Kata
Gekisai Dai Ichi (Rip and Tear I or Turning Disadvantage into Advantage I)
This kata was developed and introduced in the 1940's by Miyagi Chojun
O'Sensei. It's intention was to popularize Karate-Doh to the general public and help
establish a curriculum for school children. It contains powerful, basic movements that are
quite easy to interpret and learn, however many of the techniques have multiple
applications. Most the movements are done with a closed fist and with full power.
Gekisai Dai Ni (Rip and Tear II or Turning Disadvantage into Advantage II)
The format of this kata is very similar to Gekisai dai Ichi, however some advanced
techniques and timing are included. Kake uke (open hand hooking block), mawashi uke
(circular block) and neko ashi dachi (cat foot stance) are the additional techniques in the
kata. In Gekisai dai Ichi full power and speed was utilized however, in Gekisai dai Ni
the concept of 'muchimi' (a heavy, sticking but flowing action) is introduced in the kake
and mawashi uke's. 'Muchimi' requires stances with a lower centre of gravity, hence
neko ashi dachi!
Sanchin Ichi (Miyagi Sanchin)
Sanchin Ichi translates as "3 Battles One" or "3 Conflicts One". This kata was
developed by Miyagi Chojun O'Sensei because he perceived Sanchin Ni, the
original Sanchin kata he learned from Higaonna Sensei, was too long for
beginners. As stated above, Sanchin Ni was determined to be too difficult for
beginners to perform, therefore Sanchin Ichi was developed, leaving Sanchin Ni to
be taught at a brown and black belt level. Brown and Black belts should do their own
personal training using Sanchin Ichi and Sanchin Ni. Sanchin Ichi has all the same
movements as Sanchin Ni but is shorter and no turns hence making it a little easier.
The Sanchin kata are the basis of the Goju-Ryu Karate system. All other kata are based
on the Sanchin forms. The principals of the Goju-Ryu Karate are all encompassed within
these kata. The Grand Masters in Okinawa have explained that in the olden days Goju-Ryu
or Nata-te karateka would learn the Sanchin Kata and only one other Kata, based
on that persons body type, therefore you would only two katas. Today we are very
lucky to be able to learn the whole system, however we must remember Sanchin Kata
was and still is an very important kata.
Saifa (Crush and Tear or Smash and Tear)
Saifa kata introduces tai sabaki (body evasion) and open handed palm-heel blocks and
strikes (haito uchi). It mixes swift, light stances (neko ashi dachi & sagi ashi dachi) with
solid, grounding stances (shiko dachi). Saifa contains a vast number of techniques like
hammer fist strike (tettsui uchi), back fist (ura uchi), morote tsuki (double fist punch), ashi
barai (foot sweep), haito uchi (ridge hand strike) etc, etc.
Seiunchin (To Travel Far and Conquer or To Attack and Pull into Battle)
Seiyunchin is a long and strength-sapping kata. It contains pulling and gripping
techniques, throws, hidden techniques and requires a strong upper and lower body, good
breath control and lots of stamina. There are NO kicks in this kata!! This kata is most
performed at tournaments throughout the world. The techniques are well suited for
practical, close-in fighting.
Sanchin Dai Ni (Higashionna Sanchin)
Sanchin Ni translates as "3 Battles Two" or "3 Conflicts Two". This has many
meanings. First it refers to the struggle to control the body under physical fatigue. With
fatigue the mind begins to lose focus and thus the spirit begins to diminsh as well.
Therefore Sanchin develops discipline, determination, focus, perserverance and other
mental attributes. The Chinese refer to this as Shen (spirit), Shin (mind) and Li (body).
Another possible interpretation refers to the "Three Burners" of the body as decribed in
Traditional Chinese Medicine (TCM).
