I would like to present our beginners program. We do not work with children, so this program is designed for adults. After brief introduction training, where they learn basic positions (age, gedan, uchi, soto), stances and terminology, we proceed to this basic self-defense curriculum. Since, we implemented this program for adults our student retention ratio is much higher. Obviously adults join with goal to learn some practical stuff as soon as it is possible. They don’t want to practice oi-tsuki/kiba-dachi for months. So, give them what they want to learn and you will later have a chance to present more sophisticated side of tradition.

Dojo Kun

Kokoro to waza to karada o kitae nintairyokuo yashinao, koto ga Uchinan Koryushu no honshitsu de aru.

THE ESSENCE OF UCHINAN KORYUSHU IS

PERSEVERANCE IN THE TRAINING OF

SPIRIT, TECHNIQUE AND BODY.

Words of Wisdom:

Let anger be your enemy.

Remember, an empty vessel makes the most noise

Patience is the foundation upon which security and long life rest.

Know well your station in life.

Success is the fruit of the strong and wise.

Mind you manners and your own business.

Be happy without cause and make the best of what you have.
Despair is the conclusion of fools. Tomorrow’s success is built upon yesterday’s failures. Live in the here and now. Do not see more but learn to enjoy less.

The barriers of human achievement lie only in the mind.

Eight poems of the Fist:

The human mind is one with heaven and earth.

Our blood circulation parallels the solar and lunar cycles of each day.Inhaling represents softness while exhaling characterizes hardness. Adapt to changing conditions.

Response must result without conscious thought.
Distancing and posture dictates the outcome of the meeting.

See what is unseeable.
Expect what is unexpected.

*** “Words of Wisdom” and “Eight poems of the Fist” are taken from
Patrick McCarthys book “Bubishi”

Makiwara

striking board

The practice of ‘fresh air’ punching only, never gives one the true feeling of actually striking or punching and opponent. This type of training also encourages bad striking and punching habits as there is no measure between your technique and end-result. Our heads are made up of bones and cartilage and is mostly hard and solid, similar to a standing makiwara (tachi makiwara) – see illustration. Therefore it is imperative that one’s hands are conditioned to resist the impact otherwise the first strike to your opponents’ head could damage the bones in your hands or wrist. The makiwara not only aids in strengthening the hands and arms, but it also helps strengthen one’s stance and coordinating one’s breathing. Punching ‘fresh air’ does not cover all these aspects.

The are two types of makiwara, the tachi-makiwara and the age-makiwara. The most common version of the makiwara is the standing makiwara (tachi makiwara). However, there are also two types of standing makiwara:

Chishi

weighted lever

Sashi

weights

Sashi, hand held weights used during blocking and striking practice. Traditionally sashi is made of stone. A pair of 6-10 pound dumb-bells serve the same purpose. This exercise is very good for developing arm and shoulder strength.

Kami

gripping jar

Tetsu geta

iron clogs

These are iron clogs, used to strengthen kicking techniques.

The Tetsu-geta or iron sandals, for leg strength and kicking. (Much better for foot strength than modern ankle weights. The foot actually must grip the sandal, and the weight is at the far extremity of the limb, adding to the difficulty of the device. Because of this, fast kicking, which would be dangerous to the joints if using ankle weights, is not possible, and therefore the use of the tetsu-geta is preferred to the modern devices.)

Makiage kigu

wrist roller

This is a wrist roller, a wooden handle with a weight hung in the center on a rope. You twist the handle and wrap the rope onto it, raising and lowering the weight, and strengthening the wrists and grip.

Yari bako

This is just a box or bowl filled with sand, beans, gravel or similar material. Fingers are thrust into it to toughen the hands.

Sources used:

The Southern African Okinawa Goju Ryu Karete-do Jundokan Kyokai - web site

Article – Supplementary Weight Training by sensei John Porta & Jack McCabe

nose smash with a fist

This is very basic karate technique. One should keep in mind that this punch is not same as punch in sport karate.In modern karate it is very often used for thrust to opponent trunk, however this is not very effective in self-defense. In old karate fist is aimed at opponents nose.

Tips: Grab opponent’s arm and pull it. This is called hiki-te. You will control your opponent and make your strike much more powerful.

