It is found four times in 平安三段 (Heian Sandan); once in 慈恩 (Jion); three times in 半月 (Hangetsu); four times in 鉄騎三段 (Tekki Sandan); once in 珍手 (Chinte); and five times in 慈陰 (Jiin).
With the exception of Hangetsu in which gedan-uke is Shuto and chudan-uke is Haito, closes fists are utilized. In this way Tekubi, Kentsui, Uraken, and Ganken can be used to impact.
分解 (Bunkai): It a simultaneous chudan uchi-uke (middle-level inside reception) and gedan-uke (lower-level reception). From a double lapel grab simultaneously impact both of the opponents arms with the exact trajectory and form of the uke.
応用 (Oyo): Simultaneously receive the opponents middle or low attack whilst at the same time counterattacking with the other hand/arm.
Also, when applying techniques from kata we must also practice them in combination with other waza. While the oyo might be the waza in isolation, often strung together with other waza makes them more effective.
For example, movements 11–14 of Chinte Kata: “… impacting with shuto-uke, followed by a mae-geri to the groin, grabbing and impacting with ‘Chudan uchi-uke doji ni gedan-barai’ then applying a guillotine” etcetera.
There are numerous ways to do this technique; however, the way I use comes from Osaka Yoshiharu Sensei, who taught me to launch from the center. In simple terms, he stresses the compression of the chest and expansion of the back, followed by the compression of the back and expansion of the chest.
This is best achieved by tightly crossing the arms horizontally—and tightly— across the center of the body, then snapping the arms out and forward. It is very important to not only make an outward action but also to project energy forward.
Stationary and moving actions: Chudan uchi-uke doji ni gedan-barai is executed: (a) advancing and raising up into into heisoku-dachi; (b) stationary in heisoku-dachi; (c) stepping back into zenkutsu-dachi; (d) turning 180 degrees into hangetsu-dachi; (e) advancing in hangetsu-dachi; (f) stationary in kiba-dachi; (g) stepping rearward with a reversed uke into zenkutsu-dachi; (h) reverse uke in stationary zenkutsu-dachi; (i) reverse uke in stationary kiba-dachi; and (j) turning into kiba-dachi.
This is best achieved by tightly crossing the arms horizontally—and tightly— across the center of the body, then snapping the arms out and forward. It is very important to not only make an outward action but also to project energy forward.
Setting the elbows of both arms is also essential in this action. Depending on the length of one’s arms the distance of the elbows from the torso is between one and two fist widths. Furthermore, both uke must be completed in the correct positions. The gedan-uke must be straight in line with the outside edge of the body. The top of the fist, of the uchi-uke, must be approximately in line with the corresponding shoulder, with the fist angled slightly outward.
I also add to this my late teacher, Master Tetsuhiko Asai's use of JUNANSEI to further maximize speed/snap. While this is in Osaka Sensei's 'ultra precise Shotokan', Asai Sensei's methodology allows for more adaptable actions. Hence, for me, combining these two masters ways is very useful.
Stationary and moving actions: Chudan uchi-uke doji ni gedan-barai is executed: (a) advancing and raising up into into heisoku-dachi; (b) stationary in heisoku-dachi; (c) stepping back into zenkutsu-dachi; (d) turning 180 degrees into hangetsu-dachi; (e) advancing in hangetsu-dachi; (f) stationary in kiba-dachi; (g) stepping rearward with a reversed uke into zenkutsu-dachi; (h) reverse uke in stationary zenkutsu-dachi; (i) reverse uke in stationary kiba-dachi; and (j) turning into kiba-dachi.
To conclude I’d like emphasize that 空手道の基本技 (Karate-Do no Kihon)—the fundamental techniques of Karate-Do are not only the basis of the art, but characterize each kaiha/ryuha.
© André Bertel. Oita City, Japan (2026).
