KATA FORMS OF KARATE
This work is copyrighted by N. Paranto, 1996. All rights
are reserved.
This chapter summarizes the kata or formal exercises of
modern day karate schools and includes the history behind
the kata and its historic link through styles and teachers.
It is organized as a reference for the karate teacher and
provides a background for understanding the various katas
of other styles and the origins of many of the traditional
kata. Multiple sources of documentation have been compiled
into this summary and are referenced throughout.
Overview
Kata is the formal exercise and primary training
tool of karate. Kata consists of a prearranged series of
movements designed to provide the student with a tool for
practicing the basic karate techniques and combinations
of techniques through repetition.
Since most karate schools use kata in their
training, it provides a common ground between styles and
systems. Though most common usage of kata focuses on solo
or one-person forms, two-person and three-person kata also
exist within certain styles and systems.
All karate styles and schools are founded
on the use of basic martial arts techniques. These techniques
include punches, strikes, blocks, kicks, and other movements
depending on the school and style. These basic techniques
are the "alphabet" of karate-do. Most schools teach the
basic techniques and include repetitive practice of them
on a regular basis.
Early karate teachers linked these basic techniques
into prearranged series (kata) to support many teaching
objectives including: development of combinations, simulation
of combat against multiple imaginary opponents and/or another
venue for practice of a particular technique or series of
techniques. Many feel that the kata are reenactments of
former battles. Regardless of intent, these series of movements
became the dictionary of karate. The early kata forms have
been identified with many past karate teachers and schools
and are the kata many modern day schools throughout the
world include as part of their curriculum today.
It is thought that most karate kata originated
in Okinawa, when in fact, many of the early kata were named
after Chinese kung-fu experts who taught the Okinawans their
art. This historic linkage or "hand-holding" of kata development
to China is strong.
Many of the forms used today appear to have
origins in China and then were formalized in Okinawa between
1600 and 1950. One can speculate that Chinese martial artists
traveled to Okinawa and continued to do their daily practice
of their art. The Okinawans watched these forms and tried
to copy them. After many years of development they were
organized and formally handed down from teacher to student,
in many cases, father to son.
At the time when karate kata was being developed
in Okinawa, kata was the primary means of instruction. Knowledge
of the martial arts was transmitted from generation to generation
and training was done in secrecy. No written records were
kept and kata were taught selectively to a chosen few. The
security of the village was dependent upon the men of the
village and their ability to defend it against attack. Therefore,
the karate and its kata were closely held and became unique
to the region where it was taught. It is important to understand
that a single kata was practiced for years and a particular
teacher may have only been proficient in a few kata. Many
of the great masters traveled from teacher to teacher to
learn several of the kata.
Prior to the 1700's, little formalization
of kata existed and even the concept of a karate dojo was
unknown. Many of these forms were finally organized between
1750 and 1900 through teachers such as Karate Sakugawa (1733-1851)
and Soken (Bushi) Matsumura (1797-1889). Though a large
number of kata were directly brought from China, some were
created by the Okinawan masters themselves. Modern karate
kata can be traced back to three primary Okinawan schools:
Shuri-Te, Tomari-Te, and Naha-Te. These schools are classified
as such because of the village from which the schools or
styles originated: Shuri, Tomari and Naha. All of these
villages are located on the southern tip of Okinawa. The
later section on kata history will trace the three Okinawan
schools, their masters and their traditional katas.
Around 1900, karate and these Okinawan kata
migrated to Japan. Largely due to Gichin Funakoshi (1868-1957),
many of the basic katas from Okinawa were taught in Japan,
initially at the collegiate level. These kata were modified
for better acceptance by the Japanese and saw widespread
growth in Japan during the 1940's. Funakoshi presented the
Japanese with a karate with a formalism not usually seen
in early Okinawan dojos. The Japanese embraced this karate
and soon other teachers from Okinawa, such as Kenwa Mabuni
((1889-1953), came and taught in Japan. Mabuni was a student
of Yasutsune Itosu (1830-1915) and Hagachiona, and a friend
of Funakoshi. Mabuni developed his Shito-Ryu style based
on many katas from both of these systems and taught these
to the Japanese. At the end of World War II, United States
military personnel began learning these karate styles during
their occupation of Japan. Many soldiers carried what they
learned back to the United States and the spread of practitioners
grew in the United States and now covers the globe. Many
kata are common to both Okinawan and Japanese styles and
the decendants of those styles. A table on the following
page, lists alphabetically many of the common karate in
use today, listed by both their Okinawan and Japanese names.
