KARATE

Introduction and History of Okinawan Karate

The different schools

Biographical Profiles of Teachers

 +istonie
[Karate Item]

[Okinawa Karate-Do]

[Development of Modern Karate]

[Origin of Goju Ryu]

[Evolution]

[Other Karate Styles]

[ "Ken No Taiyo Hakku" ]

Karate Object
Karate was born in Okinawa, when the spirit of Zen was incorporated into the fighting
techniques that came from China. The object of Karate is different from that of other martial arts:
While in most of them, the aim is to defeat as many enemies as possible (by wounding or killing
them: it must be remembered that the origin is absolutely martial), the practice of Karate seeks
above all the mastery of self-defense techniques.

To briefly and clearly explain what the idea is, I will quote the motto of Kenpo Karate , which is
perfectly applicable to any style and school:

"I come to you empty-handed. I have no weapons,

but, if I am forced to defend myself, to defend my principles or my honor,
Whether it is a matter of life or death, of law or injustice,
So here are my weapons: empty hands."

Of course, defense and attack cannot exist separately, so in order to train the most advanced
defensive techniques it is necessary to also practice offensive techniques. In his book "Zen and
the Way of the Warrior," Master Toguchi explains the basic concepts of the combat training
method: Once, a person attending a training session asked me: "Why do you throw so many
punches? hand and kicks? "I had always heard it said that Karate is above all defensive."
"You're right," I replied, "but before you can stop a punch or a kick you have to understand it,
know what it is and how to do it. And before you can know if your defensive technique is correct,
you must test it against an actual punch or kick. "That's why we practice offensive techniques: to
perfect our defensive techniques."

In addition to the mastery of techniques and the ultimately pacifist ideal (never attack, but if you
are attacked, know how to defend yourself), Karate is imbued with a philosophy that comes
directly from Zen Buddhism. But this topic is discussed in detail in the pages dedicated to the
spirit of Karate .

Okinawan Karate-Do
Karate has its origins in China and India, around the year 3000 BC. Since the 6th century AD,
Chinese techniques have been practiced in Okinawa along with local techniques. In the 15th
century, King Shoshin centralized power in Shuri (Okinawa) and prohibited the use of weapons
by the townspeople.

In 1609 the Japanese invaded Okinawa, so the population, stripped of their weapons, had to
face armed opponents, with nothing more than their bare hands. For this reason, they
developed unarmed fighting systems, which ended up becoming a method of self-defense that
was simply called Te (literally: Hand), and which the Japanese would call Okinawa-Te (the Hand
of Okinawa). In fact, the impossibility of obtaining traditional weapons was what enabled and
stimulated the development of Karate in Okinawa.

Another consequence was the conversion of field tools and household tools into weapons. This
is the origin of Okinawan Kobudo , which developed parallel to Karate.

Development of Modern Karate

In its beginnings, Karate was simply called "Te" (Hand). When its practice was incorporated as
part of physical education programs in Okinawan schools at the end of the 19th century, and
due to its growing popularity within Japan, it was renamed "Karate" (Empty Hand), to distinguish
it from "Karate". Tode", a form of Hand originating in China.

The two original styles of Karate, developed in the Shuri and Naha regions, were respectively
called "Shuri-Te" ( the Hand of Shuri ) and "Naha-Te" ( the Hand of Naha ). Today there are
numerous different styles of Karate, both in Okinawa and in Japan itself, but the majority derives
from these two original styles.

Although many masters contributed to the development of both styles, masters Anko Itosu of
Shuri-Te, and Kanryo Higaonna of Naha-Te, are currently recognized as the fathers of modern
Karate.

Origin of Goju Ryu

In addition to his studies of Okinawan techniques, Master Higaonna traveled to China to learn
the practice of Chinese boxing. When he returned to Okinawa, he combined the hard elements
of "Te" with what he learned on his travels. The new martial art was informally called "Naha-Te".

In 1929 a national martial arts convention was held in Kyoto, and Higaonna's most advanced
student, Master Chojun Miyagi , was invited as a representative of Okinawan styles. However,
Miyagi could not attend, and in his place was one of his pupils, named Shinsato.

When Shinsato was asked about the name of his style, and realizing that admitting that he had
no formal name could damage the school's reputation, he replied that "Hanko-Ryu" ("Semi-Hard
School") Asu returned to Okinawa. discussed the matter with

Master Miyagi and he, admitting the need to formally baptize the school, took a verse from the
Chinese poem "Ken No Taiyo Hakku" : "Ho wa Goju o Tondosu" ("Everything in the Universe
breathes hard and soft"), and the Naha-Te formally took the name Goju-Ryu ( hard-soft school ).

Goju has application both in Karate and in society. Any hardness or softness results in an
inability to navigate life effectively . Social relationships are a small example of this: the use of
courtesy can smooth out an otherwise difficult deal. On the other hand, in certain situations it
may be advisable to adopt an energetic attitude.

Also in Karate, hardness and softness combined lead to victory. This intermingled existence of
hard aspects and soft aspects is what characterizes Goju-Ryu Karate.
Evolution to Shorei Kan
The development of the style is entirely linked to the lives of the Masters, which is why it is
explained in detail in their biographies. Here is a brief summary:

• Kanryo Higaonna , at the end of the nineteenth century, laid the foundations of Goju-
Ryu by uniting the fighting techniques practiced in Okinawa, with what was learned from
the school of the master Ryuko Ryu, from the Chinese province of Fukien (a southern
Shaolin style). .
• Chojun Miyagi , a student of Higaonna, works on consolidating the style, while
beginning the development of a formal training and learning methodology for Karate, a
task in which he lays the foundations but which he leaves unfinished. He was the first
Karate Master officially recognized as such.
• Upon Miyagi's death, his student Seikichi Toguchi continued the task of developing a
learning system, eventually creating a complete method which he called "Shorei Kan".
• Toshio Tamano , a student of Toguchi and representative of Shorei Kan Goju Ryu in
Europe, creates an equivalent method for learning Kobudo, Shorei-Kai.

Other Karate Styles

The spread of Karate as a martial art throughout the world, and the variations in styles and
schools, makes it impossible to give a detailed description of them.

In general terms, the original Okinawan Karate-Jutsu , which was simply a method of self-
defense, as it spread throughout the rest of Japan and became impregnated with Zen
philosophy, also became a method of personal development, changing the Jutsu (technique ) for
Do (way, guide). All styles and variations share the spirit of Karate Do.

The Naha-Te line followed by Higaonna gave rise to the different branches of Goju-Ryu.

The Shuri-Te line of master Anko Itosu was followed by Gichin Funakoshi and Kenwa Mabuni.
The latter also studied Naha-Te with Higaonna, so the school he founded, Shito-Ryu Karate,
has influences from both styles.

Shito Ryu
It takes place mainly in Osaka, and its founder was Kenwa Mabuni . It combines natural
movements and positions with rectilinear movements (influence of Shuri-Te), along with strong
positions and circular movements (influence of Naha-Te).

Shotokan
Founded by Gichin Funakoshi , and developed in Tokyo. It is characterized by the solidity of
the positions (low positions), power, and hip work.

Wado Ryu
It takes place mainly in Tokyo, and its representative is Master Otsuka .
Works high and fast positions, very aimed at competition.

Kyokushinkai
Founded by Master Matsutatsu Oyama , of Korean origin. Technically it is a synthesis that
includes katas from the Shotokan and Goju Ryu schools, as well as others inspired by Chinese
techniques.
 - " Ken No Taiyo Hakku " -

(Eight Verses on Martial Arts)

The Mind is One with Heaven and Earth

The Rhythm of Circulation in the Body is similar to the cycle of the Sun and the
Moon

Everything in the Universe breathes Hard and Soft

Act according to the Moment and the Change

The Techniques take place in the absence of Conscious Thought

The Feet advance and retreat, separate and unite

The eyes do not lose even the slightest change

The ears listen in all directions

 Remes

Master Ryuko Ryu (Chinese School)

Kanryo Higaonna Naha-Te

Chojun Miyagi Goju Ryu from Okinawa

Seikichi Toguchi Meitoku Yagi Eiichi Miyazato
Seko Higa Shodokan
Shoreikan Meibukan Jundokan
Chohatsu Kyoda Toshio Tamano Gogen Yamaguchi Teruo Chinen
Shoreikai Kobudo Gojukai

The table shows only the main branches of Okinawan Goju Ryu , from its origins to the
present day. Not all subdivisions (high schools, expansion outside Japan) or influences from and
on other Karate styles are included.

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Founding Teachers
Kanryo Higaonna Chojun Miyagi

Shorei Kan Goju Ryu

Seikichi Toguchi Toshio Tamano

Other Goju Ryu Masters

Seko Higa Meitoku Yagi Eiichi Miyazato

Gogen Yamaguchi Teruo Chinen Chohatsu Kyoda

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Kanryo Higaonna
Born in Naha, Okinawa, in 1853. Despite coming from a preeminent lineage (his father belonged
to the samurai caste), these were years of crisis, so the samurai found themselves in the
situation of having to look for a job like anyone else, instead of being enlisted. by the
government, as had been traditional until that time. Kanryo's father worked as a water and wood
merchant, traveling by boat to the different islands of the Ryukyu archipelago to sell his
merchandise.

Kanryo had to work in the family business from a very young age. Around the age of 19 he
began studying Karate with Master Aragaki, who probably instructed him in the original Naha-
Te. When he was already an excellent student, the political situation on the islands was
turbulent, since Japan wanted to annex Okinawa. Many inhabitants emigrated to China at that
time, and among them was Higaonna. At the age of 23 or 24 he settled in Fukien, a province in
southern China.

There he entered the school of the Chinese boxing master Ryuko Ryu. Initially he was not
allowed to do any training, having to dedicate himself to doing various jobs, taking care of the
garden, cleaning, and many other tasks. After a time he was accepted as a disciple.

This was common practice at that time. When someone tried to enter a school, before being
admitted they had to spend some time doing menial work, while their character and behavior
were evaluated. Only after being deemed "satisfactory" by the teachers and having gained their
trust, was the aspirant allowed to begin his training.

As was the norm at that time, the training was very severe. He practiced Sanchin Kata, and
developed his muscles working with traditional accessories that can still be seen in some
Okinawan styles true to their origins. After a while he gained a reputation as one of Ryuko Ryu's
best students. His preferred technique was the maegeri (front kick) and for this reason he was
nicknamed higaonna , "the leg".

After several years of training (it is not known exactly how many, at least 12 or 13), he returned
to Okinawa, dedicating himself to the family business again. Meanwhile, in Naha, word had
spread that he was a great expert in Tode (Chinese hand techniques), and he began to receive
people who asked him to teach them his art.

Since he taught for pleasure and did not ask for any remuneration, he trained his students
according to his criteria, under very harsh conditions, just as he had learned. Only a few did not
quit after a while.

Master Higaonna is considered, along with Anko Itosu, the oldest Okinawan karateka, and the
first to modernize Karate. He developed the Naha-Te style, and most of his students built their
own systems based on his teachings.

He died in 1915. His legacy continued through his followers, the most notable of whom were
Chojun Miyagi, the founder of Goju-Ryu , and Kenwa Mabuni, the founder of Shito-Ryu .

Chojun Miyagi
Born in Naha, Okinawa, on April 25, 1888. At the age of three he was adopted by an uncle who
named him his heir. His adoptive parents were a wealthy merchant family. Having a comfortable
position, he decided to dedicate his entire life to the study of martial arts. It is said that the young
Chojun was in delicate health, so his grandfather thought that Karate could give him strength,
and took him to Master Kanryo Higaonna when he was 14 years old.

He studied under Higaonna's tutelage for 13 years until his death. He then traveled to China
looking for the master Ryuko Ryu, with whom he had studied Higaonna. He could not locate
him, however, so he dedicated himself to learning some of the local arts of the Chinese province
of Fukien. It was from here that he learned the Rokkishu kata, from which he created the
Tensho kata.

He continued training with the methods learned from Master Higaonna, and teaching in different
institutions, always under very demanding and severe conditions. He did not confine training to
the Dojo, however, but sought to apply the spirit of his art at every moment.

In 1921 he was chosen to represent Naha-Te in a presentation to Prince Hirohito (who would
later become Emperor of Japan), leaving Japanese visitors impressed. Sensing the future of the
Okinawan arts, he organized the "Karate Research Club" in 1926, calling Chomo Hanashiro
(Shuri-Te), Kenwa Mabuni (Shito-Ryu) and Mobutu Choyo, with whom he worked for three
years. in polishing the basic aspects, katas, physical training and philosophy of Karate. In 1929
he was invited to Japan, to a convention of all Japanese martial arts. It is on this occasion that
the formal name was given to the style, as explained in Origins of Goju Ryu .

Go means "hard," and Ju means "soft." Since the style was a combination of these concepts it
was called "Goju Ryu". In 1933 it was officially registered with that name in the Dai Nippon
Butoku-Kai, the Japanese Martial Arts Association and the

Karate is officially recognized as a Japanese martial art. At the same time, Miyagi receives the
honorary title of Kyoshi. That same year he presented an article titled "Fundamentals of Karate-
Do." The following year, Miyagi was appointed director of the Okinawa section of the Butoku-
Kai. In 1936 he returned to China to continue his studies, this time in Shanghai. Upon his return
he created the Gekisai dai Ichi and Gekisai Dai Ni katas.

After the Second World War, the occupation of Okinawa by the Allied forces was a turbulent
period in the art of Karate. The human losses included one of Miyagi's sons, and his most
advanced student, Jinan Shinzato. There was a period when training was forgotten, while the
country was rebuilt after the war. In 1946, Miyagi was appointed director of the Okinawa Civil
Association of Physical Education, and resumed the practice of martial arts, teaching at the
Police Academy and in a private Dojo, known as "The Garden". It is in this last place where
Seikichi Toguchi, Anichi Miyagi, Seko Higa, Meitoku Yagi, Eiichi Miyazato and Teruo Chinen
studied. Currently, almost all of his direct students have died. Only three of them, Yagi, Toguchi
and Miyazato, still teach Goju Ryu in Okinawa.

Chojun Miyagi died on October 8, 1953 at the age of 65. Miyagi dedicated his entire life to
Okinawan Karate. Not only did he make known the hitherto mysterious fighting method from a
lost island in the south of Japan, but he also developed it into a complex martial art.

Seikichi Toguchi
Born on May 20, 1917 in Naha, Okinawa. He studied at the Dojo of Master Seko Higa (the only
Dojo of a student of Chojun Miyagi that existed during his lifetime), and was also able to practice
directly with Chojun Miyagi, who regularly attended the Higa Dojo to lead classes.

He served in the Japanese Navy, as an electrical engineer, during World War II. After the war,
he returned to Okinawa, collaborating in the reconstruction of the country. He also helps Master
Seko Higa build his Dojo in the city of Itoman, this being the first Karate Dojo to open its doors
after the war.

In 1952, Master Miyagi appointed him executive director of the Goju Ryu Association. Two years
later it is renamed the Goju-Kai Federation, and Toguchi becomes vice president of the
organization, with Master Seko Higa being the president.

In 1954 he founded the Shorei Kan school in the city of Koza (today Okinawa City). When he
opened it, the number of students was not enough to live on the income, so his wife opened an
arcade in Koza, where there was a US military base.

An episode from that time illustrates Toguchi's skill in Karate. When his wife opened the
business, the local Yakuza (Japanese mafia) demanded a "protection" payment. Toguchi
refused, and one night he was attacked by surprise by several criminals. The result was three
yakuza dead and eighteen seriously injured.

Having to actually fight was quite common among the first Karate masters. Before the Second
World War it was very common for Karate practitioners to challenge each other to test their
ability and that of the opponent. He who acquired fame as a karateka was challenged by
practitioners from other schools, who hoped to beat him to overcome his fame. In other cases,
and due to the turbulent nature of the times - post-war, impoverishment, mafias - events like the
one mentioned in Toguchi occurred. Virtually all teachers of that time had similar experiences.

Master Miyagi, during the years before his death, bequeathed Toguchi his theoretical and
technical knowledge and taught him the foundations for creating a method of learning Karate, a
task to which he devoted himself completely. After twenty years of research and studies, he
created the first complete method of teaching Karate, which he calls "Shorei Kan". In this, in
addition to a formalized teaching method, exams for passing the grade appear for the first time
in the history of Karate (previously, there were no exams of any kind, and only the teachers had
the black belt).

In 1957 a festival of all Okinawan athletic disciplines was held, with only five people invited per
Dojo. Despite being the most recently created, Master Toguchi's students were in the most
prominent place. From that moment on, Shorei Khan became one of the most important schools
in Okinawa.

