Nijushiho: Wave Kata

Nijushiho, an introduction

The Name Nijushiho is a misleading name for a Kata. Its meaning is 24 movements or 24 steps but it does not give a flavor to the Kata itself. The Kata is a flowing Kata that has reminded practitioners of a Tsunami or giant wave, with its building power, turbulent speed and then the ebb of the tide as the wave crashes into the rocks and recedes back out to the ocean. Its power and grace is created by dynamic use of the hips and by the very movements that are done smoothly and much like a wave crashing into your opponent.
Nijushiho is a Kata that requires a great deal of reflection and training in order to master, its dynamic movements are often lost on the more novice trainees and only threw hard training and personal study can a student learn the intricacies of a Kata with such interesting fundamentals. Nijushiho has become the personal favorite of many masters and when researching the Kata one should watch the master of instructor like Asai as he demonstrates the Kata or Kanazawa Senseis take on the same Kata.

History of Nijushiho

Originally known by the Okinawan name Niseishi the Kata is used in many styles still practiced in Okinawa. While the name translates as 24 this may not be the meaning of the name. Many of the techniques used are re-enforced or doubled up, one instructor Hisataka of Shorinji ryu suggests that the name refers to the double up, 2 techniques equals 4 in power! Thus the use of 2 and 4 as a name. Often the Okinawans used secretive or mysterious names when creating the names for Katas.

Nijushiho is included many styles syllabus including Shito ryu, wado ryu, Shorinji ryu and Shotokan. Shorinji ryu version is very different and even more circular than most of the styles that use Niseishi. Most of the explanations for the name state that the Kata was named after the number of movements or steps that the Kata has in it. This is not exactly correct and would lead me to ask what kind of counting the masters were doing! But, the explanation is widely accepted as truth and the explanation for the wrong number of moves is that the Kata has changed over the years. I can not argue with that...what Kata has not changed?

The Kata is present in most Crane forms from Fujian white crane as many modern Kata are. The Okinawan source for this Kata is Seisho Aragaki (1840-1920). Aragaki is also the master who fostered other very popular a Kata such as Saichin, Sochin, and Seisan/Hangetsu. Anko Azato (1828-1915) was also known to have done Niseishi, but it has been suggested his version, which he greatly changed, is not the Shotokan version. But, Azatos version of the Kata did Influence the Nijushiho of Shotokan.

Azato was a upper level aristocrat (peichin class) who was a Senior government statesman, scholar and Karate instructor as well as a well respected swordsman. Azato was also Sokon Matsumruas Assistant at matsumuras Garden dojo in the Shuri castle. Azato used his sword training to help him change Katas and to use his ideas to teach movement more influenced by Sword fighting than chinese boxing. Gichin Funakoshi was a student of Azato for many years but he did not originally use this Kata in his training. Harry Cook suggested that Funakoshi had forgotten the Azato Version of the Kata. He sent his students to Mabuni for a Kata exchange or training exchange to pick up some of the lost Kata. This is were the Aragaki version of Niseishi was learned and brought into Shotokan. Azatos version, which again was influenced by his sword training, had circular and included fast in and out movements with side stepping. the stances were higher and the Kata was not as smooth as Aragakis version. The Aragaki version was also longer and linear and the Shotokan Version is not as choppy as the Azato modified version.

The Shotokan version further appears to have been 'shotokanized' by Gigo Funakoshi and the seniors at the JKA who went to visit Mabuni. But it does remain very similar. One source, Hisataka, also states that the Kata done in Shito ryu and Shotokan may have its roots in Kudaka Village and the original Kata is presumed to come from the Dragon style of Kung fu as well.

In an effort to make his Okinawan (and thus, foreign) art more palatable to the then nationalist Japanese, Funakoshi changed the name of the Kata from Niseishi to Nijushiho. Both names mean "24 steps." However, this is not simply an interpretation of the number of movements or techniques extant in the Kata. 24 is related to 108, which is an auspicious number in Buddhist scriptures. Both 2 and 4 are divisors of the larger number. 108 refers to the 108 'afflictions' of the soul, which are to be symbolically stricken down in events like Kagamai Baraki (Japanese New Year). The Kata Gojushiho (originally Ueseishi) is "54 steps", another divisor. It is a likely possibility that both Kata were so named as a reference to this aspect of Buddhism. Although the Kata have come down to karate practitioners via Okinawans, who mostly rejected Buddhism in favor of their own animistic beliefs, the original kata came from the Chinese, who embraced it.

This does not imply that the Kata itself is a Buddhist exercise- the Buddhist zymology is only an artifact of its originators, who were most likely Buddhists of some flavor.

Notes on

The name Nijushiho or 24 is not really a direct interpretation of the name. the number 24 is related to 108 in the Buddhist religion, an important number. It is thought that the Kata and the Gojushiho (54) Katas have been named as such to connect them to on of the major religion of the time. This does not mean it is a Buddhist exercise however, the Buddhist symbology is only an artifact of its Chinese roots. Despite its many numeric symbology the most striking part of the Kata is its water theme and its physical incarnation of water in movement.

The rhythm and flow that makes this Kata unique are important to master. Spinning, turning and good control of stance are essential to making the Kata resemble a wave of movement. The opening movements are said to best depict the idea of water in the movements. It must be noted that the Kata is very difficult to perform and make it aesthetically pleasing, but one of the most well known practitioners to take up Nijushiho was Asai sensei. Asais performance of Nijushiho was a thing of beauty. I should caution however that a student not try and follow Asai Senseis performance of this Kata. His body was not exactly human and I dont think any of us can do what he did.

The Kata itself has such a strong "wave" theme that it has taken on the characteristics of waves smashing onto the shores. Not only that but most practitioners do refer to Nijushiho as a "water" Kata or as the "tsunami" Kata.

End notes

My favorite person to watch doing this Kata was Asai sensei. My only regret was not meeting him while he was alive and watching him perform this Kata with his flair and unique abilities. His body could simply do things it was not meant to do. I began studying the Kata when my instructor asked me to find a personal Kata. It was not really a Kata that I thought I was built for, but it became a favorite of mine after I began training in it and trying to perfect the difficult movements. I noticed that the Kata had a great deal of hip movement in it and started to research this by working on the hip movement in the Kata. It was very interesting to se how the hip is used like a spring and or a rubber ball, forced in one direction and then released to travel the other direction.

