YUZENKAI: KATA

Written by

Dr Robert Dyson

A: Goju Ryu Kata
Sanchin (三戦)Sanchin – ‘three battles’ – is so called because its purpose is to enable the karateka toovercome three kinds of weakness: of body, mind and will. Especially whenpractised in conjunction with the ‘shime’ (締め) method of training it will produce astable, rooted posture, strengthen the muscular, nervous and respiratory systems,
and concentrate the practitioner’s strength in the ‘hara’ (腹): the abdomen. Sanchinkata is Chinese in origin, originating in the Fujian White Crane tradition, and exists
in a number of variants. Goju Ryu uses a longer version, often called Sanchin dai (三戦大: ‘large Sanchin’) and a shorter one called Sanchin sho (三戦小: ‘small Sanchin’).
The longer is attributed to Higaonna Kanryo and the shorter to Miyagi Chojun. Thelonger has two 180° turns; the shorter simply moves forward and back. Originally
Sanchin was practised with open hands (as it still is in Uechi Ryu). The tense closedfist ‘push’ now used in Goju Ryu is said to have been introduced by HigaonnaKanryo’s student Kyoda Juhatsu. The Uechi Ryu version is closer to the Chineseversion, with quick ‘snake-like’ spear hand (nukite: 貫手) strikes.
It is said that Goju Ryu karate begins and ends with Sanchin. It is important to learn
it from a teacher who has thoroughly understood the correct methods of stance andmovement.
Tensho (転掌)Tensho kata is complementary to Sanchin, and equally important to the student. It
combines the strong, concentrated ‘hara’-centred posture of Sanchin with the large
flowing circular hand movements characteristic of Goju Ryu: ‘Tensho’ is‘turning/rotating palms.’ It was composed by Miyagi Chojun in about 1921 with theintention of balancing the tension or hardness of Sanchin with an element ofsuppleness or softness. In this sense, Tensho is perhaps the quintessential ‘go/ju’ –‘hard/soft’ – kata, and it must be carefully studied with this interplay in mind. It isinfluenced by traditional Okinawan body movements and the Kakufa kata of
Higaonna/Gokenki. It may be distantly related to the form called Rokkishu (六手:‘six hands’) described in the Bubishi; also, Tensho looks like a highly simplified
version of the Wing Chun form called Sil Lim Dao, which is itself related to theFujian Crane systems.
Sanchin and Tensho kata are customarily called heishugata (閉手形) (‘closed handkata’); the rest are kaishugata (開手形) (‘open hand kata’). These terms bear norelation to the way in which the kata are performed. They seem to have been
intended to mean that the heishugata are esoteric (i.e. not given with an ‘open hand’to all comers), whereas the kaishugata are as it were the exoteric or ‘public’ kata ofGoju Ryu. This is not, however, a distinction that is observed in modern Goju Ryu
teaching.
Gekisai (撃砕)Goju Ryu has two elementary or beginners’ kata, called Gekisai dai ichi (撃砕第一) or
Gekisai shodan (撃砕初段), and Gekisai dai ni (撃砕第二) or Gekisai nidan (撃砕二段).
Gekisai dai ichi was devised by Miyagi Chojun in 1940, at the request of theGovernor of Okinawa who invited him to develop a kata that might promote thestudy of karate by the young. Nagamine Shoshin ((長嶺 将真) (1907 – 1997) wasasked to develop a similar kata; the result was the Fukyugata ichi (普及型一) now
practised in Matsubayashi Shorin Ryu. Miyagi Chojun composed the morechallenging Gekisai dai ni subsequently, building on the foundation of the earlier
one: Gekisai dai ni/nidan introduces the student to neko ashi dachi (猫足立) andmawashi uke (回し受け). The Gekisai kata are basic, but the difficulty of learningthem should not be underestimated. Gekisai is ‘attack and break’ or ‘defeat andcrush.’(Other teachers have devised empty-hand kata called Gekisai sandan and Gekisai
yodan for purposes of their own, but these are not practised in Yuzenkai. InYuzenkai, Gekisai sandan, yodan and godan are the names used for kobudo kata, forsai, tonfa and kama respectively).

