Shuri Ryu Kata

Shuri Ryu Kata

Kata (forms) are formal exercises consisting of a series of techniques performed in sequence and arranged to geometric patterns. They include all the various hand, foot and body shifting techniques used in kicking, punching and blocking. The katas were conceived centuries ago and were devised by masters in antiquity and have been handed down from the past.


The Tai kyoku exercises were created by Gichin Funakoshi and his son Yoshitaka (Gigo) as basic introductory movements in preparation for the more advanced Pinan(Ping an) (Heian in Japanese and Chan an's in Okinawan. It is believed they were introduced by Chen Yuen Ping in 1644. Tai kyoku translates as first basic steps, also known as body side forms. There are 22 movements and 8 attacks.s

The originator of Wunsu is not known. It is believed that it was; named and composed by Okinawan matial artists as a tribute to the Chinese emissary Wanshu who was in Okinawa around 1685. Through time and difference in translation the kata has also become known as. Wansu, Ansu, Unsu and Unshu. The kata strongly emphasizes the use of left and right arm punches, for which reason it is called Strong Arm form. Tatsuo Shimabuh (now deceased) later referred to the kata as Dragon Boy or dumping form.
Wunsu’s hidden physical movement occurs when the first right forward punch is executed. The punch is "hidden" slightly behind the right kidney with the thumb side away from the body. Execute a forefinger knuckle punch (keiko ken tsuki) that glides forward alongside the body with a sharp twisting motion (thumb facing straight up). Delay the twist until the last possible moment. The theory behind the hidden punch is that while the normal punch (seiken) cannot be executed at close quarters, and takes a long time to reach the opponent, the forefinger punch can, as it does not require a full twist. (In the regqular performance of this kata, execute at this point a middle punch (seiken tsuki) , the keiko ken tsuki being kept as a hidden or secret movement option.)
The symbolic hidden movements take place during the beginning and ending of the kata. The first one, at the beginning, is where the right hammer-fist is executed to the left extended open hand. This meanss, "Karate is my secret." The second movement immediately follws the first movement, when the left open hand is placed on top of the right fist just before the hands are brought back to the chest (both hands open), meaning, "I bear no weapons." The third symbolic movement is on the last left edge-of-hand block, as the left hand is brought back towards the right hand into a praying (gasho) position, meaning, "I ask forgiveness and accept responsibility for my actions".

Anaku (ananku) means a swallow or small bird walkng and turning (over looking the ocean). It is also known as expression pivot and turning form. Head snapping (before turning) and te and tekatana ukes should be strong and obvious when performing this kata. The kata origin is unknown, however it is believed to have been recomposed by Chotoku Kyan in Okinawa around 1895. He died in 1946.
The hidden movement in Anaku is the scan execution of the middle left augmented block on explanation 31. The scan is held for approximately 15 seconds (with a wild and wide eye stare and teeth tightly clenched) in a meditative pose. The Chinese translation is called szu-chi, and the Okinawans call it shin-chin taisha, which means to hold the breath in a meditative pose for incredible lengths of time. Shin chin taisha is also lmown as dead breath, and when done in a prolonged meditative sitting pose (mokuso), with hands in praying position (gasho), a heat sensation will be felt in the lower stomach as the body begins to violently vibrate and almostt rises from the pose.
There are 33 movements and 8 attacks.

