Principles of Kata
Kata are a collection of movements designed to give the karateka (practitioner of the art) a series of techniques that can be practiced over time and remembered through repetition. When performed effectively, a kata looks somewhat like a choreographed dance. In fact, some have referred to it as the “dance of death” due to the true interpretation and application of its movements. Kata synchronizes devastating martial techniques into a fluid pattern of mind and body expression. It is the essence of traditional karate. It is the foundation of the art.
Some karate instructors have eliminated kata from their requirements or practice. Others have included only modified contemporary forms of competition kata. These instructors assert that kata adds little or no value to karate but they can not deny the fact that kata practice develops coordination, strength, speed, balance, and can be a good aerobic exercise. There are several elements of proper kata development, practice, and performance that serious karateka should adhere to. These concepts are discussed below.
Breathing
Breathing is something that we all do everyday and most of us take it for granted. However, the way that we breathe is important and has direct consequences for the way we feel and our ability to perform physically and mentally. When done correctly, it benefits our health and can optimize our preparation to do battle (fight or flight). Believe it or not, there is a correct way to breath. More precisely there are more and less efficient ways of breathing. The most efficient method, reflected among the animal kingdom (and humans at birth) is described below. Serious practitioners of any martial art know that breathing and breath control are one of the most important yet basic of skills. Anyone that has faced off in a combat situation (be it in the corporate world, the dojo, or the street) knows that monitoring and managing your respiration is the key to managing your emotional, physical, and psychological responsiveness to the situation.
Inhalation typically should occur through the nose when preparing to execute any technique or during a transitional movement from one stance to the next. Exhalation typically should occur through the mouth when the technique is executed. All breathing should use the abdomen (diaphragm) and not the upper body. Avoid chest or shallow breathing as this does not optimize your lung capacity as diaphragmatic breathing. Upon inhaling, the abdomen should expand, as if trying to "push" the stomach out, and when exhaling, the abdomen should contract, as if to "suck" the stomach in. An essential part of breath control is the use of the kiai (spirit joining) when executing atemi waza (destructive technique). The proper kiai combined with the proper punch, kick, or throw can be devastating. Research data on this issue has suggested that the force of any strike can be increased by as much as 10% due to the added muscle contraction incurred by the force of exhalation during the kiai. This added force, combined with the surprise and confusion achieved by the spirited vocalization, achieve the desired effect of an unarmed combat advantage.
Balance
The importance of balance can not be stressed enough. One of the first lessons taught in any martial art should be how to stand properly. During proper kata practice the karateka should bend their knees in order to lower their center of gravity, thus creating a stronger and more stable base of which to execute their technique from. After many hours of practice, combining upper and lower body techniques a sense of balance begins to develop. Through patience and hard work balance and body control will advance. Practicing continuous flow in kata helps the student to move smoothly from one technique to another. Only after learning to maintain balance and flow in kata can grace be obtained. Movements in kata adhere to natural phrasing. As the karateka transitions from one sequence of techniques to another their phrasing (while individually stylistic) should flow fluidly together.
Focus
Remember that kata is performed by fighting imaginary opponents. When executing a technique, there is a certain order of movement: 1st-Eyes, 2nd-Feet, and 3rd-Technique. Eye contact should always be made with the opponents, real or imaginary. The karateka should always be looking in the direction dictated by the techniques being performed in the kata. Increasing one’s focus through the use of visualization (envisioning actual opponents during kata practice) helps develop kime. When practicing Kime (focusing technique) the karateka should visualize striking specific areas of their opponent’s body to enhance the precision and focus of their techniques. It is through this form of force projection that one develops the greatest energy transfer and most accurate application of technique when faced with an actual opponent.
Speed and Power
Before trying to develop these aspects of kata, the student must make sure that the technique is being properly executed. In kata training, every kick, punch, block, or throw must be done with vigorous intent. Using the visualization strategies described above will help achieve this goal. However, the karateka must also remain relaxed during kata execution; if the body is too tense ones reflexive responses will be slowed. Relaxation is a key to generating speed and speed is the most direct route to power transfer. All things being equal (in terms of weight or mass), a fist traveling at 20 mph strikes with considerably less power (and energy transfer) than one traveling at 60 mph. Another way to view this is to imagine being struck by a car moving at 20 mph. Imagine the fender-bender and jolt of the actual impact. Now imagine being struck by a car moving at 60 mph. The damage and the sensations will be really different, same car (same weight or mass) but different speeds and different impact outcomes. Karate techniques and their delivery operate under the same laws of physics that everything else does. In proper technique, one remains soft, and then becomes hard at the moment of contact. One other technique that successful karateka use is to imagine their limbs as weapons, not made of flesh and bone. For example, visualize your arms as swords and spears, your legs as staffs or iron and you will striker with precise force and energy transfer.
