at the chest, I continue. There are pull ahead until then before leaving. So me, that’s it. So this is the version which is marked in the federal technical specifications. That’s it and that’s directly … it’s very fast, actually. Here. Once we did that – it’s Maete Zuki – directly knock Zuki and advance Oi Zuki with the Kiai. Pardon, Oi Zuki with the Kiai. So here we come to the end of the straight. Then we turn around. So, I turn around. I’ll get like that, so you see me lift the hammer. I just face there. I raise my leg and I go down Gedan Barai in horse stance. There Gedan Barai in horse stance. From there, no. Horse stance. We take back. Then my gaze moved to the left, right hand stretched out there I start like that – outstretched right hand to the left; left hand under the armpit and then I pull Haishu. Then we did it not long ago: Mikazuki Geri. So, I pass in front and I just hit here. I am very careful not to do this: not to turn. I is not running. I just, I hit, I am facing down there when I hit. When I hit, I’m in line there. Okay. I just, I pivoted on my foot there, and … no, but I think. I pivoted on the heel instead. I hit Mikazuki Geri and only then, I turn my hips. That is the work we did the other time. I turn my hips to Empi Uchi. Empi at Chudan. Be careful, like in Heian Yodan, I did … in Heian Yodan, I made many errors … I tended to do it like that. That’s at Chudan. Your arms, he hardly moves. That is: one, and he just hit it, so it remains at the same height. Then the position, I am horse stance. I’ll come here to Morote Uchi Uke. So there, my arms, Morote Uchi Uke at Jodan, in the face. So that, be careful. I see many do this to me. No, it’s the face level. The face, it’s there. That’s Chudan and that’s Jodan. The face, it is not there. Chudan, one, Kosa Dachi. So I’m bearing on the leg and then the other just behind. Then I spend Renoji Dachi I am going to get like that. Kosa Dachi I spend Renoji Dachi. I slightly opened my two feet form an “L” and I Zuki Age, Age going back. It’s Ushiro Age Zuki. Ushiro because I just hit back and up, Age Zuki. So there I am going back: Age Zuki and at the same time, I open there and my gaze goes there. So I hit there and my eyes are there. So I put myself in the right direction: one, two. Attention, please, we’ll come to rest on the left leg, both arms at the waist and I push on the legs. So there, I push on the leg to climb as high as possible. I have to climb as high as possible. Not always easy, but the goal is to group. So: one, two, and I group. Try to be as long as possible in the air, arms here, bent right leg. It is she who will receive you and the other behind, and we just fall in Kosa Dachi. Just on the right leg and the other comes just build like this and do not do that, it is often seen. I do … I have the body that descends Juji Uke. OK. So I begin: one, two, Juji Uke with Kiai here or in the movement there. So the movement, I’m … so here I am resting on the right leg instead, so here I spend my weight on the left. My weight goes on the left leg rotation in the hips, Morote Uchi Uke. I’ll put it like for you to see me: One. Two. Therefore, it is done at the same time. Then, when there are variations. It is not … normally, it comes together. Here, there is virtually no downtime. That is: I do my Kiai and it stops here. I continue my movement so far. I just, I shot Morote Uchi Uke, the two arms come together. Then behind – I will give me that I start to turn, my arm is Gedan Barai, hands open. I start to turn the arm … it just above position Jodan Kamae there. Here, it is in position above lock and there, I just rotate my hips to rotate like this … and I’ll arm which is at the bottom will come protection above and the arm that is above will come to Shuto bottom. Okay. So there is a Shuto. I just … one, Shuto, I just hit … if I have an opponent, I just hit there inside of the thighs. Okay. This is not Nukite. Externally, it is hard to see the difference. But you must in your head either good Shuto. I come, I stay, I stay. There is a twist there at that time and I just hit like that while protecting here. So there, that’s where I think it is quite difficult. Moreover, I think what I’ve done before, ultimately, I do not enchainais fast enough. Normally, this is really: knock. So I from position to position zenkutsu Dachi Dachi KoKutsu very quickly. Okay. So I am one, two. So often it’s wrong is this: we tend to do, especially those just starting out, to do that, to go down like this and to do that, while not. The zenkutsu position to KoKutsu position, my body hardly moves. He goes from here to there. There is almost nothing that is really: One. Two. So, for the record, I had a Kihon on KoKutsu … it was a Kihon for hips or anything, I do not remember the exact name of the video. Check in Kihon. I know I had made one where I spent zenkutsu to KoKutsu. So that you can rework it. So, one, two. So, pay attention here relative to video good pull his arms behind. You must be aligned relative to the body. Be careful, once again I’m like that. Well, I had surgery on both shoulders and there are times I have trouble shoot. I hardly worse, but it’s psychological. There are times, in fact, I stop there because I have been for years where I stopped there, I could not go further. So now, be careful! That’s why I’m telling you, videos, be careful there. OK. So I’m getting the cons advertising. One, two then, I just Heisoku Dachi; Then I rotated – on my feet like that, I rotated – and I just put my arms. So there’s that are … pushing a wall. There are none of that at all. This is a: I just put my arms down to make the same move. Some variations are: one, two. They make the move here and then they leave. Such in the official version is: one, my arms are above. So the position, I pivoted, open hands, Shuto I go down, I’ll be right in KoKutsu Dachi. And I come back, I welcome and my Kata is completed. Well, listen, thank you. I hope you enjoyed this video and it will allow you to progress in karate. Thank you and until next time for a new video on karate-blog.net, clear and net karate. Thank you very much. Goodbye.