Included in the table are interpretations of the kata's
meaning. In many cases, the forms have been named after
their originator.
Listing of Common Karate Kata
Okinawan Japanese Meaning of Title
Chinte Chinte Mysterious of Bamboo Hand/Calmness
Chinto Gankaku Fighting to the East or orig. (Chinto)
/Crane on Rock (Gankaku)
Jiin Jiin Temple Ground
Jion Jion Temple Sound
Jitte Jitte Ten Hands
Kusanku Dai Kanku Dai View the Sky - Long/orig. Kusanju
Kusanku Sho Kanku Sho View the Sky - Short/orig. Kusanku
Naihanchi Shodan Tekki Shodan Fighting Holding Your Ground 1/Horse
Riding (Tekki)
Naihanchi Nidan Tekki Nidan Fighting Holding Your Ground 2/Horse
Riding (Tekki)
Naihanchi Sandan Tekki Sandan Fighting Holding Your Ground 3/Horse
Riding (Tekki)
Niseshi Nijushiho 24 or twenty four steps
Passai Sho Bassai Dai Penetrating Fortress - Long
Passai Dai Bassai Sho Penetrating Fortress - Short
Pinan Godan Heian Godan Peaceful Mind 5
Pinan Nidan Heian Shodan Peaceful Mind 2
Pinan Shodan Heian Nidan Peaceful Mind 1
Pinan Sandan Heian Sandan Peaceful Mind 3
Pinan Yondan Heian Yondan Peaceful Mind 4
Rohai Meikyo White Heron or Vision of Crane (Rohai)
/Polishing Mirror (Meikyo)
Seisan (Seishan) Hangetsu 13 or wo/Half Moon (Hangetsu)
Sochin Sochin To Move Into Battle or Preserve Peace
Unshu Unsu Cloud Hand
Useshi, Gojushiho Gojushiho 54 Steps Black Tiger and use of White
Crane Fist (Oldest Okinawan)
Wankan Matsukaze Kings Crown (Wankan) / Pine Tree Wind
(Matsukaze)
Wansu (Wanshu) Empi Flying Swallow (Empi) or orig. Chinese
Envoy (Wanshu)
History
Kata, as with martial arts in general, has
a lineage from China. It doesn't really matter whether the
transfer of knowledge was through Okinawan martial artists
traveling to China and studying kung-fu or by Chinese masters
visiting Okinawa. There is strong evidence that many of
the kata were in existence in China prior to the 1600's.
One of the few written accounts of kata brought from China
is the text of Bubishi. The book, Bubishi, meaning "Martial
Art Spirit", recorded the Fukien style of kempo. Several
of the Okinawan kata are discussed in Bubishi including
Gojushiho and hakutsura (white crane form). The Bubishi
may have been introduced to Okinawa through any one of many
theories and supported the development of early kata.
Kata development in Okinawa included those
kata taken from the Chinese and those developed by Okinawan
masters themselves. Since no written records were kept,
kata served as a perfect way for transferring the knowledge
from generation to generation. This is much the same way
ancient people used rhymes to remember things. In most cases,
the teaching would be based on a family tradition of martial
arts skills and be taught by the head of the family or village
elder. This was a form of "village karate" as opposed to
"dojo karate" as we know it today.
Around the mid-1700's, three key individuals
seemed to form a melting pot for the birth of modern karate
kata: Shinjo Choken, Karate Sakugawa (1733-1815), and Chatan
Yara (c. 1750). Choken was one of the earliest practitioners
of Shuri-Te. Both Sakugawa and Yara traveled to Fukien Province
in China and probably studied martial arts and weaponery
while there. Both studied under the Chinese envoy, Kusanku,
either in China or while Kusanku was in Okinawa. Kusanku
was reported to be an expert in the martial arts and had
learned his abilities from a Shaolin monk. From this combination
of individuals in the mid-1700's, karate kata began to focus.
The original Okinawan karate forms were developed
during the 19th century under two major divisions of styles:
Shuri-Te (Shuri Hands) and Naha-Te (Naha Hands). Though
they were both derived from similar Chinese forms, each
developed differently based on location and social position
of the developers. The Shuri-Te was practiced in and around
the city of Shuri where the king and members of the nobility
lived. Naha-Te was practiced in and around the coastal city
of Naha which was a large trade center. Another style developed
which is closely related to Shuri-Te, which was named Tomari-Te.
