Weekly Update from Wadō-Ryū Benkyō

🥋 1. Saturday Benkyō Class Review – Today’s Training

Today’s session was a deep and rewarding exploration of core Wadō principles, built around kihon, kata, and practical application.

After a thorough warm-up and stretching, we began with Renraku Waza, before moving into focused kihon work. We examined jun-zuki, jun-zuki notsukomi, gyaku-zuki, and gyaku-zuki notsukomi, before introducing kette to test how combining two kihon waza affects the quality of each technique.

The key question was whether the introduction of kette compromises the second technique — particularly in kette gyaku-zuki notsukomi. Although there is no separation or pause between the techniques, each must still be complete in its own right, without one weakening the other.

From there, we explored notsukomi variations, focusing on jun-zuki notsukomi gedan, and then linking this into gyaku-zuki. While this felt unfamiliar at first due to being taken out of its usual context, it quickly became clear that this sequence is essentially a section of Seishan Kata, isolated and examined in detail. This proved to be an excellent test of how the movement is performed within the kata versus as a standalone combination.

Particular attention was given to body position during gyaku-zuki — maintaining a forward body structure rather than giving up ground or drifting backwards, in order to preserve power and stability. This was then taken back into Seishan Kata to ensure the same principles were being applied consistently.

To test these ideas, we moved into partnered drills. Using shizumu to evade a hook punch, students countered with gyaku-zuki notsukomi, aiming for a seamless evasion and counter through body drop and a transition from a 50/50 stance to a 70/30 distribution. As this became more refined, we added a transition into jun-zuki notsukomi, continuing around the uke while alternating between gyaku-zuki notsukomi and jun-zuki notsukomi.

The emphasis here was on staying in range and maintaining correct ma-ai, without allowing the body to rise or shortening the triangle formed by the legs. This was challenging work, but a powerful way to reinforce the principle of remaining forward and connected when transitioning between stances and techniques.

To provide further context, we revisited Kihon Kumite No. 1, focusing specifically on the attacking side. By pushing into the second attack and expressing it as gyaku-zuki notsukomi, we were able to bridge the gap between formal kihon and more practical application.

After what felt like a very quick 90 minutes, we turned our attention to Wanshū Kata, the second kata that strongly highlights this combination of movement and attack. In particular, we focused on the dropping action into sonoba-de gyaku-zuki (shizumu), and discussed how this only becomes effective when combined with dōsa, datsuryoku, and ryūsui.

We finished the session with light sparring, encouraging everyone to bring elements of the class into free movement and give the training practical meaning.

A demanding but extremely productive two hours — and great to see a full room throughout.

📝 3. Featured Article of the Week

Article: Exploring the Depth of Pinan Yondan in Wadō-Ryū Karate

Exploring the Depth of Pinan Yondan in Wadō-Ryū Karate

Pinan Yondan (平安四段) represents an important step forward in the Pinan series, acting as a bridge between foundational kata and more advanced Wadō-Ryū forms. It introduces greater fluidity, dynamic footwork, open-hand techniques, and the principle of Dōjini — the integration of offence and defence as a single, simultaneous action.

This kata places strong emphasis on nekoashi-dachi (cat stance), refined evasion, and intelligent body positioning, encouraging practitioners to move lightly while remaining structurally sound and tactically ready. Open-hand methods such as shutō, haishu, and taishō expand the practical possibilities beyond simple striking, allowing for control, redirection, and unbalancing.

Rather than viewing Pinan Yondan as a fixed sequence of techniques, this study explores it as a compact catalogue of combat ideas — teaching timing, distance, angles, and adaptability. The accompanying video breakdown demonstrates how the kata’s movements translate into realistic applications, including striking, joint manipulation, and takedown principles.

🧠 5. Wadō-Ryū Principle of the Week

Mudana (無駄な) — Removing What Gets in the Way in Wadō-Ryū

Mudana is a word you will hear frequently in Wadō-Ryū teaching, often delivered quietly but with great precision. Literally meaning “wasteful” or “unnecessary,” it refers not to style or appearance, but to effort or movement that interferes with how Wadō is meant to work.

When a senior instructor points out mudana, they are identifying something that has been added — tension, movement, force, or intent — that does not need to be there. In Wadō-Ryū, progress is often made not by adding more, but by removing what blocks correct movement and power.

What Mudana Means in Wadō-Ryū

In practical terms, mudana commonly appears as:

• Extra tension
• Extra movement
• Extra effort
• Extra intention

While these additions may feel helpful, they undermine Wadō principles at a fundamental level:

• They break Datsuryoku
• They block Hadō
• They stop Ryūsui
• They prevent Shizumu
• They destroy Omomi

Mudana as Correction, Not Criticism

You will often hear mudana used in phrases such as:

These are not aesthetic comments. They are functional corrections, identifying effort that prevents timing, balance, or connection from working correctly.

Mudana vs Efficiency

Wadō-Ryū does not aim to “look minimal.” It aims to be necessary only.

If a movement:

• Does not create kuzushi
• Does not improve position
• Does not transmit power
• Does not preserve continuity

…then whatever has been added is mudana.

Where Mudana Appears Most Often

• Over-tensing during kihon
• Over-stepping or over-reaching in kata
• Over-committing in kumite
• Over-thinking application

In simple terms: Mudana is everything you do that doesn’t need to be there — and gets in the way. When mudana disappears, movement calms, power appears, and techniques feel inevitable rather than forced.