Reference kata: Seisan

	KINTEKI GERI Kick to groinsKinteki geri is performed always with your front leg. It is fast and accurate, whipping kick. Tips: Step a side and grab opponent’s arm for better control. Reference kata: Seisan, Kushanku, Anan
	SHUTO UCHI knife-hand to opponents throat Knife hand is one of primary and most effective weapons of old okinawa karate. This technique is can be very dangerous when aimed at opponents throat. Also, this strike can be used to smash opponents face and limbs. Tips: Parry opponents attack with your other hand and counterattack simultaneously. Reference kata: Kushanku
	SAGURI-TE eye gouge In self-defense, you can easily gouge opponents eyes with your fingers. This is done with your front hand, because you can cover more space with your front hand. Tips: Don’t be stiff. This technique does not require any power. Speed and accuracy are all you need. Reference kata: Passai, Kushanku
	HIZA GERI knee smash Knee is one of most formidable weapons of karate. You don’t need too much practice to understand its use.Knee is used to smash opponents groin and sometimes, depending of situation, when aimed at opponent head it will easily knock him down. Tips: You must use your hands (hiki-te) to control and pull opponent into knee smash. Without your hands hiza geri is almost useless. Reference kata: Passai
	EMPI UCHI elbow smash Elbow and knee are best used in close distance. This is prime weapon if stronger opponent tries to grab you. Knee and elbow can be very devastating with very little practice. Elbow strikes are very powerful. It is used to smash opponents face or to break his ribs. Tips: You must use your rear hand to pull and control your opponent. Hiki-te is most important here. Do not use your whole forearm to smash. Focus all your power at the elbow top (olecranon). Reference kata: Passai, Kushanku, Anan
	USHIRO EMPI UCHI This is similar technique. It is used as defense against attack from behind. Grab your opponent arm and smash his ribs with your elbow. Tips: You should remember that all elbow techniques require good stance. If you have firm stance, you will be able to focus all your mass into this strike. Reference kata: Kururunfa
	URAKEN UCHI backfist This technique is not very well understood today. Your wrist must be relaxed. All power is generated through whipping motion. Strike is always aimed at opponent nose and upper lip.This technique is very effective in close distance. Tips: It is mistake to use entire flat surface of backfist. You should use your knuckles as point of contact. Reference kata: Passai, Kushanku
	TEISHO UCHI palm smash Palm strike to opponents face is very effective. You should always use your rear hand to parry attack. Tips: This is very quick technique. Point here is to smash opponents nose. Reference kata: Anan, Seisan
	NUKI-TE throat grab In many cases, this technique is shown as variation of palm strike in kata. Tips: Instead of throat you can easely grab his hair, ear or press your thumb under his chin. Reference kata: Anan, Seisan & Kushanku

This chapter is inspired by ancient okinawan manuscript – Bubishi. This doesnt mean that I will demonstrate exatly 48 techniques. Title is same as title of similar chapter in Bubishi. Goal of this article is to show wide diversity of karate techniques – strikes, kicks, joint locks, throws, chokes and holds. Furthermore, if we only analyze one technique, there are many variations depending of style, tradition or teachers point of view. Here is my point of view, based on many years of practice, research and seminars. I will recommend to you all to read Bubishi and Funakoshi’s Tote jutsu. It is also very useful to see some video tapes as Chin Na, Okinawa Karate, Goju ryu, Ryueryu and Okinawan karate masters.

All techniques that are demonstrated here can be found in kata. If you practice Shotokan or some other modern style, then maybe you will think that many of these techniques are cruel and “dirty”. However, this “dirty” kind of karate is true Okinawan karate.

Stanic Milos

Basic techniques (part 1.)

Advanced techniques (part 2.)

Advanced techniques (part 3.)

Advanced techniques (part 4.)

Advanced techniques (part 5.)

Advanced techniques (part 6.)

