How Can We Help?
Bassai-dai
Kilde
“Kofukan Standardised Katas – Part 1”, K Tomiyama, 8th Dan Tasshi, January 2013
Instruktion
Åbning
- Musubi-dachi and Rei (bow).
- Close toes and make Heisoku-dachi stance.
- At the same time, place right fist and left hand in front of groin. Right fist face is touching left palm. Left hand is stretched open.
- Announce the name of the Kata.
Gennemgang
- Lift right knee and bring both hands (right fist and left open hand) to left hip. Then step right foot forward and bring left foot to the outside of right foot to make Kosa-dachi stance (Crossed stance). At the same time, perform right Chudan Yoko-uke block supported by left hand (Sasae-uke, supported block). Left fingertips are level with right fist.
- Move left foot back and turn anti-clockwise to face back in left Zenkutsu-dachi stance. At the same time, perform left Chudan Yoko-uke block.
- Move back left foot a little to change stance into left Moto-dachi. At the same time, perform right Chudan Yoko-uke block.
- Cross and move back right foot and turn clockwise to face back (original front) in right Zenkutsu-dachi stance. At the same time, perform left Chudan Yoko-uchi block.
- Move back right foot a little to change stance to right Moto-dachi. At the same time, perform right Chudan Yoko-uke block.
- Look right and move right foot back to face right in Shiko-dachi stance, then bring right foot in to change stance to Hachiji-dachi (Soto-hachiji-dachi). At the same time, perform right Sukui-dome block (block down with thumb side of forearm then scoop up). At the end, right fist is at ear height. Left fist remains pulled back at side.
- Step right foot forward and make right Nekoashi-dachi stance in Hammi position. At the same time, perform right Yoko-uchi block.
- Turn the body to Shomen position and perform left Yoko-uke block.
- Turn the body to left and face the original front direction in Hachiji-dachi stance. Place both fists at right hip, palms facing each other.
- Open left heel and turn body to make right Sokkutsu-dachi stance (this is narrow Sokkutsu-dachi). At the same time, perform left Yokobarai block. This block is at shoulder height. Right fist remains at right hip.
- Bring left heel in, turn back body and make Hachiji-dachi stance. At the same time, perform right Chudan-zuki punch. Pull back left fist as you punch.
- Open right heel and turn body to make left (narrow) Sokkutsu-dachi stance. At the same time, perform right Chudan Yoko-uke block. (Make sure this is proper Yoko-uke block starting from left hip). Left fist remains pulled back.
- Bring right heel in, turn back body and make Hachiji-dachi stance. At the same time, perform left Chudan-zuki punch. Pull back right fist as you punch.
- Open left heel and turn body to make right (narrow) Sokkutsu-dachi stance. At the same time, perform left Chudan Yoko-uke block (starting from right hip). Right fist remains pulled back.
- Step right foot forward and make right Nekoashi-dachi stance in Hammi position. At the same time, perform right Gedan Shuto-barai block. Left hand is placed in front of solar plexus palm facing up.
- Step left foot forward and make left Nekoashi-dachi stance in Hammi position. At the same time, perform left Gedan Shuto-barai block. Right hand is placed in front of solar plexus palm facing up.
- Step right foot forward and make right Nekoashi-dachi stance in Hammi position. At the same time, perform right Gedan Shuto-barai block. Left hand is placed in front of solar plexus palm facing up.
- Step right foot back and make left Nekoashi-dachi stance in Hammi position. At the same time, perform left Kakete block. Right hand is placed in front of solar plexus palm facing down.
- Perform left Kakete block again. (Both hands make anti-clockwise circular movement.) Right hand is placed in front of solar plexus palm facing down.
- Drop front heel, shift weight to front leg, turn body to Gyaku-hammi position, pull back left Kakete and press right hand against (imaginary) opponent’s elbow, fingers pointing up.
- Lift right knee and stamp forward using Sokuto part (outer edge) of right foot. Left foot follows forward (slide-in) to makeHachiji-dachi in right forward Ma- hammi position. At the same time, close hands and pull back both fists to left hip both palms facing down. (Kiai!)
- Turn body anti-clockwise and move left foot a little to face back in left Nekoashi- dachi stance in Hammi position. At the same time, perform left Chudan Shuto- uke block. Right hand is placed in front of solar plexus palm facing up.
- Step right foot forward and make right Nekoashi-dachi stance in Hammi position. At the same time, perform right Chudan Shuto-uke block. Left hand is placed in front of solar plexus palm facing up.