Bunkai or Kaiseki
Bunkai (hidden meaning) and Kaiseki (analysis of kata) add greater meaning to kata for the serious practitioner. Bunkai is the actual interpretation and application of the techniques performed in kata. In traditional kata there are no movements that are unnecessary. All movements, no matter how seemingly insignificant, may have more than one application. There is usually bunkai for the beginning, intermediate, and advanced tiers or levels of understanding. These techniques are designed to be executed as close, if not exactly, as they appear in the kata. There is not a best application, but instead, multiple forms of application that apply to different situations.
Every kata is unique and has its own character. Different stances, techniques, and strategies are learned and developed through the study and practice of kata. One of the best ways to practice kata is to imagine performing it without any mistakes. Each technique executed with crisp, clean precision. Once this “perfect” kata has been imagined, then the practitioner should try to perform the same kata.
Through diligent practice and observance of these concepts, kata performance and application will become fluid and focused, with great speed and power of execution. While the passive observer will perhaps always view kata as nothing more than an innocuous dance, and the practitioner of sport karate will go to great lengths to alter kata into an aerobatic routine with little practical advantage, the experienced traditional karateka will rest confident in the knowledge that their kata lies at the heart of their art.
Some karate instructors have eliminated kata from their requirements or practice. Others have included only modified contemporary forms of competition kata. These instructors assert that kata adds little or no value to karate but they can not deny the fact that kata practice develops coordination, strength, speed, balance, and can be a good aerobic exercise. There are several elements of proper kata development, practice, and performance that serious karateka should adhere to. These concepts are discussed below.
Breathing
Breathing is something that we all do everyday and most of us take it for granted. However, the way that we breathe is important and has direct consequences for the way we feel and our ability to perform physically and mentally. When done correctly, it benefits our health and can optimize our preparation to do battle (fight or flight). Believe it or not, there is a correct way to breath. More precisely there are more and less efficient ways of breathing. The most efficient method, reflected among the animal kingdom (and humans at birth) is described below. Serious practitioners of any martial art know that breathing and breath control are one of the most important yet basic of skills. Anyone that has faced off in a combat situation (be it in the corporate world, the dojo, or the street) knows that monitoring and managing your respiration is the key to managing your emotional, physical, and psychological responsiveness to the situation.
Inhalation typically should occur through the nose when preparing to execute any technique or during a transitional movement from one stance to the next. Exhalation typically should occur through the mouth when the technique is executed. All breathing should use the abdomen (diaphragm) and not the upper body. Avoid chest or shallow breathing as this does not optimize your lung capacity as diaphragmatic breathing. Upon inhaling, the abdomen should expand, as if trying to "push" the stomach out, and when exhaling, the abdomen should contract, as if to "suck" the stomach in. An essential part of breath control is the use of the kiai (spirit joining) when executing atemi waza (destructive technique). The proper kiai combined with the proper punch, kick, or throw can be devastating. Research data on this issue has suggested that the force of any strike can be increased by as much as 10% due to the added muscle contraction incurred by the force of exhalation during the kiai. This added force, combined with the surprise and confusion achieved by the spirited vocalization, achieve the desired effect of an unarmed combat advantage.
Balance
The importance of balance can not be stressed enough. One of the first lessons taught in any martial art should be how to stand properly. During proper kata practice the karateka should bend their knees in order to lower their center of gravity, thus creating a stronger and more stable base of which to execute their technique from. After many hours of practice, combining upper and lower body techniques a sense of balance begins to develop. Through patience and hard work balance and body control will advance. Practicing continuous flow in kata helps the student to move smoothly from one technique to another. Only after learning to maintain balance and flow in kata can grace be obtained. Movements in kata adhere to natural phrasing. As the karateka transitions from one sequence of techniques to another their phrasing (while individually stylistic) should flow fluidly together.