Dingman Sensei is fond of this Kata and when I told him I was going to take on this Kata as a task he told me to pay attention to the details. He also called it the "tsunami" Kata or wave Kata. This was to show me that the Kata should act like a wave. Crashing in to the opponents and destroying their attacks before drawing them back into the counter. A very interesting analogy that paid off for me when I started to learn the form. By visualizing the Kata as a wave motion I had an easy time working on the feel of the Kata.

Nijushiho is not a very popular Kata in many ways. To advanced of some to grasp and looking a little on the strange side for a Shotokan Kata, many students do not practice it and miss out on the body dynamics that are offered in the Kata. One should not work on Nijushiho until they have Bassai Dai and Kanku Dai down, these two Kata will help the student understand the hip aspects of Karate’s "tsunami" Kata.

Gojushiho Dia: 54 advanced movements large

Gojushiho Dai, an introduction

Gichin funikoshi first renamed the Kata Gojushiho to create a Japanese feel for the Kata then tried to rename the Kata Hatoku after the woodpecker like movements of the hand strikes through out the Kata. Hotaku is the name for the Japanese woodpecker that inhabits much of Kyushu and the other major islands that make up Japan proper. but like many of the renaming attempts that Funakoshi Sensei tried, this did not stick and the students reverted to the older name soon after the attempt to change the names began.

History of Gojushiho Dai

Both Gojushiho dai and sho are very close in presentation, more so than any other sho/dai combinations. They follow the same embusen and virtually are the same timings at points. Gojusthiho Dai is more compact and uses shorter inside tension stances compared to Sho's opposite longer techniques and stances. Compared to the flowing long and graceful movements of the Sho version of the Kata, the Dai is compact and powerful and uses many advanced and difficult hand movmements.

Some references suggested that the Kata came from a form of Kung fu called Phoenix eye fist, but with stronger references saying that it is linked to the Kata Hakutsuru, a white crane Kata. The phoenix eye fist reference does not seem very likely seeing as it does not contain forms that resemble this and the origins of most of the Karate Kata and styles are very closely linked to White crane and little to no information links any styles to the Phoenix eye fist style, known as Yau Kung Mun. Some feel that Hakusuru is a follow up to the original Gojushioho so it would seem that ' 54 steps' is a Fukyuen Kata after all.

For those pointing to the origin in the phoenix eye style they say it originally name was Kaisan and that this form may have been shared with the crane style, to explain its connection in both styles these people say it is a sub style called Black Tiger which was incorporated into the white crane system and lost its independent identity. The Dai version of the Kata is a powerful version of the two with snapping hands and quick pouncing like moves all coming from a coiled like Cat stance. While the Sho version seems to show the grace of the crane in the use of hit wing like arm movements in the blocking and then spearing the attacker.

Allot of sources point to the original Gojushiho or Useishi as being a white crane form however and skip the idea or discard the idea of a link to the Phoenix eye style. The idea of the black tiger style being involved in the creation of this Kata are not discarded. the Black tiger style was a style that was brought into the Crane style and used to balance the systems out. Black tiger was the counter balance to the cranes light and softer movements, bringing a harder and faster style to bear on the new amalgamation. Useishi was the original name of the Kata as it was taught in Okinawa.
The elegance of the Sho Kata is very striking when compared to the Dai version. The first movements is aptly named to convey the elegance 'Ryo Un No Uke' or ' Back of the flowing cloud', which shows that the movements should be smooth and flowing. The modern day Sho is derived from Mabunis interpretation of Ueishi and was more than likely part of the Kata exchange that the JKA had with their Shito ryu hosts at the event that Funakoshi requested with the Shito group.

The modern day 'Sho' is derived from Mabunis Useishi and was more than likely part of the kata exchange that the JKA had with the Shito ryu group. The origins of Useishi seem to be Arhat Boxing or monks fist. This style includes Useishi as one of its forms along with Jitte, Sanchin, Seipai and other familure Kata. Arhat is one of the styles that has had contact wtih the Fukin or Shaolin temple and borrowed from the crane forms found in that area. The Original Gojushiho, Useishi, also appears in the ancient text "the Bubushi" an ancient note book on Kung fu and styles that has been passed down for many generations.

There is often some confusion about which Kata is Sho and which is Dai. Kanazawa Sensei uses the reverse from the Mainstream JKA organization and some groups don’t see two Gojushiho Kata at all but choose to do only one as the original was split into two Katas by the JKA. It seems that the flowing Gojushiho Sho is actually the base Kata that the compact Dai was created from.

Notes on Gojushiho Dai

Gojushiho dai and sho are both taught to Karate-ka normally after they have reached Sandan. The Dai version has shorter moves and shorter stances. The hand techniques are closer to the body and even though the two Kata are relatively similar they do contain different ideas of training. Dai relies on fast short hand movements and transitions from one short stance to the next. Sho is longer and uses the Kokutsu dachi over the Nieko dachi which elongates the movements and feel of the Kata.

End notes

Gojushiho dai is the more compact and powerful of the two Gojushiho Katas. Lacking the longer lines and graceful movements that the Sho version has, Gojushiho dai seems to be more of a no nonsense version of the two. The reality to me is that the Dai version simply shows the compressed version of the movements while the Sho version the open version. Both Kata present a very dynamic and challenging form that uses sweeping motions, circular blocking and also direct counters. The explosive movements at the end should be built up to and then the spirit of the Kata relaxes after the final attacking motion.

Gojushiho Sho is somewhat more popular at tournaments because of the longer lines and the more flowing movements. With the duo of Kata one should practice each to take information on how to work in different situations.

Gojushiho dai was never favorite of mine until we learned the Sho version and I saw the flip side of the coin. I can still remember many a sleepless night that we had after Sensei Dingman had us do Gojushio Dai for half a class, my left leg turning from mush into a solid rock and the aches and pains of an unconditioned muscle over used. trying to sleep with the aches and pains was nothing compared to showing up at the dojo and having Sensei call out your name on your way out of the change room and use two simple words to destroy your mood for the class...."James....Gojushiho...Dai" and then it was off to practice before class and test the left legs ability to really get beat on.