Seko Higa
Born in 1889, he began his training with Kanryo Higaonna at the age of 14, and after Higaonna's
death, he continued studying with Chojun Miyagi.

He was a basic education teacher, and later joined the police force. In 1931 he left the corps
and opened his own Dojo in Naha. After the Second World War he opened a new Dojo in
Itoman, helped by Toguchi, also teaching at the University of Ryukyu.

After the death of Chojun Miyagi, he was temporarily his successor, a responsibility that later
passed to Meitoku Yagi. In 1956 he was appointed vice president of the Okinawa Karate-Do
Federation, and president two years later. At this time, he founded the Shodokan school, and
organized the International Karate and Kobudo Federation (IKKF).

After his death in 1966, his son Seikichi Higa inherited the representation of the Shodokan
school.

Meitoku Yagi
He was born in 1912. Their ancestry can be traced back to the 36 families who originally arrived
in Okinawa from China in 1392. At the age of 14 he began practicing Karate with Chojun Miyagi,
working first for him until he was admitted as a disciple, as was customary.

In 1963, ten years after Miyagi's death, he received his belt from the Miyagi family, becoming his
official successor.

He is the founder of the Meibukan Goju Ryu Karate Association, with headquarters in Naha.
Eiichi Miyazato
Born in Naha in 1922. He began studying with Miyagi in 1938, and succeeded him as an
instructor at the police school.

He founded the Jundokan in 1957, which he still directs, teaching in the traditional way learned
from Chojun Miyagi. He also studies Judo, being the Okinawa Judo champion and the Judo
champion of the Japanese police force. He currently presides over the

Okinawa Judo Federation.

Among his students are Morio Higaonna (founder of the IOGKF: International Okinawan Goju
Ryu Karate Federation), and Teruo Chinen (International Jundokan).

Gogen Yamaguchi
Born in Japan in 1909. He met Chojun Miyagi in 1929, on one of his visits to Japan, and
formed the Japanese Goju-Kai Karate-Do Association. He is the promoter of the practice of
Jiyu Kumite (free combat), laying the foundations of Karate as a competitive sport that is
currently followed.

During the Second World War, he was sent to Manchuria as an intelligence officer in 1939. He
was captured by the Russians and imprisoned until 1947. However, the harsh treatment he
received during that time could not dent his spirit, something he attributes to his Karate
training.

He died in 1989 at the age of 80, with his children and some of his most gifted students
continuing his work. His son Gosen Yamaguchi was one of the first to open a Karate school in
the United States, thus beginning the expansion of Karate to the rest of the world.

Chohatsu Kyoda
He was born in Naha in 1886, and died in Japan at the age of 82. He was one of the first
disciples of Higaonna, and companion of Chojun Miyagi. He was a teacher by profession, and
later, primary school director in Naha.

Kyoda created the Okinawa Karate Kenkyujo (Okinawa Karate Research Center), together
with Chojun Miyagi and other masters. Although he did not teach Karate professionally like his
partner Chojun Miyagi, he also dedicated his life to the development of Okinawan Karate.

Teruo Chinen
Master Chinen began his learning of Karate in 1951, directly under the tutelage of Chojun
Miyagi, and after his death he continued with Eiichi Miyazato. In 1969 he moved to the United
States, where he began teaching Goju Ryu. He created the International Jundokan in honor of
his teacher Miyazato (Jundokan was the name of his Dojo), later spreading from the United
States to Canada and Europe.

He currently continues to teach Karate in the traditional style, as he learned from his first
teacher, Chojun Miyagi.
 Toshio Tamano
Born in Tokyo in 1942, he began studying martial arts at the age of 9. In 1960 he discovered the
Shorei Kan school in Tokyo, during the time when Seikichi Toguchi taught there. It is at this time
that he discovered the importance of the Shorei Kan method as a system to transmit the techniques
and knowledge of Goju Ryu, and to maintain the spirit of traditional Okinawan Karate.

He later settled in Okinawa, and while teaching at the Shorei Kan school in Koza City, he took
advantage of his stay to study Okinawan Kobudo with Master Shimpo Matayoshi.

In 1969 he settled in the United States, opening the first Shorei Kan Dojo in New York, being
named Shorei Kan's representative in the USA two years later. After eleven years there he moved
again, this time to Europe, introducing Shorei Khan to the old continent and being named European
representative of the school.

In 1983 he received the rank of Seventh Dan and the honorary title of Shihan, being the first
student of Master Toguchi to achieve such distinction. He created the European organization
"Shorei Kan Europe" in 1986 and assumed the duties of its technical director. This association
unites all Shorei Kan practitioners in Europe and has the task of preserving the teachings and
heritage of three generations of Goju masters.

Following the Shorei Kan teaching method, he creates a program based on the same principles for
teaching Okinawan kobudo. Currently, in addition to teaching, he is responsible for coordinating the
activities of the different Shorei Kan Dojos in Europe and writes various works on Okinawan Goju
Ryu and Kobudo.

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Meaning of Karate

Kun Dojo

Karate and Zen

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Meaning of Gojy RyM •2

[Martial Art vs. Sport]

[Budo]

[Shorei Kan]

Martial art versus sport

In the introduction to the origin of Karate it has already been briefly explained that its objective is
the mastery of self-defense techniques. However, this is only part of the issue.

When Karate began to become popular in Japan, the teaching method was not developed and
each teacher showed their knowledge in their own way. The traditional way of teaching, giving the
greatest importance to mastering the Kata and without teaching many fighting techniques, bored
the students. Thus, and despite the teachers' disapproval, the students "created" their own fighting
method, Jiyu Kumite (free combat). Today, both in Japan and in most of the countries where it is
practiced, Jiyu Kumite is the most important part of Karate.

The difference between traditional teaching (Katas) and combat practice (Kumite), today divides the
world of Karate into two variants: Karate as a sport and Karate as an art.
Both are valid, although the second is much more widespread, but they pose some problems.

Karate as a sport is very spectacular, but also quite dangerous. And leaving aside the possibility of
accidents, it is quite incomplete in two ways:

• At a technical level. Little by little, those techniques that are not useful in competition are
filtered and put aside, even though outside of a ring, and without referees, they may be
more practical.
• On a mental level. If only fighting techniques are learned, giving importance to winning in
competition, all the benefits that the practice of Karate brings are reduced to the health
benefits of regular practice of a sport (injuries aside), without any development. collateral of
character and self-control.

Traditional artistic Karate , let's say it clearly, is boring for the common people. The benefits of
monotonous and continuous repetition of Kata are not assimilated until after a long time of practice.
In fact, this is the reason why competitive Karate currently dominates in most gyms.

However, Karate is much more than these two ways of practicing it, and even the sum of both.
Devoting yourself only to the study of combat or Kata techniques is a partial study.
Budo Karate
Text by Master Toshio Tamano.

The fundamental difference between Karate Budo (Karate as a Martial Art) and sports Karate lies,
in my opinion, in the fact that the latter has no contact with the essence of Zen Buddhism, which, on
the other hand, is found very present in traditional Karate.

Okinawan Goju Ryu Karate is rooted in Zen Buddhism; Specifically, it derives from the Chinese
boxing of the Shaolin temple, created by the monks of this religion. Consequently, traditional Goju
Ryu has inherited the true spirit of Zen. Master Chojun Miyagi , creator of this style, stated that the
goal of Karate is the same as that of Zen Buddhism, that is, to achieve spiritual enlightenment.

Nowadays, sports Karate has become popular all over the world. But if we insist too much on the
sporting aspect, the spirit of Budo will be lost, and the original techniques of the martial art will be
modified, losing their real meaning. Thus, the public will have a wrong idea about the meaning of
the true objective of this art.

For this reason I have the personal conviction that all karatekas, whatever style they practice, must
know Karate Budo. Without this point of reference, little by little, the techniques and spirit of Karate
will die and, in the future, Karate will be reduced to a simple fighting sport practice.

Meaning of Shorei Kan

The meaning of the name "Goju Ryu" is explained in the history pages. Within this style, Master
Toguchi named his school "Shorei Kan", which translated, means the school of courtesy and good
manners . Karate is not considered just a method of self-defense, but a path to follow in life, a way
of thinking and acting based on respect for others.

The Martial Arts practitioner must imbibe Bushido (warrior code). We must think that, regardless of
our age, sex or occupation, all of us are in some way warriors, with daily life being our battlefield.
Whether we succeed or not will depend on how much we fight to improve ourselves in all the things
within our reach: culture, knowing our world, respecting others and ourselves.

To remind us of this, at the entrance to the Dojos a series of "rules" are written, actually a code of
conduct in the Dojo, which should not be limited to within it. This series of rules is called Dojo Kun .
Each style of Karate has its own, although if studied in depth it can be seen that although the words
vary, the final meaning remains the same. The Dojo Kun of Shorei Kan has been written by Master
Toguchi.

Shoyeí Ken Dolo KVh

Above all, always be courteous and humble.

Above all, cultivate a peaceful spirit.

Above all, learn to be patient.

Above all, strive to become a better person.

 Above all, seek the development of the spirit and the techniques of Karate in the same proportion.

First of all, apply the principles of Karate to everyday life.

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Extracted from the chapter "Jutsu and Do - The Art and the Way", from Seikichi Toguchi's book:
"Zen and the Way of the Warrior".

"There is no door on the path of life that refuses to open to those who want to pass through. If
you want to go anywhere, it doesn't matter which way you choose, there are thousands and they
are all good. If, with luck, you reach your goal, the path will disappear and you will become the
path."

"There is no path for your life. You yourselves are the way."

These are two sayings that you often hear Zen Buddhists repeat. They illustrate well the
complexity of the concept of "Do" - the way. However, it is also evident that the path is accessible
enough to be found in our daily lives.

Today, we refer to most martial arts by the nickname " Do": for example, Karate-Do. Originally, all
martial arts were called "Jutsu" (technique). Fencing was Ken-Jutsu , archery, Kyu-Jutsu , Karate,
Karate-Jutsu , and so on. When Jigoro Kano, the founder of Kodokan and modern Judo, changed
the name of Jyu-Jutsu to Jyu-Do (Judo), numerous martial artists followed his example. Ken-Do ,
Kyu-Do , Karate-Do .
Why this change? To understand it, we have to know the difference between Jutsu and Do. Jutsu
refers to the skill, degree or level of skill, or technical competence, that only some people can
achieve in certain disciplines, after many years of hard specialized training. In ancient times,
martial artists, whatever their discipline, tried to achieve this technical level of Jutsu.

Do, on the other hand, goes much further. As we have already mentioned, it means "way." In an
allegorical sense, this path is the path of life, the path that all men must follow to realize their
deep nature. For Zen Buddhism, the goal of life is spiritual enlightenment, and the Do is the path
to this enlightenment.

This enlightenment is also the goal of martial arts. Even in ancient times, the practitioner of a
martial art strove to achieve Jutsu, not for the technique itself, but as a means of following the Do
and achieving enlightenment. To reveal to the modern world its profound aspect, martial arts
have changed their names from Jutsu to Do. Thus, Karate-Do means the path to enlightenment
through the practice of Karate .

Following the Do can be something easy and natural for us. But this path must be followed all our
lives if we want to realize our true existence and truly be ourselves. In this way, following the path
can be both easy and natural, and extremely difficult. Most of us are not able to find the path or

once found, keep it. It takes a strong spirit and perseverance. The life of Zen monks is an
example of both the simplicity and difficulty of the path.

At the Karate Dojo we are always very courteous to each other. Once out of this, some of us
leave courtesy and good manners inside. We are one person inside the Dojo, and another
outside. Many students think that it is possible that we go to the Dojo to learn courtesy and good
manners at the same time as Karate techniques. Of course, it is okay to learn these aspects of
Karate: it is better than not learning anything at all. But this is not the true meaning of Karate. I do
not mean that you do not need to learn courtesy and manners: rather that you should already
know them before entering the Dojo.

I must add that in a Karate Dojo you must learn something higher than techniques and
courtesies, if you intend to find the way there. Karate must completely permeate your life, both
inside and outside the Dojo. You must become one person, yourselves, your authentic "I".
 Goju Ryu Teaching Method

Daruma Taiso Hojo Undo Kigu Hojo Undo

Katas Kumite Bunkai

“mmmngezmd “ummnzeznmmd “umngzeznmd vaur “mmmngezmd “ummnzeznmmd “umngzeznmd
“mmagzezmmd “mmmngezmd “ummnzeznmmd
47% 4 4 47% rV 4 4 4 rV 47%

The following tables show the evolution of the method, from Higaonna to the version
final created by Toguchi, and which is the system followed in the Shorei-Kan school.

Higaonna Kanryo System

YOBI UNDO (preparation exercises)

KIHON
(basic techniques)
HOJO UNDO (complementary exercises)

KIHON KATA (basic kata)

KAISHU KATA (classical kata)
KAISHU (advanced KORYU KATA (other classic kata)
techniques)

KAISAI KUMITE (application of kata techniques)

Chojun Miyagi System

The first systematization of Karate learning. Miyagi's death made the
task remained incomplete in some aspects.

JUNBI UNDO (warm-up exercises)

YOBI UNDO
(preparation exercises)
SEIREI UNDO (relaxation exercises)

TOSHU HOJO UNDO (basic technical exercises)

HOJO UNDO
(complementary exercises)
KIGU HOJO UNDO (exercises with apparatus)

HEISHU KATA (basic kata)

KATA
KAISHU KATA (classical kata)
(forms)
FUKYU KATA (new katas)
SHUTAI UNDO
(main exercises) KAISAI KUMITE (kumite of classic kata
techniques)
KUMITE
(fight)
IRIKUMI (free kumite to train stops)
 Seikichi Toguchi system
He inherited from Miyagi the task of completing the systematization project.
He included numerous Kumite techniques, as well as rhythmic Karate to popularize the
Karate among women and children (until his time it was only practiced by men).

JUNBI UNDO (preparation exercises - DARUMA TAISO)

SHU HOJO UNDO (main hojo undo)

HOJO UNDO
(complementary exercises) FUKU HOJO UNDO (secondary hojo undo)
KIGU HOJO UNDO (hojo undo with appliances)

KIHON KATA (basic kata: Sanchin and Tensho)

KATA
KORYU KATA (classical kata)
(forms)
FUKYU KATA (new katas)

KISO KUMITE (basic kumite)

FUKYU KATA BUNKAI

(application of new katas)
BUNKAI KUMITE
(couples kata)
SHUTAI UNDO (main KORYU KATA BUNKAI
exercises) (application of classic kata)
KUMITE
(fights) JISSEN KUMITE (real fight)

KAISAI KUMITE (fighting with classic kata

techniques)

IRIKUMI KUMITE (wrestling to train stops)

SHIAI KUMITE (freestyle and competitive wrestling

with protections)

RISUM KARATE and RISUM BO (Karate and rhythmic bo - with music)

SEIREI UNDO (relaxation exercises)

It consists of a series of exercises created by Master Chojun Miyagi, with the aim of preparing the
practitioner to train the main exercises of Karate (Shutai Undo), fine-tuning each part of the body.
These exercises derive from Yoga, Zen Buddhism, Do-in, and Karate itself.

The Daruma Taiso does not only have the effects of the usual warm-up. It is responsible for
toning and strengthening muscles, joints and tendons throughout the body, stimulating vital
energy, and massaging internal organs thanks to its particular breathing method.

It is not simple gymnastics: most of the exercises can be used as combat techniques on their
own. And even though in Shorei Kan Dojos it is used as preparation for training, Daruma Taiso is
a complete exercise in itself, which can be practiced independently, and from which benefits
similar to those achieved by practicing other disciplines (gymnastics) are obtained. , yoga...).

“uzgmpezznñ "mmagezañ "mmagezañ "mmagezañ "mmagezañ "mmagezañ

47 4% <» r» 4% 4% 47 r» 47 r»
Shutai Undo are the main exercises of Karate, and include the practice of Katas and Kumite. But
to be able to perform them correctly, prior training in basic techniques is necessary, as well as
body conditioning. This is what Hojo Undo is all about.

There are three types of Hojo Undo:

• Shu Hojo Undo are exercises for learning the basic techniques of Karate : punches,
defenses, kicks, etc.
• Fuku Hojo Undo is the practice of falling techniques (Ukemi Waza), forearm hardening
exercises (Kote Kitae), and breathing exercises and development of internal energy (Kote
Gake).
• Kigu Hojo Undo are strengthening and physical development exercises that are
performed with specific devices.

In preparation: specific pages on Shu Hojo Undo and Fuku Hojo Undo.

The Kigu Hojo Undo exercises aim to achieve adequate physical preparation, in terms of
physical strength, necessary for the practice of Goju Ryu.