Focus
Remember that kata is performed by fighting imaginary opponents. When executing a technique, there is a certain order of movement: 1st-Eyes, 2nd-Feet, and 3rd-Technique. Eye contact should always be made with the opponents, real or imaginary. The karateka should always be looking in the direction dictated by the techniques being performed in the kata. Increasing one’s focus through the use of visualization (envisioning actual opponents during kata practice) helps develop kime. When practicing Kime (focusing technique) the karateka should visualize striking specific areas of their opponent’s body to enhance the precision and focus of their techniques. It is through this form of force projection that one develops the greatest energy transfer and most accurate application of technique when faced with an actual opponent.
Speed and Power
Before trying to develop these aspects of kata, the student must make sure that the technique is being properly executed. In kata training, every kick, punch, block, or throw must be done with vigorous intent. Using the visualization strategies described above will help achieve this goal. However, the karateka must also remain relaxed during kata execution; if the body is too tense ones reflexive responses will be slowed. Relaxation is a key to generating speed and speed is the most direct route to power transfer. All things being equal (in terms of weight or mass), a fist traveling at 20 mph strikes with considerably less power (and energy transfer) than one traveling at 60 mph. Another way to view this is to imagine being struck by a car moving at 20 mph. Imagine the fender-bender and jolt of the actual impact. Now imagine being struck by a car moving at 60 mph. The damage and the sensations will be really different, same car (same weight or mass) but different speeds and different impact outcomes. Karate techniques and their delivery operate under the same laws of physics that everything else does. In proper technique, one remains soft, and then becomes hard at the moment of contact. One other technique that successful karateka use is to imagine their limbs as weapons, not made of flesh and bone. For example, visualize your arms as swords and spears, your legs as staffs or iron and you will striker with precise force and energy transfer.
Bunkai or Kaiseki
Bunkai (hidden meaning) and Kaiseki (analysis of kata) add greater meaning to kata for the serious practitioner. Bunkai is the actual interpretation and application of the techniques performed in kata. In traditional kata there are no movements that are unnecessary. All movements, no matter how seemingly insignificant, may have more than one application. There is usually bunkai for the beginning, intermediate, and advanced tiers or levels of understanding. These techniques are designed to be executed as close, if not exactly, as they appear in the kata. There is not a best application, but instead, multiple forms of application that apply to different situations.
Every kata is unique and has its own character. Different stances, techniques, and strategies are learned and developed through the study and practice of kata. One of the best ways to practice kata is to imagine performing it without any mistakes. Each technique executed with crisp, clean precision. Once this “perfect” kata has been imagined, then the practitioner should try to perform the same kata.
Through diligent practice and observance of these concepts, kata performance and application will become fluid and focused, with great speed and power of execution. While the passive observer will perhaps always view kata as nothing more than an innocuous dance, and the practitioner of sport karate will go to great lengths to alter kata into an aerobatic routine with little practical advantage, the experienced traditional karateka will rest confident in the knowledge that their kata lies at the heart of their art.
Origins of Traditional Shorin Ryu Kata
Dates provided with each kata are those most commonly assigned and largely based on assumptions concerning their creator and what dates are known about their origins.
Naihanchi or Tekki Kata (Shodan, Nidan, & Sandan)
(ca. 1796; meaning “horse riding” - passed on from Bushi Matsumura)
History shows that Naihanchi kata had its origin in Chinese Shaolin Ch’uan Fa. Naihanchi kata were practiced in both Shuri Te and Tomari Te and a version of the kata can be found in the early Japanese Shorinji-Kempo. Naihanchi stresses the development of the Ki or Ch and is frequently compared to Sanshin. In earlier times these were the first kata taught to new students and the only kata taught for three to four years until they were mastered adequately to advance to the next level of kata.
Pinan or Heian Kata (Shodan, Nidan, Sandan, Yondan, & Godan)
(ca. 1903; meaning “the way of peace” – literally “great peace”)
When Anko Itotsu was commissioned to teach karate in the public schools (1903) his first students were elementary school aged boys. Master Itotsu found Naihanchi kata too difficult to learn and be enjoyed by children of that age. In his dilemma to develop an easily understood pattern of practice and skill development he took the basic “T” pattern of Kusanku (a more advanced form) and doubled it to make the “I” pattern. The way that the Pinan kata are currently practiced today is very similar in all systems of traditional karate.