Saifa(獅子法)Omoto Shihan prefers to write the name of this kata as 獅子法(獅法), which is ‘lion
combat method.’ It is more usually written as 最破 (‘extreme destruction’) or 砕破(‘smash and destroy’). As is true of so many kata, the actual origins of Saifa areobscure. It is said by some to have been brought from China by Higaonna Kanryo;
others believe it to be an ancient Nahate kata that Miyagi Chojun learnt fromMotobu Choyu. Its Chinese ancestry is clear enough: the double punch that occurs in
it is characteristic of southern Chinese Lion Boxing; it also contains elements ofWhite Crane combat methods. Saifa kata emphasises moving outside an opponent's
line of attack while reducing distance. The final technique of the kata is hadaka
shime (裸絞め), a lethal choke-hold that can separate the brain-stem and spinal cord.
The traditional Saifa kata differs somewhat from the version more recently createdby the WKF and JKF for competition purposes.

Seienchin (青鷹戦)Omoto Shihan prefers to write Seienchin as 青鷹戦, which is ‘blue hawk combat’: thekata incorporates a number of hawk-like grasping, holding and pulling techniques
intended to unbalance, grapple and throw. It can also be written as 征遠戦 (‘combatwith the barbarian enemy’) and, more usually, 制引戦 (‘combat by controlling andpulling’). Seienchin kata trains the practitioner to move swiftly and fluently in
different directions in shiko dachi (四股立). Seienchin is one of the three traditional
Goju kata (Sanchin and Tensho are the other two) in which there are no explicit
kicking techniques. It seems likely that Miyagi Chojun learnt Seienchin during histravels in China, or synthesised it from techniques that he acquired both in Chinaand Okinawa. Various authorities suggest that it is related to Hsing-I or to the Eagle
or Hawk systems of Chinese boxing.
Sanseru (三十六)Sanseru – ‘thirty-six’ – is one of several kata with names that are factors of 108: anumber with complex symbolic significance in Buddhist thought. The name does notmean that Sanseru contains 36 techniques (though it is also said that Feng Yiquan,
who lived during the Ming Dynasty (1522-67), developed the kata, or a forerunner of
it, as a method of using thirty-six vital points to defeat his opponents). Sanseru kata
contains techniques for attack and defence using both hands simultaneously, andtechniques for synchronizing hand and foot in low kicks. Versions of Sanseru arefound in the Crane, Tiger and Dog styles of Chinese Boxing. It is traditionallysupposed that Miyagi Chojun learnt Sanseru from Higaonna Kanryo, but there isreason to think that Higaonna Kanryo did not himself teach it and that Miyagi
Chojun learnt it in China after Higaonna Kanryo’s death. The Sanseru kata practisedin Uechi Ryu is quite different from the Goju Ryu version.

Sisouchin (蟋蟀戦)
Sisochin, written as 蟋蟀戦 by Omoto Shihan, is ‘cricket fight’: a reference to theChinese game of making two male crickets fight one another with bets on theoutcome (the male cricket is noted for its aggressiveness and persistence). Thisperhaps suggests a kinship with the southern Chinese Mantis systems. It is more
often written as 四向戦, which is ‘combat in four directions.’ Possibly the 四 (‘four’)is meant as a reference to the four ‘elements’ that feature in Chinese metaphysics andmedicine: wood, fire, metal and water. Sisouchin kata contains locking techniques,escapes from ‘bear-hugs’ from behind, and several throwing techniques. It isunusual in that it begins with swift nukite strikes similar to those found in the Uechi
Ryu version of Sanchin kata. Sisochin is usually thought to have originated in either

the Dragon or Tiger Shaolin arts, while others regard it as being related to Okinawan
White Crane methods.