While it is true that strength is the least important, and that a trained karateka can defeat
someone stronger than him, it must be taken into account that training requires habituating the
muscles to certain efforts. On the other hand, there are techniques that require a minimum of
strength, in the hands (grips), in the wrists, in the body in general... to be correctly executed. We
must keep in mind, for example, that we cannot expect our fist technique to be efficient if we have
not minimally hardened our natural weapons (there is no point in punching and causing more
damage to the knuckles than we cause to the recipient). .

Finally, we must keep in mind that the object is not to develop enormous muscular strength
(Riki), but to learn to efficiently use what we obtain, while developing inner strength (Kei).

Below are some of the devices currently used.

The Makiwara
Makiwara training is a characteristic exercise of Karate, which is practiced in all styles of this
Martial Art. It is a wooden stick approximately one and a half meters high, around the top of
which a hemp rope is wrapped that acts as a target and protector. Sometimes he also puts one
on the bottom, to stiffen his feet and practice low kicks.

It is mistakenly thought that this exercise is only used to train the power of the blows and get
knuckles as hard as rocks. That is the initial purpose, but it also serves more purposes: learning
to coordinate punches with breathing; strengthen the wrist, elbow and shoulder joints; learn to
use different muscles correctly; develop coordination; and more...

“mmgmn-znmñ "mgn-zngmd “mmgmn-znmñ“mmgmn-znmñ "mgn-zngmd “mmgmn-znmñ “mmgmn-

znmñ wawtfy
4 4nb 4 4nb rV rV 4 rY 4
 The Chishi
It is a weight made up of a short wooden stick (approximately half a meter), with a block of stone
or cement weighing about five kg fixed to one end. The stick is held at the other end, and
different turning movements are executed. In addition to strengthening muscles, it gives
flexibility and elasticity to the elbow and shoulder joints.

“uzgmpezznñ "mmagezañ "mmagezañ "mmagezañ "mmagezañ "mmagezañ

47 4% <» r» 4% 4% 47 r» 47 r»
The Sashi
Sashi literally means "stone in lock." It is a trapezoidal block of stone or cement, with a hole that
gives it the shape of a padlock. It usually weighs between 5 and 10 kg, and two are normally
used, one in each hand, to train arm techniques. The extra weight in each fist develops strength
in the execution of the techniques.

The Kami -=9

Kami means "vessel." The diameter of the mouth of the vessel varies according to the size of the
hand, so that it is held safely and using all fingers. The weight is increased by filling it all or
partially with sand, and it serves to strengthen the fingers for gripping techniques.

The Kongoken

It is an oval iron ring, measuring about 170 cm long by about 60 cm wide. It weighs
between 40 and 50 kg, and allows you to perform numerous strength exercises, both
individually and in pairs.
Kata Undo is the part of Shutai Undo (main exercises of Karate) in which the execution of the Katas is
practiced, and the meaning of the techniques contained in them is learned. In the series of pages
dedicated exclusively to the Katas , their history, meaning, and description are explained. Here is the
study program at the Shorei-Kan school.

• Koryu Kata. Classic katas. The oldest Katas, brought from China by the first masters, and
whose origin is in those practiced by the Shaolin monks.

eith Shisochin Sanseru

er Kururunfa Suparinpei
either Saifa
eith
er
either Seiyunchin either

Kihon Kata. Classic kata, of the same origin. The difference is that they do not work on
combat techniques, but rather on the control of breathing and internal energy.

Tensho
sanchin

• Fukyu Kata. Basic katas. Developed by Chojun Miyagi and Seikichi Toguchi, to make
learning Katas easier for beginners.

either Fukyu Kata Dai either Gekiha Dai Ichi

Ichi either Gekiha Dai Ni
either Fukyu Kata Dai either Kakuha Dai Ichi
Neith either Kakuha Dai Ni
either Gekisai Dai Ichi either Hakutsuru-No-
either Gekisai Dai Ni May
either Gekisai Dai San

“mmmagzeznmd “mmnezgumd “mmmagzeznmd “mmnezgumd “mmmagzeznmd VjrtBiy

“mmmagzeznmd “mmnezgumd “mmmagzeznmd “mmnezgumd
4 4 4 4 rV rY 4 4 4 4
Kumite Undo is the part of Shutai Undo (main exercises of Karate) in which the learned techniques
are executed in practice against a real opponent. In the Shorei-Kan school, combat practice is divided
into a series of categories, in each of which different techniques are trained.

• Yakusoku Kumite . Pre-established forms of combat. They serve to progress in mastering

the techniques gradually.

or Kiso Kumite . They are attack-defense-counterattack sequences with movements.

They were created by Master Toguchi to facilitate the learning of the most complex
techniques of Goju Ryu Karate.
or Bunkai Kumite . They are combat exercises that exactly follow the sequence of
movements of the Katas. In a way they can be considered Katas, with the difference
that they are performed in pairs and not alone.
or Kaisai Kumite . It is the study of the techniques contained in the classic Goju Ryu
Katas. They are short sequences, of one or two movements at most, to understand
and practice a specific technique contained in a Kata.
or Jissen Kumite . They are a series of pre-established combats, which use the most
complex techniques of the classic Katas. They apply the individual techniques
learned in Kaisai Kumite.

• Hi Yakusoku Kumite . Free combat.

or Irikumi Kumite . Its objective is to master the techniques of parrying and evasion.
One of the opponents can attack with all the techniques at his disposal, while the
other has to settle for blocking or dodging the attacks.
or Shiai Kumite . Free combat itself. In Shorei-Kan it is practiced with protections to
guarantee safety.

Bunkai Kumite is a sequence of fighting techniques that reproduces the movements of a Kata. It is an
exercise that helps the practitioner understand the meaning of the Kata movements and, in addition,
fundamentally helps them develop speed and reflexes. When a certain level is reached, the strength,
speed and rhythm of the Bunkai execution increases, requiring greater concentration.

In Shorei Kan, all Katas, both new and classic, have their associated Bunkai. Most of them have been
created by Master Toguchi.

“uzgmpezznñ "mmagezañ "mmagezañ "mmagezañ "mmagezañ "mmagezañ

47 4% <» r» 4% 4% 47 r» 47 r»
The following pages are a general compilation of various techniques, along with their names. They
are to be seen as a glossary, and how they are executed is not explained. The techniques shown are
not exclusive to a single style of karate, although each style has preferences over one or another:
some styles use more open positions, others use closed ones; some emphasize hand strikes and low
kicks, others high kicks; and so on. There may also be changes in nomenclature, depending on the
style.

[Hand] [Leg] [Defenses] [Positions] [Weapo

[Vocabulary and Common Phrases in the Dojo] ns]

“ngmaezamd “nmgmaezumd “ngmaezamd “nmgmaezumd “ngmaezamd “nmgmaezumd “ngmaezamd “nmgmaezumd “ngmaezamd “nmgmaezumd
470
 Veonices de Meho

The following table shows the most common attack techniques of fist, open hand and arm, used by
different styles of Karate.

OI TSUKI
GYAKU TSUKI

AGE TSUKI (Seiken Tsuki)

URA TSUKI

MAWASHI TSUKI
KAGI TSUKI

YAMA TSUKI
HEIKO TSUKI

HASAMI TSUKI
TETSUI UCHI

YOKO HIJI ATE

MAE HIJI ATE
 USHIRO HIJI ATE
MAWASHI HIJI ATE

TATE HIJI ATE

OTOSHI HIJI ATE

SHUTO UCHI
HAITO UCHI

“uzgmpezznñ "mmagezañ "mmagezañ "mmagezañ "mmagezañ "mmagezañ

47 4% <» r» 4% 4% 47 r» 47 r»
 VeonicesdePie.

The following table shows the most common foot and knee attack techniques used by
different styles of Karate.

MAE GERI
MAE ASHI GERI

YOKO GERI KEKOMI

YOKO GERI KEAGE

USHIRO GERI KEAGE

MAWASHI GERI

MAE GERI KEKOMI

MAE GERI FUMIKOMI

USHIRO GERI FUMIKOMI

YOKO GERI FUMIKOMI
(SOKUTO GERI)
 UCHI GERI FUMIKOMI
UCHI GERI FUMIKIRI

MIKAZUKI GERI
GYAKU MAWASHI GERI

USHIRO MAWASHI GERI

MAE HIZA GERI

YOKO TOBI GERI

MAE TOBI GERI

MAWASHI HIZA GERI

“mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ

“mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ
4 4% 4 r» rV rV 4 4
 Defenses

The following table shows the most common defense techniques used by different styles
of Karate.
Note: In all colored illustrations: attacker / defender .

GEDAN BARAI
JODAN AGE UKE

SOTO UKE
UCHI UKE

SHUTO UKE
OTOSHI UKE

TEKUBI KAKE UKE

MAEUDE OSAE

SOKUMEN AWASE

MOROTE UKE
JUJI UKE

KAKE SHUTO UKE

 ZUKI UKE
TE NAGAME UKE

TE OSAE UKE
ATE TSUKAMI

KAKIWAKE UKE
GEDAN KAKE UKE

MOROTE SUKUI
SUKUI UKE

TEISHO AWASE UKE

GERI GAESHI UKE

MIKAZUKI GERI UKE

SOKUTO MAWASHI UKE

SOKUTEI OSAE UKE

SOKUTO OSAE UKE

ASHIDO KAKE UKE

FUMIKOMI UDE UKE
 FUMIKOMI SHUTO UKE
FUMIKOMI AGE UKE

KAKUTO UKE
(JODAN KOUKE)
TEISHO UKE

“mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ

“mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ
4 4% 4 r» rV rV 4 4
A firm and well-balanced position is vital for a martial art. Indeed, it is necessary that the
position be correct to be able to move (get closer or further away from the opponent, dodge an
attack) and execute an attack or defense technique on a firm base. If the position is weak, all
our techniques will be weak, and on the contrary, a well-performed position can be considered a
fighting technique in itself.

The following table shows some of the most common positions used in different styles of karate,
starting with the most used in Goju Ryu.

I hope to get higher quality drawings and of all positions. In the meantime, I trust that those who
follow illustrate sufficiently.
The foot diagrams that appear on the right side are interpreted as follows:

• The arrow shows the gaze orientation . That is, the direction in which the technique is
executed in that posture.
• The red "X" shows where the vertical line that passes through the body's center of
gravity is.
• The "x" in black show the vertical lines that go through the knees (this is only
approximate).

SANCHIN DACHI
It is the fundamental position in Goju Ryu. In fact, most other positions are variations of this
one. For this reason it is also called KIHON DACHI (literally: "fundamental position").

ZEN KUTSU DACHI

Maximum support attack position. Correctly executed, it "nails" the body into the ground, and
a punch delivered in this position will have maximum power and zero recoil.

Variant: SHO ZEN KUTSU DACHI - Short Zen Kutsu. Identical, but the separation between
the feet is half, so the body is much higher.
 SHIKO DACHI
It is used to attack an enemy with hand techniques in an area at the height of their belly. It
has great lateral stability, but its weak point is that it is very vulnerable to a kick to the groin.
However, it allows rapid retraction to NEKO ASHI DACHI, where the testicles are pre-
protected between the thighs.

NEKO ASHI DACHI

Cat position. Its main advantage is that it completely protects the crotch.
Although it is very unstable and is not good support for hitting with the fist, since all the weight is
on the back leg, it allows you to launch almost any kick quickly with the left leg.
advanced.

HEISOKU DACHI
Formal greeting position.

MUSUBI DACHI
Another greeting position.

SOTO HACHIJI DACHI

"On guard" position. Fingers out.
HEIKO DACHI
"On guard" position. Parallel feet.

UCHI HACHIJI DACHI

"On guard" position. Fingers inward.

TEIJI DACHI
"T" feet. Pretty stable. It allows you to execute many hand techniques and is interesting
when there is little space available.

RENOJI DACHI
"L" feet. Similar to TEIJI.

KO KUTSU DACHI
Like a ZEN KUTSU turned upside down. It is a defense
position.
 KIBA DACHI
Rider position. Parallel feet. Very stable to the sides to attack and defend, but never
think of facing anyone in this position if you appreciate your noble parts.

HANGETSU DACHI
Similar to SANCHIN but more relaxed, feet farther apart.

FUDO DACHI
Free position. It is a ZENKUTSU with both legs bent. Allows any type of movement or
technique in combat.

“mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ

“mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ
4 4% 4 r» rV rV 4 4
 ippon
nukite

mhon
nukite

yonhon
nukite

“mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ

“mmggmaeznmñ “mmnezngmñ “mmggmaeznmñ “mmnezngmñ
4 4% 4 r» rV rV 4 4
 AREAS OF ATTACK AND DEFENSE

ABARA Ribs. to

AUG Jaw. VR
AIKEN Hit with the center knuckles while keeping your hands clasped.
ASHI Leg.

ASHIKUBI Ankle. EE
ATAMA Head. YE
CHEAP Percussive blow done with the hand relaxed and releasing all the fingers.
CHOTOTSU Hit between the eyes. 5 5 to
DAI KENTO Upper knuckles of the index and middle fingers.

DAITAI Thigh. go
DENKO Hit the floating ribs. CAE>
DOKKO Pressure point behind the ear.

ri
OR
N,

U'
EMPI Elbow.

ERI Collar (lapel of clothing). #

FUKUTO Hit the inside of the knee. 3<t>
GANMEN Face. HE
GEKON Pressure point under the lip. tfEh
GOKOKU Pressure point in fleshy area between the thumb and index finger. Ec<
HAISHU Back of the extended hand, tapping even with the fingers. (aLL3
HAISOKU or Instep of the foot.
SOKKO
HAITO Inner edge of the hand (area between the base of the index finger and tav>
thumb).
HAIWAN Back of the forearm. such*h
HARA Abdomen, stomach, belly. R
HIJI Elbow. R+
HIJI ZUME Opposite part of the elbow. Rt*'8b
HITAI Forehead. E.R.
HIRABASAMI
Area between the thumb and index finger, with the hand open and the
other fingers arched.
HIRAKEN Second phalanx of the fingers, which are bent touching the palm.
HIZA-GASHIRA Knee.
IPPON KEN Strike with the middle knuckle of the hand, striking with the second
phalanx.
JINCHU Pressure point on the upper lip below the nose.

JINTAI The body. Atk

JINKAI KYUSHO Vital points of the human body. Alk#f
JUICE Kidney area. Ele
JUNCHU Hit on the upper lip. Üh5 « >
KAKATO Heel of the foot.
KAKUTO or External edge of the wrist, bending it as much as possible and extending
KOKEN the fingers, trying to bring the pads together. HEI
KEITO Side of the wrist corresponding to the knuckle of the thumb.
KASHI Legs. FR*
KATATE A hand. H=
KEICHU Nape.

KENKOKOTSU Shoulders. EF#

KIKAN Windpipe.

KOKO Area between the thumb and index finger.

KOSHI or
Base of the toes.
JOSOKUTEI

KOTE Doll. Yo
KUBI Neck.

KUBI-NAKA Hit the base of the skull. *t*

KUMADE Palm of the hand, with the fingers bent by the first phalanx.
KYUSHO Vital points of the body. ff
BUSH The thigh, the groin. RQ
MENU Head. AND
MIKAZUKI Side of the jaw. a8
MIMI Ears. AND-
MOROTE Both hands. R#
MUKOZUNE Hit in the middle of the shin. t*
MUNE Chest.

MURASAME Pressure points on each side of the neck behind the neck bone. t*s
NAIKE Pressure point on the ankle. tuN+
NAKADAKA Fist of the middle finger of the hand, striking with the second phalanx.
IPPON KEN
NUKITE Tips of the fingers of the hand. #E=
SEIKA-TANDEN Lowest point of the abdomen. MTFHEE
SEIKEN Normal fist, hit with the KENTOS (index and middle knuckles). I.E.
SEIKICHU The spine. t850>
SEIRYUTO Side of the wrist corresponding to the little finger.
SENAKA The back of the body. iF+
SHINTAI The body. btk
SHITA HARA Lower part of the abdomen. F
SHOMEN Expensive. IETE

SHUHAI Back of the hand. Letl)

SHUTO Outer edge of the hand open, with the thumb bent. #7
SODE Sleeve. ÍÉ
SOKEI Groin. EPE
SOKUSO Outer edge of the foot. &
SOKUTEI Upper part of the heel or inner edge of the foot. EE
SOKUTO Foot edge. E3
TANDEN Abdomen. H.E.
TEGATANA Use your arm as a sword. #7)

TEISHO Base of the palm of the hand. CWLk3

TEISOKU Sole of the foot.
TEKUBI Doll. F*
TE-NO-HIRA Palm of the hand. +0-
TENT Hitting overhead. Ch
TETTSUI Lower part of the fist in the area of the little finger (hammer fist). 7oDl)
TE-URA Internal part of the wrist. FAITH
UDE Arm. K
URAKEN Percussive blow with the dorsal side of the fist (or with two knuckles).

