Shotokan Karate

Shotokan karate is the original Japanese version of karate. It was introduced to the mainland of Japan in the early twentieth century from Okinawa under the guise of Shorin ryu. The main progenitor was Gichin Funakoshi, a former Okinawan schoolteacher and descendant of a minor official. On the mainland kendo and judo were becoming more popular, particularly among students, and Funakoshi recognized that it would be beneficial to the promulgation of his art if certain aspects of these two specifically Japanese systems were adopted. Thus a kyu and dan grading method, reflected in the wearing of different colored belts came to be introduced. Other changes came to be made over the years to the technique and training method and so the karate of Okinawa became the karate of mainland Japan. For instance, the reading of the kanji for the kara of karate was changed from 'China' (thus from the meaning ‘China hand’) to ‘empty’ (or ‘empty hand’). Such developments were recognized in 1936 with the opening of a new dojo, the Shoto kan, Shoto being the pen name Funakoshi used to sign his poetry and kan simply means 'hall'. A new style had been publicly created and acknowledged: Shotokan karate.

Gichin Funakoshi and Shotokan Karate

Initially it was the upper classes of Japanese society that were attracted to this art but it was in the universities in the 1930s that it achieved increasingly widespread popularity.

As war in the pacific approached and finally broke out more and more youngsters, destined for the front lines, trained and the technique became harsh and simple. In the months before Japan’s surrender more women and children took up training, victims of propaganda that told of an imminent and bloody allied invasion. In the years after the war Shotokan karate became more and more popular. Edicts introduced by General MacArthur prevented the practice of traditional martial arts, yet karate was recognized as a form of boxing and was able to thrive. Towards the end his life Funakoshi oversaw the tuition of American pilots in his art, useful for them if they were shot down behind enemy lines. As Americans and others of different nationalities became more accepted in post war Japan dojo opened their doors and anybody of sufficient character was admitted to the training halls. In the years following, instructors of the highest caliber, representing Shotokan karate, were sent from Japan throughout the world to further popularize the art. Most are still healthy and involved in the art on an international level in contemporary society.

Today Gichin Funakoshi is popularly referred to as being the Father of Japanese karate.

Shotokan is a mostly linear style of karate. Central to its combat ethos is the idea of ikken hissatsu – to kill with one blow. The exponent of Shotokan is inclined to concentrate his power in ending the fight with a single powerful technique rather than making use of fast combinations. He is adept at using his fists and legs to make these attacks, this power enhanced by his knowledge of weak points in the human body that can be struck to maximize damage. Practitioners study a variety of kata as they progress through higher kyu and dan grades, these kata containing the ‘secrets’ of the art. Students of this art may also strike a makiwara, a flexible wooden pole wrapped with straw at its topmost edge, to develop strength, balance and power. Nowadays, even in Japan, the use of a makiwara has been mostly replaced with the use of punch bags which are less damaging to the limbs.

Shotokan Karate Kata

Shotokan karate kata lie at the heart of the style. After arriving in Japan from Okinawa various forms of kumite (sparring) were introduced, including free sparring which led to the establishment of competitive karate. This development has added a new challenge for the karate ka and has arguably played a major part in helping to spread the art to an international audience. Leading from this the former UFC World Light Heavyweight champion Lyoto Machida emerged from a Shotokan / point fighting background to use his elusive counter-striking style to dominate his division until defeated by Mauricio Rua after winning 16 straight MMA fights.

But when karate first came to Japan, and in its birthplace of Okinawa, kata were the main focus of study, along with conditioning exercises. Gichin Funakoshi sensei talks about how in his early years of practice he would train well into the night repeating the movements of the forms until his teacher was satisfied with his performance. Throughout his life Funakoshi expanded the range of Shotokan karate kata to its current standing, while also modifying movements as he saw fit (and which may have been subsequently modified by other practitioners). Each pattern then has its own history and each karate ka has his own interpretation both of how the form should be performed and how the movements should be applied in a combative situation. There is no 'right' way to either do the kata or apply the movements (though different dojo and organizations may argue otherwise...). No historical records are currently available to settle the matter one way or the other. Personally I feel that the forms are alive and ever-changing and should provide stimulation for the student rather than be seen as something dead and static and unavailable for change.

Development of Shotokan Karate Kata

There have been several broad phases in the development of the kata. The initial phase saw the introduction of forms from southern Chinese martial arts. These were no doubt modified but it is difficult to tell when, by whom and how each master modified the original. In some cases there is no apparent historical antecedent originating in China and scholars must 'read between the lines' in determining the place of origin.

The second broad phase was the most crucial in shaping Shotokan. Anko Itosu, one of the teachers of Gichin Funakoshi, was hugely innovative and created the five Pinan / Heian forms, modified the Naihanchi / Tekki form(s) and created various other kata such as Gojushiho Sho and Kanku Sho. In all but name, these patterns formed the basis for the Shotokan karate kata syllabus.

The third stage saw Funakoshi make further modifications on mainland Japan as the art spread among universities and the general population. For the most part these changes were further simplifications and further reinforced the identity of Shotokan as a mostly linear martial art. We also find the first teachings in Karatedo Kyohan of concepts rather than just techniques. While some criticize Funakoshi for the changes he made it is my opinion that he was heavily influenced by the writings of Japan's greatest martial philosophers in the late 1920s and early 1930s and this led him to reevaluate his approach in turn leading him to de-emphasize more complicated technique to simplify matters to focus more on the concepts he was attempting to convey.

The fourth stage witnessed the impact of Funakoshi's third son, 'Gigo', who deepened the stances of the art and made it more athletic and physically demanding. His influence was tremendous and continued in the post war years as the JKA and subsequent splinter groups almost universally adopted this distinctive approach.

Heian Shodan
Heian Nidan
Heian Sandan
Heian Yondan
Heian Godan
Tekki Shodan
Tekki Nidan
Tekki Sandan
Bassai Dai
Kanku Dai
Jiin
Jion
Jitte
Chinte
Enpi
Gankaku
Hangetsu
Sochin
Meikyo
Nijushiho
Bassai Sho
Kanku Sho
Gojushiho Dai
Gojushiho Sho
Wankan
Unsu