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Sensei Terry Mather 6th Dan
I respectfully dedicate this Kata page to
Sensei Terry Mather 6th Dan who sadly passed away
26/12/2002
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Shotokan kata`s
Heian Shodan / Heian Nidan / Heian Sandan
Heian Yondan / Heian Godan
Peace or tranquility (literally "Great Peace", sometimes translated as "Calm Mind" or "Peaceful Mind")
Heian Shodan
This is now the first proper Kata in the Shotokan syllabus, in which training is given in basic and essential techniques: the stances Zenkutsu-Dachi and Kokutsu-Dachi, the blocks Gedan-Barai, Age-Uke and Shuto Uke. The Kata contains 21 movements, and takes approximately 40 seconds to perform. It should not be rushed. Pay attention to the rhythm of the movements.
Heian Nidan
This second training Kata gives further practice in the difficult back stance Kokutsu-Dachi, rapid execution of consecutive techniques in one stance, simultaneous blocking and kicking while balanced on one leg etc., to a more complex rhythm than the first Kata.
It introduces many new techniques such as: Mae-Geri and Yoko-Geri, Haiwan-Jodan-Uke, Uraken-Uchi and Shihon-Nukite.
Containing 26 movements, this Kata should take approximately 50-60 seconds to perform.
Heian Sandan
This Kata introduces one of the most difficult stances to master, Kiba-Dachi, and continues training in multiple techniques from one stance. It gives practice in defending with the feet and elbows if the arms are restrained, and a response to an attack from the rear.
There are 20 movements in this Kata, which should take approximately 40 seconds to perform.
Heian Yondan
Here the Kata more obviously begins to assume the characteristics of the traditional Kata from which it was drawn. It gives the practice in the varieties of rhythm inherent in Karate, the slow increase in tension on the one hand and the explosive release of powerfull techniques on the other. Some of the more dangerous techniques of the traditional Kata are re-introduced, Hiza-Geri to the opponent`s face for example.
Comprising 27 movements, this Kata should take approximately 50 seconds to perform.
Heian Godan
The final Kata in the training Kata series, as would be expected, gives practice in a variety of advanced techniques including successive upper and lower blocks Gedan-Juji-Uke, Jodan-Haishu-Juji-Uke, and Chudan-Osae-Uke, plus distinct changes of height and rhythm.
A bold spirited Kata exemplifying the Shotokan spirit.
Containing 23 movements, the Kata should take about 45-50 seconds to perform
Tekki Shodan / Tekki Nidan / Tekki Sandan
Iron Horse (inner step/Rooted to the ground)
Tekki Shodan
Ankoh (Yatsutsume) Itosu, an Okinawan Karate master, revised and adapted older Kata. Himself a student of the legendary Sokon Matsumura, Itosu was the great formulator and developer of Kata, and according to Funokoshi it was from master Itosu that he learned the Heian and three Tekki Kata amongst others.
He speacialised in the Tekki Kata and made Funokoshi spend three years learning each, admonishing that they were at once the easiest to learn but also the most difficult to learn.
The original name Naihanchi was changed to Tekki by Funokoshi and although Tekki Shodan is an old Shuri-te Kata, Nidan and Sandan were created by Itosu as strengthening and training Kata, basing them upon the original but eliminating the dangerous techniques.
Originally performed in Naihanchi-Dachi and Hachi-ji-Dachi, they are now all performed in Kiba-Dachi.
One of the most difficult techniques to perform correctly in Tekki Shodan is Nami-Gaeshi the `Returning wave` deflection. Many students incorrectly slap the instep against the inside of the thigh.
The foot should travel to the front of the thigh to block or deflect a kicking attack.
The Tekki Kata should be practised assideously in order to promote flexibility and lower body strength.
Tekki Nidan
This Kata symbolizes the action of fighting on horseback against opponents in the battlefield.
Tekki Sandan
In theory this is identical to Tekki Nidan.