Tomari-Te was practiced in the Tomari village populated
by farmers and fisherman. The three styles have differences
which can be traced back to the social-economic position
of the practitioners. At the bottom, was the worker class
studying Tomari-Te. The middle level was merchant class
students studying Naha-Te. The upper class noblemen were
then studying Shuri-Te in and around the capital.
Shuri-Te
The beginnings of the Shuri-Te style and its
kata center around Karate Sakugawa (1733-1815). Sukugawa
was born and lived near Akata Cho in the southern section
of the city of Shuri, Okinawa. He received some of his early
martial arts instruction from Takahara Peichan, a map maker
by trade but also skilled in martial arts. Sakugawa then
became a student of Kusanku, the Chinese evoy. He spent
much of his time traveling and studying in parts of China
and southern Okinawa. Sakugawa is attributed to combining
the Chinese kempo with native Okinawan techniques called
"te" to form Okinawan karate. The karate and kata became
more formalized during this period and Sakugawa is credited
with formulating the dojo precepts of character, sincerity,
effort, etiquette and self control. His most famous student
was Bushi Matsumura (1797-1889). Sakugawa passed on the
Kusanku kata and the a bo kata.
The kata development of Shuri-Te traced similar
lines as to its teachers. The primary student of Sakugawa
was Bushi Matsumuura and he carried on the Kusanku kata,
while also adding to it the Naihanchi, Passai, Seisan, Chinto,
Channan, Gojushiho and Hakutsura kata. This marked the most
significant changes to the Shuri-Te system and its kata.
Soken (Bushi) Matsumura grew up in Yamagawa
village of the city of Shuri, Okinawa. He was of the warrior
class and spent over four years studying martial arts under
Karate Sakugawa. He was recruited into the service of the
Royal Okinawan Sho family and became the chief martial arts
trainer for the king and eventually became the head bodyguard
to the Okinawan King. During this period he spent time in
China and received additional training in the Chinese martial
arts. In recognition for his abilities and accomplishments,
the Okinawan King gave him the title of Bushi, meaning "warrior."
Bushi Matsumura created the Shorin-Ryu style of karate.
This later gave birth to Shotokan Ryu, Kobayashi Ryu and
Shito Ryu styles.
The following table lists the kata practiced
by each of these primary Shuri-Te styles. The kata development
started with a few kata and slowly grew over the years to
include many more. Each new style which grew from the Shuri-Te
included its own versions of many of the comman kata. One
of the most stylized of kata is Kusanku which has versions
in Maysumura Seito Ryu, Kobayashi Ryu, Shotokan Ryu, Shito
Ryu, Matsubayashi Ryu, Isshin Ryu, and Shobayashi Ryu systems.
Kata From Shuri-Te Styles
SHURI-TE SHOTOKAN SHORIN-RYU KOBAYASI SHITO-RYU
Ananko Chinte Ananku Chinto Chinte
(brought from
Taiwan - Kyan
Aoyagi Chinto Chinto Kusanku-Dai Chinto
Chinte Jiin Fukyugata-Ichi Kusanku-Sho Gojushiho
(made by
Nagamine)
Chinto Jion Fukyugata-Ni Naifanchi- Jiin
(altered by Nidan
Gekisai-Ichi)
Jiin Jitte Gojushiho Naifanchi- Jitte
Sandan
Jion Kusanku-Dai Kusanku-Dai Naifanchi- Jion
(Chatanyara- Shodan
no-Kusanku)
Jitte Kusanku-Sho Naifanchi- Passai-Dai Kusanku-Dai
Nidan
Jyuroko Naifanchi- Naifanchi- Passai-Sho Kusanku-Sho
Nidan Sandan
Kusanku-Dai Naifanchi- Naifanchi- Pinan-Godan Naifanchi-
Sandan Shodan Nidan
Kusanku-Sho Naifanchi- Passai-Dai Pinan-Nidan Naifanchi-
Shodan (Tomari-no- Sandan
Passai)
Naifanchi- Niseshi Pinan-Godan Pinan-Sandan Naifanchi-
Nidan Shodan
Naifanchi- Passai-Dai Pinan-Nidan Pinan-Shodan Niseshi
Sandan
Naifanchi- Passai-Sho Pinan-Sandan Pinan-Yondan Passai-Dai
Shodan
Passai-Dai Pinan-Godan Pinan-Shodan Passai-Sho
Passai-Sho Pinan-Nidan Pinan-Yondan
Pinan-Godan Pinan-Sandan Rohai
Pinan-Nidan Pinan-Shodan Wankan
Pinan-Sandan Pinan-Yondan Wansu
Pinan-Shodan Rohai
Pinan-Yondan Sesan Rohai
Sesan Sochin Sesan
Usechi Unsu Sochin
(Gojoushiho)
Useshi Unsu
Wankan Wankan
Wansu Wansu
Tomari-Te
Tomari-Te was developed out of the Shuri-Te
style of karate and was indicative of the karate practiced
in and around the Tomari village near Shuri. The differences
between the two styles is slight. There were several Chinese
visitors to the Tomari region that did not reach Shuri.