Pinnan katas

Source 1:
“Seibukan katas” by Kim Mitrunen & Tommi Prami

Itosu Anko, who was a sensei to schoolchildren, developed this series of kata. Itosu took elements from different kata, Kusanku for example, and incorporated them in the series of forms. It is interesting to note there is mention that elements of the old Channan kata located in the techniques of the Pinan series. In Okinawa, there are still some teachers who say that they still know how the kata Channan is performed, but the likelihood is that the kata does not exist in complete form anymore. The Pinan series contains many high stances like choku dachi and narrow stances like neko ashi dachi. There exist many basic foundation maneuvers in the Pinan kata, as well as many basic techniques, presented in an easier format than the complete traditional kata they came from. In many mainstream Japanese styles, Pinan is known as Heian. Funakoshi Gichin made this name change. His philosophy was to teach Pinan Nidan first because he felt it was an easier transition into the Pinan series.

The Pinan Katas (Ping ‘An in Chinese) are very important. The name Pinan means “Peaceful Mind.” This name seems to be inspired by the Bubishi. In article 1 on the History and Philosophy of White Crane. It says, “Immeasurable self-conquests are made possible through a peaceful mind and inner harmony. The strength and resiliency gained from martial art training fosters an inner force with which one can overcome any opponent and conquer worldly delusion and misery.” Pinan Shodan and Nidan were created by Bushi Matsumura, and were originally called Channan Sho and Dai. They were based on kata taught at Fukien Shaolin in the Five Elder style. The Chinese reading for this name is “Chiag Nan.” Chiag Nan was the name of a Chinese Diplomat who resided Shuri. It is possible that Bushi got the techniques from him. Itosu created Pinan Sandan, Yondan, and Godan and added them to his own system. Some sources say he took them from other Chinese kata also called Chiag Nan that he got from a Chinese master, who may have also been Chaig Nan himself. These three are not Matsumura kata, but were passed down other Shorin lines.

Source 2:

Also Known As: Heian, Heinan.
Meaning: Way of peace (literally, “Great Peace”, sometimes translated as “Calm Mind”, “Peaceful
Mind”, “Serenity”, or “Security.”)

History: The Pinan kata series was introduced into the Okinawan School District karate program as gym training from 1902 to 1907 by Ankoh Itosu. The history of this kata is somewhat controversial – Kobayashi Shorin-Ryu stylists claim that Itosu developed all five kata using either the kata Passai and Kusanku. The Matsumura Seito Shorin-Ryu tradition states that Itosu only developed Pinan 5 by himself. (It is curious to note that Chosin Chibana, Itosu’s senior disciple and Kobayashi founder, taught only Pinan 5 and Naihanchi 3 out of respect for Itosu’s authorship). Hohan Soken (family inheritor of Bushi Matsumura’s style) taught only Pinan 1 and 2; saying that Matsumura had devised these two and laid framework for Pinan 3 and 4.

Gichin Funikoshi revised the order of 1 and 2, changed the kata name to Heian, and initiated deeper stances and higher kicks. He also replaced front kicks with side kicks and altered other moves in the series. Funakoshi was so well known for teaching the Pinan series that he was often referred to as the “Pinan Sensei.” Interesting enough, he did not learn the Pinans from Itsou as he had already finished his training with the great mejin before they were developed.

According to several sources, Funikoshi was first introduced to the Pinans during a trip to Osaka where he received instruction from Kenwa Mabuni, the founder of Shito-Ryu.

During his subsequent visits he learned a number of the kata from Mabuni that would eventually be taught in the Shotokan system. Regardless of their origin or lineage, there is no doubt that today the Pinan Series is practiced world-wide by Okinawan, Japanese, as well as some Korean
styles.

Source 3:

Most historians believe that the Pinan kata were composed and introduced after 1902 by Anko Itosu(1813-1915). Itosu was one of the most accomplished student of Soken Matsumura. and a teacher to Chotoku Kyan and Choki Motobu, two of Grandmaster Nagamine’s most prominent instructors. Pinan kata clearly has many similar techniques and sequences as the Matsubayashi-shorin-ryu version of the kusanku kata. Therefore many believe Itoshu derived Pinan from this form. When Karate was first introduced publicly in the high school in okinawa. Itosu did not want to give the impression that Karate -do was about violence or aggression. Consequently, he introduced Pinan kata, which translated means “Peaceful Mind”. Pinan kata strives to develop a mental state in the practitioner similar to the state of awareness in Zen Buddhism. That is, where the mind is completely relaxed, yet completely alert at the same time. In Pinan kata, the practitioner is surrounded on all sides by several imaginary opponents, but does not know in which direction the first attack will be unable to react to an attack by multiple opponents. it is essential to clear your mind of all distractions in order to change direction and prepare for the next attack. All five Pinan kata begin with an imaginary opponent attacking from the left. In Matsubayashi shorin-ryu it was decided for the first move of each Pinan kata that the practitioner should move away from the attack by steppingback with the right foot and twisting into a cat stance. In other Shorin-ryu styles the practitioner, however, moves into the oncoming attack by moving the left foot first. Psychologically this is an enormous difference. The way this technique is performed can chang the entire nature and philosophy of the Pinan form. Pinan kata is about developing the skill to move out of the way of harm by stepping at an angle in the cat stance. The practitioner must land with the weight down so that the spring is already tightly compressed once the practitioner’s leg touches the ground. in Pinan, the practitioner learns to move away which is a basic for beginner and intermediate Level practitioners. In more advanced kata, the practitioner develops the skill to move in when being attacked. The first time in the Matsubayashi-shorin-ryu curriculum that this technique is used is at the begining of Wankan kata. In pinan, step at an angle, away from the attacker so that it is advantageous to deliver the counter attack. As soon as the toes of the right foot touch the ground, use the legs to snap the hips and generate power on the blocks, When the practitioner steps back to avoid the attack they must land with their weight already dropped, so that the coil is already compressed. This create greater speed and power on the subsequent counter attack. Before turning or changing direction in pinan, the practitioner must remember to look in the direction of the attack before moving their bodies.

Pasai kata

Passai kata bunkai – demonstrated by sensei M. Stanic

Source 1: “Katas of Shorin ryu Seibukan” by Kim Mitrunen & Tommi Prami

Passai is an age-old form, and one of the oldest versions of this kata is Seibukan’s Oyadomari Passai. Passai is often explained as a low light or night fighting kata, because of it’s many sagurite (searching hand) techniques. The name of the kata means to “break through the fortress.” It might have received the name from the beginning movement where the defender throws a strong forward movement combined with an augmented chudan-uke, meant to unbalance of attacker. After this powerful start, the kata changes characteristics by making fast blocks and strikes with open hands to vulnerable points of human body. There are many angular movement changes, all quickly executed and in varying degrees. In the last part of the kata there is combination technique where the attack is avoided by ducking the opponents attacking arm, while simultaneously blocking the opponents other arm and striking a key point in the stomach region. By bending the body one can add extra power to the strike. This technique has disappeared in many of the modern karate style’s version of Passai.

Source 2:

Useishi kata

Source 1: “Katas of Shorin ryu Seibukan” by Kim Mitrunen & Tommi Prami

This kata is sometimes referred to as the drunkard form, because it contains movements where the kata performer mocks a staggering move. As a result of this unorthodox and crafty technique, Gojushiho is noted for techniques that throw the opponent off, by surprise. This makes the Gojushiho kata different in appearance from the other kata represented within the Sukunaihayashi system. Notable bunkai techniques include throwing, crane style strikes, and attacks toward weak joint areas.

Source 2:

The composer of this kata unknown. Most modern versions can trace their genealogies back to either Itosu or Kyan. Kyan learned versions of this kata from Matsumura of Shuri and Oyadomari of Tomari. The spear hand movements distinguish Gojushiho from other kata. Gojushiho has been labeled the “drunken monk” from because certain movements are designed to appear off balance to the unsophisticated eye. The practitioner. however, should maintain perfect control and balance during execution of these movements. Literally, however, Gojushiho is translated as “54 steps”

The 54 steps, however, does not refer to the number of counts or movements in the kata. According to Zenko Heshiki, Kyoshi 7th Dan in Matsubayashi-ryu, the 54 steps refers to the concept of 108 Defilements in Buddhist philosophy. These defilements or faults cause both the body and mind to suffer in Buddhist philosophy. When a Buddhist sees numbers. that are factors of 108 (54,36, or 18) according to Heshiki, he is reminded of the Defilements. In Goju-ryu there are kata like Sepai, which means 18, Sanseru which means 36, or Supernpei which means 108. The relatedness of these numbers between kata from different styles is striking and suggests more than pure coincidence. Many Buddhist temples have 108 steps leading to the shrine. As each of these steps are climbed, a defilement is enlightenment. Perhaps in the same way, as the Karateman practices Gojushiho he is symbolically polishing his spirit to receive the true benefits of karate training.