TSUMASAKI Tip of the toes.

WASHIDE
Area formed by the tips of all the fingers tightly joined together.
WAKI Side blow. Mh
WAKIKAGE Hit in the armpit.

YOKOMEN Side of the head. 7#

YUBI Finger. #
ZENGAKU Forehead. ^ij^
ZENSHIN The entire body.

ZENWAN Forearm. 24

“mzmagezuñ ^wigy
4% 4% 4 4 4 4 4 4 4 rV
 TSUKI WAZA

"ar
TSUKI Straight.

e
CHUDAN TSUKI Mid-level blow to the chest/abdomen region. HEEEEEE
GEDAN TSUKI Low level blow in the region below the abdomen.

JODAN TSUKI High-level blow to the head region. EEEEE8

MUNE TSUKI* Blow at belt height. HeEeE

GYAKU TSUKI Attack with the fist of the arm of the back leg.
KAGI TSUKI Side hook punch.

KIZAMI TSUKI Attack with the fist of the front leg, by extension of the hip.
MAE TSUKI Strike with the fist of the arm of the forward leg. ABE&
MAITE TSUKI * Direct percussion blow.
NUKITE Strike with the tips of the fingers. Also Yonhon Nukit , Nihon Nukite and

#
Ippon Nukite .
OI TSUKI Attack with the fist of the advancing leg. JEV)EE
SHIKO TSUKI Fist blow with the body from the side (Shiko Dachi).
TATE TSUKI Vertical fist blow.

AGE TSUKI Upward fist blow.

AIKEN TSUKI Strike with the knuckles of both hands, joined together by interlacing the
fingers.
AWASE TSUKI Simultaneous fist bump at medium and high level.
HAITO Hit with the inside edge of the open hand. tav>
HASAMI TSUKI Simultaneous fist blow, in scissors, towards the inside.
HEIKO TSUKI Simultaneous blow with both fists and with parallel arms.
HIRAKEN
Strike with the four knuckles of the second joint (semi-flexed fingers).
HITOASHI IPPON KEN Strike with the knuckle of the second joint of the index finger.

IPPON KEN Strike similar to Oi Tsuki, but hits with the knuckle of the middle finger
(heart). — 2*
IPPON NUKITE Strike with the tip of the index finger.
MOROTE TSUKI Simultaneous punch with both fists together (horizontal or vertical).
NAKADAKA IPPON KEN Strike with the knuckle of the second joint of the middle finger.

NIHON NUKITE Strike with the tips of the index and middle fingers, together or apart.
OYAYUBI IPPON KEN * Knuckle blow of the second joint of the finger ..................

TE BASAMI * Strike with the space between the thumb and the other four fingers (throat
blow).
TEISHO Strike with the lower base of the palm of the hand. TIL J: >
URA TSUKI Fist blow at close range, with the palm of the hand facing up.
YAMA TSUKI Simultaneous blow with both fists, forming a U with the arms (one to the
face and the other to the stomach).
 UKE WAZA

High ascending defense with the forearm. Also Jodan Uke and Age Uke .
JODAN AGE UKE
GEDAN BARAI Downward parry with a closed fist. Also Gedan Uke .
JUJI UKE Crossed defense with both arms. Also Kosa Uke .
MOROTE UKE Reinforced stop. It is Uchi Uke where the fist of one arm holds the other.
SHUTO UKE Stop with the outside edge of the hand (medium defense).
SHOTO UKE Medium defense with the forearm facing inward, arm bent (fist shoulder height). Also Yoko
Uchi Uke .
TETSUI UKE Downward defense with the base of the fist.
UCHI UKE Medium defense with the forearm, from the inside to the outside, arm bent (fist at shoulder
height). Also Yoko Uke .
FURISUTE Surrounding stop with the forearm from the outside in ( furiuste ).
KAKETE UKE Double grab defense (grab arm).
YOKO BARAI Lateral defense to the outside, sweeping with the forearm from the inside to the outside.

ASHI BARAI Defense sweeping with the foot.

AWASE UKE Blocking with joined hands.
EMPI UKE Elbow stop.
HAISHU UKE Blocking using the back of the hand, from the inside to the outside.

HAITO UKE Stop with inner edge of the hand.

HAIWAN UKE Forearm stop.
KAKIWAKE UKE Double defense by separating or opening the arms.
KAKUTO UKE Stand with the wrist bent and fingers together. Also Koken Uke .
KEITO UKE Standing with the thumb area, the palm is vertical and facing down.
KURI UKE Circular defense with the edge of the hand and the wrist bent to the outside, coming
from the opposite hip to the outside.
MAWASHI UKE Surrounding semicircular stop.
NAGASHI UKE Medium defense from outside to inside with the palm of the hand.
NINO UDE UKE Sliding stop with the forearm.
OSAE UKE Stop intercepting with the foot.
OTOSHI UKE Downward defense with the forearm.
SOTE UKE* Defense with the lower edge of the palm.
SOKUTEI UKE Stop with the sole of the foot.
SOKUTO UKE Stop with the edge of the foot.
SUKUI UKE Ascending, parabolic defense, with the palm of the hand.
TEISHO UKE Defense with the base of the palm from top to bottom.
TSUKAMI UKE Elbow grip stop.
UDE UKE Forearm stop.
URA UKE Stop with the back of the hand.
WA UKE High defense with both forearms, forming two semicircles.
 UCHI WAZA

GYAKU UCHI Reverse hit. 12435

KATATE UCHI H#T*
UCHI MENU Blow to the head. MTS
SHOMEN UCHI Blow to the skull. IEET*
UCHI Indirect. +35
YOKOMEN UCHI Diagonal blow to the head.

YOKO UCHI Indirect lateral blow. ##+35

FURI UCHI Circular fist attack, also Mawashi Tsuki .

HAITO UCHI Open hand blow, with the inside edge of the hand.
MAWASHI TSUKI Circular blow with the fist. Also Furi Uchi .
SHUTO UCHI Open hand blow, with the outer edge of the hand.
TETSUI UCHI Strike with the base of the fist (hammer fist).
URAKEN UCHI Strike with the backhand or back of the fist with the movement of a whip.
AGE EMPI UCHI Rising elbow strike. Also Age Hiji Ate .
MAE EMPI UCHI
Frontal blow with the elbow hitting the solar plexus (sternum). Also Mae Hiji Ate .
MAWASHI EMPI UCHI Circular blow with the elbow, from outside to inside. Also Mawashi Hiji Ate .
OTOSHI EMPI UCHI Downward blow with the elbow. Also Otoshi Hiji Ate .
TATE EMPI UCHI Vertical blow with the elbow to the chin. Also Tate Hiji Ate .
USHIRO EMPI UCHI Back elbow strike (same as a Hikite, but the other arm goes up like a Hikite technique).
Also Ushiro Hiji Ate .

YOKO EMPI UCHI Lateral blow with the elbow from the inside out. Also Yoko Hiji Ate .

HAISHU UCHI Circular attack with the back of the hand.

KAKUTO UCHI Hit with bent wrist. Also Ko Uchi .
KEITO UCHI Strike with the inner side of the wrist, with the base of the thumb.
KO UCHI Hit with bent wrist. Also Kakuto Uchi .
KOKEN UCHI Strike with the wrist (the wrist should be bent as much as possible and the fingers together and
stretched towards the forearm).
SEIRYUTO UCHI Open hand blow, with the lower edge of the edge of the hand.
TEISHO UCHI Strike with the heel of the palm of the hand.
 GERI WAZA

KAKATO GERI Downward attack, striking with the heel (leg straight).
MAE GERI Direct front kick, with the front leg.
MAWASHI GERI Circular kick, hitting with the instep or the base of the fingers (haisoku or koshi).
MIKAZUKI GERI Semicircular kick inward, striking with the sole of the foot (Teishoku).
OI GERI Direct front kick, striking with the back leg.
USHIRO GERI Back kick, heel strike (Kakato).
YOKO GERI Side kick, striking with the edge of the foot or with the heel. Also Sokuto Geri or
Soto Geri .

FUMIKIRI
Cutting kick with the edge of the foot (like Yoko geri but hits the knee).
FUMIKOMI Crushing kick with the edge of the foot, but with the heel.
GYAKU MAWASHI GERI Reverse circular kick, striking with the sole or heel.
HIZA GERI Knee strike, also Sittsui Geri .
KIN GERI Kick with the instep to the genitals.
MAE MAWASHI GERI Circular attack with the front leg.
NIDAN GERI Double jump kick.
UCHI MAWASHI GERI Kick from the inside out, striking with the tips of the fingers.
URA MAWASHI GERI Backhand roundhouse or hook kick, striking with the heel.
USHIRO MAWASHI GERI Backward circular kick, striking with the heel.
Mae/Yoko TOBI GERI Jumping front or side kick.
Mae/Yoko Geri KEAGE Upward front or side kick.
Mae/Yoko Geri KEKOMI Penetrating front or side kick.
Mae/Yoko Geri KEBANASHI
Percussive front or side kick.
 DACHI WAZA (Positions)

HACHIJI DACHI
Natural posture with feet shoulder-width apart and toes separated at 90º.
HEIKO DACHI
Natural posture with feet parallel and shoulder-width apart. Also Yoi or Shizentai
HEISOKU DACHI Attention posture with feet together.
KAMAE Guard posture.
KOKUTSU DACHI Rear position; front leg straight, back leg bent.
KOSA DACHI Crossed feet pose, where the knee of the back foot rests on the front foot and the feet face
forward.
DACHI Natural posture. Like Zenkutsu Dachi with the weight distributed 50% on each leg.
MOTORCYCLE Also known as Moro Ashi Dachi .
MUSUBI DACHI Position of attention with the heels together and the toes separated 30º outwards.
NEKO ASHI DACHI Cat posture, heels in line, all weight back.
SEIZA Kneeling position.
SHIKO DACHI Sumo position.
HACHIJI DACHI Natural posture with feet 90º and shoulder width apart.
ZENKUTSU DACHI forward position; Front leg bent, back leg straight.

AYUMI DACHI Natural walking posture, with the weight over the center of the body.
FUDO DACHI Combat stance. May also be referred to as Sochin Dachi .
HANGETSU DACHI Half moon pose.
HORAN NO KAMAE Egg position in the nest. Yoi , where the fist of one hand is covered by the palm of the
other.
IAI GOSHI DACHI Posture with one knee resting on the ground.
KAKE DACHI Crossed feet posture, where the knee of the back foot rests on the front foot and the
feet crossed at 45º.
KIBA DACHI Rider's posture. Also known as Nainfanchi Dachi .
KI-O-TSUKE Attention posture. Musubi Dachi with hands open on both sides.

RENOJI DACHI Letter L pose.

SAGI ASHI DACHI One leg stance. Also known as Tsuru Ashi Dachi or Gankaku Dachi .
SANCHIN DACHI Hourglass posture.
SEISHAN DACHI Diagonal rider stance.

TEIJI DACHI Position of the letter T.

UCHI HACHIJI DACHI
Posture equal to HACHIJI Dachi but with the tips inclined inwards by about 15º.
TSURU ASHI DACHI Crane position.
The lists that follow are only a glossary. Some words have certain nuances and
meanings, which are explained in the history and philosophy pages of Karate, and in
the training pages.

* Martial art

• Kara - Empty
• Tea - Hand
• Do - Way
• Karate-Do - Literally: "The Way of the Empty Hand"
• Go - Hard, strong
• Ju - Soft, smooth, flexible
• Ryu - School
• Dojo - Place of training (Literally Do-Jo: "Place where the Way is found")
• Dojo Kun - Dojo Code of Conduct

* Greeting/People

• Rei - Greeting (sitting on heels)

• Ritsurei – Greeting (standing)
• Sensei - Teacher
• Shihan - Grandmaster
• Sempai - Gifted student, superior
• Kohai - Beginner, apprentice
• Shinden Ni Rei - Salute to the Temple (to the Dojo)
• Sensei Ni Rei - Greetings to the teacher
• Shidoin Ni Rei - Greeting to the highest level instructor after the teacher, or
to the most senior student
• Otagai Ni Rei - Greeting between colleagues

Other courtesy formulas:

• Onegai Shimasu - Please teach me (or help me, or explain to me)

• Arigato Gozai Mashita - Thank you very much

* Clothing

• Karategui - The Karate suit. It is composed of:

• Uwagi - Jacket
• Zubon - Pants
• Obi - Belt

Regarding the belt as a system of Degrees:

Dan – Level or rank

Mudansha - Belts lower than black belt

Yudansha - Degrees from black belt ( Sho Dan or first Dan)
* During the training

• Shugo - Align
• Kiotsuke - Attention
• Seiza - Sitting (in the traditional kneeling position, sitting on heels)
• Kiritsu - Get Up
• Mokuso - Concentrate
• Mokuso Yame - End of concentration
• Yoi - Prepared; Attention
• Kamae - On Guard
• Hajime - Start
• Yame - Stop
• Yasume - Rest

* Technical terms

• Barai - Sweep
• Bunkai - Practical application of Kata techniques
• Chakugan - Gaze
• Chi Ma - Short Distance
• Chudan - Middle level; center of the body
• Dachi - Posture
• Domto - Normal breathing
• Embusen - Kata diagram, lines of execution
• Fumikiri - Cutting blow
• Fumikomi - Crushing Blow
• Gedan - Low level; lower belly and legs
• Geri - Standing technique (both attacks - kicks - and defenses)
• Gyaku Kaiten - Hip rotation contrary to the direction of the technique (recoil
effect)
• Hammi - Diagonal position
• Hara - Belly
• Hidari - Left
• Hiji or Empi - Elbow Technique
• Hikiashi - Quick retraction of the foot after a kick
• Hikite - Recoil of the arm opposite the one hitting
• Hiza or Hittsui - Knee Technique
• Ibuki - Diaphragmatic breathing, with abdominal contraction
• Jodan (Yodan) - High level; head and upper body
• Kaiten – Hip Twist
• Kata - Literally: "Form." Combination of attack and defense techniques
• Keage – Ascendant
• Kebanashi - Percussive
• Kekomi - Penetrating
• Ki - Spirit; Internal energy
• Kiai - Cry (release of energy concentrated)
• Kime - Concentration of energy in a certain moment
• Kokyu - Breathing
• Kuatsu - Techniques revival
• Kumite - Combat
• Kyusho - Vital Points
• Maai - Sense of distance, knowing how to adapt to the opponent's movement
 • Mae - Front position
• Migi - Right
• Nogare -Diaphragmatic breathing, without abdominal contraction
• Seiken - Part of the fist used to hit in Zuki techniques. See weapons
• Tanden - It is a point located on the abdomen, where energy ( Ki ) is concentrated. It is
considered to be located, approximately, at the point where these two lines intersect: the
vertical one that passes through the center of the body, and a horizontal line that starts
from a point located a few centimeters below the navel.
• Timing - Anticipation
• To Ma - Long Distance
• Tori - The one who attacks (when training techniques as a couple)
• Tsuki (Zuki) - Direct Fist Technique
• Uchi - Circular fist technique; open hand technique
• Uke - Defense technique; Locking
• Ukete - The one who defends (when training techniques as a couple)
• Ushi Ma – Middle Distance
• Ushiro - Technique performed backwards
• Yoko - Lateral Position
• Yun Kaiten - Hip turn in the same direction as the technique (push effect)
• Zanshin - Alert mental attitude

* Numbering

• Ichi - One
• Nor - Two
• Saint - Three
• Yon - Four
• Go - Five
• Roku - Six
• Shichi - Seven
• Hachi - Eight
• Kyu - Nine
• Jyu - Ten

“mmgmn-znmñ "mgn-zngmd “mmgmn-znmñ“mmgmn-znmñ "mgn-zngmd “mmgmn-znmñ “mmgmn-

znmñ wawtfy
4 4nb 4 4nb rV rV 4 rY 4
 WHAT IS A KATA AND WHAT DOES IT CONSIST
OF?
A Kata is a Karate exercise that consists of doing a successive series of techniques and
movements against imaginary enemies. In this way, all the techniques learned in isolation are
combined with order and precision.

The execution of a Kata must be: fast, energetic, rhythmic, balanced and carried out with the
greatest possible perfection in each and every one of its techniques.

To perform a Kata well it is necessary to know the meaning of each of its movements, as well
as its correct execution, repeating them over and over again, tirelessly until it is done almost
reflexively. The Katas must begin and end in the same position in which they began, following an
imaginary line called Embusen .

