The Naihanchi Katas are exact duplicates of the first and second half, which means that the techniques can be used on either side of the body. So, therefore, it really doesn't matter whether we are using the first half or second half, it will work both ways.
IMHO, this is true of all but the opening movements to the right. This movement to the right is not replicated elsewhere. Similar arm movements are found to the left, but there is no crossover step preceeding the right strike followed by an elbow.
So once we finish with this technique, I agree, we are talking about mirror images.
For the down strike, Grab the back of the head or ear, if they are bald, bring the head down in a twisting of the neck to attack the right side of the opponents head (ST 5) with the punch in the kata.
That is a great follow up to the first elbow.
I do a takedown here. Recall that this attack can come from the right, so there is the potential of a second attack coming from the left. My goal is to do a takedown that drives the initial attacker into the path of a potential second attacker. In many other kata, there are turns where you spin. I have a variety of takedowns in these where I throw my opponent to my blind side, where, by definition, I can't see if he is about to hit me or not. For Naihanchi, there are no spins, so that is not an option. In any event, there are situations (2 attackers out in front, e.g.) where this takedown would insert attacker A in the path of attacker B.
Most Naihanchi systems load, or stack the hands after the elbow strike, with the right hand in chamber and the left just above and perhaps touching.
Prior to the "stack", I have my left elbow on the opponent's right temple and my right hand on his left side of his head. When I draw back, I change my grip. My left hand straightens so that my left hand can grab the hair on the back of his head. If there is no hair then grab the back of the neck, cupping the base of the skull. My right hand pulls back (to chamber), so that my right hand slides across his face so that the heel of my palm is on/under his chin. The top/side of his head is pulled to my chest.
My left downward block to the left, followed by my right "cross over" strike, is a snap of the neck. I use a body pivot to maximize my own power. The hands move together, not separate. This spins the attacker off to your left. He should wind up on his back, and if either the elbow or takedown were powerful enough, he would be at least dazed long enough for you to complete your finishing technique.
My finish is one of two, depending on how far away he falls (typically the taller, the further.)
I am going to use either my right step across, or the following left step to stomp to the head/neck area. In Shotokan, following the right cross step, the left knee comes up high which makes a stomp a direct sequence from the kata.
Some review. The attack is a right handed grab of the right. The goal is the takedown, where the stomp can be a great finishing technique. You have lots of mass propelling your leg downward, to an object (the head) that cannot "bob" back, as the head tends to when you strike it on a standing person. Also, if you choose, you can attack another very vulnerable target, the neck.
If you are using the left to stomp, this cross-over step followed by a downward side kick thrust or stomp is common to many karate systems and other martial arts. The cross over step is a rapid hop, to close the distance. And interestingly, many systems that practice a cross over step - side kick combination (whether a high kick or a stomp) step across the front, just as in Naihanchi Shodan.
To set up the takedown, there is a sweep/lock combination, both of which reinforce each other. This combo has a lot going on concurrently, as so takes a ton of partner practice. Then a quick strike to the neck to buy time for the elbow. The elbow, whether it hits its desired target or not, should have enough stunning power to set up the the throw.
The throw by itself, can break the neck of a smaller person, but against a large mass, this may not be the result, especially if the neck is very well muscled. But even against a very large attacker, it is effective in completing the takedown as that twist of the neck sends signals to the spine to relax a whole bunch of muscles in the neck, and torso. An immediate stomp flows directly from the next step(s) in the kata.
I would love some feedback.
First, I am a bit curious, which students that practice Naihachi have been taught, or figured out (as I have) this specific sequence?
I am far more interested to hear if anyone who hasn't looked at this interpretation before finds it a useful combination to add to their Naihanchi Shodan repertoire. I expect that some might need to try this on partners in the dojo before finding out if there are pieces that don't work well for a specific person, or against a certain kind of attacker (large, unresponsive to the wrist lock, etc.)
Finally, there have been numerous posts that claim that text cannot be used to adequately explain the intracacies of interpretations of kata. I would be very grateful if any readers would let me know if the level of detail I have provided DOES give enough information for an experienced Naihanchi Shodan practicioner to make use of. Please note that this thread was never meant to be targeted to novices, or those unfamiliar with the kata. The whole point of the "exchange" is that you have enough knowledge to use the movements effectively.
Any other ideas? I fully recognize this is just one of many, many for this initial sequence of movements to the right and left.
-Sensei Mike