These teachings did not originally influence Shuri-Te but
later an exchange in ideas and katas did take place. Many
kata became part of both styles. There were several kata,
however, that are unique to Tomari-Te. These were Wansu,
Rohai, and Wankan. In addition, though the exact origin
of Ananku is unknown, it is believed that Chotoku Kyan (1870-1945)
brought back this form from Taiwan in the year 1895. There
are others that are said to have existed but have been lost.
The Tomari-Te style was started through the
efforts of Karate Sakugawa (1733-1815). The intital kata
used was a version of Kusanku. The teachings of the style
were carried on through Makabe Chokin (c. 1785). Infuences
from South China (Chinto) and students of Chokin expanded
the forms used by the Tomari-Te school. The unique kata
Wansu, Rohai and Wankan appear to have existed solely in
the Tomari-Te system until the 1870's. Yasutsune Itosu (1830-1915)
is said to have developed the Shodan, Nidan, and Sandan
versions of the Rohai kata. One of the later day teachers
of the Tomari-Te style is Shoshin Nagamine (b. 1907). His
Matsubayashi Ryu style encompasses many of the Tomari-Te
versions of Shuri-Te kata, as well as, the unique Tomari-Te
kata including: Pinans, Wankan, Ananku, Gojushiho, Rohai,
Wanshu, Passai, Naihanchi, Kusanku and Chinto.
Naha-Te
The Naha-Te style was from the Naha region
of Okinawa. Two distinct styles came out of the Naha-Te:
Goju-Ryu and Uechi-Ryu. The Goju-Ryu style emphasizes deep
breathing. Kata, such as Sanchin, use dynamic tension or
isometric muscular contraction for power training. The Uechi-Ryu
style use several kata Kanei Uechi (1877-1948) learned in
China and several of the kata used by the Goju-Ryu style.
As an example, the Uechi-Ryu version of Sanchin is performed
with open hands and does not use the deep breathing emphasized
by the Goju-Ryu style.
The lineage of the Naha-Te style to China
can be seen through the Crane Chinese Boxing styles and
their kata. Dragon Boxing uses Seisan, Peichurrin (Suparenpei),
Saam Chien and a kata mentioned in Bubishi called Eighteen
Scholar Fists. Tiger Boxing also uses Saam Chien, Sanseiru,
and Peichurrin, among others. Dog Boxing also uses Saam
Chien and Sanseiru among others. Arhat Boxing, also known
as Monk Fist, uses Saam Chien, Seisan, Jutte, Seipai, Ueseishi
(Gojushiho), and Peichurrin among others. Lion Boxing uses
Saam Chien and Seisan among others. These kata can be seen
in various versions in the Naha-Te and Ryuei-Ryu styles.
The following table lists some of the kata
used by these two Naha-Te styles.
Kata From Naha-Te Styles Of Karate
GOJU-RYU UECHI-RYU
Gekisai-Ichi Sanchin
Gekisai-Ni Sanseryu
Sanchin Sesan
Tensho Kanchin (made by Kanei Uechi)
Saifa Kanshiwa (made by Kanei Uechi)
Seinchin Seryu (made by Kanei Uechi)
Shissochin Kanshu (made by Saburo Uehara)
Sesan Sechin (made by Deiki Uehara)
Sanseru
Sepai
Kururunfa
Suparenpe
Other
There were several other styles which do not
use these orthodox katas of the Shuri-Te, Tomari-Te, and
Naha-Te. Some examples include the Motobu-Ryu, which was
developed by that family located in Shuri; Kojo-Ryu, which
was developed by an old family in Naha; and Ryuei-Ryu, which
was established by the Nakaima family of Naha. These styles
all use unique kata directly imported from China. Although
some were heavily modified, some retained the flowing, sometimes
graceful movements more indictive of Chinese. The following
table lists some of the kata used by these styles.
