| Kata is a pattern of movements
which contains a series of logical and practical attacking and blocking techniques.
In each kata there are certain set or predetermined movements which the
student can practice alone, without a partner. These kata have been created by
previous masters after many years of research, training, and actual combat experience. The
applications of the techniques in these kata have evolved from and have been tested
in actual combat. Bunkai refers to the break-down of a kata , to analyze the moves
hidden within such as strikes, locks, throws or pressure point strikes. There
are several level of bunkai and there is no single, correct bunkai for a given
move. As one advances up the ranks, one gains a better and deeper understanding
of the katas and their bunkai. It should be known that secret principles of Goju
Ryu exist in the kata. In this way each kata has been improved and refined, and
has evolved into the kata we practice today. Because
of the time and the katas complex evolution it is impossible to trace the exact
development that the kata underwent, but it is known that the old masters
studied the combative techniques and movements in the fighting between animal
and animal, animal and man, and man-to-man. They also studied the physiology of
the human body and its relationship to combat, taking into account such factors
as the circulation of the blood in a twenty-four hour day, the vulnerability of
the vital points in relation to the time of day, and other cyclic laws of nature
such as the rising and setting of the sun, and the rise and fall of the tides.
All of these elements are incorporated into the kata. The
purpose for developing kata also varied with the times and with the people
who developed them. For example, in China over 1600 years ago kata was developed
and practiced for the purpose of self-defense, whereas the Buddhist monks would
practice kata for the purpose of strengthening the spirit as well as the body. One
can learn the katas in as little as a day but it can take several years to master
a kata and learn its secrets. The true meaning and spirit of karate are embedded
in the kata and only by the practice of kata can we come to
understand them. For this reason, if we change or simplify the kata either
to accommodate the beginner or for tournament purposes, then we also will have
lost the true meaning and spirit of karate. In karate there
is no first attack. Every kata begins with a defensive movement, which
exemplifies this spirit. Not only is there no first attack, but the best defense
is to avoid the fight altogether. That is why it is said that karate is the art
of a wise man. To practice the kata correctly
every movement must be repeated over and over again. Only through constant repetition
can the techniques become reflex action. Kata practice is a lifetime of dedication
under the guidance of a knowledgeable and authentic teacher. An important aspect
of kata is that it can be practiced alone, anytime and anywhere. When
kata is performed by a well-trained person, its dynamic power and beauty
of movement become almost aesthetic in quality. Katas
in Okinawan Goju Ryu play a very important role in the essence of the system.
In times of the Goju Ryu founder, Chojun Miyagi Sensei katas were not taught in
a specific order as is done in modern days. The majority of the Okinawan Goju
Ryu katas practiced nowadays originated in China. Unfortunately, the name of the
persons responsible to formulate the katas, and the exact date of their creation
are untraceable. All those katas were brought from China to Okinawa by Kanryo
Higaonna Sensei who learned them from Ryu Ryu Ko Sensei in Fuchow. Miyagi Sensei's
contribution to the Goju Ryu kata set includes the creation of Gekisai Dai Ichi,
Gekisai Dai Ni, Tensho and Sanchin (straight version). Goju
Ryu katas are divided in two main groups: Heishugata and Kaishugata. Heishugata
translates literally into 'close-hand kata', but what it really intends to say
is the continued state of tension maintained throughout the execution or performance
of the kata by contracting the muscles. Sanchin and Tensho katas are the typical
explanation of Heishugata. Kaishugata translates literally
into 'open-hand kata'. This type of kata refers to the concept where the practitioner's
body remains 'open' or relaxed during most of the kata, and powerful or tensed
at the moment of the execution of the respective techniques. The
Okinawan Goju Ryu katas practiced are listed down below in the order as they are
taught at the Dojo. | Heishugata: | 1 | | ` | Sanchin
(Miyagi Sensei version) | | ` | Sanchin
(Higaonna Sensei version) | | ` | Tensho | | Kaishugata: | 1 | | 1 | Gekisai
Dai Ichi | | 1 | Gekisai
Dai Ni | | 1 | Saifa | | 1 | Seiyunchin | | 1 | Shisochin | | 1 | Sanseru | | 1 |
Sepai | | 1 |
Kururunfa | | 1 |
Sesan | | 1 |
Suparinpei |
| Gekisai Dai Ichi: (Attack &
Destroy 1) |  |
This kata was introduced and developed by Chojun Miyagi Sensei
in 1940 as a form of physical exercise to popularize karate among the public of
Okinawa. All the basic movements that are quite easy to learn are done with closed
fist and with full power. It is interesting to note that this kata finishes with
a step forward. Japan was at war at the time of this kata creation and according
to Higaonna Sensei's book The History of karate-Do, Miyagi Sensei included the
forward step as an analogy to the country moving forward. |
| Gekisai Dai Ni: (Attack & Destroy
2) |  |
This kata is very similar to Gekisai Dai Ichi , however some
advanced techniques and timing are included. Kake uke,Mawashi uke and Nekoashi
Dachi are the additional techniques in the kata.ln this kata the concept of muchimi
(heavy sticking but flowing action) is introduced in the kake & mawashi uke.