Each movement of a kata or form has a practical application, usually a block and a counter- attack. Within every kata, and this one in particular there are hidden or symbolic movements that have both practical and Symbolic interpretations. In this kata, the beginning symbolic movements mean, "I gather within me all forces of earth. I look up and ask the heavens for perfection of self. I instill its force and energy (fire and earth elements) into my body." The origin of the three (3) Naihanchi katas is unknown. We do know for a fact that they were practiced as one single kata by Okinawan Shuri-ryu Master Sokon Matsumura around 1825. Naihanchi was, however, handed down to Matsumura from earlier times. We can assume that Naihanchi is well over one hundred and seventy years old, possibly dating back to the era of Tode Sakugawa, Suekata Chogun and Ito Gusukuma.
Around 1895, Master Choki MIotobu popularized Naihanchi by daily performing the three forms as only one kata at least five hundred times. The three Naihanchis, performed as one, became known as Motobu's Kata, and he is said to have stated many times, "There is only one kata necessary to develop and excel in Karate, and that is Naihanchi as one." Motobu's favorite hand form when performing Naihanchi was the forefinger punch (keiko ken zuki).
Because of its length and degree of difficulty, the kata is now divided into three sections for teaching purposes. A point of interest with this form is that although it was developed by Shuri-ryu stylists, it has become an international form that is perfonned in almost every major style of Karate, Taekwon do and Kempo today. The form was developed as a defense against four to eight opponents, with the performer pinned against a wall defending to the right, left or from the front, but never from the rear. The original name for this kata is Naihanchi, which means "Iron Horse," but it is more commonly referred to as Iron Horse-missing Enemy form. Other names for this kata are Naifunchin, Teki and Chulgi.
There are 49 movements and 17 attacks.

The ancient Chinese name for this kata was Erh-lu-chuan. It was also called San schich or Chi shich. It was known in Okinawa as Bodhidharma's "Ju hachi rakan shoukyo," which means the eighteeen hand teclmiques of movement used in training by students, using theories of intrinsic energy and abdominal breathing for defeating their opponents. Rakan is an older student, who is skilled in the art. The same term in Buddishm Arahant means a sage of wisdom who evolved from the bondage of passions or emotions. It is also referred to as the "Three battles of life" (three conflicts), which are birth, survival and death.
When performing either San-chin or Ten-sho katas, use both the hard and loud (ibuki or wai-chai) and the soft and quiet (nogare or neichai) exhaling methods. In loud breathing, open the mouth wide while exhaling, placing the tip of the tongue between the teeth while forcing the air out with a loud audible sound. In soft breathing, exhale quietly and calmly, with the mouth partially open and with the tip of the tongue between the teeth, while softly forcing the air out.
San-chin's hidden and symbolic movement occurs when the arms first cross the fists (called sankai-gasho). The movement indicates "principles of universa! knowledge in a psychological form." In China this called Hsing. The Japanese call it In, while in India it is called mudra in. It is interesting to note that almost all of the movements in San-chin kata are mudra. The circular movements of the entire kata indicate the return to the source, or rebirth, theory. The hands become instruments of the wi11, and the arms crossing are subject to a harmonious will. The inhaling and the raising of the body show a desire to rise above ideals, while the lowering of the body signifies life's failures.
One of the highlights of the system is the "breathing katas. " Breath is the vital fuel needed to sustain life, and when vigorous physical and mental breathing is experienced, more blood sugar is required to keep the pace. If the blood does not have sufficient oxygen, exhaustion sets in. To minimize exhaustion and obtain maximum results, the breathing procedure mentioned here must be used :
Inhale by taking a deep breath into the lower stomach through the nose.
Momentarily practice dead breath (shin shin tai sha), visualizing the hung sound for storing the air (energy).
The entire body should at this point be tight and under extreme surface tension (softness and tension with pliability).
Slowly start releasing (exhaling) by blowing. Push and force all the air out through the mouth, expressing the hahh or sooo sound, which will release all the air (power) completely from the entire abdominal region.
The following points should be noted in performing the Ten Sho kata:
l. All hand movements are done witl1 tension under breath
2. The pelvis rises with each inhalation
3. All middle block positions must have the elbows inside of the rib cage, and the fist must be slightly outside of the shoulders
4. Relax (exhale) and drop hips after each arm movement
There are 47 movements and 8 attacks.

The flying swallow form has a comparatively short history in con1parison with other forms. The form was being performed in Okinawa around 1895, however its composer is unknown. The kata is referred to as Embi. (flying swallows) or first elbow form.
The hidden movement is executed during explanation (3) when the right fist, in tekata na-uke position, is brought back with a hidden right dragon fist punch that is next directed directly into the opponent's groin.
There are 34 movements and 10 attacks.