Kata From Other Styles of Karate
MOTOBU-RYU RYUEI-RYU KOJO-RYU KOJOSHO KEMPO
Motode Sanchin-Sesan Shoshingata Tora
Te Niseshi Fudogata Tsuru
Torite Sanseru Chinpugata Hebi
Toritekaeshi Seyunchin Jumonjigata Taka
Uragaeshi Ohan Unryugatak Ryu
Gassente Pachu Aikigata Shika
Ogamite Ananko Segangata Hyo
Kaeshide Paiku Domyogata Saru
Karamite Heiku Techigata Kuma
Mukite Paipo Suikagata Kokaku
Nagete Ichimonjigata Jayo
Ajikatanomainote Ryuroku
Solo Kata Description
Solo kata can be divided into two broad categories.
One group are those that are focused on physical development.
The other group consists of kata which develop fast reflexes
and the ability to move quickly. All kata require and foster
rhythm and coordination.
Kata should be performed with intensity and
focus, but also with humility. There is a theme associated
with each kata that the karateka wishes to exhibit to the
viewers. This should be done with exactness, power and speed
and always done with good basic techniques. The performance
of the kata should not be arrogant and must always display
the courtesy required of a karateka. One expression of this
courtesy is the bow at the beginning and end of every kata.
The stance is an informal attention or ready stance. After
the bow, one moves into the opening of the kata, relaxed,
but eyes forward and the body ready to respond to any attack.
The kata is then performed, usually starting with a block
and performed along a line or series of lines. An example
of this is Pinan Shodan (Heian Shodan), in which the performance
is done along a series of lines which trace out a capital
"I" on the ground. The form is started at the lower intersection
of the vertical and horizontal lines and, as with all forms,
ends in the same position that it starts. A good check of
a well done kata is to note the beginning position and ending
position of the practitioner, it should be the same. Kata
should always include good basic techniques and strong focus
on celebration points and places where the kiai is done.
The following are descriptions of many of
the kata in alphabetical order, using the Okinawan names
and the Japanes name in parathenthesis. The descriptions
include history of the kata and brief highlights of the
form's movements.
Ananku
The exact origin of Ananku is unknown, but
it is believed that Chotoku Kyan (1870-1945) brought back
this form to the Tomari region from Taiwan in the year 1895.
Ananku means peace or safety from the south. The kata was
developed as part of the Tomari-Te system and during the
1900's, was further passed on by Shoshin Nagamine (born
1907) and the Matsubayashi Ryu style.
The kata emphasizes both offensive and defensive
moves from a deap forward leaning stance (front leg bent).
Strong punches and double-punches occur throughout the form.
Chinte
Chinte means mysterious or bamboo hand and
also calmness or quelling. The name is thought by some to
be derived from its unique hand techniques. Chinte is a
unique Shuri-Te kata that Itosu passed on from Bushi Matsumura.
It is thought that the kata was used for training against
spear (yari) attacks. It has been suggested that the guards
at the Shuri castle strapped bamboo staves to their forearms
as a defensive measure. This strategy is embodied in the
original form of the kata.
The form begins in tranquility, becomes powerful
and ends in calmness. One rare technique in this form is
the two-finger spear hand to the opponents eyes. This is
a very good defense for those lacking strong muscular development.
Chinto
(Gankaku) The Chinto kata was created by Bushi
Matsumura (1797-1884) and was based on the techniques he
learned from a Chinese sailor named Chinto who became shipwrecked
on the Ryuku Islands. After drifting ashore, Chinto taught
the inhabintants of the Tomari village including, Matsumura,
Kosunku, and Oyadomari. Though the exact meaning of chinto
is uncertain, one translation of the name means, "fighting
to the east" while another is "fighting in a city". The
form was probably named after its originator.
Matsumura studied with the famous Karate Sakugawa
who spent significant time studying martial arts in China.