Bassai Dai
To penetrate(Storm) a fortress (Major Version)
A strong, powerful Kata, and one of the earliest, also called Passai.
The techniques contained are not vastly more difficult than those already mastered in the Heian Kata, but implying the concept of strength and will strong enough to storm a fortress, this Kata exemplifies the idea of changing disadvantage - an initial attack - into advantage by strong and courageous response.
Although a Kata containing many vigorous elements, it is from the Shorin-Ryu, and therefore the feeling of the Kata should be of precise, fast execution of technique, with due attention given to the appropriate balance between speed and power.
Kanku Dai (Kushanku)
Veiwing the sky (Major Version) (Okinawan name is name in Chinese of the creator
This Kata was one favoured by Master Funokoshi, who often used it to demonstrate the `new` art of Karate, stating that it contained all of the art`s essential elements.
A Chinese envoy Koshokun (Kong Su Kung) who was an expert in Kendo introduced the Kata Kushanku to Okinawa, teaching the original form to a local expert in the Shuri-te style, Tode Sakugawa, and from that stems the current Shotokan versions of Kanku-Dai and Kanku-Sho. Known also as Kwanku, the Japanese means `To look at the sky`, referring to the opening movement where the open hands come together with the fingers of the right placed onto the back of the left, with the thumbs touching. The hands are then slowly raised above the head, break apart, and in a circular movement are lowered to come together again in front of the body. As the hands are raised the gaze is directed through the triangular gap formed between the hands.
There is a double significance to this opening movement. On the practical level it can be interpreted as a double rising block and groin defence, on the philosophical level it signifies the concept of form becoming emptiness and emptiness becoming form, `Siki soke ze ku, ku soku ze shiki` an important concept in understanding proper practice. The act of directing full attention through the small triangular space concentrates and focuses the mind, the trivial and unimportant are ignored, demanding that one`s whole being is centered on a true perception of reality and calm recognition of what is required to interact properly with this.
Hangetsu (Seisan)
Half Moon (Thirteen)
Originally called Seishan, this Kata is now known as Hangetsu (half moon) because of the crescent-shape movements of the feet and the semi-circular hand techniques. This Kata originated in the Naha-te system, and is characterised with fast, sharp counter-attacks.
The early genesis of the Kata is demonstrated by its emphasis on pragmatic applications of close range self-defence techniques, with the sliding foot movements being used to close the gap with an opponent and destroy his balance and stability, and thus the strength of his attack.
Gankaku (Chinto)
Crane on a rock
The two characters with which this name is written, are the Chinese ideograms for a rock, and the bird known as the crane. Combined, they allude to the crane, standing in it`s characteristic, one legged stance from which comes the name Gankaku. Imagine this beautiful and seemingly harmless bird, on a high crag, and standing on one leg, confronting his enemy and preventing his attack by projecting an aura of immense superiority. Imagine also as he concentrates all his power into his legs, wings and beak, in preperation for his own attack. Consider what a fierce adversary even a beautiful and harmless bird can be when confronted by an enemy. This is what the originator of this unique Kata wanted us to feel when we perform Gankaku.
Empi (Wansu)
Flying Swallow
An early Kata, formerly known as Wanshu, the form we have today owes much to the revisions made by Yasutsune Itosu. The name was changed by master Funokoshi following his introduction of Karate into the Japanese martial arts ethos. He chose the name Empi (also sometimes written as Enpi due to the idiosyncratic nature of Japanese pronunciation) as being descriptive of the erratic flight of a swallow, reflecting the up-and-down, forward and back, pattern of moves within the Kata.
This Kata is also unusual in that it contains feinting techniques, inviting an opponent to attack supposed weaknesses in defence.
Jion
Named after the Jion-ji temple
It is thought possible that this Kata was developed either in the Chinese Buddhist temple called Jion or by someone associated with the temple, where it is known that the practise of martial arts was encouraged.
Of the 15 Kata which Funokoshi Gichin selected as the basis of his Shotokan Karate, and published in Karate-Do Kyohan, only Jion and Jitte (10 hands) have kept their original names.