Passai/Patsai or Bassai (Sho - 43 movements & Dai - 47 movements)
(ca. 1870; meaning “to storm or penetrate a fortress”)
Sokon Matsumura taught Anko Itotsu the Passai kata. It is believed that Matsumura was taught Passai by his instructor Satsunbuku Sakugawa. If oral history can be depended upon, Sakugawa was believed to have learned the Passai kata in China. The floating hand techniques are very similar to the movement of Tai Chi Chuan and there are also other similarities in the shifting of body weight and light stances. Matsumura taught Passai in the village of Tomari. Passai was a favorite kata of the Tomari Te masters. There are three known versions of Passai although only two currently exist (Passai Sho, which is Itotsu’s version of Passai and Passai Dai which is Matsumura’s version of Passai).
Chinto or Gankaku (34 movements)
(ca. 1796; meaning “crane on a rock” or “fighting to the east”)
Legend has recorded that a shipwrecked Chinese martial artist named Chinto lived in the hills of Nago. During the night hours he would use the cover of darkness to raid the local farmer’s chicken huts. All attempts to capture him failed. Each time the villagers attempted to overcome him by force he overwhelmed them with his martial skills. The villagers enlisted the assistance of the greatest martial artist in the area of that time, Sokon Matsumura (Bushi). Matsumura was a karate teacher and the chief of the royal guard of King Sho. After many failed attempts a mutual respect developed between the two and they became friends. Chinto taught Matsumura his art and Matsumura in turn developed a kata encapsulating these skills.
Kusanku or Kanku/Kwanku (Sho - 49 movements & Dai - 56 movements) (ca. 1761; meaning “viewing the sky”)
The details of a military envoy of the Imperial Court of China named Kusanku (Ku syang Ku) are recorded in a book of poems called Oshima Hikki (Diary of the large Island), written by Tode Sakugawa of Tosa village. It is believed that Kusanku kata was handed down through Sakugawa to Anko Itotsu who developed its parallel forms (Sho and Dai). Later, Chosin Chibana refined these forms to their present day appearance. In Kobayashi Shorin-Ryu the dual forms of Kusanku are often referred to as Chibana Kusanku because of his influence in the separation of the once singular form. The Kusanku form is reputed to be Chibana sensei's favorite kata.
Gojushiho or Useishi (54 movements; amended Royal Okinawan Folk Dance meaning “54 steps” or “the phoenix”)
This kata is the most advanced kata of the Shuri Te branch of Okinawan karate. In the native tongue of ancient Okinawa the kata was called Useishi, meaning 54 steps (it contains, as you might have guessed, 54 techniques). Recorded history points to the development of the kata before the time of Matsumura. It combines more of the Ch’uan Fa elements than any other kata. Some have suggested that the mastery of Gojushiho equates to the mastery of Okinawan karate since it incorporates aspects of fast and slow technique and philosophies, hard and soft, and a range of circle theory strategies.
Naihanchi or Tekki Kata (Shodan, Nidan, & Sandan)
(ca. 1796; meaning “horse riding” - passed on from Bushi Matsumura)
History shows that Naihanchi kata had its origin in Chinese Shaolin Ch’uan Fa. Naihanchi kata were practiced in both Shuri Te and Tomari Te and a version of the kata can be found in the early Japanese Shorinji-Kempo. Naihanchi stresses the development of the Ki or Ch and is frequently compared to Sanshin. In earlier times these were the first kata taught to new students and the only kata taught for three to four years until they were mastered adequately to advance to the next level of kata.
Pinan or Heian Kata (Shodan, Nidan, Sandan, Yondan, & Godan)
(ca. 1903; meaning “the way of peace” – literally “great peace”)
When Anko Itotsu was commissioned to teach karate in the public schools (1903) his first students were elementary school aged boys. Master Itotsu found Naihanchi kata too difficult to learn and be enjoyed by children of that age. In his dilemma to develop an easily understood pattern of practice and skill development he took the basic “T” pattern of Kusanku (a more advanced form) and doubled it to make the “I” pattern. The way that the Pinan kata are currently practiced today is very similar in all systems of traditional karate.