It was Sakugawa that brought many kata to Okinawa and initiated
many kata such as Kusanku. He is also credited with introducing
the dojo concept. Matsumura is credited with integrating
the Chinese Chuan Fa with the Okinawan Te creating Tode
(1750) which evloved into Shuri-Te (1830) which evolved
into Shorin-Ryu (1870). Gichin Funakoshi (1868-1957) took
Chinto with 15 other forms to Japan.
The Chinto form was most likely introduced
through Tomari, but was adopted into the Shuri-Te system.
There are over five versions of Chinto. The Tomari-Te version
has a Chinese flair to it as opposed to the Shuri-Te version,
which is more simplistic.
The Chinto form follows a straight line of
movement and should be executed with powerful techniques.
Characteristic of this form is the one-legged stance occurring
repeatedly, which resembles the splendid sight of a crane
poised on a rock and about to strike down upon its victim.
It also uses various flying kicks which distinguishes it
from other katas.
Jiin
The Jiin kata along with Jitte (Jutte) and
Jion are classified as Shuri-Te kata though historically
they may have originated with the Tomari-Te system and Matsumura.
One technique common to all three of these kata is the palm
heel for blocking. All three of these kata were perpetuated
by the Shuri-Te system, primarily by Itosu. The Jiin kata
is translated to "temple ground".
Jitte (Jutte)
The kata Jitte means "ten hands" and implies
that one who has mastered it has the effectiveness of ten
men. From this kata many defenses against weapon attacks,
particularly stick attacks, can be learned. To block strongly,
various important points found in earlier kata, such as
Pinan Sandan, must be learned.
The Jitte (Jutte) kata along with Jiin and
Jion are classified as Shuri-Te kata though historically
they may have originated with the Tomari-Te system and Matsumura.
Jion
The Jion kata means "temple sound" and the
Jion character has appeared frequently in Chinese literature
since ancient times. The Jion-ji is a famous Buddhist temple
and there is also a well-known Buddhist saint named Jion.
The name suggests that the kata was introduced by someone
from the Jion Temple.
The Jion kata along with Jiin and Jitte (Jutte)
are classified as Shuri-Te kata though historically they
may have originated with the Tomari-Te system and Matsumura.
Kusanku (Kwanku)
The word Kwanku is the Okinawan pronunciation
of the Chinese word Kusanku, which was named after a Chinese
diplomat. Kwanku also translates to "view or look at the
sky" which describes the first movement of the kata. According
to Gishin Funakoshi, he renamed the kata to Kwanku for just
that reason. The Kusanku kata was brought to Okinawa by
a Chinese martial artist, either named or titled Ku Shanku,
around 1756-1761. His Okinawan Student Karate Sakugawa (1733-1815)
developed this form from Kusanku's teachings. Later, katekas
modified it from its original form, and ended up with two
katas, Kusanku-Sho and Kusanku-Dai. Gishin Funakoshi used
the kusanku katas to create a single kata called Kanku and
taught that version in Japan.
Around 1906, Anko Itosu quite possibly used
the Kusanku forms along with a forgotten kata called Channan,
to create the Pinan forms. Many movements from the Pinan
forms can be seen in Kusanku.
Naihanchi (Tekki)
The origin of the Naihanchi series is unknown.
Naihanchi is translated to mean "fighting holding your ground".
The popularity of this form is exemplified by its use among
various Okinawan and Japanese styles. It is believed that
the Naihanchi forms were in use before the Pinans and were
used to develop the lower body (hips and legs) strength.
The distinctive feature of this form is the
posture. The horse (straddle) stance is kept low and wide,
placing the weight of the body on the hips and legs. The
idea is to draw all of one's strength up from the abdomen;
drawing power to the center. It is this horse riding stance
that was used to derive its Japanese name, Tekki, meaning
"horse riding".
Passai (Bassai)
Passai means to "thrust asunder" or "penetrate
the fortress". The original composer of Passai is unknown
though legend has it that Bushi Matsumura (1797-1889) brought
the original form (Dai) from China. The form is from the
Shuri-Te lineage though Passai also continues to be cherished
by karateka around the Tomari village. Knife-hand techniques
and speedy movements distinguish this kata from the others.
This form contains repeated switching of the blocking arms,
motions that represent the feeling of shifting from a disadvantageous
position to an advantageous one, a feeling implying a will
similar to that needed to break through an enemies fortress.
