Shorin Ryu Karate

For many years karate "styles" in Okinawa were organized geographically, centered in the nearby towns of Shuri and Naha, and with some slight variation, in a section of Shuri called Tomari.

In Naha, the trading city, Chinese arts predominated, imported on an ongoing basis from Fouzhou and the surrounding provinces.  In China, this style is referred to as White Crane Boxing, and it remains a popular style in Southern China.  Merchant families in Okinawa took advantage of the availability of local White Crane teachers in Naha, and of contacts on the Chinese mainland to secure teaching for their sons. Naha-te, as it is called by Funakoshi and Nagamine, is heavy footed and employs artificial breathing techniques.  Their practice focuses around Sanchin and derivative katas like Seisan, Sanseiru, Gojushiho, and Suparinpai.  These Okinawan kata remain closely related to contemporary Chinese forms, and may have been introduced as recently as the late 19th century.  Both Goju Ryu and Uechi-Ryu karate have their roots in Naha-te.

Chojun Miyagi

By contrast, the karate that developed in Shuri was much more influenced by indigenous Okinawan te (itself tied to China in an earlier period) and by ju-jutsu from the Japanese mainland.  Shuri was, from the 13th century onward, the seat of the Okinawan Kings, and the karate that evolved there reflects this association.  Visiting Chinese envoys who spent time on Okinawa lived in Shuri.  From the 14th century onward these envoys visited periodically, sometimes as often as once every ten years.  In all of these times they were accompanied by martial arts instructors trained as officers in the Imperial Army.  Many of the military attachés that accompanied the Chinese missions remained for many months on Okinawa, teaching and training the Okinawan King's army and retainers.  Such teaching became institutionalized among the Pechin class of Okinawa.  The Pechin were a group of retainers and important families around Shuri who filled (often hereditary) bureaucratic positions in the Okinawan government.  The Pechin were combination magistrates, governors, tax collectors, police officers, and militia leaders.

Among the Pechin, a local form of wrestling ("te" or "di") was combined with the teachings of the Chinese martial advisors ("to-te" or "toudi")  to create "uchinadi", or karate as it came to be called later.  The karate that emerged from Shuri, called Shuri-te, coalesced in the late 1700s and early 1800s. Early seminal figures include "Toudi" Sakugawa, who was said to have studied with the military attaché named Kusanku, who visited Okinawa in the 1750s. Sokon Matsumura of Shuri was said to have been a student of Sakugawa.  Many credit Matsumura with the consolidation and rationalization of Shuri-te, and thus with the invention of Shorin Ryu (as Shuri-te came to be called in the 20th century).

From the beginning Shuri-te contained an emphasis on weapons training (which Naha-te lacked) and in particular, on the roku-shaku (six foot) bo.  Sakugawa no kun remains a central part of Shorin Ryu training in many dojos, where it is thought that bo training, like Naihanchi training, is critical for developing the muscles and body dynamics necessary for powerful karate.  The main police weapon, the iron truncheon or "sai", was the Okinawan equivalent of the Western billy-club, and several very old sai kata remain current in the Shorin Ryu style as well.  The influence of mainland Japan has, however, caused many karate schools to move away from tradition weapons training.

Taira Shinken

Shuri-te karate appears much more light and quick than the Naha-te system.  There is far less emphasis on body conditioning and little dynamic tension or artificial breathing either.  The emphasis is, instead, on natural stances and a relaxed, fluid motion.  The connections with Okinawan dance are apparent in Shuri derived karate styles, where flow and fluidity are central elements.  While Shorin Ryu practitioners often lack the extreme body conditioning of their Naha-te counterparts, the popular response is that they live longer and healthier lives.  There is no solid evidence for this, though there is much anecdotal evidence in long lived teachers like Shoshin Nagamine and Chosin Chibana, who both lived well into their 90s.

Shorin Ryu emerged out of the Shuri-te system in the early 20th century.  It centered around the teaching of Ankoh Itosu, a student of Matsumura who had tremendous impact on the popularization of karate.  At present there are many Shorin-Ryu's, including those developed by Nagamine and Chibana.  Hohan Soken, a descendent of Matsumura, has also created a style within the Shorin Ryu family that has gained more popularity of late.  Gichin Funakoshi, a student of Itosu, taught Shorin Ryu in Japan, though his students chose to change the name to Shotokan as a tribute to their teacher.