Muchimi requires stance with a lower centre of gravity, hence neko ashi dachi. |
| Sanchin : (Three Battles) |
 | Generally
accepted as unity of body, mind and spirit. This kata uses dynamic tension or
isometric muscular contraction with deep breathing for power training and overall
body hardening effect to develop a resistance to body strikes. Sanchin Ichi kata
was introduced and developed by Chojun Miyagi Sensei because the original kata
i.e. Sanchin Ni which he learned from Kanryo Higaonna Sensei was too long and
difficult to perform for beginners, leaving Sanchin Ni to be taught at the later
stage. Sanchin Ichi has all the movements as Sanchin Ni ,but is shorter and no
turns, hence making it a little easier.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, which is still practiced
in Uechi Ryu. Higaonna Sensei changed the open hands to closed fists as the martial
meaning was no longer emphasized. In Sanchin the most things are correct posture
and correct breathing. | | |
| Saifa: (Smash & Break) |
 |
Saifa helps promote whipping power generated by movement of
hips switching between soft and hard movements of the arms.lt also helps develop
Taisabaki (body evasion) and balance. It mixes swift light stances (nekoashi dachi
& sagi ashi dachi) with solid grounded stance (shiko dachi). It contains a
vast number of techniques like tettsui uchi,uraken uchi,shotei uke, hiza geri,ura
tsuki, haito uchi,morote tsuki ,ashi barai etc. | | |
Seiyunchin :
(To Grab and Pullin Battle) |  |
Seiunchin is a long demanding kata which contains no kicks
and is mostly performed in shiko dachi. This kata is most performed at tournaments
throughout the world. This kata is well suited for practical close in fighting
with pulling and gripping techniques. | Shisochin
: (Battle in Four Directions) |  |
Techniques with joint locks and breaks features this kata.
It is of Chinese origin taught to Kanryo Higaonna Sensei by Ryu Ryuko Sensei.
It is said to be one of the Chojun Miyagi Sensei's favourite kata. |
Sanseru : (Thirty
six Hands) |  |
"36 Hands" An explanation of this and the other numerically
named kata is that they refer to the systematic method and understanding of certain
grouping of vital acupressure points. 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 application. |
| | | Sepai:
(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
(To remain still , then Quickly attack & destroy) |
 |
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. | | |
Sesan (Thirteen
Hands) |  |
Sesan which translates to mean 13 techniques is believed to
be the oldest of all Goju Ryu katas. Thirteen is also a number representing goodluck
and prosperity in Chinese Numerology. 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. | | |
Suparinpei (One
Hundred and Eight Hands) |  |
The longest of all the Goju katas, Suparinpei is the most advanced
kata in Goju Ryu and contains the greatest number of techniques and variations.
108 also has special significance in Buddhist belief's from where the kata originated.
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
(Rotating Palms) |  |
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. It is
a combination of hard dynamic tension with deep breathing and soft flowing hand
movements, concentrating strength in the Tanden.
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