Passai/Patsai or Bassai (Sho - 43 movements & Dai - 47 movements)
(ca. 1870; meaning “to storm or penetrate a fortress”)
Sokon Matsumura taught Anko Itotsu the Passai kata. It is believed that Matsumura was taught Passai by his instructor Satsunbuku Sakugawa. If oral history can be depended upon, Sakugawa was believed to have learned the Passai kata in China. The floating hand techniques are very similar to the movement of Tai Chi Chuan and there are also other similarities in the shifting of body weight and light stances. Matsumura taught Passai in the village of Tomari. Passai was a favorite kata of the Tomari Te masters. There are three known versions of Passai although only two currently exist (Passai Sho, which is Itotsu’s version of Passai and Passai Dai which is Matsumura’s version of Passai).
Chinto or Gankaku (34 movements)
(ca. 1796; meaning “crane on a rock” or “fighting to the east”)
Legend has recorded that a shipwrecked Chinese martial artist named Chinto lived in the hills of Nago. During the night hours he would use the cover of darkness to raid the local farmer’s chicken huts. All attempts to capture him failed. Each time the villagers attempted to overcome him by force he overwhelmed them with his martial skills. The villagers enlisted the assistance of the greatest martial artist in the area of that time, Sokon Matsumura (Bushi). Matsumura was a karate teacher and the chief of the royal guard of King Sho. After many failed attempts a mutual respect developed between the two and they became friends. Chinto taught Matsumura his art and Matsumura in turn developed a kata encapsulating these skills.
Kusanku or Kanku/Kwanku (Sho - 49 movements & Dai - 56 movements) (ca. 1761; meaning “viewing the sky”)
The details of a military envoy of the Imperial Court of China named Kusanku (Ku syang Ku) are recorded in a book of poems called Oshima Hikki (Diary of the large Island), written by Tode Sakugawa of Tosa village. It is believed that Kusanku kata was handed down through Sakugawa to Anko Itotsu who developed its parallel forms (Sho and Dai). Later, Chosin Chibana refined these forms to their present day appearance. In Kobayashi Shorin-Ryu the dual forms of Kusanku are often referred to as Chibana Kusanku because of his influence in the separation of the once singular form. The Kusanku form is reputed to be Chibana sensei's favorite kata.
Gojushiho or Useishi (54 movements; amended Royal Okinawan Folk Dance meaning “54 steps” or “the phoenix”)
This kata is the most advanced kata of the Shuri Te branch of Okinawan karate. In the native tongue of ancient Okinawa the kata was called Useishi, meaning 54 steps (it contains, as you might have guessed, 54 techniques). Recorded history points to the development of the kata before the time of Matsumura. It combines more of the Ch’uan Fa elements than any other kata. Some have suggested that the mastery of Gojushiho equates to the mastery of Okinawan karate since it incorporates aspects of fast and slow technique and philosophies, hard and soft, and a range of circle theory strategies.
Okinawan Schools of Karate and their Kata
Shuri-Te (Shorin school)
Ananko or Ananku – meaning “the light from the south” (distinctive use of Zenkutsu-dachi throughout most of the kata) (21 movements)
Chinto or Gankaku – meaning “crane on a rock” or “fighting to the east”
Gojushiho or Useishi – Amended Royal Okinawan Folk Dance meaning “54 steps” or “the phoenix”
Jitte or Jutte – meaning “ten hands” or “temple hands”
Jion or Jion Ji – meaning “temple sound” - named after a Buddhist temple in China
Kusanku or Kanku/Kwanku meaning “viewing the sky”
Naihanchi/Naifanchi or Tekki meaning “horse riding”
Nijushiho or Neiseishi – meaning “24 steps”
Passai/Patsai or Bassai – meaning “to storm or penetrate a fortress”