The Bassai (basai) or Patsai katas were believed to have originated and been composed strictly for King· Oyado Mari of the Ryu kyu Islands (Okinawa), for his personal body guards' use in saving his life against enemy encounters. The katas were being taught by Kosaku Matsumura, in Tomari, Okinawa, around 1869. The forms were the favorite of Chotoku Kyan (1870-l946) and Choki Motobu (1871-1945).
There are now in existence four (4) basic Bassai forms, which are:
l) Bassai Sho- breaking the small fortress.
2) Bassai Dai - breaking the great fortress.
3) Bassai San - penetra_ ting the mountain fortress.
4) Bassai Tomari - thunder in the forest.
They are also known as "Breaking the giant enemy circle forms."
The hidden and symbolic interpretations in Bassai deal with the ruler elements, when both hands, palm down, are brought back to shoulder level, with the forearms perpendicular to the floor, just before the execution of the double fist-back strikes: "I bring the beating waves upon my body (blood flow), and release the heated steam (breath) that turns into a burning fire in my lower stomach (saika tanden)."
There are 55 movements and 19 attacks.

Go Pei Sho represents a peacock preparing to defend itself. As it slowly opens its wings, it goes into a series of wing-striking and clawing attacks that are intended to blind the attacker.
Go Pei Sho was inherited from the Chinese movements of Master Li Tsun I, of the Hopei School, also called Goka Ta Ken, from which stemmed Okinawan Karate. The kata was later restored to its present and original form by Master Robert A Trias. Since it is basically Chinese in movement, it was first known as Hopei-sho.
Go pei sho' s beginning hidden and symbolic movement is that of a peacock slowly opening it's wings and preparing to attack. The symbolic meaning pertains to the water ruler element, which means, "Through my fingertips I receive streams of energy that I will direct deep into my lower stomach, which must flow uninterrupted throughout my entire body." The interpretation involves releasing oneself from two opponents who have grabbed one by the shoulders. The performer, using both hands as tiger claws, rips at the opponents' eyes. The other meaning of the same movement is two arm blocks against an opponent who is reaching for performer's neck.
There are 56 movements and 23 attacks.

Dan Enn Sho represents five of the twelve anin1al styles of the Hsing yi system (feel of the hmnan mind or intellectual fist). The movements of the eagle, hawk, snake and tiger are very obvious. Dan Enn Sho, like Go pei Sho, was inherited from the movements · of the Chinese Master Li Tsum Yi (Tsun i) of the Hopei school. The Hopei schools were also called Goka Ta Ken, from which stems all Okinawan Karate. The kata was later restored to its present and original form by Master Robert Trias.
It is believed that this kata was named after Lord Sho Ebb (Enn Sho) of Tama and Nakac Jin castles in Okinawa by Nogunto Otomo, who at the time was placed in jurisdiction of both castles by King Sho Hashi. It is also reported that the Enn Kan Hi castle (home of the Otomo clan, in Saski-ki village) could have been a link in the naming of this form.
Forms used are: Chicken (cock) head, Crane beak, Snake head, Hawk claw, Tiger claw and Eagle claw.
Dan enn sho's hidden and symbolic interpretation is right before and just after the kiai in the last movements of the kata, meaning "I reach out with my hand for the divine force and obtain reality and self-liberation. I gather passive energies (yin-chi), press them into my lower stomach, and reach enlightenment." The interpretation involves a side neck release, locking and turning the opponet's arms with a hand twist and lock.
There are 39 movements and 12 attacks.

The origin of this kata is unknown, although it was practiced in the Okinawan villages of Shuri and Tomari years ago. Its original name is basically Chinese -"Nandan sho" (Smooth water and Difficult victory form ). It may be noted that Nanda was the half brother of Gautama, the historical buddha. The Japanese call the kata "Nijushoshi," meaning twenty-four(24) steps.
Nan dan sho's hidden and symbolic movements pertain to the Earth ruler element, which deals with the body and the usage of all types of breath. The interpretation is in the beginning movements, which means, "I take all forces and energies from earth and bring them into my body. When my body returns to earth, I give back to earth my body, mind and spirit, and all energies and forces I took while on earth·"
There are 51 movements and 16 attacks.