Gojushiho dai, In moderation, has become one of my favorite Katas to do now. And watching a good Karateka do the Kata now has even more meaning for me. My advice, practice Gojushiho sho first and when you get it down move on to this Kata and watch for the subtle and not so subtle differences in the Katas. And most of all Enjoy them.

Gojushiho sho:54 movements Small

Gojushiho Sho, an introduction

The Gojushiho Katas are both popular with tournament competitors because of the snapping movements and the fast actions, mixed in with the dynamic and dramatic slower movements and pausing in the Kata. All of which allow the athletes to show off both skillful acting and also athletic prowess. Gojushiho Sho is the softer or seen as having longer techniques and nicer lines nit eh movements. The Kata itself is a good representation of what advanced ideas the Shotokan Style has picked up from its roots.
The two Kata in the series look very much different and yet share the same movements and lines or patterns. The Sho version seems more advanced because of the longer lines and elongated moves, but I find that the Dai version is a greater challenge when it comes to physical performance. While the Dai version may challenge a student in different ways, the Sho version also has its challenges for any student that undertakes it. First off, because of the longer lines in the Kata it is harder to hide mistakes or weak points. So a student must make sure to practice the Kata diligently and make sure all weak points are worked on till the Kata flows naturally and with out any errors.
While the Sho version is more popular at tournaments I recommend learning the Dai version first then coming to this Kata to make sure that the body and specifically the legs are ready to train in the Kata and work as a base for the body to produce those long linear movements.

History of Gojushiho Sho

Both Gojushiho dai and sho are very close in presentation, more so than any other sho/dai combinations. They follow the same Embusen and virtually are the same timings at points. Gojusthiho Dai is more compact and uses shorter inside tension stances compared to Sho's opposite longer technqiues and stances. Compared to the flowing long and graceful movements of the Sho version of the Kata, the Dai is compact and powerful and uses many advanced and difficult hand movements.

Some references suggested that the Kata came from a form of Kung fu called Phoenix eye fist, but with stronger references saying that it is linked to the Kata Hakutsuru, a white crane Kata. The phoenix eye fist reference does not seem very likely seeing as it does not contain forms that resemble this and the origins of most of the Karate Kata and styles are very closely linked to White crane and little to no information links any styles to the Phoenix eye fist style, known as Yau Kung Mun. Some feel that Hakusuru is a follow up to the original Gojushioho so it would seem that ' 54 steps' is a Fukyuen Kata after all.

For those pointing to the origin in the phoenix eye style they say it originally name was Kaisan and that this form may have been shared with the crane style, to explain its connection in both styles these people say it is a sub style called Black Tiger which was incorporated into the white crane system and lost its independent identity. The Dai version of the Kata is a powerful version of the two with snapping hands and quick pouncing like moves all coming from a coiled like Cat stance. While the Sho version seems to show the grace of the crane in the use of hit wing like arm movements in the blocking and then spearing the attacker.
Allot of sources point to the original Gojushiho or Useishi as being a white crane form however and skip the idea or discard the idea of a link to the Phoenix eye style. The idea of the black tiger style being involved in the creation of this Kata are not discarded. the Black tiger style was a style that was brought into the Crane style and used to balance the systems out. Black tiber was the counter balance to the cranes light and softer movements, bringing a harder and faster style to bear on the new amalgamation. Useishi was the original name of the Kata as it was taught in Okinawa.

The elegance of the Sho Kata is very striking when compared to the Dai version. The first movements is aptly named to convey the elegance 'Ryo Un No Uke' or ' Back of the flowing cloud', which shows that the movements should be smooth and flowing. The modern day Sho is derived from Mabunis interpretation of Ueishi and was more than likely part of the Kata exchange that the JKA had with their Shito ryu hosts at the event that Funakoshi requested with the Shito group.

The modern day 'Sho' is derived from Mabunis Useishi and was more than likely part of the Kata exchange that the JKA had with the Shito ryu group. The origins of Useishi seem to be Arhat Boxing or monks fist. This style includes Useishi as one of its forms along with Jitte, Sanchin, Seipai and other familure Kata. Arhat is one of the styles that has had contact wtih the Fukin or Shaolin temple and borrowed from the crane forms found in that area. The Original Gojushiho, Useishi, also appears in the ancient text "the Bubushi" an ancient note book on Kung fu and styles that has been passed down for many generations.

Their is often some confusion about which Kata is Sho and which is Dai. Kanazawa Sensei uses the reverse from the Mainstream JKA organization and some groups don’t see two Gojushiho Kata at all but choose to do only one as the original was split into two Katas by the JKA. It seems that the flowing Gojushiho Sho is actually the base Kata that the compact Dai was created from.

Notes on

Gojushiho Sho has a much longer and linear feel to it than the Dai version of this Kata. Some suggest that the Sho version was the JKA or Gigo Funakoshis attempt to Shotokanize the original version tehy used. The Sho version uses much longer stances and arm movements but follows pretty much the same Embusen line. Along with a few minor changes in the Kata, the Sho version of Gojushiho follows the typical Shotokan theories and ideals.
One instructor I trained with suggested that Gojushiho sho was the female version of the Kata and was not just to be done with longer movements but also a lighter more feminine spirit. While the Dai version was male and was to be done with a more physical presence and the energy put into the Kata should be more robust.

End notes

Gojushiho sho is a very dynamic and dramatic Kata. The timing and feel of the Kata should be like waves crashing on the rocks. Sometimes very furious and other times relaxed as power is building for the next wave to crash in. The history and roots of the Kata may suggest some affiliation with various animal styles of Kung fu, but one should not focus on that aspect of its history. Treat it as an interesting tid bit to be read, enjoyed and forgotten. I think that the history in this case may cloud the actual beauty of the Kata.
It will take time and devotion to master this Kata, not just due to its length but because of its difficult techniques and unique timing. The first time I was introduced to this Kata was during seminars were Tammy Dingman, Now Heibert, taught us the Kata and showed us several applications. While I was impressed with the applications, I fear that the Kata itself has a bit of a cultural image of being very advanced and many of us did not take up training in this Kata due to that image. This is sad because it is a very nice Kata to train in.
For those that train in this Kata it is very important to start off with good basics, work into the Kata slowly and make sure that you do not create any technical mistakes that need fixing. The more you do the Kata correctly the more you will get out of it. Gojushiho sho is a beautiful Kata and should be done in such a way that shows off the nice lines of the Kata.

