I'll place my comparison here for now..Please tell me if you want it moved.
Comparison with Shotokan’s Heian Shodan by Mireille Clark
Most of the content of these two kata are so similar that one could easilly see that they come from the same base. There is a “family” resemblance here. As I did the comparison, I had to keep in mind that each karate ka will have their own way of expressing their karate, each dojo has it’s own timing, and each sensei teaches slightly different expectations from a kata. Therefore I will attempt to reveal the more noticable major differences that I found between Pyung-ahn Chodan, and the Heian Shodan kata that is performed in Shotokan. To make the reading of this comparison flow more smoothly, whenever I am referring to the Pyung-ahn Chodan kata I will use the letter “P”, and “H” for the Heian Shodan kata.
1. Before I go into some specific parts of the kata, I would like to address a couple of major differences in the execution of the stepping movements that have affected the visual appearance of the kata.
A) C stepping:
- C stepping is happening in “P”, as it would in “H”, however the moving foot isn’t parallel to the support foot when it gets to the center. This changes the angle of the moving knee, and the movement of the hip, giving the body a more swinging gait. Notice the illustrations.
In “P” the moving foot does this
In “H” the moving foot does this:
B) The moving feet do not centralize on turns in “P”, instead they swing into position like a gate. For example:
In “P” the moving foot does this:
In “H” the moving foot does this.
C) The Back stance in “P” is more similar to Kyokushin than Shotokan.
In “P” the backstance looks like this:
In “H” the backstance looks like this:
Notice that the “P” backstance is shorter, wider, and that the back foot is angled.
D) There are stance high changes in “P” that would not be apparent in “H”. “H” is performed entirely in the same height.
E) The timing of the three head blocks going up, and the three punches coming back is different. In “P” there is a constant “thump, thump, thump” rhythm.. like a drum beat. In “H” there is a “thump............. thump, thump”. There is a definate pause after the first technique, and the last two are done quickly together.
2. Some of the big differences that I’ve noticed within the kata techniques are:
A) Movement #4:
- In “P” the performer pulls back the right foot into a higher level L stance (weight mostly on the back leg), pulling his right fist to his left shoulder, using his left arm as cover, and then delivers a backfist shoulder high with the right arm.
- In “H” the performer pulls back the right foot into a half front stance, weight is centered, level of stance is maintained. The right fist is twisted, and pulled sharply across, and up to the left side of the defender’s body about ear level, then the right fist goes up over the head similar to a head block, and descends in a hammerfist on the attacker’s collarbone at the same time as the right foot returns into front stance thereby using the body weight as added power on the strike.
B) Movement #6, and set arm:
- In “P” the timing is faster between the downblock, and setting arm. The setting arm is used as a knife hand strike targeting the neck.
- In “H” the setting arm is placed as head cover, and as a grabbing hand. It is a very calm placement with hardly any power in it. The main power will be seen in the oncoming head block.
C) Movements #7,#8, #9:
- There are tons of differences in this section of the kata between the two styles.
- In “P” the hips start at an angle at the beginning of the execution of the head block, and end up facing square on the 3 rising blocks. The set arm is sent across the middle of the body. The performer does not open their fists after setting.
- In “H” the hips start facing square at the beginning of the head block technique, and end up in the 45 degree angle. The set arm is at the same position as the head block, and the fist opens into a tiger claw before the set arm is withdrawn into chamber position.
D) Movements #18, 19, 20,21:
- The four knife hands in “P” are targeted to the groin. The cover hand comes up to cover the shoulder. The set hand is not directed towards the opponent, but rather ends up relaxed, and to the back of the performer.
- In “H” the kata target is mid-level, the inner knowledge is that there is more than one application to the movement. When we do bunkai we will target neck, groin, etc. but in performing the kata we leave the technique at mid level. The cover hand comes up right beside one’s ear, covering the face. The set hand is placed as a straight arm in front of the performer keeping control of distance between the defender and the attacker.
Pyung-ahn Cho-dan According to the performance by Master D. McHenry. found at:
www.natkd.com/tkd_forms.htm I found this example of a Shotokan JKA Heian Shodan video created in the 70’s by the Masters of Japan to help show an example of what I mean by my explanations.
www.youtube.com/watch?v=WtYmA-AXMVo