Pinan or Heian – meaning “the way of peace” – literally “great peace”
Sansu – created by Shimabuku for Isshin-Ryu
Sesan – meaning “13 hands” or “half-moon”
Sochin – meaning “the grand prize”
Unsu – meaning “cloud hands”
Naha-Te (Shorei school)
Kururumfa – meaning “seventeen” or “holding your ground”
Pechurin or Suparinpi – meaning “the final 108 hands”
Saipha or Saifa – meaning “the final breaking point”
Sanchin – meaning “three battles” (used in Isshin-Ryu)
Sanseryu – meaning “36 hands”
Seipai – meaning “18 hands”
Seienchin or Seiunchin – meaning “lull in the storm” or “storm within the calm” (used in Isshin-Ryu)
Shisoochin – meaning “fighting four monkeys”
Tensho – meaning change of grips” or “rotating palms”
Tomari-Te (combined into Shorin and Shorei)
Rohai or Meikyo – meaning “vision of a white heron”
Wanduan – named after Okinawan king
Wankuan/Wankan or Matsukaze – meaning “the king’s crown” or “pine tree wind”
Wanshu or Enpi – named after Chinese envoy who came to Okinawa in 1683
(Later, the following kata were added by the Oyadomari family lineage: Naihanchi Shodan, Naihanchi Nidan, Passai, Kusanku Sho, Kusanku Dai)
Styles of Okinawan Karate and their Kata
Shorin Styles (kata in parentheses)
Shorin-Ryu
Kobayashi (Kihon kata ichi, Kihon kata ni, Kihon kata san, Kihon kata yon, Kihon kata go, Fukyu Ichi, Fukyu Ni, Fukyu San, Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Passai Sho, Passai Dai, Chinto, Chintei, Unsu, Jion, Wanshu, Seisan, Kusanku Sho, Go Rin, Kusanku Dai, Gojushiho)
Matsumura Orthodox (Seito) (Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Passai Sho, Passai Dai, Chinto, Kusanku, Gojushiho, Sesan, Rohai Jo, Rohai Chu, Rohai Ge, Hakutsura)
Matsubayashi (Fukyu Ichi, Fukyu Ni, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Ananku, Wankan, Rohai, Wanshu, Passai, Gojushiho, Chinto, Kusanku)
Shobayashi (Sesan, Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Ananku, Wanshu, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Gojushiho, Chinto, Passai Sho, Passai Dai, Kusanku Sho, Kusanku Dai, Seiyuchin, Sanchin
Shito-Ryu (Mabuni) (Sanchin, Seisan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Naihanchi, Kusanku, Gojushiho, Passai Sho, Passai Dai, Seyonchin, Seipai)
Okinawan Kempo (Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Passai Sho, Passai Dai, Chinto, Kusanku Sho, Go Rin, Kusanku Dai, Gojushiho, Niseishi, Sesan, Anan, Seipa)
Ishimine-Ryu (Sanchin, Naihanchi, Passai)
Shorinji-Ryu (Naihanchi, Sesan, Gojushiho, Kusanku, Passai, Wanshu, Chinto, Ananku)
Chubu-Ryu (Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Wanshu, Passai, Gojushiho, Chinto, Sesan, Kusanku, Ananku)
Isshin-Ryu (Sanchin, Seienchin, Sunsu, Seisan, Naihanchi, Wansu, Chinto, Kusanku)
Shorin-Ryu (Shaolin) (Seisan, Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Ananku, Wanshu, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Gojushiho, Chinto, Passai Sho, Passai Dai, Kusanku Dai, Seiunchin, Sanchu)
Ryukyu Shorin-Ryu (Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Chinto, Rohai, Oyadomari no Passai, Seisan, Ananku, Wanshu, Gojushiho, Kusanku)
Shorei Styles (kata in parentheses)
Goju-Ryu (sanchin, gekisai-ichi, gekisai-ni, saifua, seiyonchin, shisouchin, sanseriru, sepia, kururunfua, sesan, seprarinpe, tensho)
Uechi-Ryu (sanchin, kanshiwa, kanshu, sechin, sesan, seryu, kanchin, sanseryu)
Tomari Styles (kata in parentheses)
Motobu-Ryu (Naihanchi, Passai)
Ananko or Ananku – meaning “the light from the south” (distinctive use of Zenkutsu-dachi throughout most of the kata) (21 movements)
Chinto or Gankaku – meaning “crane on a rock” or “fighting to the east”
Gojushiho or Useishi – Amended Royal Okinawan Folk Dance meaning “54 steps” or “the phoenix”