All Karate-Do katas begin from a defense technique. This apparently seems like a passive
attitude, but in reality a defense must be carried out in such a way that, due to its vigor and
effectiveness, it can deter the opponent from making a second attempt. A properly performed
defense can also be considered an attack.

Naha-Te katas emphasize deep breathing, muscle contraction, a lot of open hand work. The
most characteristic styles are Goju-Ryu and Uechi-Ryu, although the latter does not perform the
deep breathing of Goju-Ryu. The Chinese influence on Naha-te is very strong: The Seisan,
Suparinpei, Seienchin katas belong to the Dragon style, also in the Tiger and Dog styles. Seisan,
Jutte, Seipai, Useishi (Gojushiho) and Suparinpei in the Monk's Fist style. Tomari-Te is influenced
by other styles, although it has its own katas: Wanshu or Empi, Rohai, Wankan and Ananko. They
then developed the three versions of Rohai: Shodan, Nidan, Sandan and the Chinto kata from
China.

Shuri-te has the personality of its teachers. Its study and structure focuses on the master
Sokugawa (1733-1815), who traveled extensively to China to learn the techniques of its styles.
He created Okinawa-Te, Okinawa's own style, mixing Chinese Kenpo with the island's native
forms. It was he who created the precepts of the dojo (Dojo-kun).

His student Bushi Matsumura created the Kushanku kata, and added the Naihanchi, Passai,
Seisan, Chinto, Gojushiho and Hakutsura kata to his teachings. He developed Shorin-Ryu which in
turn gave rise to Shotokan-Ryu, Kobayashi-Ryu and Shito-Ryu. Shuri-Te gives rise to many katas:
the Pinan or Heian, Naifanchi, Chinte, Chinto, Wanshu, Jiin, Jion , Jitte, Kosokundai, Kosokunsho,
Shihokosokun, Bassai dai, Bassai sho, Gojushiho, Ananko, Aoyagi,

There are three categories of katas:* Combat katas* Demonstrative katas and energy katas*.

Combat kata are those that can be developed in Bunkai for combat, although today there is a
tendency to develop them all, drawing applications that have nothing to do with reality.

Energetic katas serve to develop energy, exercise and a special form of breathing produce a
recovery of internal energy. Examples of these katas are Tensho and Sanchin, the latter coming
from a Chinese form of Tai-chi. Demonstrative katas are mainly used for learning Kihon,
movement, power, speed, examples are the Heian.

The movement within a kata must take into consideration the three pairs of
opposites that established
O-sensei Funakoshi:
The gentle and strong application of force
the expansion and contraction of the body
 the slow and fast movements of each technique

SHOTOKAN KATAS
Heian Shodan Heian Godan Bassai Dai Empi Jitte Unsu

Heian Nidan Tekki Shodan Bassai Sho Jion Chinte Gojushiho Dai Wankan

Heian Sandan Tekki Nidan Kanku Dai Hangetsu Nijushiho Gojushiho Sho Meikyo

Heian Yondan Tekki Sandan Kanku Sho Gankaku Sochin Jiin

The Katas, roots and meaning

ORIGINS
The origins of the kata are Chinese, it is not known for sure if the Chinese brought them to Okinawa or
the Okinawans went to study them in China, the truth is that the Chinese influence is undeniable, in
schools like Shitoryu they have katas with direct origins of the Kung-Fu style of the "Grulles Karate
schools: Shuri-te, Naha-te and Tomari-te, which take the name of the three cities, or at that time,
villages that formed Okinawa: Shuri, Tomari and Naha .

After Funakoshi's arrival in Japan, Karate spread throughout the country, so the kata underwent
variations, the training was formalized and the teaching was militarized, so the kata were also
influenced by this.

All kata have a name and therefore a meaning, which refers to their content or their creator.

Although depending on whether they are from Shuri, Tomari or Naha, their way of making it, or its
meaning, varies, the name is the same in all three forms, although it may vary if it has Japanese
influence.

As we have said before, the kata were developed in three different ways, influenced by those three
cities, but we need to know what they were like in order to get an idea of the different conception of
Karate, from one place to another.

If in China there were two forms of Kung-Fu, that of the mandarins, that is, the nobility, and that of the
people. This same influence occurred in Okinawa, where there was a ruling class, the king and the
nobility who lived in Shuri and practiced one way, the inhabitants of Naha, merchants and students,
who practiced another, and the inhabitants of Tomari, farmers and fishermen, who also practiced in a
different way.

- Naha-te kata emphasize deep breathing, muscle contraction, a lot of work with open hands.

The most characteristic styles are Gojuryu and Uechiryu, although the latter does not perform the deep
breathing of Gojuryu.

The Chinese influence in Naha-te is very strong, the kata Seisan, Suparinpei, Saan Chien belong to the
Dragon style, also in the Tiger and Dog styles. Seisan, Jutte, Seipai, Useishi, (Gojushiho) and Suparinpei
in the style of Monk's Fist.

The Naha-te kata are: Seisan, Sanchin, Saifa, Sanseryu, Shisochin, Seienchin, Kururunfa, Seipai,
Tensho, Sochin, Niseishi, Unsu.

Tomari-te is influenced by other styles, although it has its own Wanshu, Rohai, Wankan and Ananko
katas. They then developed the three versions of the Rohai, Shodan, Nidan, Sandan and the Chinto
kata of China.
Shuri-te has the personality of its teachers. Its study and structure focuses on the master Sokugawa
(1733-1815), who traveled a lot to China to learn the techniques of his styles. He created Okinawa-te,
an Okinawan style mixing Chinese Kenpo with the island's native forms. Create the precepts of the dojo
(Dojo-kun).

His student Bushi Matsumura created the Kusanku kata, and added the Naihanchi, Patsai, Seisan,
Chinto, Gojushiho and Hakutsura kata to his teachings. He developed Shorin-ryu which in turn gave rise
to Shotokan-ryu, Kobayashi-ryu and Shito-ryu.

Shurite gives rise to many kata, the Pinan, Naifanchi, Chinte, Chinto, Wansu, Jiin, Jion, Jitte,
Kosokundai, Kosokunsho, Shihokosokun, Bassai Dai, Bassai Sho, Gojushiho, Ananko, Aoyagi, etc.

KATA CATEGORIES
There are three categories of kata, combat kata (Rintô-gata), demonstrative kata (Hyôen-gata) and
energy kata (Rentan-gata).

Combat kata are those that can be developed in Bunkai for combat, although today there is a tendency
to develop them all, drawing applications that have nothing to do with reality.

Energy kata or yogic kata serve to develop energy; Exercise and a special form of breathing produce a
recovery of internal energy, examples of these kata are Tensho and Sanchin, the latter comes from a
Chinese form of Tai-chi.

Demonstrative kata are mainly used for learning kihon, movement, power, speed, etc., examples are
the Pinan.

MEANING
As has been said previously, all kata have a name and therefore a meaning.
Here a list of 78 Katas is made, with their name and some with a small summary, those that do not
have anything next to them is because the data is unknown.

-Aoyagi: Green willow.

-Anan.
-Ananko: Light from the south or peace from the south. It was developed in Tomari, although it was
brought from Taiwan to Okinawa around 1890, by Chotoku Kyan (1870-1945).
-Bassai-dai: Greater version.
-Bassai-sho: Minor version. Both have the same meaning, penetrate the fortress. Unknown creator. The
original form (Dai) comes from China. Is very fast. It teaches us to change from a position of
disadvantage to one of advantage. It is introduced by teacher Oyadomari.
-Chatanyara-no-kusanku: Appeared in the last book by master Kenei Mabuni.

-Chi-no-kata.
-Chintei: Invincible hands. Mysterious. It is a Shuri-te kata passed down to Itosu from Bushi
Matsumura. He trained to defend himself against spear attacks. He has a strange technique which is
attacking the eyes with his fingers.
-Chinsu.
-Chinpu.
-Chinto (Sankaku): Fighting towards the east, crane on a rock. It is created by Bushi Matsumura from
techniques taught by a Chinese sailor named Chinto, who was shipwrecked on the Ryu Kyu Islands.
-Empi Roppo.
-Gekisai-dai-ichi.
-Gekisai-dai-ni.
-Go Ho No Uke.
-Gojushiho (Sho and Dai) (Useishi): The Phoenix or 54 steps. These steps or movements are made to
represent a drunk man.
-Hakkaku.
-Hakatsura (Dai, Sho): White crane.
-Happoren.
-Hakucho: 100 birds.
-Haffa I, II: White swan or a hundred birds
-Heiku.
-Ishimine no Bassai.
-Jion: Sound of the temple or temple of that name. There is a Buddhist temple named Jion-ji, and a
Buddhist saint named Jion. Which suggests to us that it was introduced by someone who had a
relationship with the temple. It is classified along with Jitte and Jiin as Shurite although they are
Tomarite creations.
-Jiin: Temple courtyard. A saint with that name. Common techniques with Jion and Jitte is the palm of
the hand block. Tomari kata.
-Jitte: Temple hand or 10 hands. It means that whoever masters it has the effectiveness of 10 men.
Work on defenses against weapons, especially with frontal attacks.
-Juroku (Seiru): 16 steps.
-Juma.
-Kanku (Ku san ku, Kosokun, Kushanku): Looking at the sky or Chinese attaché of the embassy.
It came from China brought by a martial artist named Ku Shanku around 1760. It was modified into two
forms Dai and Sho and Funakoshi created from these one called Kanku, which he taught in Japan.
Master Itosu transformed it into the five Pinan.
-Kenki.
-Kokan
-Kosokun (Dai, Sho).
-Kururunfa: Holding the ground. They come, the waves stay.
-Kushu.
-Matsukase.
-Matsumura no Rohai.
-Meikyo (Rohai) Sho, Ni, San: Vision of a white heron. Mirror of the soul, clean mirror. It's from Tomari-
te. It is not known who its creator was, but it was taken to Okinawa by Sakagura. The most
characteristic technique is the crane stance, used to deflect a kick and change the body for an attack
from another side.
-Motobo no Soochin.
-Myoyo.
-Naihanchi (Tekki): Fighting on one's own terrain, or iron horse. They are believed to be older than the
Pinan; They were used to strengthen the legs and learn to concentrate the abdomen.
-Niseishi (Nijushiho): 24 steps. The origin and creator are unknown, due to the similarity to Unsu it can
be said that it is a kata from the Aragaki school.
-Niechi.
-Nipaipo: 28 steps.
-Nuicho.
-Ohan.
-Oyadomari no Patsai.
-Pachu.
-Paiku.
-Papuren: 8 steps at a time.
-Rohai: Vision of a white heron.
-Roppo no kata.
-Saifa: The point of the final break.
-Sanseryu: 36 hands.
-Sanchin: 3 battles. Breathing kata.
-Seisan (Hangetsu): 13 hands, crescent moon. It is the oldest kata in use. There are two very different versions,
the Nahate version favors the Chinese style and the Shurite had its own evolution. It was introduced by a Chinese
man named Seisan to Okinawa in the 1700s. The techniques go in groups of three. Introduces a defense against
kicks to the groin.
-Seienchin: Moment of calm in the storm. The storm in the calm.
-Seipai: 18 cups.
-Seishu.
-Seiryu: Green willow.
-Sochin: Preserve the peace, in Shotokan version.
-Sochin: The grand prize and old man fighting, in Gojuryu and Shitoryu versions.
-Shihokosokun.
-Shiho no Ho.
-Shimpa: New break.
-Shisoochin: Fighting four monks.
-Shinsei.
-Suparinpei: 108 hands.
-Su-Unsu.
-Taikyoku: Basic form.
-Ten no kata: Kata of heaven.
-Tensho: Change of grip, rotating palms, elegant hands.
-Tomari no bassai.
-Tomari no Rohai.
-Unsu (Unshu): Hands in the clouds. Parting the clouds. Very old and of uncertain origin. In 1922 Funakoshi made
mention of it for the first time in the book "Ryukyu kempo karate".
-Unieba.
-Wankan (Matsukaze): Crown of the king. Wind in the pine. Tomari kata. Characterized by the succession of
attack and defense techniques, with a powerful look.
-Wanduan: It is the name of a great fighting king of Ryukyu.
-Wansu: Chinese attaché of the embassy. Flying swallow.

RELATIONSHIP OF KATAS AND THEIR INTRODUCING TEACHERS

· Aragaki Ankichi (1899-1929): Sochin, Niseishi, Unsu.

· Go Kenki (?): Nipaipo, Hafa.
· Higaonna Kanryo (1845-1916): Sanchin, Seienchin, Seisan, Kururunfa, Seipai, Shisoochin, Sanseryu, Saifa,
Suparinpei.
· Itosu Anko (1832-1916): Pinan, Heian, Naihanchi, Bassai-dai (Sho), Kousokun-dai (Sho), Shiho-kousokun, Jitte,
Jion, Jiin, Wansu, Wankan, Rohai (Sho, Ni, San) , Chinsyu, Chinto, Chintei, Useishi (Gojushiho).
· Kyan Chotoku (1870-1945): Chinto.
· Matsumura Sokon (1809-1896): Patsai.
· Mabuni Kenwa (1889-1952): Shinsei, Myojyo, Matsukaze (Wankn), Aoyagi (Seiryu), Jyoroku, Shimpa.
· Matsumura Kosaku (1829-1848): Rohai, Patsai, Wankan, A-nan, Wansu.
· MIYAGI, CHOJUN (1888-1953): Gekisai-dai-ichi, Gekisai-dai-ni.

TO
 MEANING OF SOME KATAS

MASTER ITOSU (Shuri-Te/Tomari-Te):

KATAS MEANING HISTORY
Pinan Katas developed by Itosu to learn the Kosokun Dai kata.
(Heian) Mind at peace
Naifanchin Very fast and strong kata, with movements in a lateral direction. It is believed
(Tekki) Fighting while holding the that they are older than the Pinan, they were used to strengthen the legs and
ground or Iron Horse learn to concentrate the abdomen.
(Riding)
Rohai The White Heron, The She is from Tomari, she was brought to Okinawa by Sakagura. The most
(Meikyo) Crane's Vision, Mirror characteristic technique is the crane stance used to deflect a kick and change
Polishing the body for an attack from another side.
Bassai It is the most popular kata, often used as an exam for 1 Dan. It is very fast and
Penetrating the fortress teaches us to change from a disadvantageous position to an advantageous one.
The original form comes from China, 5 varieties are mentioned: Itosu,
Matsumora, Tomari, Oyadomari and Ishimine.
Kosokun Looking at the sky or It was introduced by the Chinese master Ku Shanku around 1760, Funakoshi
(Kusanku) Chinese Attaché of the created Kanku from it and Itosu transformed it into the five Pinan.
(Kanku) embassy
Jitte
Temple Hand, Ten Hands
Jion temple sound It is classified as Shuri-te although it is the creation of Tomari-te.

Jiin
temple floor
A saint with that name, Tomari-te kata. Palm blocks, same as Jion.
Chintei Mystery of the bamboo
hand (Calma) or Invincible It is a kata passed down to Itosu from Bushi Matsumora. He trained to defend
hands himself against spear attacks, he has a rare finger-to-eyes attack technique.
Chinto Fighting to the east, The Created by Matsumora from techniques taught by a Chinese sailor named
(Gankaku) crane on the rock Chinto.
Wanshu Chinese Envoy, Swallow in
(Empi) Flight
Gojushiho The most popular kata among Shuri warriors, it was Mabuni's favorite. It
(Useishi) 54 steps or the Phoenix represents the heritage of Shuri-te from Master Itosu. It represents the steps of
a drunk man.
Useishi
54 Steps of the Black Tiger
(Gojushijo)
(Use of the Fist of the
White Crane)
 MASTER HIGAONNA (Naha-Te):

KATAS MEANING HISTORY

Teisho Change of grip, rotating It is a combination of dynamic tension, deep breathing, and gentle hand
palms, elegant hands. movements. The result is the concentration of force in the Tanden.

Gekisai Dai devastating attack Gekisai means "devastating attack" or "destroyer", which refers to the attack
techniques used in the "defense-counterattack" sequences of these
Katas. These are always direct attacks with the fist, elbow and leg, with great
Destroyer
power.
Seienchin Calm in the storm
Seisan Develop techniques that involve holding and controlling the attacker, while hitting
(Hangetsu) him in a vulnerable part of the body. Contains eight defensive techniques and
13 hands or Wo five offensives, all of which involve a change of direction. Develops forms of
(Crescent) fighting at very close range, using short punches and low kicks to break through
the opponent's defenses. It is a very short kata.