Sesan(十三)Sesan – ‘thirteen’ – is considered by some to be the oldest of kata of all. It is certainly
very widespread. Wado ryu, Seibukan Shorin Ryu, Isshin Ryu and Uechi Ryu all
have versions of it, as does Shotokan, though the Shotokan version was renamed
Hangetsu (半月: ‘half-moon’) by Funakoshi Gichin ((船越 義珍) (1868 – 1957). Theseall differ significantly from one another, and all seem to be related to an older kata
now called Aragaki-no Sesan, named after Aragaki Seisho (新垣 世璋) (1840 – 1918),
who was Higaonna Kanryo’s first teacher. It is said to be one of the four katabrought back from China by Higaonna Kanryo, though it seems likely that he also
learnt a version of it from Aragaki Seisho. Perhaps Sesan is so named as containing
thirteen different kinds of technique; alternatively, the name possibly originatesfrom the fact that ‘thirteen’ is a symbol representing strength in Okinawan andChinese culture. Sesan kata trains strong punches, kicks and grasping techniques,
and it contains many hidden techniques.
Sepai(十八)Sepai is ‘eighteen’ but, as with Sanseru kata, the name does not refer to the numberof techniques contained in it; again, 18 is a factor of 108. Sepai kata contains
numerous techniques (often hidden) of long-distance and close-quarter combat, andutilises movement in four directions and 45° angular attacks. It was a particularfavourite of Toguchi Seikichi (渡口 政吉) (1917–1998). Sepai is usually thought tocome from the Tiger or Tiger/Crane Shaolin systems, though the distinguishedkarate researcher Akio Kinjo (Karate Denshinroku: Okinawa, Tosho Center, 1999)
believes that it belongs to the Dragon Shaolin tradition.
Kururunfa 臥龍法
According to the orthography favoured by Omoto Shihan, 臥龍法 is ‘dragon method’;the movements and behaviour of the dragon can be seen in this kata, and Akio Kinjo
believes that its origins lie in the Dragon Shaolin system. A more usual orthography is久留頓破(‘holding on long and destroying suddenly’); another alternative is 来留破,
which is a meaningless homophone of the Chinese pronunciation. Kururunfa isdistinguished by rapid and dynamic stance changes, close-quarter grappling and theheavy feeling ‘sticking’ or adhesion known as mochimi (餅身). Joint techniques andthrows are more evident in this kata than in Sepai.
Suparinpei (一百零八)Suparinpei is ‘One hundred and eight’ – again, not as representing the number oftechniques in the kata, but using the number 108 as a symbol for infinity. Suparinpei
is the longest and – despite an apparent simplicity in execution – the mostcomprehensive Goju Ryu kata. Its hidden techniques, transitions and changes ofpace require a great deal of effort to master. Some teachers say that Pechurin (百歩連), ‘One hundred step sequence,’is an alternative name for Suparinpei; but, despite
certain similarities, Pechurin and Suparinpei are separate and different kata. It has
been suggested that Pechurin was the kata originally taught by Higaonna Kanryo toKyoda Juhatsu and that it perhaps forms the basis of the Suparinpei later developedby Miyagi Chojun (though it may also be that Miyagi learnt his Suparinpei kataelsewhere).
B: THE ‘HEIAN’ KATA
There are five Heian (平安) kata: Shodan (初段) Nidan (二段) (Sandan (三段) Yodan(四段) and Godan (五段). There are also older and less elaborate versions of thesame kata (practised in Wado Ryu and other schools) called Pinan: an alternative
pronunciation of the same kanji. The meaning in both cases is ‘peace’ or ‘tranquillity’.
The Pinan/Heian family originates with Itosu Anko (糸洲 安恒) (1831–1915), astudent of Matsumura Sokon ( (松村 宗棍) (ca.1798–1890). Itosu was the earliest
karate teacher to promote the study of the art outside the traditional model of aclosely supervised personal relationship – often a ‘live-in’ relationship – between
teacher and pupil. His project was to introduce the study of karate into theOkinawan secondary school system, and in pursuance of this he devised the series ofsimplified kata called Pinan as being suitable for use by young students. It seems
that the Pinan kata were abridged from the much longer Kushanku (公相君) andChiang Nan/Channan (澹南) kata that Itosu learnt from Matsumura. Channan kata issaid to have been learnt by Matsumura Sokon from a Chinese teacher called Chiang
Nan – variously described as a soldier or dipplomat – who had visited Okinawa inthe middle of the nineteenth century. The original Channan kata is apparently lost,though it is thought to be the ancestor or prototype of several contemporary kata.
The Pinan/Heian kata are incorporated in the long kata called Kanku dai (観空大) or
Kushanku that is still practised. The pronunciation ‘Heian’ was adopted byFunakoshi Gichin, who also slightly changed the order (Pinan Nidan is called HeianShodan, and Pinan Shodan is called Heian Nidan). The Heian kata were given theirpresent form (by Funakoshi Osensei’s son Funakoshi Yoshitaka (船越義豪) (19061945).