One of two "heishu" Kata of Goju-Ryu, Sanchin is probably the most misunderstood Kata in all
of Karate. In contrast, it is probably the single most valuable training exercise in Goju-Ryu. Like
the other Kata of Goju-Ryu, Sanchin (Samm Chien in Chinese) can be found in several Chinese
arts, particulary the southern styles including four styles of Crane Boxing, Dragon Boxing, Tiger
Boxing, Lion Boxing, Dog or Ground Boxing and Monk Fist. Sanchin has such aspects as deep,
diaphramatic breathing found in many internal arts as well as external attributes like mechanical
alignment and muscular strength. Because many martial artists have little or no understanding of
the true history and nature of the Chinese arts from which Okinawan Goju-Ryu has its roots,
Sanchin has become little more than an isometric form performed with dangerous tension and
improper breathing techniques.
The original Sanchin that Higaonna Sensei learned from RuRuKo (1852-1930) was performed
with open hands and with less emphasis on muscle contraction and "energetic" breathing. With
the changes brought about by Emperor Meiji (Meiji Restoration Period 1888-1912), Higaonna
Sensei changed the open hands to closed fists as the martial meaning was no longer emphasized.
Later Miyagi Sensei would again alter the Kata in pattern alone which is Sanchin.
Shisochin (Four Direction Battle)
Again like seiunchin kata, close range techniques are used throughout this kata. Rapid
whipping techniques are blended in with those requiring 'muchimi'. Joint locks and
breaks are a feature of Shisochin kata. You can see the Chinese influence in this kata as
there are only four (4) closed hand techniques in this kata with all the rest open hand
techniques. Hanshi Miyazato would do Shisochin Kata quite often at demonstrations.
Much practice is required to master this kata especially to get the focus Hanshi Miyazato had.
Sanseyru (Thirty Six Hands)
The techniques in this kata seem basic, direct and hard, however
there are some unique and advanced, close-in techniques. Joint
and knee locks and kicks, low front kicks while moving forward
and blocking after turning are techniques that require lots of
practice. Slow movements evolve into fast, explosive ones. A
feature of this kata is use of koken (top of wrist) at the end of
the kata. This last movement (morote koken uke in shikodachi)
is an often misunderstood movement with an array of close-in
applications.
Seipai (Eighteen Hands)
Circular, whipping movements and body evasion (taisabaki), dropping your body to rise
up and push your opponent off balance and faints are all found within this kata. There
are, as in ALL the other kata, many hidden techniques and movements. Certain hand
techniques require a unique use of certain part of the hand eg, performing the gedan furi
uchi after swiveling 90 degrees requires the hand to be shaped like it would when one
knocks on a door.
Kururunfa (Forever Crushing and Breaking)
Again the use of taisabaki, joint locking and breaking techniques
are prominent within this quick and fast kata. Many open handed
techniques could either be interpreted as a joint lock or a block,
and depending on the circumstances could be used as both. The
use of the hips to aid some hand techniques enhances both the
power and effect of the technique.
Seisan (Thirteen Hands)
The opening three Sanchin dachi steps with the morote chudan uke (double middle level
block) and chudan gyaku tsuki (reverse stomach punch) appears to be similar to that as
in Sanseru kata, BUT, in performance and application they are NOT! This is a
powerful, fighting kata with many superb close-in fighting techniques.
Suparenpei (One Hundred and Eight Hands)
The longest of all the Goju Ryu kata, Suparenpei is said to contain all the techniques from
all the Goju Ryu kata. Quick blocking and simultaneous striking are found all over this
kata. Just like in a fight, you have to pace yourself and your breathing to end off this kata
strongly. This kata is also known by it's original name, Pichurin.
Tensho (Revolution of the Wrist or Revolution of the Heavens or Turning Hands)
Tensho kata was created by Miyagi Chojun O'Sensei. Tensho literally means 'turning
hands'. This is the 'JU' (softness) of Goju and Miyagi O'Sensei developed this kata from
the 'Rokkishu' kata of the Fukian White Crane System. The hand movements and
breathing require a high level of co-ordination.