Seipai
It contains many "hidden" techniques, designed to confuse the opponent in
No. 18 in Chinese combat. It is practically impossible to understand the true meaning of some of the
techniques performed, just by observing someone performing the Kata. It also
belongs to the Tiger Kata series, and is a continuation of the Seisan Kata.
Shisonchin Similar to Sanchin, but with open hand strikes. It focuses on fighting in all four
Fighting four monks directions. It is of Chinese origin, learned by Sensei Higaonna with the master
Ryuko Ryu.
Kururunfa
Seventeen; Holding your It is another Kata of Chinese origin with very advanced techniques. They mainly
ground highlight the performance of "Tai Sabaki" (evasive circular movements), and very
fast movements.
sanchin It is not a Kata where defense and attack techniques are practiced, but rather
Three Battles breathing, muscle tension, and concentration of physical and mental energy are
fundamentally worked on.
Saifa tearing apart Kata of Chinese origin, brought to Okinawa by Kanryo Higaonna.
Sanseiru This kata is also called the "Dragon Kata". Like Shisochin it focuses on fighting in
No. 36 in Chinese all four directions. Buddhist concept that doubles smell, sight, taste, touch, hearing
and intuition. 6x6.
Suparinpei A very long kata, widely used in competitions due to its length and difficulty.
108 hands Buddhist concept that triples smell, sight, taste, touch, hearing and intuition. 36 x
3.
 MABUNI MASTER:

KATAS MEANING HISTORY

Jyuroku 16 steps
Mioyo
Aoyagi green willow Self defense kata for women.
Matsukaze pine tree wind

Shinsei New system

Wankan Crown of kings, Tomari-te kata characterized by the succession of attack and defense techniques with
(Matsukaze) Pine wind a powerful look.

Shinpa New breakup

MASTER ARAGAKI:
KATAS MEANING HISTORY
Niseishi The origin and creator are unknown, due to its resemblance to Unsu it may be
(Nijushijo) 24 steps from the Aragaki school.

Sochin Another favorite kata of Mabuni. The speed changes make it a very interesting
kata.
Advance into battle, Elder
fighting, The grand prize
Cloud Hand or Parting the It is very old and of uncertain origin. Very popular in competitions for his ippon
Unshu, Unsu
Clouds nukite punches and back kick.

CHINESE TEACHERS:
KATAS TEACHER MEANING HISTORY
Matsumora Matsumora Kata Rohai in Master Matsumura's version.
No Rohai
Nipaipo Go Kenki 28 steps Kata of Chinese origin, belonging to the White Crane style.

Papporen or Go Kenki Eight steps at a Kata of Chinese origin, belonging to the White Crane style.
Happoren time
SHITO
RYU
 SHITO-RYU
School created by Master KENWA MABUNI (1893-1957), in 1930.
The name SHITO-RYU arises in honor of the teachers who most
influenced Master MABUNI, ITOSHU ( SHI ) and HIGAONNA ( TO )
RYU ( SCHOOL ).

Due to the influence of the masters ITOSHU and

HIGAONNA, it has two ways of working:

•SHURI : quickly
•NAHA : strong.
He has Katas of SHURI-TE, TOMARI-TE,
NAHA-TE . The use of positions is natural.
Neither too low nor too high. Lower positions
are usually used in defenses than in attacks. These movements are reflected in the KATAS.

The most characteristic positions are: SANCHIN-DACHI, NEIKO-DACHI,

SHIKO-DACHI, ZENKUSHU-DACHI, KO-KUTSU-DACHI, NEKO-ASHI-
DACHI .

Open hand techniques, especially in defense, are used a lot, and their distance is
short. Fist techniques are used in attacks and counterattacks, being short and
very fast.

The different positions are used in all directions, coordinating the body and hips
with the execution of the technique. HE
He works a lot in pairs, applying KUMITE techniques, controlling the opponent
throughout the entire process of the technique until its culmination with a counterattack and
complete control of it.

It has classic defense techniques and also techniques of:

• GUAKU-WAZA : Control of the opponent.

• NAGE-WAZA : Projection and sweeping techniques.
• SHIME-WAZA : Strangulation techniques.
 Crigen of the Komote-•o in Ckinawo

Okinawa is the main island of the Ryu Kyu or Nansei archipelago, called Liu-Chu by the Chinese. This archipelago, which
is located near the eastern coast of China and Japan, has more than 60 major arc-shaped islands and has an extension of
3,700 km, from the tip of the island of Kiushu to the island of Taiwan.

Both the island of Okinawa and the entire archipelago were independent until Japan annexed them in 1875.

It is said that the origin of Okinawa was due to the survivors of different shipwrecks and immigrants from the north. The
geographical location of the Island makes it prone to serve as a natural aid to shipwrecked people, since it shortcuts them,
preventing them from getting lost in the immensity of the high seas, the meaning of the word Okinawa means " Rope on
the high seas ."

China and Japan had an important commercial and cultural exchange, cultured and highly influential people regularly
traveled along those routes that when shipwrecked were surely trapped by the island of Okinawa, giving rise to a new
culture, made up of cultures from other countries and people. extremely prepared.

It is assumed that Chinese Chuan-Fa experts arrived in Okinawa in this way, teaching the locals the first fighting
techniques.

In 1372, Satto king of Okinawa proclaimed himself feudatory of the emperor of China, opening the island's doors to
Chinese influence. The Chuan-Fa could not be missing and the islanders after giving it its own characteristics called it
"Tode". Although the Tode derives from the Chuan-Fa, it presents very important differences, which justifies its new name.

In 1477, Syoshin, being monarch of Okinawa, published the so-called "No Swords Edict" which consisted of the prohibition
of carrying and having weapons, to avoid popular revolts, the people responded to this, resorting to the use of kitchen
utensils and work tools to defend oneself, intensifying training in unarmed combat.

The Japanese occupation of 1609 as a political event further increased this practice.

These are some of the events that as a result positively influenced the development of Karate-Do.

The union of defense systems such as Chuan-Fa and Tode was simply called "Te". The practice of "Te" was kept
completely secret in the towns of Naha, Tomari and Shuri, which is why three different styles were created although in their
origins they were basically the same, since they came from the same person, these styles were called Naha -Te, Tomari-Te
and Shuri-Te.

One of the first instructors in Okinawa was Chatan Yara, born in the town of Chatan in 1668. At the age of 12 he went to
China for a period of 20 years, where he learned martial arts. Upon his return he dedicated himself to secretly teaching his
techniques.

Another pioneer was Takahara, a native of Shuri, who had Sakugawa as a student.

There is a legend that says that Shionja, a native of Shuri, after living abroad, returned to Okinawa in 1784 with a friend
named Kusanku, a martial arts master, who served as Chinese military attaché on the island.

Both dedicated themselves to teaching combat systems, with the aforementioned Sakugawa as a student.

Sakugawa (1733 - 1815) is the one who really deserves the title of "Father of Karate", first, for giving it its
own form, differentiating it from all the other existing ones, he also managed to structure, synthesize,
regulate, modify and order it in a logical and precise way. the existing techniques, in such a way that his
style would be perfectly defined and with its own spirit, according to the Okinawan idiosyncrasy.
Sakugawa introduced the concept of "Doyo". Among his most notable disciples were Ankoh Itosu and
Yasuzato Asato, who in turn were teachers of Gichin Funakoshi, Chokun Makabe, who created the Tomari
style, the Tomari-Te, and Matsumoto, Okuda and the distinguished Bushi Matsumura.

Sokon "Bushi" Matsumura (1797 - 1836) was brought by his father to Sakugawa, asking him to admit him
as his disciple. Years later he would create the Shorin-Ryu style, which can be pronounced Kobayashi-
Ryu, which means "Style of the Young Forest."

After Sakugawa dies, Matsumura travels to China with the purpose of continuing learning, for this he
settles in the Shaolin Temple itself.

Matsumura was the one who introduced the Naejanchi (Shodan, Nidan and Sandan), Passai (Sho and Dai),
Chinto, Goyushijo and Seisan katas to Okinawa.

A great disciple of Matsumura was, without a doubt, Yatsune "Ankoh" Itosu (1832 - 1916) who further
popularized the Shorin-Ryu style.

Ankoh Itosu introduced Karate-Do as a subject of study in secondary schools and asked his disciple
Chiosin Chibana to add it as a teaching subject in the Police Force, since he was a member of it.

Ankoh Itosu is the creator of the five Piñan katas, whose meaning is "Mind at Peace", which he especially
extracted from the Passai-Sho, Passai-Dai, Kusanku-Sho and Kusanku-Dai katas, with the aim of making
them more didactic for secondary education.

Another disciple of Matsumura was Kanryo Higaonna (1845 - 1915) who was born in Naha, creating the
Shorei-Ryu style.

It should be noted that the Okinawan defense arts were characterized from their beginning by the search
for absolute effectiveness, by the simplicity of their techniques, and the rejection of everything superfluous
and sophisticated that was difficult to apply in a real situation. The system created by the islanders sought
the death of the enemy, without seeking aesthetics, only a refined technique. It was not intended to delay a
fight with dodges, dislocations, complicated and sophisticated techniques of difficult or dubious
application. His body became that deadly weapon that they lacked.

They developed another system parallel to Karate, calling it Kobudo, which consisted of the use and
application of kitchen utensils and work tools, reaching the very oar of the fishermen's boats to become a
true weapon, which was used especially for behead your enemies.

This was because the island of Okinawa was subjected for several centuries by different nations and
cultures, failing to break the spirit of these people.

Approximately in 1900 Okinawa-Te was systematized throughout the island, discovering its practical side
for mass education, for peaceful purposes.

In 1904, Karate was officially and definitively incorporated into the public schools of Okinawa as a
regular subject, serving the comprehensive training of the individual.
 Currently, Karate-Do is not only an excellent and effective defense system, but it also leads us to a deep knowledge of our
being. Understanding the latter is the most difficult, but without a doubt the most important.

"Evolution of the Noble Discipline of Shito Ryu

Karate Do"
The origin of today's four major Japanese NOTTH / (KOREA— S
Karate systems may be vestiges of a group 7 L Or JAPAN

of islands known as the RyuKyu archipelago.

Located during the 18th century between
5UTH
KOREA,

northwest Japan, west mainland China and YELLOM'

HE.

southwest Taiwan; Okinawa, the largest of

these islands, had a form of indigenous
martial art that had begun to be practiced E/5I
CHINA
clandestinely, this art was called "Te" or 500
"Hands." The ideal geographical location so kmn

that Okinawa had allowed it to be strongly

influenced by a new cultural exchange with
Asia and • especially with China. During
this time the secret method of "Te" was
combined with several other Chinese
combat styles that evolved into a system
called "To-De" or "Chinese-Hands."

Just at that moment three large areas once again stood out in Okinawa as the great centers of "To-De"
practice, they were:

Shuri: The ancient capital of Okinawa where kings and noble families lived.

Naha: A town, Port of business and commercial companies.

Tomari: A village strongly popularized by its fishermen and artisans.

Each location had developed a unique "To-De" style.

In each of the areas named above, great Masters stood out, and in the Shuri region,
Master Pechin Sakugawa (1733-1815) stood out.

One of the many Shuri teachers in the development of "Shuri-Te" was Master
Sakugawa who was widely known by the nickname "Sakugawa To-De" and was
believed to have received his instruction from Peichin Takahara and a renowned
 Chinese soldier, known as Ku-San-Ku who was an expert in the art of Chinese Boxing and lived in Okinawa
around the year 1761. One of Sakugawa's most important students was Sokon Matsumura (1809-1894) who
was also Yasutsune "Ankoh" Itosu's teacher.
In the Naha region, the following stood out: Master Kanryo Higashiona (Higaonna) (1853-1915)

The most famous of the Naha Masters in the development of "Naha-

Te" was Kanryo Higashionna (or Higaonna) who lived between
the years 1853-1915. He received instruction from Master Arakaki
(1840-1918) Master Higashionna taught many students including
:

Chojun Miyagi (1888-1953): Founder of the "Goju Ryu" style

Kenwa Mabuni (1889-1952): Founder of the "Shito Ryu" style

In Tomari, two great Masters became important historical figures in

the development of "Tomari-Te" they were Kokan Oyadomi (1831-
1905) who taught Chotoku Kyan (1870-1945) and Kosaku
Matsumura (1797-1898) who taught to Ankoh Itosu (1830- 1915).
The system of the Tomari region was absorbed over time by the
system of the Shuri and Naha region due to the lack of development in the Tomari region. This gradually left
two systems the "Shuri-Te" and the "Naha-Te" later these systems were named as "Shorin" and "Shorei"
respectively.

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 "Shito Ryu Karate - Kenwa Mabuni's Do"
"Kunshi No Ken"
(The Noble Discipline)

Kenwa Mabuni (1889-1952) Born in

Shuri, he was the 17th generation
descendant of one of the bravest
warrior nobility of Okinawa. As a
child Kenwa Mabuni longed to be
like his great ancestors, but,
unfortunately, he was very sickly and
weak. In 1902 at the age
thirteen years old, Kenwa mabuni
Ag I began receiving instruction from
Ad88gszge J ...
most famous martial artist in Shuri;
7 295325588g •
Master Ankoh Itosu, to improve his
health, from that day on, he never missed a day of
training until the age of twenty. - - - Yo
In 1909, encouraged by Master
Itosu to expand his knowledge further in the martial arts and with the advice of his
great friend Chojun Miyagi, Kenwa Mabuni began taking lessons with Master
Kanryo Higashionna of Naha, until 1915, the year in which the great Master
Higashionna Dies.

Master Seisho Arakaki (1840-1918)

After the death of Master Higashionna, he began to receive

instruction from Master Seisho Arakaki of Naha, who taught a
style similar to that of Master Higashionna. Master Arakaki was a
perfect teacher of Kobujutsu and taught Kenwa Mabuni the art of
Bo and Sai, including various weapon katas. He at the same time
was influenced by a fukien "White Crane Fist" Master named Wu
Xian Gui (pronounced in Japanese would be Go Kenki). Upon
hearing of the death of Master Itosu in 1915, Kenwa Mabuni
fulfilled that legend that indicated that he had to build an urn in
front of Master Itosu's grave and take care of the engraving of the
urn. Furthermore, Master Mabuni would have another way to pay
tribute to him. Grand Master Itosu, Kenwa Mabuni would go to the grave site and
carefully and constantly practice his Kata for over a year to pay respect and honor to
the great Master.
 Completing his military service requirement after graduating from high school,
Kenwa Mabuni accidentally became a police officer. By 1918, Kenwa Mabuni had
become an important figure in the martial arts community and was respected by his
peers. Around this time he established a
research and a study group at home in
which the following participated: Chosin
Chibana, Gichin Funakoshi, Anbun
Tokuda, Shinpan Shiroma, Choju Oshiro,
Seicho
Tokumura and Hoko Ishikawa. In 1918 Ken
- Ei Mabuni, the first son of Kenwa Mabuni,
was born.

In 1922 while Gichin Funakoshi was sent

as the official representative to introduce
the "To-De" from Okinawa to Japan,
Kenwa Mabuni and the other members of
the research group continued training
together.

In 1924 Kenwa Mabuni and Chojun iyagi

were asked if they could take the
In the photo Kenwa Mabuni seated in charge of the training session although
and from left to right: Master G.
Funakoshi, Genwa Nakasone, an they were still very young, during those
unknown, Yasuhiro Konishi and Kenei sessions emphasis was placed on
Mabuni.
increasing their physical techniques and
strength
in what is now Kumite . It is said that when a student wants to learn more from a
Master, the Master simply invites the student to attack him freely for a long time,
while the Master is blocking him and constantly changing positions and asking the
student again and again "now you understand" and It motivates him to attack him
without stopping.
 The martial arts sanctioning
organization of the
government of Japan the Dai -
Nippon Butoku- Kai had begun
to demand that the different
groups of members be more
specific in the description of
their Karate systems and hurry
up in naming them. Kenwa
Mabuni called origi finally to
your system " Hanko
Ryu" (semi-hard style), but he
later changed it to reflect the
deep respect he had for his two
great Masters, Itosu and
In the front row from left to right Yasuhiro (koyu) Konishi, a friend and
Higaonna. Using the alternative
companion of Kenwa Mabuni (middle) traveled with him through reading of the Kanji placed
Japan, where they taught and demonstrated their martial art in "ITO" coming from the name
various locations, on the right Ken - Ei Mabuni.
of Master Itosu (who also
can be read as "SHI" ) and "HIGA" from Master HIgaonna's name (which can be
interpreted as "TO" ), thus Kenwa Mabuni created the new name "Shito" for his
style of Karate Do.