The shorter (Sho) version of Passai was developed
by Yasutsune Itosu (1830-1915). This version stresses the
use of the hips in generating power and changing positions
quickly. It teaches how to protect oneself by shifting so
as not to expose the vital areas. Other techniques contained
in this kata are used for night fighting and defense against
the bo (wooden staff). The defense against the bo is performed
with the open palm and, as often for this purpose, require
strength. Passai Sho should be practiced after mastering
Passai Dai. The two kata form a series differing in the
point that Passai Dai outwardly shows power and solemnity
while Passai Sho, in the calmness of its techniques contains
an inner strength.
Pinan (Heian)
Yasutsune Itosu (1830-1915), of the Shuri-Te
system, developed the Pinan, peaceful mind, series of five
forms around 1905. History tells us that Itosu created the
Pinans from two other Shuri katas known as Kusanku and Channan.
The Channan kata has been lost, but legend has it that Bushi
Matsumura, Itosu's teacher, either devised these kata or
they were an older set of Chinese kata passed on by Matsumura.
These forms were taught to elementary school children in
Okinawa and when Gichin Funakoshi was hired by Japan to
teach karate; he used these as the main portion of kata.
Funakoshi modified the order of the first two Pinans and
changed the name to Heian.
The five katas follow a sequence designed
to introduce the beginner to kata and to progressively introduce
more techniques as the student advances. The series incorporates
almost all of the basic stances and many of the basic techniques
of the various Okinawan systems of karate, thereby making
the Pinans suitable for beginners and intermediates. Mastering
each form requires years of practice in order to understand
the finer points of each movement. Although the Pinans do
not contain symbolic movements often seen in more advanced
kata, there are a variety of combat interpretations for
several of the basic techniques included in the forms. Understanding
the techniques and their usage against the attacker will
help the student to take away a practical application from
the Pinans.
Rohai (Meikyo)
Rohai translates to "white heron" or "vision
of a crane". This kata is also a Tomari-Te kata with a long
history. The exact composer is unknown though the kata was
probably brought to Okinawa by Karate Sakagura. The most
characteristic technique of this kata is the one-foot standing
stance (crane-like) with the other foot drawn to dleiver
a kick and to shift the body from attack.
Seisan (Hangetsu)
Seisan (Seishan) kata is named after a famous
Chinese martial artist who lived on the island of Okinawa
around 1700. It is said that he was one of the greatest
karate men of that era. Seisan is associated with an astronomer
and map maker called Takahara Perchin who was the first
teacher of "Tode" Sakugawa. The kata is also known to have
been performed by some of the greatest karate men in the
history of the art including Bushi Matsumura, Yasutsune
Itosu, and Chotoku Kyan. Seisan is used in many Okinawan
systems shuch as Isshinryu, ShorinRyu, and Shurite. However,
as with many other forms, the kata differs slightly between
styles.
Seisan is said to be the oldest kata still
in use. The kata translates to the number "13" or "30" and
its roots can be traced back to China. The unique thing
about this kata is that there are two quite different versions.
The Naha-Te version of Seisan favors the Chinese style and
the Shuri-Te version had its own evolution. The Shuri-Te
version can be traced back to Bushi Matsumura and includes
techniques repeated in combinations of three, open-handed
blocks and a defense against groin kicks.
As with the Ananku kata, Seisan incorporates
the pivots and head turning action. Toward the kata's midpoint,
there is a set of three double blocking maneuvers that can
be interpreted as side blocks combined with center blocks.
The follow-up movement of the center block is one of the
unique features of Seisan. The two interpretations are of
a two-finger spear thrust to the eyes, or of an arm grab.
The hidden movement would come with the arm grab which would
be an overhand punch with the other hand. The foot movements
in the form are always useful in getting inside the opponents
legs, attacking and destroying his balance.
The Japanese translation of the form, Hangetsu,
means half-moon and is derived from the Sanshin stance and
hand movements in the form. The stances and hand movements
include semi-circular paths.
(Gojushiho Useshi)
Useshi is usually called Gojushiho, which
means 54 steps whose movements are said to resemble a drunken
man.
Wankan (Matsukaze)
The exact origin of this kata is unknown,
but it has been handed down through the Tomari-Te system.
The kata is characterized by the unitary sequence of the
techniques of offense and defense, which look elegent and
powerful.
Wansu (Empi)
Wansu (Wanshu) is one of the most popular
forms among Okinawan systems and has been used for many
years, undergoing many modifications. Even today, there
are several variations of this traditional form. Wansu,
is said to have been named after a Chinese envoy to Okinawa
who happened to be a martial artist. It is believed that
Wansu originated in China around 1690, making it one of
the oldest Okinawan forms. Wansu was primarily used around
the village of Tomari and therefore part of the Tomari-Te
system. There is also a Chinese name that the form is translated
to mean Flying Swallow.
