Heian Nidan

Heian Nidan is the second elementary kata in the Shotokan karate syllabus. For background information on this kata please refer to Heian Shodan. This form is one of five created by Itosu sensei to be used in teaching Okinawan school children at the turn of the century. The original series is the Pinan kata but the name - as well as the order in which the kata were presented - was changed by Funakoshi sensei on mainland Japan.Thus Itosu's Pinan Shodan became Funakoshi's Nidan (the kata presented here).

Master Kanazawa performing Heian Nidan

Heian Shodan

Heian Shodan is the first of five Heian kata that were originally created by the Okinawan karate master Yasutsune 'Ankoh' Itosu to be taught to Okinawan school children as part of their physical education. The forms were termed pinan and originally the order of the first two kata of the series were reversed as compared to the order taught by Gichin Funakoshi (that is, Pinan Shodan is Heian Nidan in the Shotokan syllabus and this kata was Pinan Nidan originally).

Heian Shodan and the Channan kata

Typically the Pinan / Heian kata are believed to have had their core techniques drawn from the more advanced (and more challenging) Kusanku / Kanku Dai and Gojushiho kata (Dai and Sho). In recent years this has been challenged by some authors who argue that the origins of the Pinan / Heian kata can be traced back to two Chinese forms known in Okinawa as Channan Dai and Channan Sho.

After Funakoshi sensei brought karate to mainland Japan he made numerous changes, one of which was the reordering of the first two Pinan / Heian kata, as well as renaming the set of five forms. Heian is said to mean 'peace', thereby signifying that through the study of the kata and the subsequent improvement in one's fighting ability, the practitioner can live a peaceful life free from the fear of physical attack. I would also point out however that the Heian period in Japan (794 - 1185 CE) was famous for the practice of modifying and naturalizing Chinese cultural forms that had earlier arrived in Japan. For example, the hiragana writing system which simplifies Chinese characters finally came into existence early in the Heian period. When Funakoshi changed the name of the set of kata from Pinan to Heian karate itself was also undergoing major changes as it was modified from being a Chinese martial art to be more comparable to Japanese martial arts and therefore more acceptable to the Japanese people.

Goju Ryu Karate Kata

Goju ryu karate kata traces their roots back to pre-twentieth century Okinawa and before that to Fuzhou in Fujian Province, Southern China. According to the accepted history, Kanryo Higaonna left Okinawa for Fuzhou sometime in the second half of the nineteenth century (precise dates vary, from 1867 to 1877). In Fuzhou Higaonna is reported to have become the live-in disciple of a Chinese Whooping Crane master named Ryu Ryu Ko. Upon Higaonna's return to Okinawa he passed on his teaching to Chojun Miyagi, the man who coined the term Goju to describe the style that was formerly identified simply as Naha te owing to the location in Okinawa that it was taught and practiced.

The kata of Goju ryu karate are very different from the Shuri te branch that provided the base forms for Shotokan. Unlike the Shotokan patterns of which many were altered first by Master Itosu and then later again by Master Funakoshi on mainland Japan, the Goju ryu forms are not known to have been changed, except for the practice of Sanchin being altered from using an open 'spear' hand to a closed fist punch.

Are all Goju Ryu Karate Kata from China?

However, there is an emerging debate as to whether nor not the bulk of Goju ryu karate kata are in fact originally from China in the first place. Exactly who Ryu Ryu Ko was is currently unknown and Morio Higaonna admits in his book The History of Karate that the style of Chinese kung fu that Goju ryu is supposedly derived from cannot be determined. Sanchin kata is the only form on the list with clear roots in Southern China and it is a staple of numerous kung fu styles. The Gekisai Dai Ichi and Gekisai Dai Ni patterns are definitely later additions created and introduced in 1940 by Master Miyagi and Tensho seems to be derived from Rokusho. Author Nathan Johnson concludes in his book The Great Karate Myth that the rest of the Goju ryu karate kata were in fact created by Master Miyagi on Okinawa in the first half of the twentieth century. I discuss the possible origins of each form individually so please follow the links below to learn more.

Whether of Chinese origin or not, the kata found in Goju ryu are powerful and combine linear and circular movement to fight at close-quarters using punches, kicks, elbow and knee strikes as well as locks, takedowns and throws. Central to the study of the kata and Goju ryu in general is Sanchin and this 'hard' form is tempered by the softer approach taken in Tensho - the hard (go) and soft (ju) of Goju ryu.

The following kata are demonstrated by Master Morio Higaonna, arguably the most famous Goju ryu karateka alive today. While no relation to Kanryo Higaonna, Master Higaonna trained with Chojun Miyagi and then Eiichi Miyazato and Anichi Miyagi, two of Master Miyagi's top students. At the time of writing (2015) he currently teaches in Okinawa.