Meikyo: Polishing the mirror

Meikyo, an introduction

Meikyo’s name as a mirror reference is a telling reference. First off the mirror is a special item in Japanese mythology and stories. It is suggested by studying what one finds in a mirror one can develop better character and become a better person. it can also refer to repeating special techniques to seek improvement in the Karate techniques and threw hard work, personal impotents can be had, again with the mirror reference. Meikyo was Nakayamas favorite Kata and he said it had reminded him of a folk dance he knew of, the dance was used to entice the sun goddess Ameterasu to come out when she was hiding.

History of Meikyo

The Kata Meikyo is a combination of the three Kata series Rohai, 'vision of a heron', practiced in the shorin system of Okinawa. Meikyo has aspects of all three Kata, which were similar to start with. The Rohai Katas were a Tomari te style Kata. The Katas were often called Mastumura Rohai after Kosaka Matsumrua, the head instructor and creator. After Matsurmur a passed his Kata on to Anko Itosu, Itosu created two new Rohai kata, Rokah Nidan and Sandan. Some styles, such as shito ryu use all three Kata. Others like Wado ryu only use one or two. Shotokan merged all three and created a new Kata based on the three.

Rohai has been noted to share allot of characteristics with Passai/Bassai and Wanshu/Empi, and it is thought to have been a new example of Matsumuras Karate development. Some Okinawan Historians feel that Matsmura did not create the Kata and that he was passing along the kata from Monk fist boxing (arhat). Kinjo akio and Takashiki Iken feel that perhaps Rohai was a 'Okinawan" way of pronouncing "lohan", the Chinese style of boxing. 'Lohan' is another way of saying 'Shaolin'.

Much of the Meikyo we know and do in Shotokan was taken from Itosus Rohai Nidan and not the original Rohai. Matsumuras Rohai was altered by Itosu as well. In fact it would appear that the Kata matsumura passe down as his Rohai looked more like Chinto than Itosus Rohai. Itosu appears to have altered the Kata and removed several techniques he may have not liked and then created his two additional kata. Gechin Funakoshi, and more than likely his son Yoshitaka Funakoshi, Took the Rohai Nidan and mixed in a bit of Rohai Shodan and Sandan and then created Meikyo. It is more likely that Yoshitaka and the JKA exchange group gathered Rohai from Mabuni and did the changes at that time. The Chinto like one leg position was removed as it was in Gankaku, so it is not out of the realm of reality to think Gichin Funakoshi also did some changing of the Kata.

Matsumura Rohai had several unique techniques, such as the side turn one leg stance and block, and an apparent double punch to an opponent on the ground. Most JKA Kata have removed the Sagaishi Dachi (Heron stance) and not one of them have the Kiba dachi Osai Zuki (downward punch in side stance), that the Original Rohai has. The exception is a variation of the Heron / crane stance in Gankaku and Chinte, perhaps pointing to a link with Wang-Ji and Sokan Matsumrua. When Meikyo was taken and created from the original 3 Rohai of Itsou the crane/Heron stances were completely removed to further change the kata from its original form.

Notes on

In Meikyo the series of repeated movements done at the start of the Kata, block and punch, are done differently than in some organizations. The original used Gedan barai and Uchi uke. Kanazawas group uses all three blocks in the series, prior to an oi-zuki in succession, Gedan barrai, Soto Uke and Age uge). Gichin Funakoshi used two down blocks and an inside block on the blocks for the sequences. Funakoshi Senseis way seems to have been the adopted JKA way.

Old film of Funakoshi doing Meikyo suggest it was not his son alone who adopted the advanced Kata into the system, but the father. Funakoshi’s version on tape was slower and methodical showing control and use of power. Modern Competition use more dynamic and dramatic techniques to garner points. Another exponent of Meikyo was Taiji Kase. Kase also did not appreciate the exaggeration and theatrical techniques that often crept into Meikyo when done for tournaments. He performed the Kata with economical movements, but stronger and smoother than Funakoshi did. In the old videos Funakoshi showed a light Kata that was more free and flowing, Kases version was heavier and more powerful but did not put emphasis on explosive moves or on overly dramatic movements. Many say that Kase Senseis Meikyo demonstrated techniques of a master and technically superior Karate Ka.

The Kata has many uniquely specific techniques and aspect to it. The use of proper angles is difficult to master and if they are not the Embusen and start point will not end well. The triangle jump is also a very difficult but strategically useful technique, allowing one to move from a position of disadvantage to one of advantage while using shock and surprise as well as an assault to the attackers temple or face.

End notes

Some organizations and instructors teach this Kata a bit different. The first block and step in punch to the angles is a down block, and the next two change the down block then inside block for a inside block then the last group a rising block. The JKA however sticks to what Funakoshi Sensei himself did. Do not be surprised if an instructor changes which blocks they are expecting during the Kata. It is very common and one should just flow with the choices, the Blocking after all is arbitrary in this case and can be applied to any thought or situation one can think of being in.
I have always liked Meikyo and loved watching the soft power that was exhibited in the Kata. Funakoshi’s version is light and yet you know he had great power in his movements. Kase sensei, while older and not in the best of health, showed grandeur and power in his Kata. I also like the version I saw in Ottawa were Imura Sensei demonstrated the Kata with precision and a sense of pointed ness with each move. He did not overly exert, but he was not completely with out power in his movements. One had the impression that he was completely relaxed and at the same time would do great damage with his blocks or his punches.
Meikyo is a very difficult Kata to do and look good. It takes many years of training in Kihon Waza and accumulating physical knowledge to make the Kata look proper. It is well worth practicing and working on to learn different key elements of Shotokan Karate, and its uniqueness makes it very interesting as well.

Jiin: Lost cousin of Jion

Jiin, an introduction

As for the history of the kata I tend to think Itosu created this Kata, as he did Bassai Sho and Tekki nidan/Sandan as a Jion-Sho, so to speak! Their is no record of this Kata pre-dating the work that Itosu did on this kata. Nothing of any merit has surfaced to suggest that Itosu did not create this form.

The Shotokan Version may have suffered some neglect over the years as well. Shorin ryu uses Jiin as a Kata as well. But it is said to place more importance on the Kata as well as having retained the last four original Kata movements which appear to have been dropped by Shotokan. One historian, a Shorin ryu specialist, suggests that due to the similarities of Jion, Jutte and Jiin that they came from one 'temple' Kata and were extracted out similar to a running theory about Tekki/Naifanchi. No master Kata form has be brought forth as a suggested "Parent" form from which all three were taken however.

