Kata History

Thanks to Tony Duke for allowing me to use this

Kata, as with martial arts in general, has a lineage from China. It doesn't really matter whether the transfer of knowledge was through Okinawan martial artists traveling to China and studying kung-fu or by Chinese masters visiting Okinawa. There is strong evidence that many of the kata were in existence in China prior to the 1600's. One of the few written accounts of kata brought from China is the text of Bubishi. The book, Bubishi, meaning "Martial Art Spirit", recorded the Fukien style of kempo. Several of the Okinawan kata are discussed in Bubishi including Gojushiho and hakutsura (white crane form). The Bubishi may have been introduced to Okinawa through any one of many theories and supported the development of early kata.

Kata development in Okinawa included those kata taken from the Chinese and those developed by Okinawan masters themselves. Since no written records were kept, kata served as a perfect way for transferring the knowledge from generation to generation. This is much the same way ancient people used rhymes to remember things. In most cases, the teaching would be based on a family tradition of martial arts skills and be taught by the head of the family or village elder. This was a form of "village karate" as opposed to "dojo karate" as we know it today.

Around the mid-1700's, three key individuals seemed to form a melting pot for the birth of modern karate kata: Shinjo Choken, Karate Sakugawa (1733-1815), and Chatan Yara (c. 1750). Choken was one of the earliest practitioners of Shuri-Te. Both Sakugawa and Yara traveled to Fukien Province in China and probably studied martial arts and weaponery while there. Both studied under the Chinese envoy, Kusanku, either in China or while Kusanku was in Okinawa. Kusanku was reported to be an expert in the martial arts and had learned his abilities from a Shaolin monk. From this combination of individuals in the mid-1700's, karate kata began to focus.

The original Okinawan karate forms were developed during the 19th century under two major divisions of styles: Shuri-Te (Shuri Hands) and Naha-Te (Naha Hands). Though they were both derived from similar Chinese forms, each developed differently based on location and social position of the developers. The Shuri-Te was practiced in and around the city of Shuri where the king and members of the nobility lived. Naha-Te was practiced in and around the coastal city of Naha which was a large trade center. Another style developed which is closely related to Shuri-Te, which was named Tomari-Te. Tomari-Te was practiced in the Tomari village populated by farmers and fisherman. The three styles have differences which can be traced back to the social-economic position of the practitioners. At the bottom, was the worker class studying Tomari-Te. The middle level was merchant class students studying Naha-Te. The upper class noblemen were then studying Shuri-Te in and around the capital.

Shuri-Te The beginnings of the Shuri-Te style and its kata center around Karate Sakugawa (1733-1815). Sukugawa was born and lived near Akata Cho in the southern section of the city of Shuri, Okinawa. He received some of his early martial arts instruction from Takahara Peichan, a map maker by trade but also skilled in martial arts. Sakugawa then became a student of Kusanku, the Chinese evoy. He spent much of his time traveling and studying in parts of China and southern Okinawa. Sakugawa is attributed to combining the Chinese kempo with native Okinawan techniques called "te" to form Okinawan karate.

The karate and kata became more formalized during this period and Sakugawa is credited with formulating the dojo precepts of character, sincerity, effort, etiquette and self control. His most famous student was Bushi Matsumura (1797-1889). Sakugawa passed on the Kusanku kata and the a bo kata. The kata development of Shuri-Te traced similar lines as to its teachers. The primary student of Sakugawa was Bushi Matsumuura and he carried on the Kusanku kata, while also adding to it the Naihanchi, Bassai, 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.

Tomari-Te Tomari-Te was developed out of the Shuri-Te style of karate and was indicative of the karate practiced in and around the Tomari village near Shuri. The differences between the two styles is slight. There were several Chinese visitors to the Tomari region that did not reach Shuri. These teachings did not originally influence Shuri-Te but later an exchange in ideas and katas did take place. Many kata became part of both styles. There were several kata, however, that are unique to Tomari-Te. These were Wansu, Rohai, and Wankan. In addition, though the exact origin of Ananku is unknown, it is believed that Chotoku Kyan (1870-1945) brought back this form from Taiwan in the year 1895. There are others that are said to have existed but have been lost

The Tomari-Te style was started through the efforts of Karate Sakugawa (1733-1815). The intital kata used was a version of Kusanku. The teachings of the style were carried on through Makabe Chokin (c. 1785). Infuences from South China (Chinto) and students of Chokin expanded the forms used by the Tomari-Te school. The unique kata Wansu, Rohai and Wankan appear to have existed solely in the Tomari-Te system until the 1870's. Yasutsune Itosu (1830-1915) is said to have developed the Shodan, Nidan, and Sandan versions of the Rohai kata. One of the later day teachers of the Tomari-Te style is Shoshin Nagamine (b. 1907). His Matsubayashi Ryu style encompasses many of the Tomari-Te versions of Shuri-Te kata, as well as, the unique Tomari-Te kata including: Pinans, Wankan, Ananku, Gojushiho, Rohai, Wanshu, Bassai, 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, Jitte, 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

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, 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 and include history of the kata and brief highlights of the form's movements

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.

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".

The Chinto (Gankaku) kata was created by Bushi Matsumura (1797-1884) and was based on the techniques he learned from a Chinese sailor named Chinto who became shipwrecked on the Ryuku Islands. After drifting ashore, Chinto taught the inhabintants of the Tomari village including, Matsumura, Kosunku, and Oyadomari. Though the exact meaning of chinto is uncertain, one translation of the name means, "fighting to the east" while another is "fighting in a city". The form was probably named after its originator.

Matsumura studied with the famous Karate Sakugawa who spent significant time studying martial arts in China. It was Sakugawa that brought many kata to Okinawa and initiated many kata such as Kusanku. He is also credited with introducing the dojo concept. Matsumura is credited with integrating the Chinese Chuan Fa with the Okinawan Te creating Tode (1750) which evloved into Shuri-Te (1830) which evolved into Shorin-Ryu (1870). Gichin Funakoshi (1868-1957) took Chinto with 15 other forms to Japan

The Chinto form was most likely introduced through Tomari, but was adopted into the Shuri-Te system. There are over five versions of Chinto. The Tomari-Te version has a Chinese flair to it as opposed to the Shuri-Te version, which is more simplistic

The Chinto form follows a straight line of movement and should be executed with powerful techniques. Characteristic of this form is the one-legged stance occurring repeatedly, which resembles the splendid sight of a crane poised on a rock and about to strike down upon its victim. It also uses various flying kicks which distinguishes it from other katas.

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.

The original composer of Bassai 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 Bassai 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 Bassai 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. Bassai Sho should be practiced after mastering Bassai Dai. The two kata form a series differing in the point that Bassai Dai outwardly shows power and solemnity while Bassai Sho, in the calmness of its techniques contains an inner strength. Pinan (Heian).