Kumite Kata No.4 – Yonhon Me
A study in entering inside Mae Geri, Uraken to the inner thigh, hip-driven striking, natural cover, head control and close-range body control
Kumite Kata No.4 – Yonhon Me changes the character of the exchange by beginning with a kick rather than a punch. Uke attacks with Okuri Ashi Mae Geri, while Tori moves forward and inside the attacking leg rather than retreating from it.
The first counter is a clear Uraken strike to the inner thigh as Tori enters into Shikodachi. From there, the technique continues through a hip-driven Chūdan Zuki, head and jaw control, Chūdan Gyaku Zuki, and close body control before Tori withdraws into Gyaku Hanmi Gamae.
Although the sequence is short, Yonhon Me places strong emphasis on posture and connected body movement. Tori must keep the back straight, the pelvis correctly positioned and the elbow close to the centre so that the strike and subsequent control come from the body rather than from isolated arm strength.
Opening Kamae – Migi Tate Seishan Dachi
Both partners begin in Migi Tate Seishan Dachi. The distance must allow Uke to launch the kick decisively while still giving Tori enough room to enter rather than simply absorb the attack.
From the beginning, Tori should be ready to move forward. Yonhon Me is not built around a large evasive retreat; its defining quality is the decision to enter to the inside of Uke’s leg and take the centre.
Uke’s Attack – Okuri Ashi Mae Geri
Uke attacks with Okuri Ashi Mae Geri. Instead of moving away, Tori enters forward, turning the body and settling into Shikodachi.
The important distinction is that Tori comes to the inside of the attacking leg. This Kumite Kata is different to earlier entries that pass toward the outside. Here, the inside position gives Yonhon Me a different mechanical feel and creates the line for the first strike.
The turn should be made with the pelvis correctly aligned and the back kept straight. If the hips are left behind and the backside projects backwards, the posture becomes weak and the following punch cannot be driven effectively from the centre.
Enter, turn and keep the pelvis underneath you — do not leave the hips behind.
Uraken to the Inner Thigh
As Tori enters, the back hand strikes with Uraken to the inner thigh. This is an important detail of Yonhon Me and one that can easily disappear when the form is practised too quickly.
The strike is not merely a hand action added to the entry. The whole body is moving into position as the strike arrives. Tori takes the centre, turns into Shikodachi and lets the Uraken emerge from that movement.
The target area is sensitive, so partner practice must remain controlled. The objective is to understand the line and effect of the strike, not to injure Uke.
Chūdan Zuki – Driving from the Hips
After the Uraken, Tori continues with Chūdan Zuki. The central lesson is that this punch must be driven by the hips. From the close Shikodachi position there is little value in trying to manufacture power with the arm alone.
The elbow remains directed toward the centre rather than flaring outward. This keeps the strike structurally connected and allows the hip movement to travel through the torso and into the fist.
The action as resembles an older or more exaggerated form of Junzuki: the hip action is very visible, but the underlying idea is familiar — the body drives the strike.
The punch should not feel weak because the distance is short; the hip is what gives it substance.
Natural Cover Against the Leg
While Tori enters and punches, the outside of the arm naturally occupies the space against the inside of Uke’s thigh. This is not presented as a separate, deliberate block. It is a consequence of correct positioning.
That position gives Tori a useful cover. If Uke attempts to continue the kicking action or reassert the leg, the contact tends to deflect it away from Tori’s body. The cover is therefore already present within the shape of the technique.
This is an important Wadō principle: good positioning can create protection without adding an extra movement. Tori does not stop to block and then continue; the entering position itself performs several jobs at once.
Closing the Distance and Taking Head Control
After the Chūdan Zuki, Tori makes up the remaining distance and brings the striking hand upward to take control of the head and jaw.
Head control is mechanically significant because the head sits at the extremity of the body’s balance. By influencing its direction, Tori can influence Uke’s posture and make the rest of the body easier to control.
The hand position should be used responsibly. The jaw hinge and surrounding structures are vulnerable, and there is no need to apply excessive finger or thumb pressure in ordinary practice.
Chūdan Gyaku Zuki and Taking the Centre
With the head controlled, Tori follows with Chūdan Gyaku Zuki. The opposite arm also accounts for Uke’s arm and centre line, preventing the close position from becoming a loose clinch in which Uke is free to counter.