History of Ji’in

Jiin was not a Kata that was commonly taught by Gichin Funikoshi or the JKA but it still has many unique qualities. It has been suggested that Nakayaam was studying this Kata and preparing to add a book to his best Karate series, along with Wankan, that would include Jiin but he passed away prior to completing his research.

Jiin, often seen spelt as Giin is seen as a slightly more complex Kata that appears to have ties to Jion and Jutte. Jiin is also taught in Shito ryu with some minor changes to the Kata. One story stats that Jiin was created by Itosu after he experimented changing Jion around and ended up developing a new Kata based on Jions ideas. Jiin is considerably more circular in it approach to similar kihon than Jion and the changes could have shown a leaning towards the less linear principles that came from the Chinese roots of Karate.
Some Kenji experts point to the fact that the Kenji for 'Ji' is often written using the Kenji meaning 'tender or gentle' and others using the kenji for 'Temple' as does Jion. This could mean that either the Kata is linked to Jion or someone is trying to make the link as the names sound similar and the techniques all seem to coincide similarly. Other masters have used Kenji meaning 'blood and or earth' in the name which has been seen as a personal interpretation and not as the original name of the Kata.

The Kata is also sometimes written Jiin in some styles and uses kenji meaning 'benevolence or low'. And state low refers to were the power comes from or a low center. Again this seems to be interpretation set up to explain specific training points of the Kata. Some people also suggest that the 'IN' part of the name suggests the female counterpart to the male, in this case they feel the male would be Jion. Some instructors in other styles also suggest that the name means 'shadows' as a reference to being in the shadows of Jion. All of these are interesting but do not work out to be all that accurate. The Kenji used for writing the Katas name would not suggest any link to 'IN' or 'Shadows'. This allows for many interpretation of the Kata name. The currently accepted name is a reference to the temple Jion-Ji and the temple grounds.
While Funakoshi did not practice this Kata often it is said he tried to rename this Kata as well as his other transplanted Kata. The name he tried to stick to this Kata was Shokyo or waving pines. But this may be confusion between two other Kata he tried to rename. It would be rather unusual for Funakoshi, who used the pen name Shoto or "waving pines" to name a Kata that he did not do often with his Pen name.

Notes on

While researching Jiin I found that the 'original' or older version had been changed or modified for the newer Kata. For one the manji Kamae the practitioner uses a back stance in the newer incarnation and in the original they use a front stance facing away from the attacker. another difference is the use of the Neiko dachi in place of Kokutsu and Zenkutsu and only two back fists strikes while turning. A different sequence at the end finishes the Kata than in the new Kata. Also at the end their is a short piece that was removed that saw the student performing a basic Age uke and Oi zuki to one side then the other.

End notes

Jiin is one of the "lost" Kata of Shotokan. It often has little appeal to students as it is so much like Jion and at the same time rather strange to look at and perform. Jiin itself was shelved by the JKA and for many reasons given was not included in the JKA series "best Karate" with Wankan also not making the cut.
I always thought Jiin was a very interesting Kata, but not one that I focused on in training. It tended to confuse me and make my Jion worse. One of my Juniors, Brice, was always doing this Kata and it suited his bulky, stocky form. He has a powerful torso and it matched up well with Jiins strengths. Jiin, Jutte and Jion may not actually be part of a series but they all have that same power and character suited for people with that kind of shape and structure.
Jiin should be approached with the kind of mentality that Jion is approached. A grandeur and elegance in its performance. It is in my mind the next step for those that are training in Jion. A more complicated and complex rendition of the Kata that adds some dimension to the established simplicity that Jion offers. A more dynamic version of the Kata that focuses on a few alterations to the lesson plan.

Wankan: the crown jewel of Shotokan or abandoned child!

Wankan, an introduction

Wankan is a very interesting Kata. It has only one Kiai point in it were you shout extremely and it is also one of the shortest Katas in the Shotokan Syllabus. Secondly it is barley in they syllabus. Many schools do not teach it and many only acknowledge that it is in the syllabus at all. In fact I had been training in Karate for about 20 years before I learned this Kata. We never trained in Wankan as it was rather obscure and most instructors brushed over it, if at all. One year we went to summer camp and Saeki Sensei had us learn this Kata along with Chinte.
I have come to enjoy Wankan a great deal, It has some unique movements in it and it shows a different side of Shotokans character. Its use of the knee destroying movements is very interesting and the movements are strangely interesting and not uniform to the Shotokan "norms".

History of Wankan

Also known as 'Okan' in Okinawa, this Kata's history a relative mystery. The Kata is known to be an ancient Kata and the original version of this kata originated in Tomari village along with Wanshu and Wanduan. It is a common Kata in Matsubayashi ryu, Shorin ryu and was a popular Kata in Shotokan for a while. It has fallen out of favor with Shotokan practitioners due its brevity, however.
The RyuKyu royal family originally practiced Wankan and this is said to have gained its name from this lineage. Originally it was thought to have been introduced long ago to Kodaka Island and then to Okinawa and Tomari village by a Chinese practitioner who used the name Wankan while in Okinawa, this is said to have been Wang Ji. Wankans base system was likely Hakkyokun Ken, White Crane fist. Kodaka Island is the ancestral home of the Ryukyu royals and this system or Kata may have been influenced by its being introduced as a royal family Kata.

Wankans other version 'Okan" is also known by a third name of Matsukaze. Matsukaze is a very popular Kata in other Shuri based styles such as Matsubayashi ryu. The changes in Shotokans Wankan makes it very different from the original and Okan/ Matsukaze or 'pine tree wind', which are both longer and more complex. Gigo Funakoshi was in charge of adopting Wankan to Shotokan and many feel he made the kata short on purpose and some think it is unfinished since he passed on. One such instructor is Balzarro Sensei of Italy who has shown what he calls the unfinished section of Wankan and made the Kata twice as long. This development, while interesting is not widely accepted as accurate.

While the Shotokan version of Wankan is shorter and unique the Shito ryu version is more like the Matsukaze/Okan of Matsubayashi and does suggest that this was not an exchange Kata learned when Funakoshi sent his head students to train under Mabuni. The idea that Gigo was modernizing or 'shotokan-izing' the Kata and did not finish before his death is reinforced by the length of the old Kata and the suggestion that this is what happened by Master Kase.