The originator of Kanku Sho is not known. It is believed that the kata was named and composed by Okinawan students in honor of a Chinese martial artist who was in Okinawa around the year 1765.
It can be assumed that the kata is well over 200 years old. It is practiced internationally, and its name, "Kan ku sho," means Sky observation (small) form; however, it is far more commonly referred to as" Flowing lagoon and looking at the sky form." Other katas with similar movements are Kusanku (kusokun) and Kanku dai (sky observation great form ).
The hidden physical movement is when the performer drops to the floor, with the fingers of both hands pointing to each other while the performer slowly scans the entire heavens, left to right (in shin chin taisha meditative pose), and then sharply turns the head to face the opponent.

This kata was developed by Grandmaster Robert A Trias from the breathing exercises of Shaolin Monks as used in moving Chan mediation.

There are three (3) "Ten" katas. ("Ten" literally means "heaven, sky, air, heaven's will, or nature.") The first kata is named Tensho, which means "motion of hands," but is often referred to as "The Kata of the Universe," "Thousand hand and heaven and breath form" and "Earth reflecting Heaven form."
Ten sho resembles the sudden awareness of the false-self to the real self.. In it lies true existence. Truth exists in many forms, but only through serious study and continuous practice (thousands of times) will it reveal its true nature. Ten sho expresses a triple nature:
1) A subtle inner meaning (teaching or Dharma)
2) An outer explanation (practice or Sangha)
3) A divine principle (enlightenment or Buddha) within the state of nothingness (Sunyata) or emptiness.
This triple nature is often referred to as" The Three Jewels."

When performing Ten sho, use both the hard and loud (ibuki) and soft and quiet (nogare) breathing methods (yin-chi), as developed through the breathing exercises. The stomach must be extremely tense, with rapid and strenuous body movements of great physical strength and spiritual concentration, with instant relaxation and dropping of the hips.. The Chinese call this Pi-chi, which will generate, control and direct the energy flow throughout the body. Pi-Chi was also used by Tibetan Lamas ("Tu-mo" in Tibetan) to generate heat within their bodies for the purpose of transfering this heat or energy to another body.
When performing the interpretations with an opponent, the hands must rotate in either direction (like a ball) when making contact with his hands or arms. Always move with, and control, the opponent's movement (as in trapping hands) without breaking contact with said movement.
Ten sho's hidden symbolic movement takes place when the arms first cross and the fists, at the moment, are turned toward the body (called basa ran kongo). The movement shows "the vast knowledge which destroys passion" and "the impenetrable truth of universal wisdom." As in San-chin, breath inhaling (raising of the body) shows a desire to rise above ideals, while exhaling (lowering of the body) represents the performer's failures in life. Most of the movements are mudra, and knowledge gained through Ten sho should flow through the mind like water.
One of the highlights of the Ten sho system is the "breathing katas." Breath is the vital fuel needed to sustain life, and when vigorous physical and mental breathing is experienced, more blood sugar is required to keep the pace. If the blood does not have sufficient oxygen, exhaustion sets in. To minimize exhaustion and obtain maximum results, the breathing procedure mentioned here must be used :
Inhale by taking a deep breath into the lower stomach through the nose.
Momentarily practice dead breath (shin shin tai sha), visualizing the hung sound for storing the air (energy).
The entire body should at this point be tight and under extreme surface tension (softness and tension with pliability). Slowly start releasing (exhaling) by blowing.
Push and force all the air out through the mouth, expressing the hahh or sooo sound, which will release all the air (power) completely from the entire abdominal region.
Finally, the following points should be noted in performing the Ten Sho kata:
l. All hand movements are done witl1 tension under breath
2. The pelvis rises with each inhalation
3. All middle block positions must have the elbows inside of the rib cage, and the fist must be slightly outside of the shoulders
4. Relax (exhale) and drop hips after each arm movement