Funakoshi

Many Shorin Ryu systems identify themselves by special names, often derived from alternative pronunciations of the characters for Shorin Ryu.  Nagamine referred to is style as Matsubayashi, while Chibana's students call their style Shobayashi.  Some of Chotoku Kyan's students teach Kobyashi, and Soken's students refer to their style as Matsumura Seito (Orthodox).  All, however, would agree that these are simply variations with the common Shorin Ryu style.  What all of these systems share is common history, a common set of emphases, and most importantly, a common kata curriculum.  All shorin ryu continues to teach the Pinan and Naihanchi kata, as well as some combination of the traditional Shuri te kata.  Like language dialects, each of these sub-systems represents historical variations on a common theme.  It would be a mistake to ask whether the French, Spanish, Portuguese or Italian speak better Latin.  Each language is unique and has its own virtues.  And despite each shares a common history, structure, and way of conceiving the world. Matsubayashi, Shobayashi, Kobayashi and Matsumura Seito are, in this sense, dialects of Shuri-te or Shorin Ryu.

Below is a list of the kata practiced by Matsubayashi Shorin Ryu karate.  These are the kata systematized and passed down by Shoshin Nagamine, who studied with Chotoku Kyan (a student of Matsumura of Shuri, and Kosaku Matsumora of Tomari), Choki Motobu (a student of Kosaku Matsumora of Tomari village), and Ankichi Arakaki (a senior student of Kyan as well as others in Shuri).  Tomari was a village within Shuri and the kata of the Tomari-te tradition are generally those of Shuri-te.  What distinguishes them, like any sort of local distinction, tends to be differences in emphasis and nuance.  Despite the Tomari origins of most of the Matsubayashi kata, Nagamine continued to refer to his system as Shorin Ryu throughout his life.

Arakaki, Kyan, Motobu, and Nagamine

Nagamine Sensei opened a dojo in Naha after World War II that became the focal point for a revival of Shorin Ryu karate.  It was also a place where many well known Americans were introduced to karate, like James Wax, Robert Yarnell and Gary Tiktin.  Each of these men set up dojos and produced students that have in turn produced students of their own, all teaching and studying the kata that Nagamine brought together under Matsubayashi.  Within the United States there are several hundred Matsubayashi dojos, and many more hundreds world wide.  Nagamine Sensei's book, The Essence of Okinawan Karate-Do remains the text book for the Matsubayashi System world wide.

The Kata of Matsubayashi are:

Fukyugata

Fukyugata Ichi and Fukyugata Ni were compose in the early 1940s, the former by Shoshin Nagamine and the other by Chojun Miyagi (the founder of Goju Ryu).  Under the advice of the Japanese Army Governor of Okinawa, an effort was made at this time to unify the various schools Okinawan Karate under a common curriculum.  Nagamine and Miyagi were charged with creating the first two of a planned series of kata that would be taught and practiced in all styles, helping to unify Okinawan karate.  This effort can be seen as a continuation of the work begun by Itosu, aimed at popularizing and rationalizing karate in a more systematic art (more in line with Judo, which had become the model of a well organized martial art or "do" in Japan at the time).  Goju Ryu continues to practice Fukyugata Ni, which they call Gekusai Ichi, and many Shorin Ryu schools beyond Matsubayashi have adopted both.  They are simple, symmetrical kata aimed at teaching beginners the fundamentals of blocking, punching and kicking.

Pinan

Yasutsune (Ankoh) Itosu (1830-1915), of the Shuri-te system, developed the Pinan, peaceful mind, series of five forms around 1905. They were derived primarily from two other Shuri katas known as Kusanku and Channan. The Channan kata has been lost, but legend has it that Bushi Matsumura, Itosu's teacher, either devised these kata or they were an older set of Chinese kata passed on by Matsumura. The belief is that the movements in Channan resemble techniques that remain in Pinan Nidan and Pinan Sandan. The Pinan were taught to elementary school children in Okinawa and when Gichin Funakoshi was hired by Japan to teach karate; he used these as the main portion of kata. Funakoshi modified the order of the first two Pinans and changed the name to Heian.