- Bring right foot back and close left toes to make Heisoku-dachi stance in Shomen position. At the same time, perform Jodan Wa-uke block (circle block) directly from the previous position. Both hands are closed into fists.
- Step right foot forward and make right Zenkutsu-dachi stance in Shomen position. At the same time, perform Chudan Hasami-uchi strike (double inward strike) using Kentsui (hammer fist). Both palms are facing up at the end.
- Slide forward and make Shiko-dachi stance in right forward Ma-hammi position. At the same time, perform right Chudan-zuki directly from the previous position. Left fist is pulled back to side. (Kiai!)
- Look back and move left foot in to make Heisoku-dachi stance in left Ma-hammi position. At the same time, perform left Gedan Harai-uke block towards left and right Jodan Yoko-uke block towards right while continuing to look towards left. Right fist ends up at ear height. This is a smooth movement.
- Step right foot forward and make Shiko-dachi stance in right Ma-hammi position. At the same time, perform right Gedan Harai-uke block. Left forearm is placed in front of body parallel to body at solar plexus height.
- Move left foot and turn body anti-clockwise to face back in Moto-dachi stance in Shomen position. At the same time, perform left Yokobarai block at shoulder height. Right fist is pulled back to side.
- Open left hand and kick the palm with right sole of foot in inward circular manner (Uchi-mawashi-geri). Open left hand as you kick. Do not open it before you kick.
- Land forward and make right Zenkutsu-dachi stance in Shomen position. At the same time, perform right Chudan Mawashi-empi strike on to left palm. Both forearms are horizontal and right palm faces down.
- Immediately follow up with right Gedan Harai-uke block from inside left forearm. Close left hand in to fist. At the end, left fist touches inside right elbow.
- Perform left Gedan Harai-uke block and pull right fist to inside left elbow. Blocking arm moves inside pulled-back arm.
- Follow up with right Gedan Harai-uke block and pull left fist to inside right elbow. Blocking arm moves inside pulled-back arm.
- Bring both fists to left hip, palms facing each other, then perform Morote-zuki punch (double arm punch, left Jodan Gyaku-zuki and right Gedan Ura-zuki are performed simultaneously).
- Bring right foot back to make Musubi-dachi stance in Shomen position then close left toes to change in to Heisoku-dachi stance in Hammi position. At the same time, bring both fists to right hip, palms facing each other.
- Step left foot forward and make left Zenkutsu-dachi stance in Shomen position. At the same time, perform Morote-zuki punch (double arm punch, right Jodan Gyaku-zuki and left Gedan Ura-zuki performed simultaneously).
- Bring left foot back to make Musubi-dachi stance in Shomen position then close right toes to change in to Heisoku-dachi stance in Hammi position. At the same time, bring both fists to left hip, palms facing each other.
- Step right foot forward and make right Zenkutsu-dachi stance in Shomen position. At the same time, perform Morote-zuki punch (double arm punch, left Jodan Gyaku-zuki and right Gedan Ura-zuki performed simultaneously).
- Move left foot and turn anti-clockwise to face back (original front) in left (wide) Sokkutsu-dachi stance. At the same time, perform right Furisute (scoop and throw down) block. Left fist is pulled back to side.
- Turn both feet towards right (in about 45 degrees angle) and switch into right (wide) Sokkutsu-dachi stance. At the same time, perform left Furisute (scoop and throw down) block. Right fist is pulled back to side.
- Look towards 45 degrees right and shift weight onto right leg. Move left foot and shift weight onto left leg to make right Nekoashi-dachi stance in Hammi position towards 45 degrees right. At the same time, perform right Kakete block. Left open hand is placed in front of solar plexus with palm facing down and finger tips pointing towards the opponent.
- Look towards 45 degrees left, then move right foot towards 45 degrees right rear with ball of foot touching floor. At the same time, throw away the previous opponent sharply towards 45 degrees right rear. Right arm and finger tips of both hands point around 45 degrees downwards.
- Shift weight onto right leg and move back left foot to make left Nekoashi-dachi stance in Hammi position towards 45 degrees left. At the same time, perform left Kakete block. Right open hand is placed in front of solar plexus with palm facing down and finger tips pointing towards the opponent.
- Keep looking at the last opponent at 45 degrees left and, keeping the same height, bring left foot back to make Heisoku-dachi stance. At the same time, place right fist and left hand in front of groin. Right fist face is touching left palm. Left hand is stretched open. This is Zanshin (reserved mind) position.