Jitte or Jutte – meaning “ten hands” or “temple hands”
Jion or Jion Ji – meaning “temple sound” - named after a Buddhist temple in China
Kusanku or Kanku/Kwanku meaning “viewing the sky”
Naihanchi/Naifanchi or Tekki meaning “horse riding”
Nijushiho or Neiseishi – meaning “24 steps”
Passai/Patsai or Bassai – meaning “to storm or penetrate a fortress”
Pinan or Heian – meaning “the way of peace” – literally “great peace”
Sansu – created by Shimabuku for Isshin-Ryu
Sesan – meaning “13 hands” or “half-moon”
Sochin – meaning “the grand prize”
Unsu – meaning “cloud hands”
Naha-Te (Shorei school)
Kururumfa – meaning “seventeen” or “holding your ground”
Pechurin or Suparinpi – meaning “the final 108 hands”
Saipha or Saifa – meaning “the final breaking point”
Sanchin – meaning “three battles” (used in Isshin-Ryu)
Sanseryu – meaning “36 hands”
Seipai – meaning “18 hands”
Seienchin or Seiunchin – meaning “lull in the storm” or “storm within the calm” (used in Isshin-Ryu)
Shisoochin – meaning “fighting four monkeys”
Tensho – meaning change of grips” or “rotating palms”
Tomari-Te (combined into Shorin and Shorei)
Rohai or Meikyo – meaning “vision of a white heron”
Wanduan – named after Okinawan king
Wankuan/Wankan or Matsukaze – meaning “the king’s crown” or “pine tree wind”
Wanshu or Enpi – named after Chinese envoy who came to Okinawa in 1683
(Later, the following kata were added by the Oyadomari family lineage: Naihanchi Shodan, Naihanchi Nidan, Passai, Kusanku Sho, Kusanku Dai)
Styles of Okinawan Karate and their Kata
Shorin Styles (kata in parentheses)
Shorin-Ryu
Kobayashi (Kihon kata ichi, Kihon kata ni, Kihon kata san, Kihon kata yon, Kihon kata go, Fukyu Ichi, Fukyu Ni, Fukyu San, Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Passai Sho, Passai Dai, Chinto, Chintei, Unsu, Jion, Wanshu, Seisan, Kusanku Sho, Go Rin, Kusanku Dai, Gojushiho)
Matsumura Orthodox (Seito) (Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Passai Sho, Passai Dai, Chinto, Kusanku, Gojushiho, Sesan, Rohai Jo, Rohai Chu, Rohai Ge, Hakutsura)
Matsubayashi (Fukyu Ichi, Fukyu Ni, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Ananku, Wankan, Rohai, Wanshu, Passai, Gojushiho, Chinto, Kusanku)
Shobayashi (Sesan, Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Ananku, Wanshu, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Gojushiho, Chinto, Passai Sho, Passai Dai, Kusanku Sho, Kusanku Dai, Seiyuchin, Sanchin
Shito-Ryu (Mabuni) (Sanchin, Seisan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Naihanchi, Kusanku, Gojushiho, Passai Sho, Passai Dai, Seyonchin, Seipai)
Okinawan Kempo (Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Passai Sho, Passai Dai, Chinto, Kusanku Sho, Go Rin, Kusanku Dai, Gojushiho, Niseishi, Sesan, Anan, Seipa)
Ishimine-Ryu (Sanchin, Naihanchi, Passai)
Shorinji-Ryu (Naihanchi, Sesan, Gojushiho, Kusanku, Passai, Wanshu, Chinto, Ananku)
Chubu-Ryu (Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Wanshu, Passai, Gojushiho, Chinto, Sesan, Kusanku, Ananku)
Isshin-Ryu (Sanchin, Seienchin, Sunsu, Seisan, Naihanchi, Wansu, Chinto, Kusanku)
Shorin-Ryu (Shaolin) (Seisan, Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Ananku, Wanshu, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Gojushiho, Chinto, Passai Sho, Passai Dai, Kusanku Dai, Seiunchin, Sanchu)
Ryukyu Shorin-Ryu (Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Chinto, Rohai, Oyadomari no Passai, Seisan, Ananku, Wanshu, Gojushiho, Kusanku)
Shorei Styles (kata in parentheses)
Goju-Ryu (sanchin, gekisai-ichi, gekisai-ni, saifua, seiyonchin, shisouchin, sanseriru, sepia, kururunfua, sesan, seprarinpe, tensho)
Uechi-Ryu (sanchin, kanshiwa, kanshu, sechin, sesan, seryu, kanchin, sanseryu)
Tomari Styles (kata in parentheses)
Motobu-Ryu (Naihanchi, Passai)