(HáA OA
NA) BE# I
()

In the following years Master Mabuni dedicated himself entirely to developing

and widely promoting Shito-Ryu Karate Do in the Osaka area, he was obsessed with
an extremely difficult task due to the population's unwillingness to accept this
strange system of training. self-defense that resembled an ancient Okinawan dance.
In order for Shito Ryu to attract the attention of the general public, Master Mabuni
would perform many breaking demonstrations where he would break bricks and
boards among other things to show the power of his Karate. Every day he tried to
gain acceptance for his art, which led him to give free instructions to various police
stations throughout western Japan.
 "Shito Ryu Karate - Kenwa Mabuni's Do"
"Kunshi No Ken"
(The Noble Discipline)

Around 1929 Master Moden Yabiku was also teaching Karate Do and Kobu Do in
Japan. His most famous disciple was Master Shinken Taira (1897-1970) who also
trained under Master Mabuni during the late 1930s.

In 1931, thanks to the enormous effort to begin teaching his art, he was able to
open the establishment of the "Dai Nihon Karate Do Kai" , this original group would
later be the precursor of today's "World Shito Kai Karate Do Federation" , the Shito
Ryu Karate As he became more accepted, Master Mabuni began teaching many
students at home and at universities whose students formed clubs including his two
sons Ken - Ei Mabuni, Kenzo Mabuni, Chojiro Tani (founder of the Tani - Ha
Shukokai ), Ryusho Sakagami, Yoshiaki Tsgikawa, Ken Sakio, Jun Ichi Inove, Manzo
Iwata, Toshiyuki Imanshi, Kazuo Kobuda, Tokio Hisatomi and Ryusei Tomoyori.

When Master Moden Yabiku began teaching in Osaka around 1929, he had among
his students Ryusho Sakagami (1915-1993), founder of the "Nihon Karate Do Itosu
Kai" in 1934 and in 1937 he became a student of Kenwa Mabuni the Sensei.
 Sakagami also received a Kobudo teaching certificate from Master Shinken Taira.
During the Pacific War, many young Karatekas from the four major styles lost
their lives including some from the Shito Ryu group. Master Mabuni barely survived
the Post-War unrest, his survival was poor but he persevered and continued to
dedicate himself generously to the development of Shito Ryu Karatedo. After the
war, many of the Shito Ryu Karate groups previously established in Universities and
Colleges began to re-open, by this time the future of Shito Ryu Karatedo was assured
by many of its surviving students, most of whom could be found on the east coast of
Japan in the Kanto district.
Unfortunately, on May 23, 1952, Master Kenwa Mabuni died at the age
sixty-three years old.

During the month of November 1960, due to the great efforts of Maestro Manzo
Iwata (1924-1993) finally established a main headquarters in the east,
Simultaneously the western headquarters began
to be re-stabilized by Master Kenwa Mabuni's first
son, Kenei Mabuni (1918). ). The Presidents of the
eastern and western barracks were Master Iwata and
Master Kenei - Mabuni respectively.

) Over the years, both headquarters conducted 3

special events for the world of Karate, Seminars ,
Tournaments, Competitions, etc. until the A- First All
Japan Shitoryu Karatedo Championship that was held
in April 1964; The establishment of Karatedo in
Japan was governing the branch of sports, the "
Japanese Karatedo Federation " (The Japan J
Karatedo Federation) or JKF. formerly 2 known as
the Federation of All Japan Karatedo Organizations or
FAJKO was
created in October of the same year. In February 1973 the eastern and western
headquarters of the "Dai Nihon Karatedo Kai" united to form the "Karatedo
ShitoKai Japan" (Japan Karatedo Shitokai).
 With the culmination of various Shito-Kai groups around the globe including
Cuba, Russia, Mexico, South America, North America and Canada, the
establishment of the World Shito Ryu Karatedo Federation had finally been realized,
the congress held its meeting in Osaka in March 1993. The first official Shito Ryu
Karatedo World Championship was held at the Budokan in Tokyo after the Osaka
congress.

After the death of Master Mabuni, the "Shito Ryu" branched throughout Japan into
different groups of which few can be said to be true descendants of Master Mabuni's
style, one of them is that of Master Ryusho Sakagami known as " Shito Ryu Itosu."
ka

"The Shito Ryu Itosu Kai of Ryusho Sakagami"

Ryusho Sakagami (1915 - 1993) was born in Hyogo district of Kawanishi, City of
Japan, son of one of the most prosperous business families of "Saki" (Rice Wine),
began practicing the martial art of " Kendo " (form of Japanese fencing) around the
age of ten, he later began studying " Iaido " ( way of the Samurai who draws with his
sword ). Grandmaster Ryusho Sakagami continued to practice these arts intensively
and by 1934-35 he enrolled at the prestigious Tokyo University " Kokushinkan "
which specialized in producing the best Kendo Masters in all of Japan. While
attending university he became interested in the art of Karatedo and Kobudo and
later began receiving instruction from the famous Okinawan Master Moden Yabiku.

In the following years Ryusho Sakagami continued his education and intense
training in various martial arts and around 1937 after repeated visits to Okinawa to
train Karatedo and Kobudo he was being encouraged by some of the great Masters
to return to the great land of Japan. and will continue his studies in Osaka with the
distinguished Okinawan Master Kenwa Mabuni.
 In the photo on the left Ryusho Sakagami, Kenwa Mabuni and Gichin Funakoshi
greeting each other, in the center Isao Obata and on the right Matayoshi Nakayama.

After graduating from university, Ryusho Sakagami returned to Osaka to become

a devoted disciple of Master Mabuni. By 1941 he successfully received the "Shihan"
degree from Master Mabuni and after a short time returned to his hometown to
establish the "Gembukan Karatedo" Dojo.

In 1942 as a result of his efforts to more strongly promote the martial art of Karatedo
the " Dai Nippon Butoku Kai ", the most prestigious martial arts organization in
Japan, awarded him the Karatedo title of " Renshi " (man of discipline). ).
Before the untimely death of Grand Master Kenwa Mabuni on May 23, 1952,
Sensei Ryusho Sakagami was qualified by the Grand Master to accept the honorable
position of " Third Head of the Generation of Itosu-Ha " (the orthodox style of Itosu )
in early 1952.

Master Ryusho Sakagami demonstrating " Neko Ashi Dachi " position

After the death of the great Master Kenwa Mabuni, Sensei Ryusho Sakagami
moved to the Tokyo area where he taught for a short time (until 1953) and then
finally settled in the town of Tsumuri located between the cities of Kawasaki and
Yokohama. By 1955 he had firmly established himself with the " Zen Nippon
Karatedo Itosu Kai " main office for Kendo, Karatedo, Kobudo and Judo.
 Over the years, Master Sakagami continued his studies of Kobudo Ryukyu under
the orders of the great Master Shinken Taira who granted him the rank of Shihan in
1959, and later promoted him to the rank of 8th Dan of Kobudo in 1963.

Master Shinken Taira.

Master Ryusho Sakagami's highly rated reputation and great respect as a martial
artist made him a legend throughout Japan and around the World.
In this period Sensei Sakagami reached the levels of:

• 5th Dan in Aikido.

• 5th Dan in Judo.

• 7th Dan in Jukendo (rifle and bayonet form)

During 1962 Master Ryusho Sakagami was greatly honored and awarded the 7th
Dan in Kendo Kyoshi (man of high achievement)

Master Ryusho Sakagami demonstrating sai technique

Beginning to work as director for the " Protection and Promotion of the ancient
martial arts of the Ryukyu Islands ", Master Sakagami was one of the creators of the
Federation of hall Japan Karatedo organizations ( FAJKO ) established in 1964, and
which proudly served as the "Chief Technical Judge" for many years, by 1957
Master Sakagami was honored again by receiving the 7th Dan Jodo " Kyoshi ",
among his most notable disciples were:
"Shihan" Sadaaki Sakagami (Son of Grandmaster Ryusho Sakagami and head
instructor of Japan's main office)

"Shihan" Seiko Suzuki (Founder of today's Seiko Kai Shito Ryu)

"Shihan" Fumio Demura (Founder of Shito Ryu Itosu Kai USA)

"Shihan" Kei Tsumura (Founder of Shito Ryu Itosu Kai Canada)

In 1980, Master Sakagami was awarded by the FAJKO the 8th Dan grade of
Karate-do " Hanshi " (higher level of achievement) and by 1987 he had also achieved
the 8th Dan level in Iaido " Hanshi " in the Muso Jikiden Ryu Iai system.

Sensei Ryusho Sakagami practicing Iaido

One of the final honors received by Master Ryusho Sakagami was being ennobled
to the 10th Dan of Karatedo " Hanshi " (Grandmaster) by the Nippon Karatedo
Rengokai , Japan Karatedo All Styles Organizations ).
 "Grandmaster Ryusho Sakagami died of heart failure on Tuesday
December 28, 1993 "

"The Shito Ryu (Itosu Kai) of Kei Tsumura"

Kei Tsumura was born in May 1936 in Steveston, British Columbia, the son of
Kumetaro Tsumura, a highly respected Judo practitioner. As
a child Kei Tsumura practiced the martial arts under the
watchful eyes of his Father and Teacher. During his pre-teen
years he came under the influence of several martial artists
who visited and immigrated permanently to Canada and
settled in the Steveston, BC area. Among the many visitors
were students and Karate masters who came as guest
instructors to exhibit their martial art, practicing in their
Father's Dojo. During his adolescence, Kei Tsumura lived in
eastern Canada (Toronto) and attended university with the
dream of being a journalist or author. Around that time he
met a university classmate and Shotokan Karate practitioner.
Harry Ueyda and them start practicing together. By 1960 Kei
Tsumura had developed a great passion for Karatedo.
Between 1961 and 1962 he began to take formal instruction from Sensei Masami
Tsuruoka (considered the father of Canadian Karatedo) who introduced the first
Karatedo system in Canada, the " Chito Ryu ", in 1956.

Sensei Tsuruoka had established the first Karate Dojo in 1958 and was the direct
disciple of Grand Master Tsuyoshi Chitose, the founder of the "Chito-Ryu"
Karatedo system in Kumamoto Japan.

With the encouragement of Sensei Tsuruoka, Kei Tsumura helps establish the "
Nisei Karate Club " at the Japanese Canadian cultural center in Don Mills, Ontario
around 1963 and begins teaching Karatedo. He later establishes the "Chito Karate
Dojo" on Dundas St. W. in Toronto. In 1965 Kei Tsumura met a young teacher
named Kawaguchi and began practicing with him. Mr. Kawaguchi was a direct
student of Shihan Seiko Suzuki, 7th Dan of the Itosu-kai Karate-do in Remei, Tokyo,
Japan. He was then personally introduced by Shihan Seiko Suzuki and a few days
later he began receiving instruction from Grand Master Ryusho Sakagami.

Sensei Kei Tsumura with Grandmaster Ryusho Sakagami.

 After a very intense period of study with the great Master Sakagami, Kei
Tsumura was awarded the 5th Dan in Itosu - Kai Karatedo and 5th Dan in Kobudo
Ryukyu in 1969. Upon his return to Canada after 1969 Sensei Tsumura established
the head office for the newly formed Shito-Ryu Itosu-Kai Karate and Kobudo
Association Canada . At the Japanese Cultural Center of Canada in Don Mills,
Ontario. Many of Sensei Tsumura's students who had previously trained with him
under the "Chito-ryu" Karate system for many years, were encouraged to practice
and adopt the new " Shito-Ryu Itosu-Kai " system after a period, Many students
officially received their Black Belt hierarchical ranking registered directly at the
Japan Karate-do Itosu-kai main office. Considered one of the first Karate instructors
in Canada in the 1970s, Sensei Tsumura was requested by the president of the
National Karate Association, Master Masami Tsuruoka, to serve as Canada's
National Coach in 1972, for the 2nd world championship. WUKO karatedo in Paris,
France. In 1974 Sensei Tsumura was the pioneer in creating the foundation of the
association for the formulation of Karate Ontario. And in April 1974, he had the
honor of bringing Grand Master Ryusho Sakagami and his son Sadaaki to Canada
for the first time. During 1975 Tsumura served as the Ontario Karate coach at the
2nd National Canadian Black Belt Championships in Moncton, New Brunswick. In
1976, disillusioned by the political atmosphere, he withdrew his Shito - Ryu - Itosu -
Kai Karate and Kobudo Association from the Ontario Karate Members Association
and the National Karate Association. Always remaining faithful to Itosu Karatedo -
Japanese Kai and to the style of Grandmaster Sakagami, Kei Tsumura was promoted
to 6th Dan Shihan Itosu - Kai Karatedo in 1979 Shihan Tsumura is the only Official
representative of the present Itosu Karatedo - Japanese Kai in Canada.
 History of Karate-do style
“Shito-ryu”
ShitoRyu is one of the four major styles of karate-do in Japan, created by
master Kenwa Mabuni. Its origin dates back to the 18th century, in the
archipelago known as Ryukyu. Located in northwest Japan.

On Okinawa, the largest island, there was an indigenous martial art form
that was practiced in secret called TE (literally means: HANDS). The
geographical location allowed Okinawa to be influenced by an open cultural
exchange with Asia, especially with China. During this era, the secret method
called TE was combined with various fighting styles belonging to Chinese
Martial Arts to evolve into a system called simply: To-De, which meant
Chinese-Hand.

The three main areas that stood out in the To-De practice were:

• SHURI, the ancient capital city of Okinawa where the king and noble
families lived.
• NAHA, a port town, city of business, exchanges and commercial
enterprises.
• TOMARI, a town of farmers and fishermen.

Each of these cities had developed a unique style of To-De.

In Tomari, two great masters became great figures in the development of

Tomari-Te. They were, Kokan Oyadomari (1830-1905), who taught Chotoku
Kyan (1870-1945) and Kosaku Matsumora (1797-1898), later teacher of
Yasutsune "Anko" Itosu (1830-1915). Yasutsune Ankoh Itosu was the teacher
of Funakoshi Gichin, founder of Shoto Kan Ryu and Kenwa Mabuni.

In Naha, the most famous teacher who developed Naha Te was Kanryo
Higashionna (Higaonna, 1835-1915). He received instruction from Chinese
kung-fu masters from the province of Fukien. Later he was the teacher of
Seichin Arakaki (1840-1918). He also instructed Chojun Miyagi (1888-1953),
founder of Goyu Ryu; and Kenwa Mabuni (1889-1915) founder of the Shito
Ryu style.

In Shuri, the main teacher of Shuri Te, was Sakugawa (1733-1815), he was
known by his nickname To De Sakugawa. It is believed that he received
instruction from the master Peichin Takahara and from a Chinese Military
Attaché known as Kushan Ku who was an expert in the art of Chinese boxing
and lived in Okinawa around the year 1761. Sakugawa's most prominent
student was Sokon Matsumura (1809-1894) who was also the teacher of
Yasutsune 'Ankoh' Itosu.
 Tomari-Te was absorbed by Shuri-Te and Naha-Te. They were eventually
called SHORIN RYU and SHOREI RYU respectively.

In Shito-ryu we work in two ways: SHURI (fast) and NAHA (strong). The
positions are natural and of normal height (not too low, nor too high). Defenses
are usually in positions a little lower than attacks as can be seen in their kata.
Open hand techniques, especially in defense, are widely used (influence of
Naha Te), and their route is circular. Fist techniques are used in attacks and
counterattacks, being short and very fast (influence of Shurite and Tomari
Te).

Katas and their origins

Mabuni Naha-te Shuri-te Tomato-tea Other
• •
Juroku Gekiha-Shodan
• • haffa • Matsumora-Bassai
•Miyojo • Gekiha-Nidan
Ananko • Ninseishi • Matsumora - Rohai
• • • Bassai Dai • Nipaipo • Wankan
Aoyagi Gekiha-
Sandan • • Papporen • Rohai (Koshiki)
•
Bassai Sho
• Sochin • Ishimine - Bassai
• •
Gekisai dai Ichi Chinto
• Tomari No Rohai • Annanko
•
Gekisai dai Ni
• Chintei • •
Tomari No Passai Shinpa
•
Kurununfa
• • Unsu • Tomari - Bassai
•
Kaku-Ha Goyushiho
• • Roppohijate
•
Saifa • Jion
Wankan
• Seiru
•
sanchin
• Jitte • Shihosanshiki Ichi
•
Sanseru
• • Shihosanshiki Ni
•
Seisan Jiin • Shihosanshiki San
•
Seienchin
Sepai
• Kosukun Dai • Chantayara
• Sesan • Kosukun Sho kosokun
•
• Shinsei • Naifanchin Shodan
Tomari No Wansu
• Shi-soochin
•
• Suparinpei
Naifanchin Nidan
• Tensho • Naifanchin Sandan
• Pinan Shodan
• Pinan Nidan
• Pinan Sandan
• Pinan Yondan
• Pinan Godan
• Rohai Shodan
• Rohai Nidan
 Breeding of the Kata in Okinawd

Kata are exercises based on real combat where a highly perfected

development of defense, attack, position and movement techniques is imposed
that have the objective of transmitting the original principles of the different
martial arts. In karate-do these exercises are performed individually. ,
depicting combat against various imaginary enemies and following an
established technical codification. However, all this does not fully illustrate
the spirit of the kata. This represents martial techniques applied within a
precisely established tactic, the management of an appropriate rhythm, the
application of tensions and relaxation, waiting times and others of action and
fundamentally concentration, zanshin which can be translated as "presence of
spirit". Kata represents the search for perfection using body and spirit
harmoniously, it is the cultural heritage bequeathed by the great masters, it is
the essence of karate-do. For this reason, its practice and its analysis or bunkai goes beyond being a
development of highly perfected techniques, but rather allows a deep understanding of the art of karate-do
and its spirit.