This Kata or rather Katas have gone by several names over the years, Wankan in the Shotokan family had been re named both Hakko, Hito, Hotaku and finally Shokyu and none had stuck. Shiofu is another name associated but Shiofus Kenji can also be pronounced ' Matsukaze'. Hito means 'wave of flight'. Some of these names were also suggested for other Katas in the Shotokan syllabus when Funakoshi Sensei was changing the Katas names around as well.
Shotokans Wankan has a great amount of knee joint manipulation, catching techniques and unusual movements and stepping patterns. it is very unique from the other more orthodox Shotokan forms and may have been a Kata introduced to show different, non orthodox movements that Gigo was working on.

Notes on Wankan

Wankan is nearly extinct in many Shotokan Dojos. Much like Giin, it was not included in Nakayama Senseis famous works the Best Karate Series. The Kata itself has few movements but still has a lot of lessons that it teaches in that brief time. At one point the Kata appeared to be making a bit of a "come back" and was being taught in seminars and international camps. But the nature of the Kata and the fact that it is not widely available in print made it hard to teach to new students. It has since become a minor Kata in the system again.

End notes

Wankan is one of those unique and obscure Katas that does not get a lot of training time. It is not very popular in the tournaments and it is usually not a staple of any dojo training. Interestingly many instructors that do the Kata also have variations that they have put into the Kata. Kanazawa sensei performs the Kata with no back stances in his Kata series, it is all Neiko Ashi Dachi and no Kokutsu at all. His Kata looks very different from Tanaka Senseis version of this Kata.
Wankan was originally a Kata that was performed with Royalty in mind, if not by Royalty themselves. It should look Regal in its presentation with slower flowing motions mixed in with the odd very fast technique. Wankan does not need a lot of room to perform and so it is a good Kata to pick up if you want to train in a very little area. Its message is also one that is a bit different than the other Shotokan Kata. It teaches a fair number of grappling techniques along with a great deal of hip motion and use of the body for power when not moving.
Wankan is a Kata that is well worth picking up and practicing by anyone that is Shodan or higher. Prior to this level the techniques may not appeal to many and the message may be lost.

Unsu: Dynamic and explosive and clouds!

Unsu , an introduction

A Kata seen as a showcase Tournament Kata, Unsu seems to have become very popular in the last generation of competitors and continued to be very popular in this generation. The dynamic movements allow the practitioner to display lighting fast movements and physical abilities that will bring points in the tournament. Outside fo the tournament arena the Kata is less popular and often not taught in the Dojos.
The Shotokan version of the Kata was adapted at some point to this new idea and difficulty and is not much like other Shotokan Kata. Many schools have all but dropped it from the curriculum for its black belts and many instructors have to turn back to best Karate to even remember the Kata, unless their school is very heavy into sports Karate. This is a shame; while the difficult jump and going to the floor is very physically demanding the rest of the Kata is not and hold many good lessons and drills to improve a persons Karate.
If a student is thinking of undertaking the study of Unsu they should know prior to this selection that Unsu is not just a physically demanding Kata, but also one that will challenge them to learn in abstract and push their mind and body to the limits. I feel that Unsu is best balanced out with studying a completely different Kata, such as Sochin or Meikyo. The slower and more orthodox approaches will help counter the spirited and more complex practice that Unsu has to offer.

History of Unsu

Unsu is another Kata with a bit of a mystery history! This dynamic Kata is said to have roots in the dragon style of Gung fu, but I am not sure how reliable this is. The Kata is often viewed as being the most dynamic and difficult Shotokan Kata and is one of the more favored Kata in tournaments. Unsu represents a unique departure from classic Shotokan Katas. Unsu is highly dynamic and has many difficult terns. Unsu also offers some Unique challenges in counter fighting and despite the well-known detractors it is a very advanced Kata that has many martial lessons. Lessons and exercises that can be used for more than just getting points in a tournament.

Nakayama cautioned people that while this Kata is popular and appealing, one needs to master basics and fundamentals or they will appear to look like " a scarecrow trying to dance". The name cloud hands or cloud in the hand is thought to infer either the feeling of a thunderstorm or the dynamic body movements must resemble a horrible storms energy and calm, then more dynamic energy like passing threw the calm eye of the storm and then re-entering a storm front.

Shito ryu has a version of this Kata, as one would expect. But the Shito Kata lacks the dynamic speed and explosiveness. The shito version also does not have the difficult but exciting 360-degree jump kick in the movements. This Kata was one fo the group of Kata that Shotokan adopted after sending the students from the JKA to meet and train with Mabuni of Shito ryu. Yashitaka Funakoshi and Nakayama then set out to revamp the Kata and to "shotokanize" it.

Apparently Funakoshi did not like this Kata and felt it did not fit the Shuri ryu like Shotokan mold. He felt it was to showy and flashy and in fact did not like the addition of the jump spin at all. His view was that the Kata should be a challenge all students could meet and this Kata did not allow all members to be able to meet the challenges of the jump and the other dynamic movements. He felt that the Kata looked more like gymnastics than Karate with the ground up and the spinning jumps.

One other criticism that came up was the dynamic speed used in the Kata. The explosive speed did not allow for a clear view of techniques being in the Kata, there for it was easy to hide flaws and still look as though you did the Kata well.

It is believed that this Kata came from Arigaki as well. His training Kata are all Chinese influenced. It is unknown if he created this Kata himself or was taught this from another source and passed it on to his students.

While many credit Sisho Aragaki as the creator of the original Unsu, many say it was one of the Kata Wang Ji taught to Bushi Matsurmrua when the martial exchange was occurring. the more accepted version is that Sakayama Matsumura brought the Kata to Okinawa and Arigaki altered it to remove and remodel techniques.

Notes on

Unsu has become one of the more popular Katas to perform in tournaments. Its dynamic and explosive movements lend it to an exciting performance if done well. One of the most famous instructors to perform this Kata would be Yahara Sensei. The Kata itself is almost synonymous with Yaharas performance at tournaments and his many demonstrations using this Kata.