A version of this Kata is also practised in Wado-Ryu.
In keeping with its Buddhist connotations, this Kata should be performed calmly, precisely and strongly, taking approximately one minute.
A useful Kata in the practise of defense against both armed and unarmed opponents, demanding precisely-aimed and focused blocks and counters.
Jitte
Ten Hands
Another Kata from Tomari. This Kata of intermediate level with only 27 movements in Shotokan is practiced for the defence against the Bo and includes interesting ways of twisting the wrists. Called Jitte (Ten Hands) implying that if mastered one could face ten adversaries. Others claim that the Yama-Uke remind the shape of a Jitte.
This Kata includes many powerful techniques and Gyaku-Waza from Okinawa against the Bo and very effective little "secret techniques." Several techniques are performed with the hands open, blockings in Kosa-Dachi and there is no Keri.
Different interpretations exist among masters because other styles have no defence against the Bo.
Bassai Sho
To penetrate (storm) a fortress (minor version)
By the powerful, energetic and determined execution of this Kata, the performer demonstrates his total physical and spritual commitment in storming the castle of his enemy, and capturing him. The impression created by the performance of the Kata must be one of such dynamic power, spiritual strength and unshakeable resolve, that the fall of the castle becomes inevitable, and further resistence useless. Bassai Sho contains many offensive and defensive techniques, and is especially effective in teaching defence against a staff or similar weapon.
Kanku Sho
Viewing the sky (minor version)
As with the similar Kanku Dai, this Kata contains many varied techniques and movements, the most characteristic of which are the smoothly changing turns. From the performance of this Kata, aim to aquire the skills of stretching and contracting the body, control of speed to produce fast and slow techniques, production and dissipation of power, and the ability to jump, land, spring up and turn. Kanku Sho can be clearly differentiated from the related Kanku Dai Kata by the amount of `Chudan` (chest area techniques) it contains, compared to the `Jodan` (upper level) techniques of the latter.
Nijushiho
24 Steps/techniques
This Kata is an expression of the nature of cuurents in a stream or river. Sometimes the slow, majestic movement of the water is depicted, sometimes the strong swift currents; the flowing water, encountering various obstacles, displays its tremendous power, moving fast, then slow, increasing and relaxing the force it produces.
Ji`in
Named after the Jion-jin temple/The Truth
As with the similar Jion Kata, this excercise takes its name from the Jion temple in ancient China (Jion-Ji) where, it is believed, the oriental martial arts as we know them, were born. Much practice is neccassery if the forward movements and turns, which must be performed smoothly and gently, but with great strength and spirit, are to be mastered. The timing of the turning movements must also be studied closely.
Meikyo (Rohai)
Mirror of the soul/Clear mirror
(Sheild of the egret/Sign of the Heron)
There is a technique in Karate called Sankaku-Tobi (triangular jump) sopposedly secret and spiritual. It is very similar to the horizontal Sanku-Tobi performed at the end of this Kata, moreover, the name of Meikyo in Shotokan was given by Sensei Funokoshi. Previously called Rohai in other Ryu and divided into three: Shodan, Nidan and Sandan it is characterized by Sagi-Ashi-Dachi. There is one Meikyo, that particular stance is not used and contrarily to Rohai, there is an "Uke" against the "Bo." Both though, have a similarity: The kata begins with Koshi-Gamae in Kiba-Dachi then both hands are opened to the front, thus indicating the same style. If Meikyo and Rohai is the same Kata, a thorough study in the future should determine to which group it belongs.
There are many techniques of fighting at a close distance Uke in Zenkutsu-Dachi, Mikazuki-Geri, Gedan-Barai and Suigetsu-Gedan-Zuki and throwing the opponent with Makikomi-Hidari-Ashi-Barai by grabbing the wrist.