Once again, the elbow should remain close to the centre. The sequence works best when the hands, hips and posture remain connected rather than becoming a collection of separate actions.
At this stage, Tori is not simply striking. The technique has moved into a phase of controlling Uke’s posture, arm and centre simultaneously.
Staying In – Body Control
Tori stays in after the strike rather than immediately withdrawing. This close position allows continued control of Uke’s head, arm and body.
The body should remain upright and structurally strong. Leaning, reaching or allowing the hips to drift backwards reduces the effectiveness of the control and gives Uke room to recover.
The sequence illustrates how striking and controlling actions blend together. The Uraken creates the entry, the Chūdan Zuki develops the forward pressure, and the head and arm control turn that pressure into a stable close-range position.
A Possible Link to Older Body Mechanics
We can make an interesting historical comparison, the hip-driven punching action resembles an older, more exaggerated form of Junzuki, with similarities to body mechanics found in some Chinese martial arts and older karate methods.
It is also suggested that the diagonal or naname-style body action may invite comparison with principles seen in Naihanchi. These are interpretive observations rather than a claim of a single documented origin, but they provide a useful lens through which to study the movement.
The practical point is more immediate: Yonhon Me asks the practitioner to feel how turning, hip drive and close-range structure can create power even when there is very little space for a conventional long punch.
Withdrawal – Sugi Ashi Kōtai into Gyaku Hanmi Gamae
Once control has been established, Tori withdraws using Sugi Ashi Kōtai into Gyaku Hanmi Gamae.
As with the earlier Kumite Kata, the withdrawal is not an afterthought. Tori should leave from a position of control, return to appropriate distance and finish with posture and awareness intact.
Key Principles
- Enter rather than retreat — move forward to the inside of Uke’s Mae Geri.
- Uraken on entry — make the inner-thigh strike a definite part of the movement.
- Pelvic alignment — keep the back straight and the hips underneath the body.
- Hip-driven Chūdan Zuki — generate the punch from the centre rather than the arm.
- Natural cover — use the position of the arm against the inside of the thigh without adding an unnecessary block.
- Head control — use the head and jaw to influence Uke’s balance and posture.
- Centre-line control — keep the elbow in and account for Uke’s arm during close-range work.
- Stay connected — do not strike and immediately disconnect; establish body control before withdrawing.
Common Errors
- retreating from the kick instead of entering to the inside
- allowing the backside to project backwards during the turn
- rounding or leaning the back instead of maintaining upright structure
- missing or disguising the Uraken to the inner thigh
- punching mainly with the arm instead of driving from the hips
- allowing the punching elbow to flare away from the centre
- treating the leg cover as a separate block instead of allowing it to arise naturally from position
- reaching for the head before making up the distance
- using excessive pressure on the jaw or other vulnerable areas
- withdrawing before close control has been properly established
Training Progression
- Entry only: practise moving inside Mae Geri and settling into Shikodachi without striking.
- Add the Uraken: coordinate the inner-thigh strike with the turn and forward movement.
- Hip-drive drill: rehearse the Chūdan Zuki slowly, checking that the hip initiates the punch and the elbow stays centred.
- Natural-cover drill: observe how the arm position covers the inside of Uke’s thigh without introducing an extra action.
- Head-control drill: add the head and jaw contact lightly, concentrating on posture rather than pain compliance.
- Complete flow: connect entry, Uraken, punch, head control, Gyaku Zuki, body control and withdrawal without pauses.
Final Thoughts
Kumite Kata No.4 is a strong study of forward entry and close-range body mechanics. Uke’s Mae Geri creates an apparently dangerous line, yet Tori does not solve the problem by moving further away. Instead, Tori moves inside, occupies the centre and turns the kick into an opportunity to strike and control.
The technique also reinforces a recurring Wadō lesson: posture is not separate from power. The Uraken, the Chūdan Zuki, the natural cover and the final head and body control all depend on the same structural qualities — correct hip position, a straight back, a centred elbow and continuous movement through the body.
Practised carefully, Yonhon Me develops confidence in entering against a kick, generating power at short range and changing smoothly from striking to control without adding unnecessary movement.