Gekisai Dai Ichi
Gekisai Dai Ni
Saifa
Seiunchin
Shisochin
Sanseru
Sepai
Kururunfa
Seisan
Suparinpei
Tensho
Sanchin

Sanchin

Sanchin is perhaps the oldest kata to be found in all the different karate styles. Older versions can be clearly still seen in Southern Chinese kung fu styles (unlike many other karate kata which claim to have originated in China but which cannot be proven to have done so). The kata means 'three battles' and what this means precisely is unknown, though a common interpretation is that it refers to the 'battle' to control one's body, mind and spirit. In Chinese the kata is called saam ching and may trace its roots back to the Southern Shaolin Temple and perhaps, as author Nathan Johnson suggests in Barefoot Zen, to Bodhidharma himself, or at least to his inspiration as the founder of Ch'an / Zen Buddhism.

Whether Buddhist in origin or not, the kata also incorporates Taoist 'Immortality' ritual aspects and emphasizes forced breathing in conjunction with a distinctive pelvic movement whereby the pelvic bone is retracted on the in breath and pushed forward on the out breath.

The Goju ryu version of the kata performed by Master Morio Higaonna emphasizes dynamic tension and this is tested - sometimes severely - by heavy slapping. This may not be healthy (and in my opinion, it isn't) as the body is simultaneously starving the muscles of oxygen (through the tension) while also depriving the body as a while of oxygen (through the slowed, forced breathing). Author Mark Bishop draws attention to the fact that several high ranking Okinawan karateka have died at relatively young ages (and consider that Okinawan people currently have the highest average life expectancy anywhere in the world) of complications relating to their heart condition. He himself eventually quit the practice of the kata for this reason and I have also read that this practice is rejected by Chinese martial artists who execute their similar form without the forced breathing and dynamic tension. This kata is seen to represent the 'hard' aspect of Goju, with Tensho being the softer side.

Master Morio Higaonna performing Sanchin

Tensho

The first part of the name of Tensho, ten, can mean 'revolving', 'rotating' or 'turning', and sho means 'palm', so the name could mean 'revolving palm', 'rotating palm' or 'turning palm'.

This form is definitely one that Chojun Miyagi created after he returned from training in China. He presented it in 1921 as a 'softer' version of the 'harder' Sanchin. It was to represent the ju (soft) aspect of Goju ryu karate. Precisely where Master Miyagi got his inspiration from though is a matter of some conjecture. Conventional history tells us that it developed out of Rokusho, a White Crane kung fu form. Five of the six hand positions detailed in the Bubishi - The Six Hands of the Shaolin Style - occur in the form. These were hand positions used to deliver accurate blows that could be deadly.

Another theory though is that Master Miyagi based it on a form - unknown at the present time - that he learned while in Fuzhou or that it is based on something (also presently unknown if true) he studied with Master Gokenki, a White Crane master actively teaching on Okinawa between 1912-1940.

Another idea (that I came across from Kancho Nenad Djurdjevic, based in Australia) is that the kata amalgamated and supplemented techniques that were practiced individually as 'basic' techniques at the Kodo training hall located in Fuzhou and used by Okinawan ex-pats. These movements, while no doubt based on kung fu techniques, were isolated from forms and simply practiced as we perform kihon today. This is a very interesting theory and from the information available it seems to me that an investigation of some of the Shotokan kata from this point of view may be worth undertaking.

Master Morio Higaonna performing Tensho

Suparinpei

The name Suparinpei - 108 - indicates a Buddhist influence once again on Okinawan karate, via Southern Chinese kung fu styles and, it is maintained, the Southern China Shaolin Temple. Other Goju ryu forms that supposedly relate to Buddhist thought are Sanseru (36) and Sepai (18). In Shotokan there is Nijushiho (24) and Gojushiho Dai (54). I take the view however that the number 108 itself is not specific to Buddhism and is a borrowed number from a much more ancient form of numerology related to the precession of the equinoxes in which 72 is the prime number (my notes on Nijushiho in particular explain this theory in greater detail). 108 is related to 72 in the following way: (72/2) + 72 = 108. The kata does not in fact have 108 movements, hence a strong case being made for the influence of Buddhist thought.

This form is the longest form and is regarded as being the hardest to perform and perfect. It is believed to have been one of the original four brought back from Fuzhou by Kanryo Higaonna and taught to Chojun Miyagi. Miyagi sensei may have created the name of this form as it is thought that it is derived from Pechurin (100 Techniques), a kata still practiced in its original form with its original name in the To'on ryu. On the other hand author George Alexander presents evidence that the kata was performed in 1867 for a group of visiting Chinese dignitaries by Tomimura Peichin. Alexander also suggests that the form was known prior to that in Kume village. This isn't to suggest that Master Higaonna didn't learn it in China, only that he wasn't the first Okinawan to know it. It is also therefore possible that he learned it as Pechurin before the later (possible) name change by Chojun Miyagi.