End notes

I can recall learning the Kata for the first time many years ago at a summer camp when Sensei Tammy Dingman (now Tammy Heibert) taught us the Kata. I had seen the Kata only in the Best Karate books and had never really tried to do the Kata on my own. I had just received my shodan and I was learning more and more Kata to add to my training. The Kata was taught in such a way as I was not scared of the Kata at all. It was a very interesting Kata that did not seem to match up with anything I had learned before. The intricate Kata was actually very basic, with the exception of the jump at the end and the ground up kicks, it was very direct and straight forward.

The next time I saw the Kata was Sensei Brian Dingman doing the Kata in the club, and it was smooth and more dynamic than what we were doing in the summer camp. His movements were faster than I had seen and he seemed to defy gravity as he spun in the air and landed like he decided when the gravity would effect him.

I have never practiced this Kata for any reason other than it was interesting. Not being built for the Kata and preferring other forms I had not practiced it in a long time before doing this text. I had to go back into my notes and research and then back to the original sources, Best Karate, and relearn the Kata. I am by no means an expert at this Kata, but after having not done it in some time, I found that I had picked up more knowledge from other Katas that helped me understand this Kata more.

If you select this Kata remember that you must be ready for an extremely athletic Kata that will test you physically and challenge you mentally. It is a hard Kata to master and perhaps one of the most physical forms that Shotokan has to offer. But its basic make up will help you in Kumite and in self defense.

Chinte: NO its not a girls Kata!/Destroying your attacker!

Chinte, an introduction

ChinteKata is a unique Kata that has a lot of great self defense applications and can be used to work some specific self defense drills. The use of techniques that are not always used in regular classes and should really be looked at closely when a student is seeking to improve their ability to defend themselves.

This Kata is almost always proposed to be a female Kata and I often run into this ignorance when talking to younger Shodans and juniors. No Kata in the Shotokan Syllabus should be looked at as being only male or female in nature and none should be secluded to one specific gender.

As with most of the Katas I have read a lot of misguided information about the history of this Kata and others. The truth may not be as interesting as the stories that come with the Kata, but they do allow some insight into the Kata itself. I often suggest this Kata to those that want to gain some insight into a real self-defense situation and how to handle themselves in said situation.

History of Chinte

The name Chinte means Unique or unusual hand, but another interpretation is 'calmness or quelling'. Chinte is a unique Kata to Shuri Te passed on to Itosu from Matsumrua prior to any changes to the Kata it was taught to the shuri castle guards as a defense against Yari (spear) attacks. The guards used bamboo armor on their forearms to help with defense. Thus another common interpretation to the Kata was 'bamboo arms'.

The mood of the Kata begins in calmness and builds intensity and return to calmness. This Kata also displays many religions connotations linked to Buddhism. Such as the opening hand postures which links back to the Buddhist monastery the Shaolin Temple.

At some point it was noted that the use of the unique strikes and the powerful use of the stance made this on ideal Kata for people who were not extremely strong as it presents alternative Self defense ides to effetely counter a stronger fighter, such as eye pokes and the Nakadaka-Ken to the small bones of the hand. At some point some one mislabeled the Kata a ladies Kata. This is an incorrect labeling. Many well-respected female competitors have chosen to use this Kata because of its elegance and flow and the Kata became incorrectly known as a female Kata. Interestingly Ueki Sensei and many other male instructors count this Kata as their favorite to compete with and often suggest its use to learn unique aspects of self-defense to students.

The opening hand movements suggest a link to the Wu-Tang style kung fu. Having said that the idea of an off shoot of Shaolin having any impact on a style of martial art primarily influenced by Shaolin southern styles is slim. The Wu-Tang temple was situation near Korea in a very dangerous area. On would think that the Japanese did not have much contact with this temple. And that monks from this Temple would not have taught Okinawan instructors traveling to Southern Fujian province to learn martial skills.

Because of its unique look and feel from Shotokans more orthodox Kata, Chinte had not been used much by JKA students. One exponent of Karate says 'Chinte is a brutal Kata whose applications show a obvious intent to harm the attacker beyond repair'. Granted his English was not great, but you get the general idea. Chinte perhaps best shows the Chinese roots of the Kata. Most Kata appear to have been engineered to start and end at the same spot. They smoothly start off work threw and then end in the same spot. Chinte appears to have its original end not in the same spot as it started.

One more false notion is a story that the Kata was created by a nun to help with Self-defense after watching a crane and a snake fight. She then passed the style on to princes who challenged all suitors with this knowledge and said that if they could not beat her they would not marry her. She beat them all soundly till one man beat her and she married him and merged the styles. The problem with this common story is that it is the creation story for wing Chun kung fu and not a single form or Kata. Not only does Wing Chuns history not apply to the single form of Chinte but Wing Chun had no influence on Shotokan or Okinawan Karate development at all.
Gichin Funakoshi tried to change the name of this Kata to Shion, but it did not take as many of his later name changes did not. The Kata focuses on close combat, proper use of the body for maximum effectiveness and employees deflections and uses the idea of techniques used to over come brute force!

Notes on

Takeshi Naito feels it should be linked to Sochin training as a nice contrast in training. Opposing a power based Kata with a sophisticated and technical Kata helps to develop the mind and body of the practitioners. Chinte has its own hidden power development however. In the sharp movements from Fudo dachi to Zenkutsu dachi one can see the hips are used to their maximum and the body dynamics are employed and brought to maximum power.

Chinte offers some very Chinese ideas in a very Okinawan/Japanese Kata. The linear movements used to create power and speed are mixed in with circular moves that will help redirect force on an attack.

One of the greatest debates about this Kata happens to be the last three moves of the Kata. The practitioner finishes the last Tate Zuki and stands up. Then the student hops back, sometimes on an angle, to reach the start of the Embussen.... normally three hops in total. I have ready many explanations for this hop action and some Bunkai has been made to explain these hops. From what I gather from interviewing different masters, reading the texts, looking at other versions of this Kata in other styles, it boils down to Shotokans almost obsessive need for uniformity and this translates as the Kata needing the hops to stop at the same spot.

Despite the strange jumps at the end, Chinte still houses a tone of training ideas and a unique variety of hand techniques aimed at vulnerable points on the body. Over the years Chinte has fallen out of favor with many students, more than likely because of its being associated with being a ladies Kata. But the truth is that a student will find many lessons in Chinte that they can use to improve their Karate overall. And the improvements in Self defense options is worth the students time training in this Kata.