Kata requires many years of practice with a spirit of study that will gradually allow you to penetrate the true
spirit of karate-do. The practice and study of bunkai, that is, the analysis of each action represented in the
kata allows us to interpret in depth the essence of the different kata. Without bunkai the kata is meaningless.

The tradition of the different kata was transmitted orally and practically from master to disciple. For this
reason, trying to make a historical development of these practices is extremely difficult given that there are
few written antecedents. Each kata has a name that represents its idea or remembers its origin. It cannot be
said when the first kata began to be developed, nor who their creators were. The ancient kata that are
practiced in current karate originate from China and Okinawa, but it is difficult to know exactly what they
were originally like since being transmitted by generations of teachers and students, the different kata
underwent continuous modifications. It is easy to see how the same kata changes many of its techniques
from one school to another and can even change its name. Many kata were introduced to the island of
Okinawa by people who had practiced martial arts in China for years. Back on the island, these techniques
were transmitted and combined with a primitive form of karate called Okinawa-Te. As an example of this,
history allows us to cite Chatan Yara , Sokon "Bushi" Matsumura , Hanryo Higahonna and Kambun Uechi ,
among others.

Other kata came to Okinawa thanks to the commercial and cultural exchange between China and
Okinawa. Especially in military embassies, there were people who were proficient in martial arts. For
example, Kung Hsiang Chun was a Chinese military attaché; the Okinawans pronounced his name
Kushanku. Experts such as Shiroma and Oyodomari are said to have learned from a shipwrecked man from
the island of Fukien. Some forms could have been introduced with Chinese immigrants who settled in
Okinawa, as in the cases of the year 1392 when families who came from the Chinese province of Fukien
settled. They settled in Kumemura, Okinawa. All this allows us to have a vision of the varied origins of
karate-do and, consequently, kata. By the 19th century, Okinawan karate or rather Okinawa-Te had basically
evolved in three points on the island: Naha, Shuri and Tomari. These towns are close to each other and
Tomari and Shuri are currently neighborhoods of Naha. Naha-Te originated in the commercial city of Naha.
In Shuri, a feudal city, the Shuri-Te style was developed, which later gave rise to the current Shorin Ryu. In
Tomari, which was a refuge for ships coming from China, the Tomari-Te was created. This allows us to
define three lines of kata. However, it is notable how many kata originating from one line are also practiced
in others, almost always with some variations. It is also interesting to note that Shuri-te and Tomari-te were
so similar that their differences were gradually lost. Naha-te, also called Shorei-Ryu, is technically linked to
southern Chinese styles. The influence of the Tang-Lang styles or mantis style and Wing Chun can be seen
in their stable, strong postures and the use of low kicks. Shuri-Te or Shorin-Ryu with more natural breathing
techniques, with more kicks and dodges, is technically more related to northern Chinese styles.

The kata that were developed in Naha were generally brought from China by master Hanryo Higaonna ,
and were later perfected by master Chojun Miyagui , founder of the Goju Ryu school. These kata are
Sanchin, Saifa, Seiyunchin, Shisochin, Sanseru, Sepai, Kururunfa, Sesan, Suparunpei (also called Peichurin)
and Tensho. Of all these kata, the most representative of the Naha line is Sanchin. In it, you can see a
powerful breathing technique. In addition, it is a kata also practiced in other schools. The Tensho kata would
have been created by the master Chojun Miyagui. With similar characteristics to the previous line is the
Uechi Ryu school, created by Kambun Uechi . In his teachings Kambun Uechi used the kata Sanchin, Seisan
and Sanseryu. The Seisan kata is a kata that is practiced in many of the Okinawan styles, in which the
combination of slow, contracted, strong actions and high-power explosive movements are observed. His
abdominal breathing technique is characteristic. Then Kambun Uechi's son, Kanei Uechi, introduced
intermediate kata, raising the currently practiced kata to eight: Sanchin, Kanshiwa, Kanshu, Sechin, Seisan,
Seiryu, Kanchin and Sanseryu. Of all the styles of karate-do originating in Okinawa, Uechi Ryu is the one
that remained most faithful to its Chinese origins, which is why it is said to be the most Chinese of the karate
styles.

Ananku, Wankan, Wanshu and Rojai are kata originating from Tomari-Te. Wankan is considered a very
representative kata of the Tomari line. It is said that Wanshu was the name of a Chinese ambassador
knowledgeable about kempo who traveled to Okinawa in 1683. There are two Wanshu kata, Tomari no
Wanshu and Itosu no Wanshu.

The kata developed in Shuri-Te are Naihanchi, Piñan, Kushanku, Passai, Chinto, Goyushijo, and Jion.

Naihanchi is a very old kata. Currently it is practiced with the modifications made by the teacher Anko
Itosu . There are three Naihanchi kata: Shodan, Nidan and Sandan. There are those who maintain that Master
Itosu is the author of the Naihanchi Nidan and Sandan. Naihanchi are also practiced by other styles. They are
kata of great power where feet, legs and spine are fundamentally trained with the intention of achieving a
good position. Another of its characteristics is that it does not have turns in its movements.

Piñan means "peaceful mind." They are five kata created by master Anko Itosu in 1907 to serve as
exercises for learning karate-do in higher schools. His techniques were extracted from the Kushanku and
Passai kata. The kata of the Piñan line are another example of exercises widely practiced by other Karate-Do
lines.

Kushanku is named after its creator who introduced it to Shuri in 1761. It is said that his techniques were
adapted and perfected by a karateka named Makabe Chokun. There are two versions: Kushanku Sho and
Kushanku Dai. Sho and Dai mean "small" and "big", although this should not be interpreted as reflecting the
length of the kata or the number of movements, but rather as "first" and "second". In addition to these two
Kushanku, there are around seven variations developed by other masters that are obviously modifications of
the Kushanku Sho and Dai, for example Uehara no Kushanku, Chatanyara no Kushanku, Kuniyoshi no
Kushanku, Machibata no Kushanku. Chatanyara no Kushanku is very old although it does not belong to the
pure line of Shuri-Te.

Passai means "Surround the fortress" or "Breach through the fortress". His most characteristic technique
is the Kaguite uke, which is a hook-shaped block with the open hand. As in Kushanku there are two versions,
Passai Sho and Passai Dai. In addition, there are other Passai kata such as, for example, Oyodomari no
Passai.

The Chinto kata was named after a Chinese martial artist, who introduced these techniques to Okinawa. In
this kata, typically Chinese positions can be seen such as Seguashi dachi or crane position, which shows a
technique with one leg bent and the other raised with the instep behind the knee of the supporting leg. It is
also notable for its use of Nidan geri or double kick in the air and for its three hundred and sixty degree
spins. There are other versions of the Chinto kata, including Shuri Chinto and Kyan no Chinto.

Goyushijo means "Fifty-four steps." Formerly it was called Useishi. It is characterized by the use of low
positions, rapid lateral movements and by its variety of blocks with open hands.

Jion is named after Jion-Ji, an ancient Buddhist temple whose meaning is "Thanks to the love of nature."
At the beginning of this kata you see the hands in front of the face, the right fist closed and the left hand
wrapped around it. This is a vestige of Chinese influence as formal Chinese exercises begin in this position.

When we carefully study the different kata we find the origin, tradition, evolution and experience of
centuries in each style of karate-do. This is important for all those practitioners who wish to deeply
understand their martial art.
 There is an ancient history of Okinawan karate. While the island was still an independent territory, a
martial artist arrived there from the island of Oshima, located near Okinawa. This exponent was called
Oshima Kuro, and the objective of his visit was to test his skill in martial arts with the Okinawan experts.
Oshima Kuro easily defeated the first locals who faced him. Given these events, the King thought that these
defeats could bring disgrace to the island. After meditating on the matter, he sent for the famous teacher
Satunuku Sakugawa . At that time Sakugawa had three notable disciples, Satunuku Okuda, Makabe Chokun
and Matsumoto. Satunuku Okuda was a famous specialist in Tsuki, the karate punch. Known as the "iron
fist", his Tsuki was said to be the most powerful in all of Okinawa. Makabe Chokun was characterized by
techniques so surprisingly agile that it was said that he could kick the roof of his house and so fast that locals
claimed that his movements were faster than the wings of a bird in flight, hence his nickname "Birdman." ".
Matsumoto did not possess the speed and agility of Makabe Chokun, although he was not rough in his
movements, nor did he have the notable power of Satunuku Okuda, but his techniques were not lacking in it.
He did not stand out for any specialty, however, he exhibited great mastery of all techniques in general.
When Oshima Kuro and Satunuku Okuda faced each other, the Oshima native observed his opponent and
quickly interpreted the former's specialty, being able to counter it and defeating him. Makabe Chokun
suffered the same fate; Oshima Kuro immediately perceived the Okinawan's fast and agile techniques so he
was able to set up an appropriate tactic and beat him. On the other hand, when he faced Matsumoto, he found
himself with an opponent who showed great mastery of all techniques and, unable to find a specialty that
would limit him, he was unable to defeat him. Oshima Kuro returned to his island defeated. Master Satunuku
Sakugawa would later declare that both Makabe Chokun and Satunuku Okuda, unlike Matsumoto, were
victims of their great technical specialties that restricted them tactically. Matsumoto was the one who
received the Menkyo Kaiden, Certificate of Mastery of the Art, from Sakugawa. Although this is a story
about which important details are unknown, it serves to illustrate the basic idea of the spirit of kata, its
practice, development and bunkai. Then, study the transfer of its content to combat (kumite). When learning
the kata, the student dedicates himself to perfecting each of the techniques that make up each of them and
will always wonder what the meaning of each of these is. The purpose of kata is to bring each of its actions
to kumite, that is, to achieve the application of these techniques in combat. The student is taught a form of
analysis, that is, that for a certain combination of techniques there is a certain use in defense and
counterattack. Then the student will be encouraged to develop a sense of analysis and also study and develop
their own applications. Many of the techniques contained in the kata are impossible to be applied in a
"textual" form. It is there that the study and analysis of these, under the guidance of the teacher or a qualified
instructor, will reveal the practical way to apply them correctly. Kata must be studied and practiced carefully
to gain an understanding of their applications. One of the basic conditions in the practice of kata is that it be
done with the same spirit that is possessed in kumite; Taking this into account, it is necessary to keep in
mind the parameters on which this practice is carried out, such as distance, speed, power, reaction, attack and
defense time, presence of mind and the correct application of each technique. . There is a big difference
between kumite and an analysis or bunkai of a kata technique. Only with persevering and well-guided
practice will this distance decrease little by little. Furthermore, it is in this search where the great processes
of learning and growth occur. By extracting techniques from the bunkai and combining them with the basic
techniques, the student will be able to arm himself with an appreciable number of combat techniques.
Knowing various kata and being able to extract their applications and use them in combat is a very big task
and its achievement is very difficult. . Each kata has an identity that differentiates it from others. For
example, the technical and tactical approach proposed by Naihanchi is different from that of Passai. All their
content changes according to how they were conceived and developed, or based on the combat philosophy
and physical qualities of their creators. It is necessary, then, not to practice kata as a simple choreography but
rather to interpret each technique, each pause, and the spirit that it should have. You must practice seeking
perfection in what you are doing, aware that this search will last a lifetime.
hawad kwgd wad kwad kawed awad kwgd kwd kwad kawed
f » 47% 77 f V 47% 47% 77 f V
SHITO RYU KATAS

ITOSU
(Shuri-Te)

PINAN (HEIAN) SHODAN, NIDAN, SANDAN,

YONDAN AND GODAN

NAIFANCHIN SHODAN, NIDAN AND SANDAN

ROHAI SHODAN, NIDAN AND SANDAN

BASSAI DAI AND BASSAI SHO

KOSOKUN DAI AND KOSOKUN SHO

SHIHO KOSOKUN

JITTE

JION

JIIN

CHINTEI

CHINTO

WANSHU

GOJUSHIHO

USHEISI

HIGAONNA
(Naha-Te)
SANCHIN

TEISHO

GEKISAI DAI ICHI AND GEKISAI DAI NI

SAIFA
 SEIENCHIN

SEISAN

SEIPAI

SHISOCHIN

SANSERIU

KURURUNFA

SUPARINPEI

MABUNI
JYUROKU

AOYAGI

MYOJO

MATSUKAZE

SHINSEI

ARAGAKI
NISEISHI

SOCHIN

UNSHU

OTHER TEACHERS
MATSUMORA NOT BASSAI AND MATSUMORA NOT
ROHAI

WANKAN (MATSUKAZE)

ROHAI (KOSHIKI)

ISHIMINE NO BASSAI ANNANKO (ANANKU)

SHINPA

SEIRU (JUROKU)

HAKUCHO (HAFFA )

TOMARI BASSAI

ROPPOHIJATE
SHIHOSANSHIKI ICHI , SHIHOSANSHIKI NI AND
SHIHOSANSHIKI SAN

CHATANYARA NO KOSOKUN

CHINESE TEACHERS
(Crane Method)
NIPAIPO

PAIPOREN

HAFFA

PACHYU

HEIKU

PAIKU
 Technique in SHITO-RYU
From a technical point of view, this style is based on the two currents from Okinawa, they are:

NAHA-TE , from the master Higaonna ( Shorei-Ryu ), from which concentrated strength
and stable positions come.

SHURI-TE , from master Itosu ( Shorin-Ryu ), we inherit speed and rectilinear techniques ,
with natural positions .

• We practice NAHA -TE , SHURI-TE and also TOMARI-TE Katas , which share the
characteristics of both styles, although currently, differences between these last two currents
are not considered.

• The positions are natural , neither too low nor too high, with little difference between
training and real application.

• In attacks, higher positions are used than in defenses , the most characteristic being:

• Kokutsu Dachi ,

• Dachi Motorcycle ,

• Neko Ashi Dachi ,

• Sanchin Dachi ,

• Shiko Dachi and

• Zenkutsu Dachi .

• The various positions are used in all directions coordinating body and hip simultaneously
with the techniques.

• A lot of work must be done in pairs of Kumite applications with full control of the
opponent throughout the technical process and with a development based on harmony and
continuity of movement.

• Defenses typically have a 45º exit using short-range open hand techniques. These are
grouped into five fundamental concepts ( UKE NO GOGENSOK ):

• Rakka : (Strong block). A parry must be applied with such force that it not only stops the
opponent's attack, but also defeats him. It's about turning a stop into a real attack.

hgwed hgwed hamad kumad tawed tgwed hgwed kamad humad tawed
f » 47% 77 f V 47% 47% 77 f V
• Oi Tsuki < Soto Uke.

• Kushin : (Spring movement). Control the attack with flexion and extension movements of the
body, using the knees to get out of range and then penetrate by counterattacking.

• Oi Tsuki < Kakete + Neko Ashi Dachi.

• Ryu-Su : (Soft Block). Deflect the attack without resistance and in the same direction.

• Oi Tsuki < Nagashi Uke.

• Ten- : (Footwork). Avoid the attack by changing position, dodging or moving out of the
opponent's reach.

• Hangek : (Defense as attack). Counterattack before the opponent's attack can end.

• Oi Tsuki < Tsuki Uke

• We apply classic defenses in addition to:

• Gyaku-Waza : Control of the opponent.

• Kansetsu-Waza : Dislocations.

• Katame-Waza : Immobilizations.

• Nage-Waza : Projections and Sweeps

• Shime-Waza : Chokes.

• Advancing attacks are generally rectilinear and punching techniques are performed
at high speed.

• Leg work is mainly done at Chudan (medium) and Gedan (low) levels , although in
training yodan (high) and even jumping are performed.

• The study and practice of Kobudo (traditional Japanese weapons) is also a

complementary characteristic of the Style. It is based on the assumption that if you
know how to use them, it is easier to defend yourself against them.