The kata is a White Crane kung fu style form with elements of Tiger boxing included. White Crane tends to be more defensive in nature and makes greater use of speed, evasion and the delivery of accurate strikes to precise targets.

Master Higaonna performing Suparinpei

Seisan

The name Seisan means '13' but it is often understood as '13 Hands'. '13' in isolation is connected to good luck and prosperity in China which may account for the naming of the form, though another explanation is that the figure refers to the number of non-repeating techniques found in the original (this kata is not only found in Goju ryu karate but several other styles as well, including Shotokan in which it is named Hangetsu).

This kata is however believed to be one of the four originals brought back directly from Fuzhou by Kanryo Higaonna after learning it from his teacher Ryu Ryu Ko. However, a different version existed in Okinawa prior to this as it is known that Seisho Aragaki (an early instructor of Master Higaonna) was teaching this form as early as 1867. It is believed that the different versions trace their lineage back to the Yong Chun White Crane kung fu style. Some have detected a Hsing I influence. This form (also known as Sesan) is the primary kata that author Nathan Johnson argues in The Great Karate Myth is intended to be a sai form, but performed without the weapons. This is supposedly more apparent in the Uechi ryu version.

Master Morio Higaonna performing Seisan

Kururunfa

Literally the name of Kururunfa means 'to detain for a long time and suddenly rip apart' and it marks a return to the conceptual approach to the study of kata promulgated by Gavin Mulholland in his book Four Shades of Black. This kata is particularly notable for the greater use of the hips to generate power, particularly, in this kata, with the use of open handed movements that can be used in a variety of ways.

This is another Goju ryu kata that suffers from serious doubt as to whether or not Kanryo Higaonna actually brought it back from China or if it was later learned by Chojun Miyagi or even created by the latter master from a synthesis of Chinese and Okinawan influences. Given the latter opinion, it is unknown precisely which school of kung fu the form originated from; possibly Dragon style, but (and like the other Goju ryu kata) no one knows for sure.

The form is mesmerizing to watch and very stylistic, combining slower movements with rapid bursts of action and high, fluid stances with low, stable stances. This kata very much reflects both the hard (go) and soft (ju) of the style.

Master Morio Higaonna performing Kururunfa

Sepai

Sepai (also known as Seipai) translates at '18 hands' and again we see a reference to the prime precessional number of 72 (18 x 4 = 72). This is discussed in more detail in Nijushiho, Gojushiho Dai (from Shotokan karate) and Sanseru (Goju ryu). While orthodox history maintains that this is one of the forms Kanryo Higaonna brought back from Fuzhou after studying with Ryu Ryu Ko, modern (and less partisan) research now holds that this form did not originate with Kanryo Higaonna.

It is also unclear which school of kung fu it originates from. Again, orthodox opinion holds that it comes from the Crane or Tiger schools but there is a suggestion it may be from the Dragon school. The form does resemble to an extent Nipaipo, as created by Shito ryu founder Kenwa Mabuni, and which itself was influenced by Neipai, a White Crane form taught by the famous Gokenki.

The kata builds on the concept of multi-directional fighting introduced in Shisochin and Sanseru while introducing new techniques such as the hiraken (one knuckle fist - an excellent means to attack vital points or otherwise make pinpoint attacks).

Master Morio Higaonna performing Sepai

Sanseru

Sanseru sometimes comes under the name Sanseiru, but both versions are acceptable and mean the same thing: 36 hands. Supposedly this has Buddhist significance, as have all kata with a number of moves related to the figure 108. I have put forward an argument that the origins of this numerology stretch back further in time and pre-exist Buddhism, being in fact related to the precessional number 72 (which in turn influenced Buddhism). Check out other articles on Nijushiho (24) and Gojushiho Dai (54). Sanseru is also known informally as the Dragon form.

The kata - and here I reject orthodox opinion that Kanryo Higaonna brought all the Goju ryu kata back from China save Gekisai Dai Ichi, Gekisai Dai Ni and Tensho - is believed to have been one of the original four first introduced by Kanryo Higaonna and learned from his teacher Ryu Ryu Ko. That said, it is debatable as to whether or not Chojun Miyagi himself learned the kata directly from Master Higaonna. The reason for this is that Miyagi's senior, Juhatsu Kyoda, learned a variation of the form directly from Master Higaonna while Master Miyagi was away from Okinawa on military service. Kyoda's version and Miyagi's version are quite different and that suggests a different teacher. It is possible that Master Miyagi learned the kata from a Chinese practitioner directly while in Fuzhou in 1915.

The kata is highly asymmetrical, especially with the several kicking techniques covered, and the practitioner may like to learn to perform the kata with both sides of his body.

Master Morio Higaonna performing Sanseru