Chintou kata

Source 1: “Katas of Shorin ryu Seibukan” by Kim Mitrunen & Tommi Prami

Chinto is one of the treasures of Seibukan. This version of the kata is taught only to Seibukan family members. It was favorite kata of Kyan Sensei, and is undoubtedly a Sukunaihayshi kata.  It is taught at a higher level of student, usually in the Nidan class. This is partly due to the fact that it is a very demanding kata to perform, and the bunkai is hard to master. Ancient masters of Tomari were very fond of close combat techniques, and you can see these techniques in the Chinto kata. Many of the bunkai involve locking maneuvers, throws, all characteristic of close combat type of techniques.

Source 2:

The composer of this kata is unknown, but we know the form was a favorite of Kyan and Ara kaki. Chinto means “fighting to the East” , and the embusen for the kata si performed in a straight line, but in a diagonal from the opening stance. Most version of Chinto derive from either: Matsumura of Shuri which use a straight forward and back embusen, or Matsumura of Tomari, which use a side a side to side embusen, or Chotoku Kyan whichi use a diagonal embusen. The Kyan version of Chinto clearly traces it’s origins back to the Tomari-te kata of Matsumura. The Matsubayashi-ryu version of Chinto comes directly from Kyan.

The kata is characterrized by dynamic movements using kicking techniques including the flying front kick. Chinto contains may changes of direction all along the same straight line pattern, and requires an advanced level of skill and balance to perform properly. The signature movement where the right arm moves in a backwards., circular movement is performed three times during the kata. The verb “to invite: in japanese provides insight into the application of this movement in the kata. Indeed, many kata contain movements that suggest an invitation to the opponent to attack.

Source 3: The kata of okinawa Ishin ryu karatedo by Joe Swift

This kata is said to have been taught to Matsumura Sokon by a Chinese named Chinto, but this legend cannot be corroborated. According to a 1914 newspaper article by Funakoshi Gichin (1867-1957, founder of Shotokan karatedo), based upon the talks of his teacher Asato Anko (1827-1906), student of Matsumura Sokon):

“Those who received instruction from a castaway from Annan in Fuzhou, include: Gusukuma and Kanagusuku (Chinto), Matsumura and Oyadomari (Chinte), Yamasato (Jiin) and Nakasato (Jitte) all of Tomari, who learned the kata separately. The reason being that their teacher was in a hurry to return to his home country.” (sic, Shoto, 1914).

It is believed by this author that the “Matsumura” in the above excerpt is a misspelling of Matsumora Kosaku, of Tomari. The fact that Matsumora Kosaku, is evidence that Matsumora may have also been taught this kata as well (Kinjo, 1999).

Now, what exactly is Chinto? There appears a form called Chen Tou in Mandarin Chinese (Jpn. Chinto, lit. Sinking the Head) in Wu Zho Quan (a.k.a. Ngo Cho Kuen, Five Ancestors Fist), which was a style popular in the Quanzhou and Shamen (Amoy) districts of Fujian (Kinjo, 1999). Chen Tou refers to sinking the boy and protecting the head. In the Okinawan Chinto kata, this is the first technique, but in the Five Ancestors Fist it is the last (Kinjo, 1999). However, this being said, this author has yet to see the Chen Tou form to make a comparative analysis. It is, however, worthy of further investigation.

There are 3 distinct “families” of Chinto in modern Okinawan karate: Matsumura/Itosu lineage (performed front to back), Matsumora Kosaku lineage (performed side to side), and Kyan Chotoku lineage (performed on a 45 degree angle). Looking at technical content, we can see that the Matsumora and Kyan versions are nearly identical, which is only natural since Kyan learned this from Matsumora.