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 1850. 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 "To-te" 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 3040'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 Nidan |
Peaceful Mind 2
|
Pinan Sandan
|
Heian Sandan
|
Peaceful Mind 3
|
Pinan Shodan
|
Heian Shodan |
Peaceful Mind 1
|
Pinan Yondan
|
Heian Yondan
|
Peaceful Mind 4
|
Rohai
|
Meikyo
|
White Heron or
Vision of Crane (Rohai)/
Polishing Mirror (Meikyo)
|
Seisan (Seishan)
|
Hangetsu
|
13 /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, "To-te" 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
18th 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 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 |
Kobayashi |
Shito-Ryu |
Ananko
|
Chinte
|
Ananku
(Brought from Taiwan) |
Chinto
|
Chinte
|
Aoyagi
|
Chinto
|
Chinto
|
Kusanku-Dai
|
Chinto
|
Chinte
|
Jiin
|
Fukyugata-Ichi
(Made by Nagamine)
|
Kusanku-Sho
|
Gojushiho
|
Chinto
|
Jion
|
Fukyugata-Ni
(altered by Gekisai-Ichi)
|
Naihanchi-
Nidan |
Jiin
|
Jiin
|
Jitte
|
Gojushiho
|
Naihanchi-
Sandan |
Jitte
|
Jion
|
Kusanku-Dai
|
Kusanku-Dai
(Chatanyara-
no-Kusanku) |
Naihanchi-
Shodan |
Jion
|
Jitte
|
Kusanku-Sho
|
Naihanchi-
Nidan |
Passai-Dai
|
Kusanku-Dai
|
Jyuroko
|
Naihanchi-
Nidan |
Naihanchi-
Sandan |
Passai-Sho
|
Kusanku-Sho
|
Kusanku-Dai
|
Naihanchi-
Sandan |
Naihanchi-
Shodan |
Pinan-Godan
|
Naihanchi-
Nidan |
Kusanku-Sho
|
Naihanchi-
Shodan |
Passai-Dai
(Tomari-no-
Passai)
|
Pinan-Nidan
|
Naihanchi-
Sandan |
Naihanchi-
Nidan |
Niseshi
|
Pinan-Godan
|
Pinan-Sandan
|
Naihanchi-
Shodan
|
Naihanchi-
Sandan
|
Passai-Dai
|
Pinan-Nidan
|
Pinan-Shodan
|
Niseshi
|
Naihanchi-
Shodan |
Passai-Sho
|
Pinan-Sandan
|
Pinan-Yondan
|
Passai-Dai
|
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
(Gojoushiho) |
Unsu
|
|
|
Sochin
|
|
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 (1907-1997). 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.
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 indicative of Chinese. The following table lists some of
the kata used by these styles.
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
1800's, was further passed on by Shoshin Nagamine and the
Matsubayashi Ryu style.
The kata emphasizes both offensive and defensive moves from a
deep zenkutzu dachi (front leg bent stance). 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 (1868-3057) 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.
Wanshu (Empi)
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. Wanshu, is said to have been named after a Chinese envoy to Okinawa who
happened to be a martial artist. It is believed that Wanshu originated in China
around 1690, making it one of the oldest Okinawan forms. Wanshu 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, Wanshu 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 Wanshu 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 Wanshu 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 interjection 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
|
|
Okinawan
|
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 |
|
|
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
(American Karate)
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
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