Kata Background

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 co-ordination. 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 Japanese name in parathenthesis. The descriptions include history of the kata and brief highlights of the form's movements.

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 emphasises both offensive and defensive moves from a deep forward leaning stance (front leg bent). Strong punches and double-punches occur throughout the form.

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 tranquillity, 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 defence for those lacking strong muscular development.

(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 inhabitants 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 evolved 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.

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".

The kata Jitte means "ten hands" and implies that one who has mastered it has the effectiveness of ten men. From this kata many defences 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.

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.

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.

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 centre. It is this horse riding stance that was used to derive its Japanese name, Tekki, meaning "horse riding".

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 defence against the Bo (wooden staff). The defence against the Bo is performed with the open palm and, as often for this purpose, require strength. Passai Sho should be practised 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.

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 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 deliver a kick and to shift the body from attack.

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 favours 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 defence 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 manoeuvres that can be interpreted as side blocks combined with centre blocks. The follow-up movement of the centre 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.

Useshi is usually called Gojushiho, which means 54 steps whose movements are said to resemble a drunken man.

The exact origin of this kata is unknown, but it has been handed down through the Tomari-Te system. The kata is characterised by the unitary sequence of the techniques of offence and defence, which look elegant 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 emphasises 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 emphasises 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.