End notes

Chinte is often thought of as a Girls Kata, but truthfully it is filled with interesting movements and good training drills for self defense. Its history suggests much more than a “ladies” Kata to be used by women only. In fact the Kata itself is a hard Kata that takes a great deal of time to master and a long time to understand and implement.

The Kata Chinte should be a staple of training for those that want to learn self defense and how to use pinpoint accurate strikes to vital spots to stop a fighter from attacking them. I can recall learning this Kata for a summer camp that Saeki Sensei had for us in Ottawa. I had not done this Kata in some time and when asked to show the Kata I was critiques and told that I was not committing to the movements with determination. I was not sure what Saeki Sensei meant until he demonstrated the Kata on me.

The movements were fast and I can say from experience that they worked and the pressure point strikes make my arms numb and I could not hang on to Saeki Sensei no matter how hard I tried.

One other instructor that really showed me how to perform this Kata was Dell Phillips out of Saskatchewan. His techniques and interpretation was smooth and the timing was perfect, he tripped me to the floor with the arm techniques countering my kicks and his ability to time my attack was perfect. The Kata came alive and as a “attacker” I can tell you that this Kata works very well as a teaching tool.

My only advice for anyone training in this Kata is to take your time, practice the Kata and don’t leave any training time out. Work on using the Kata and enjoy the movements knowing they will work for you.

Sochin: Peace and Justice

Sochin, an introduction

Probably one of the most popular Katas in the Shotokan Syllabus for anyone higher than Shodan, Sochin is one of the most often seen Katas at tournaments. Its grandeur and character give the practitioner an air of awesomeness in their ability. The slow powerful movements and the unique techniques bring about a feeling of power and control that are desired by most students of Karate.

Most students do not study Sochin enough to learn the true past and meanings of the movements. They look only at the structure of the Kata and the timing and perfect the physical characteristics required to perform the Kata well, but do not truly understand the Kata or who created this powerful and expressive Kata that seems to dominate the Shotokan syllabus in its popularity.

History of Sochin

The original form of Sochin was introduced to Okinawa by Arakaki Seisho and was taught to Kenwa Mabuni, who may have passed it on to the JKA students sent to train with him by Funakoshi after WWII. The Original Kata was a Naha Te Kata and practiced in the area of Naha Okinawa. It was passed down from the Chinese Dragon style of Boxing and thought to promote Chi or Ki development. The original Kata is still a minor Kata in Shito ryu, however the newer version of the Kata is very popular in Shotokan.

Three suggested historical origins exist for the Shotokan version. the first is that the JKA emissaries were sent to Mabuni to learn Kata. They documented the Kata and brought it back to the JKA, were it was "shotokanized". Some say by the group of seniors altered the Katas, others say by Gigo Funakoshi and others by Gichin Funakoshi himself. Another history is that the Kata was altered after WWII, the JKA was in ruins and many of the instructors were scattered or killed. Others had not trained for years and some seniors were recalled and were given the job of documenting and cataloging Kata. At that point many changes occurred simply because they did not remember the Kata completely.

The last history is the most likely in my mind. When the Trade team came back to the JKA, Gigo Funakoshi took a personal interest in Sochin. Gigo had been working on many of the new ideas and put them into Sochin and altered it to reflect the new ideals of Shotokan. The reason I give the version more merit is because it came from Taiji Kase and he went into detail about his training with Gigo Funakoshi. Kase points out that allot of what Gigo was doing was to promote a good solid base, as Kase Karate seems to also do. This led me to think that the merit of this story was sound.

Sochin is a very complex Kata with all its turning, changes and changes in speed and unique body dynamics all add up to complexity. Despite all the advanced dynamics the Kihon is not very hard or advanced. Therefore while the Kata is not hard to learn, it is rather difficult to master.

The name Sochin can be translated several ways. Some of the more popular translations are 'peace and justice', 'strength and calm' and shito ryu often translates the name as 'monks of peace'! Two more obscure versions of the name have come up. One is 'to journey and conquer and the other is 'the grand prize'. Almost all the names point a picture of a powerful and graceful Kata and a kind of physical grandeur defining the Katas execution.

This is another Kata that Gichin Funakoshi tried to change the name of. He tried to call the Kata Hakko, but like the other renaming this did not stick.

Notes on Sochin

Sochin only looks correct when the person doing the Kata keeps in mind the importance of rooting strength! The use of Stance and low center of gravity along with strong legs and a supple but powerful waist. The Fudo Dachi stance is responsible for most of the stability. Threw use and training in the Fudo dachi a student will understand deep strong base power and also develop strong legs.

Performance of the two Kiai points has become a bit of a interesting point in Sport Karate. The first Kiai is done normally with a short burst of air and the sound that is generated by the Diaphragm and voice box being quick and energetic. But the second and last Kiai is often done in slow and drawn out growl or a long kiai that drains the student of air. This is not correct, as all Kata should be looked at as a key to fighting. No fighter would expel all of the air from their lungs in a situation were th attack may not be done.

The movements of Sochin also teach a rhythm of slow techniques interspersed with fast ones. The dynamic nature of this Kata makes it very popular for stronger and more muscular students wanting to show power and strength in movements with out losing the dynamic nature of their performance.

End notes

Sochin is the quintessential Power Kata. Most tournament practitioners that perform this Kata try and appear to be brimming over with power in all the movements. They Grunt and they Push out techniques that look like they are fighting threw quick drying cement as they fight off equally slow attackers. This is not what a Good Sochin looks like. I have had the honor of watching some great Karate men do Sochin and I can tell you that this Mime act is not the correct way to perform this Kata. I watched as Yaguchi Sensei taught this Kata and watched the "slow" as being a pacing and with such real power it was scary. I have seen the way that Brain Dingman performed this Kata in tournaments and the doubt of his speed and power was taken away with the changes in tempo. I have seen tapes of Enoeda sensei, Kanazawa Sensei and Kase Sensei perform this Kata and the true nature of the Kata comes out.

Any student that wishes to perform this as their chosen Kata should be looking at tapes of these great men doing the Kata and work to become like them when doing the Kata. not forced but naturally powerful and full of spirit when doing living the Kata.

The Kata Sochin is filled with power and grandeur and is one of the true master pieces of the JKA style Karate and of Karate in general.