   The five katas follow a sequence designed to introduce the beginner to kata and to progressively introduce more techniques as the student advances. The series incorporates almost all of the basic stances and many of the basic techniques of the various Okinawan katas of karate, thereby making the Pinans suitable for beginners and intermediates. Mastering each form requires years of practice in order to understand the finer points of each movement. Although the Pinans do not contain symbolic movements often seen in more advanced kata, there are a variety of combat interpretations for several of the basic techniques included in the forms. Understanding the techniques and their usage against the attacker will help the student to take away a practical application from the Pinans.

   Naihanchi

   The origin of the Naihanchi series is unknown but it is among the oldest kata in the Shorin Ryu system. Naihanchi is translated to mean "fighting holding your ground". The popularity of this form is exemplified by its use among various Okinawan and Japanese styles. It is believed that the Naihanchi forms were in use before the Pinans and were used to develop the lower body (hips and legs) strength. Nagamine comments that the primary purpose of Naihanchi training is to develop "koshi," the muscles around the abdomen which are critical to the proper performance of all kata.

   The distinctive feature of this form is the posture. The horse (straddle) stance is kept low and wide, placing the weight of the body on the hips and legs. The idea is to draw all of one's strength up from the abdomen; drawing power to the center. It is this horse riding stance that was used to derive its Japanese name, Tekki, meaning "horse riding".  The Naihanchi stance does not appear in any kata outside of the three Naihanchi kata.  Its awkward foot posture and weight distribution make it unsuitable for the more "application" oriented movements of the advanced kata, and too awkward for the earlier beginner kata.  And while there are many good self-defense techniques contained within the Naihanchi kata, their true purpose and organizing logic is much more clearly aimed at transforming the physical nature of the student.

Ananku

The exact origin of Ananku is unknown, but it is believed that Chotoku Kyan (1870-1945) brought back this form to the Tomari region from Taiwan in the year 1895. Ananku means peace or safety from the south. The kata was developed as part of the Tomari-Te system and during the 1900's, was further passed on by Shoshin Nagamine and the Matsubayashi Ryu style.

   The kata emphasizes both offensive and defensive moves from a deep zenkutzu dachi (front leg bent stance). Strong punches and double punches occur throughout the form. In some dojos this form is used to introduce kikoken, fore-finger mid-knuckle punching.

   Wankan

  The exact origin of this kata is unknown, but it has been handed down through the Tomari-Te system. The kata is characterized by the unitary sequence of the techniques of offense and defense, which look elegant and powerful. It's form is similar in many ways to Rohai and it is possible that the two contemporary kata represent distinct evolutions from a common ancestor form.  In some dojos this form is used to introduce toe-tip kicking techniques.

 

Passai

  Passai means to "thrust asunder" or "penetrate the fortress". The original composer of Passai is unknown though legend has it that Bushi Matsumura (1797-1889) brought the original form from China. Knife-hand techniques and speedy movements distinguish this kata from the others.  This form contains repeated switching of the blocking arms, motions that represent the feeling of shifting from a disadvantageous position to an advantageous one, a feeling implying a will similar to that needed to break through an enemies fortress.

There are at least three major versions of Passai, called Passai Sho, Passai Dai, and Tomari no Passai.  We practice the latter, which is the longest of the three.  Nagamine learned it from Kyan, for whom it was a favorite.  Passai contains a number of complex arm tangling techniques or "karamite" which are not obvious at first.  This kata, like many Shorin Ryu kata, rewards attention to the back hand.

   Rohai

  Rohai translates to "white heron" or "vision of a crane". This kata is also a Tomari-Te kata with a long history. The exact composer is unknown though the kata was probably brought to Okinawa by Toudi Sakagura. The most characteristic technique of this kata is the one-foot standing stance (crane-like) with the other foot drawn to deliver a kick and to shift the body from attack. In some forms, this kata is performed with open hands throughout, which can help the practitioner recognize the karamite or grasping moves in the kata.  Many advanced practitioners consider Rohai to be among the most complex of the advanced kata, though one might not guess this from its simple outward form.  The difficulty lies in using the koshi to perform moves that change direction quickly, and which are often performed on one leg or in an off balance position.  While this is clearly not a "drunken man" kata, the benefits gained from intensive study parallel those of the off balance kata.  Characteristic of this form is the one legged stance occurring repeatedly, which resembles the splendid sight of a crane poised on a rock and about to strike down upon its victim.