Sochin
Named after the stance/Preserve Peace
This Kata takes its name from the `Sochin-Dachi` stance that is its most prominent feature. Involving much subtle tightning of the muscles, which must be performed in a calm and gradual fashion, movement when made must alternate between the tense and the explosive. The resultant combination of these factors gives this Kata great depth and feeling. When performing Sochin, it is imperative that you do not raise or arch the soles of your feet, but grip the floor as firmly as possible, with the knees pushed strongly in the same direction as the toes.
Chinte
Incredible Hands
We do not know why master Funokoshi named it Shoin.
The main features are the numerous circular techniques and the extensive use of the shoulders, techniques with open hands (uncommon techniques) Nihon-Nukite to the eyes, Nakadaka-Ippon-Ken, Teisho, Shuto and only one Keri.
A Kata of self defence at close distance, it is extensively practised by women because it includes very effective techniques not requiring much power.
It is a spectacular Kata with wide circular movements and dynamic techniques.
Originally from China, it is practiced in Shito-Ryu and Shotokan.
Wankan (Okan)
Crown of a King
Also known as Shiofu and Hito, it is very representative of Tomari-Te.
The speed of the throwing technique after dodging an attack unabling the opponent to react and giving him the impression of a secret technique in Karate-Do has a particular significance.
Wankan belongs to the group of Matsumors and was adopted by Shotokan and Shito-Ryu styles. A great difference exists between both versions.
In Shotokan, the distinct features are the numerous attacks aimed at the joints, Hasami-Uke with both hands and lifting the knee simultaneously, Jodan-Soto-Uke, Tettsui-Uchi and blocking Keri with Koko-Uke to the knee.
Ending with Yama-Zuki in Sochin-Dachi, the hips very low, this Kata, the shortest in Shotokan is also very difficult to perform.
Unsu
Defence of a cloud
Probably it is very ancient Kata of uncertain origin adopted by Shotokan and Shito-Ryu styles. In some ways it resembles to Niseshi (Nijoshiho) possibly belonging to Nigaki style.
Master Funakoshi Gichin in his book `Karate Do Ichiro (The way of Karate Do) changed the names of the Kata, but Unsu was not mentioned.
Moreover in 1922, Funakoshi published the book "Ryuku Kenpo Karate. The following Kata were included: Heian 1-5. Naihanchi 1-3, Bassai-Dai and Sho, Kushanku-Dai and Sho, Gojushiho, Seishan, Chinto, Chinte, Ji`in, Jitte, Jion, Wanshu, Wandau, Rohai, Jumu, Wando, Sochin, Niseshi, Sanseryu, Suparinpei, Wankuwan, Kokan and Unsu among others appeared for the first time.
The movement called the hands of the cloud (Unsu) appears twice in this Kata and is used to sweep away the hands of the opponent after Hasami-Uke, or blocking with Tate-Shuto, attacks from both sides.
Hands (Te or Shu) also implies technique or ability.
The movement of the hands when they join are similar to the clouds in a storm culminating in a thunder when they meet.
It is a Kata for higher Dan. Advanced techniques like Mawashi-Geri from a lying position are repeated and there is also Mikazuki-Geri to the front and Ushiro-Geri after a jump of 360 degrees, Ippon-Nukite, Keito-Uke, etc...
Gojushiho Dai
54 Steps/techniques (Major version)
The outstanding features of this Kata are the three consecutive Chudan (middle-section) attacks using Hitosashi-Yubi-Ippon-Nukite (one finger spear hand with the index finger) arising from Keito-Uke (chicken-head wrist block) and performed in Neko-Ashi-Dachi (cat stance). The Kata conveys the idea of a bird attacking its enemy with its sharp beak.
Gojushiho Sho
54 Steps/techniques (Minor version)
Characteristic of this Kata are the three consecutive Chudan (middle-section) attacks consisting of Shihon-Nukite (four-finger spear hand). These attacks arise from Chudan-Tate-Shuto-Uke (vertical knife-hand block) pressing down with Haisho-Uke (back-hand block) against a body attack. Like Gojushiho Dai it expresses the movements of a bird attacking an enemy with its beak, wings and claws.
