A different Naihanchi

My Sensei tell me that it's good to practice Naihanchi in different ways, slow, fast, arms only, footwork only, open handed,etc.  Also that the elements remain the same, but in a real world situation can be applied as different techniques and will rarely be used in the order in which we train them.

With that in mind, I decided to take a look at a different version of Naihanchi from my own, Tachimura no Naihanchi, which looks substantially different to my own.  A version is shown in the link below, by Noah Legel.

Tachimura no Naihanchi (Noah Legel)

I decided the easiest way to do this was first of all to try to break it down by studying the video several times and this is what I came up with (please excuse the fact that I don't know all the technical terms):

Formal opening,
Look to left
right foot (rf) step over, left foot (lf) to Naihanchi dachi
Left hand (lh) open gidan uke, right hand (rh) hikate
Rh punch across, lh hikate
Look to right
Rh open gidan uke
Lh punch across, rh hikate
Lf step over, rf to Naihanchi dachi
Look forward
Lh chudan-tsuki, mark out, rh back fist, left arm comes up to support
(substitute with lh chudan-tsuki, double block, rh back fist)
Look to right, rf wave kick, rh chudan-tsuki to the side
Look to left, lf wave kick, lh pull in to hip, coupled to rh
Look to right, double punch, rh under left, rh shuto uke, lh hikate, lh elbow strike to rh clasp
Look to left, lh open gidan uke, rh hikate
Rh punch across, lh hikate
Rf step across, lf to Naihanchi dachi
Rh chudan-tsuki, mark out, lh back fist, rh comes up to support
(substitute with rh chudan-tsuki, double block, lh back fist)
Look to left, lf wave kick, lh chudan-tsuki to the side
Look to right, rh wave kick, rh pull in to hip, coupled to lh
Look to the left, double punch, lh under right, ln shuto uke, rh elbow strike to lh clasp
Look to right
Rh open gidan uke
Lh punch across, rh hikate
Lf step over, rf to Naihanchi dachi
Look forward
Lh chudan-tsuki, mark out, rh back fist, left arm comes up to support
(substitute with lh chudan-tsuki, double block, rh back fist)
Look to right, rf wave kick, rh chudan-tsuki to the side
Look to left, lf wave kick, lh pull in to hip, coupled to rh
Look to right, double punch
Formal close

I then decided to try to put it back together with the individual elements picked out from the version of the kata I know. There are a couple of substitutions indicated as above, where I wasn't too confident of, and in no way was I going to try to emulate the different stepping of Tachimura no Naihanchi.

This is what I came up with:

Elements of Tachimura no Naihanchi

Which I then compared ro what I do in the version of Naihanchi Shodan that I practice:

Naihanchi Shodan (Shorin Ryu)

In essence the core sequences frim Gedan uke to double punch are much the same, but the variations which make them look so different are the start sequence, direction of travel and number of repetitions of the core sequence.  The Shorin Ryu version goes:

Start to the right, shuto uke, elbow strike

Core sequence to the left, shuto uke, elbow strike

Core sequence to the right

The Tachimura no Naihanchi version goes:

Start to the left, gedan uke (open hand), punch across

Core sequence to the right, shuto uke, elbow strike

Core sequence to the left, shuto uke, elbow strike

Core sequence to the right

Compared to the different versions of some kata, such as Seisan, although they might look different in appearance, there is actually very little difference in content. Appearances can be deceptive, for in fact when the Shorin Ryu kata and Tachimura kata are broken down like this, it can be seen that the Shorin Ryu version element wise is exactly the same from the shuto uke going to the right.

Start to the left, gedan uke (open hand), punch across

Core sequence to the right, shuto uke, elbow strike

Core sequence to the left, shuto uke, elbow strike

Core sequence to the right  

Tachimura no Naihanchi only
Shorin Ryu and Tachimura Naihanchis

I wonder why I didn't see that in the first place, but probably because it is partly masked by the visible differences in the stepping, the dropping stances in the gedan strikes and the variation in the arm techniques.

So just to conclude, thank you to anyone who has taken the time to read this, and hope it might have been of some small interest.