The kata includes a distinctive upper level
attack followed by the defender grasping the opponent and
drawing him inward, simultaneously jumping in and attacking
again. This movement resembles the up and down and flipping
away flight of a swallow.
The form emphasizes speed and contains a throwing
technique. Towards the end of the form, there are a series
of moves in which the karateka picks up the attacker and
dumps him to the ground. For this reason, Wansu kata is
known as "the Dumping Form". Because the form emphasizes
very strong vertical punches, it is also know as the "Strong
Arm Form". Tatsuo Shimabuku referred to Wansu as the "Dragon
Boy" form due to the strong movement of the downward strike
or block from the T-stance, which feels like a sweep of
a dragon's tail.
The primary technique of Wansu is the vertical
punch. The "hidden" punch is the second vertical punch of
each series which is executed while drawing the opposite
hand to the neck. In some systems, this punch is delivered
as a fore-knuckle punch.
Multiple-Person Kata
Two types of multiple-person kata have been
developed. The first is basically an introduction to sparring
employing one or two movements between an attacker and a
defender. The second consists of a flowing series of movements
between two or more participants investigating the timing,
distance, and intercection of proper technique.
Ippon Kumite or one-step sparring practices
a defense against a single attack. An example would have
the attacker lunge punch to the mid section while the defender
middle blocks. A counter-attack may also be added to the
defenders technique, block-then-punch. Nippon Kumite or
two-step sparring is similar but with the addition of a
second attack.
The Kojosho two-person and three-person forms
are examples of more flowing forms which investigate motion
and interplay between combatants.
Kata Usage
The common kata discussed earlier are used
throughout many styles of karate. The following table lists
several of the styles and the kata used by them. It is easy
to see why several of the kata used by the Kojosho system
were chosen, partly by their wide usage and partly by their
good introduction of basic posture and stances. The Pinan
kata are good examples of basic kata which are used throughout
much of karate. These forms provide a strong basis for students
to be able to recognize and participate in kata at many
other schools and styles.
Japanese Okinawin A B C D E F G H I J K L M
Heian Nidan Pinan Shodan x x x x x x
Heian Shodan Pinan Nidan x x x x x x
Heian Sandan Pinan Sandan x x x x x x
Heian Yondan Pinan Yondan x x x x x
Heian Godan Pinan Godan x x x x x
Bassai Dai Passai Sho x x x x x x x x
Kanku Dai Kusanku Dai x x x x x x x
Bassai Sho Passai Dai x x x x
Kanku Sho Kusanku Sho x x x x x
Chinte Chinte x x x
Empi Wansu x x x x x x
Gankaku Chinto x x x x x x x x
Gojushiho Useshi, Gojushiho x x x x
Hangetsu Seisan x x x x x x x x x
Jiin Jiin x x
Jion Jion x x x x
Jitte Jitte x x x x
Meikyo Rohai x x x
Nijushiho Niseshi x x
Sochin Sochin x x x x
Tekki Shodan Naihanchi Shodan x x x x x x x x
Tekki Nidan Naihanchi Nidan x x x x x x x x x
Tekki Sandan Naihanchi Sandan x x x x x x x x x
Unsu Unshu x x
Wankan Wankan x x
A - Cerio's Kenpo (AmericanKarate)
B - Budokan Karate (Australian Karate)
C - Chito-Ryu (Japanese Karate)
D - Goju-Ryu (Japanese Karate, Chojun Miyagi System)
E - Kyokushinkai (Japanese Karate, Masutatu Oyama System)
F - Isshin-Ryu (Okinawan Karate, Tatsuo Shimabuku System)
G - Naha-Te (Okinawan Karate, Pre-1900 Shorei-Ryu
H - Shorei-Goju (Okinawan Karate, Robert Trias System)
I - Shorin-Ryu (Okinawan Karate)
J - Matsubayashi-Ryu (Okinawan Karate, Shoshin Nagamine System)
K - Shuri-Te (Okinawan Karate, Pre-1900 Shorin Ryu)
L - Tomari-Te (Okinawan Karate, Pre-1900 Shorin-Ryu)
M - Kojosho Kempo