- Look forward and straighten knees to come back to the starting position. Open toes to make Musubi-dachi stance. At the same time, bring both open hands to the side of thigh. Rei (bow)
Bunkai
Bunkai
Under udarbejdelse
Baggrund
Udviklet af
Okinawan versions of Passai/Bassai:
Sokon Matsumura – Matsumura no Passai
Kokan Oyadomari – Oyadomari no Passai
Japansk titel med kanji
抜砦
Betydning
The kata focus on the idea of changing disadvantage into advantage by strong and courageous response, switching blocks and differing degrees of power. The feeling of kata should be precise, with fast execution of technique and attention given to appropriate balance between speed and power.
The Okinawans did not have a clear definition for the name “Passai” for Funakoshi to translate into Japanese, so he substituted it with a similar-sounding kanji, “Bassai“. This can be literally translated to mean “extract from a fortress” or “remove an obstruction”.
This is thought to be in reference to the power with which the kata should be executed, emphasizing energy generation from the hips and waist. However, the designation of Bassai by the Japanese does not appear to have a direct relation to movements in the kata or its origins.
Historie
Passai , also Bassai, is the name of a group of kata practiced in different styles of martial arts, including karate and various Korean martial arts, including Taekwondo, Tang Soo Do, and Soo Bahk Do. There are several variations of these kata, including Passai sho or minor Passai and Passai dai or major Passai. The kata are generally known as Passai in Okinawan styles of karate and Bassai in Japanese styles, although Gichin Funakoshi originally spells the name of this form パッサイ (Passai). In Korean, the kata have several names: Bassahee, Bal Se, Pal Che, Palsek, Bal Sae, Ba Sa Hee, and Bal Sak.
This form has been used and practiced in many cultures, including China, Ryūkyū, Japan and Korea. The origins of this kata are obscure, however there are several theories as to its history. Some researchers believe the Passai kata is related to Chinese Leopard and Lion boxing forms, with some sequences bearing a resemblance to Leopard boxing (the opening blocking / striking movement in cross-legged stance) whereas others are more representative of Lion boxing (open handed techniques and stomping actions). Okinawan karate researcher Akio Kinjo believes that the name originates in the Chinese bàoshī/豹獅 meaning “leopard-lion” which is pronounced “Bá-săi” or “pà-sai” in some Chinese dialects.
Versioner
Of the Okinawan versions of Passai, a clear evolutionary link can be seen from Matsumura no Passai (named after the legendary Sokon Matsumura), to Oyadomari no Passai (named after the Tomari-te karate master Kokan Oyadomari), and then onto the Passai of Anko Itosu who popularized karate by introducing it into the curriculum of Okinawan schools. The Matsumura version has a distinct Chinese flavour, whereas the Oyadomari version is more “Okinawanized”. It was further modified by Itosu, and is thought to have created a “sho” (Passai sho) form of it. Gichin Funakoshi of Shotokan took it to Japan and taught them as Bassai dai and Bassai sho. The Tomari style which incorporated Oyadomari no Passai was passed down the Oyadomari family for three generations, originally taught by a Chinese living in Tomari (possibly named Anan), who “used very light techniques”. Sokon Matsumura also learned Chinese boxing from the military attaches Ason and Iwah at Fuchou.
The Shorin-ryu version of Passai bears a close resemblance to Oyadomari no Passai, and is a much softer kata than Shotokan’s Bassai dai. Further evidence that Passai has roots in Tomari city is that Passai dai starts with the right fist covered by the left hand, like other kata thought to have originated there, such as Jitte, Jion, Jiin and Empi. This hand gesture is a common salutation in China. However, there is some contention between researchers as to if there was a separate Tomari school of karate.
The suffix –dai means “large” and –sho “small”. Hence, Passai sho is a shorter variation on Passai and also bears some resemblances to Bassai dai, indicating this kata may have been born out of combining elements of Passai and Passai sho. One notable point is that bunkai describes it as a defense against a bo.
Itosu is thought to have created this from a version of Bassai practiced in Shuri city. To confuse matters even more Bassai Sho is written exactly the same way as a Chinese form known as Ba Ji Xiao which has a counterpart form known as Ba Ji Da (from the Ba Ji Ch’uan style), so perhaps this kata pair and the Dai-Sho naming scheme originates from China, invalidating the claim Itosu authored most of the –sho kata.