 

   Wanshu

Wanshu  is one of the most popular forms among Okinawan systems and has been used for many years, undergoing many modifications. Even today, there are several variations of this traditional form. Wanshu, is said to have been named after a Chinese envoy to Okinawa who happened to be a martial artist.  It is believed that Wanshu originated in China around 1690, making it one of the oldest Okinawan forms. Wanshu was primarily used around the village of Tomari and therefore part of the Tomari-Te system. There is also a Chinese name that the form is translated to mean Flying Swallow.

   The kata includes a distinctive upper level attack followed by the defender grasping the opponent and drawing him inward, simultaneously jumping in and attacking again. This movement resembles the up and down and flipping away flight of a swallow.  The form emphasizes speed and contains a throwing technique. Towards the end of the form, there are a series of moves in which the karateka picks up the attacker and dumps him to the ground. For this reason, Wanshu kata is known as "the Dumping Form". Because the form emphasizes very strong vertical punches, it is also know as the "Strong Arm Form". Tatsuo Shimabuku referred to Wanshu as the "Dragon Boy" form due to the strong movement of the downward strike or block from the T-stance, which feels like a sweep of a dragon's tail.  The primary technique of Wanshu is the vertical punch. The "hidden" punch is the second vertical punch of each series which is executed while drawing the opposite hand to the neck. In some systems, this punch is delivered as a fore-knuckle punch.

Chinto

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

  The Chinto form was most likely introduced through Tomari, but was adopted into the Shuri-Te system. There are over five versions of Chinto. The Tomari-Te version has a Chinese flair to it as opposed to the Shuri-Te version, which is more simplistic.  The Chinto form we practice is the Tomari-te version.  It follows a straight line of movement and should be executed with powerful techniques.  It also uses various flying kicks which distinguishes it from other katas.

Gojushiho

   Gojushiho, which means 54 steps, contains a series of complex movements which are said to resemble a drunken man. One of several "numbered" kata, including sanchin ("three steps"), seisan ("thirteen"), san-seiru ("thirty-six"), gojushiho ("fifty-four") and suparempai ("one hundred and eight"), it represents a style of karate more closely linked to the Chinese mainland.  The numbers have a religious rather than a martial arts significance, and none represent the actual number of "steps" or "postures" in the kata.  All are derived from Buddhist numerology, where the number 108 has special signficance.  Indeed, most Buddhist temples in Japan are reached by climbing 108 steps.  3, 12, 36, and 54 are incremental factors of 108, and thus each represents, symbolically, a portion of the assent to enlightenment.

   These religious overtones are unknown to most practitioners, however, and matter little for the understanding of the moves contained in the kata, most of which over-lap with techniques in other kata.  Like Rohai, Gojushiho contains a much more pronounced emphasis on openhanded techniques, which can be understood as grasping and throwing techniques.

  The American Karate Federation practices two forms of Gojushiho, which are quite distinct.  The first is the form as it was practiced at the Nagamine dojo in the late 1950s, when Gary Tiktin trained there. The second is the version introduced by Nagamine in the 1970s (and which is pictured in his book).  This is something of an abbreviation of the longer form, made to conform to the Matsubayashi style.  Even so, many interesting and seemingly anomalous elements remain in both kata.  At our dojo we continue to practice both kata.

   Kusanku

   Kusanku kata was brought to Okinawa by a Chinese martial artist, either named or titled Ku Shanku, around 1756-1761. His Okinawan student Toudi Sakugawa (1733-1815) developed this form from Kusanku's teachings. Later, Shuri based karatekas modified it from its original form, and ended up with two katas, Kusanku-Sho and Kusanku-Dai. Gichin Funakoshi merged the two Kusanku katas to create a single kata called Kanku and taught that version in Japan.  A long and elegant form remained in Tomari, which contains many of the moves reformed into the Pinan kata.  It is the longest kata in the system, which influences how it is trained.  In Okinawa this was originally the basis for all Shorin Ryu karate, and beginners learned it after completing their study of Naihanchi kata.

These days it is held out as something of a prize, and not taught until long after black belt.  The fear is sometimes expressed that the kata contains a host of moves that beginners should not see or have access to.  This is partly true, but most of these moves are contained in similar form in the Pinan kata which are taught to all students early in their study.  Like the Pinan kata, the moves of Kusanku are "hidden," which is to say that they are not easily understood by someone not well versed in karate.  To an experience eye, however, their meaning is clear and there is nothing "hidden" about them.  This is true of all kata, but it is particularly true of the older, longer kata like Kusanku.

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