Gojushiho Sho

Gojushiho Sho is the minor (Sho) version of Gojushiho, as compared to the Dai (major) version. The pattern of movement described on the floor in both forms is very similar and in some cases some combinations of techniques are almost identical. Both kata require tremendous skill and stamina to perform well, but whereas the Dai version is somewhat lighter, the Sho version is seen as being heavier with a greater emphasis on the practitioner becoming rooted to the floor and drawing power upwards. The form blends slow, purposeful techniques with bursts of speed and is a beautiful form to watch when performed by an expert. It is believed that both the Dai and Sho versions provided Itosu sensei with some of the basic techniques that appear in the Pinan / Heian series, along with movements taken from Kanku Dai and the elusive Channan kata.

The kata makes extensive use of neko ashi dachi (cat stance), a stance that was replaced in elementary level forms by the back stance. Cat stance is an excellent defensive posture to take while evading an incoming attack. It allows you to concentrate your weight on the supporting foot before launching forward to make an attack. In this sense, it is far more effective than a back stance.

Master Kanazawa performing Gojushiho Sho

Gojushiho Dai

Gojushiho Dai is one of two types of this kata - the Dai (Major) and Sho (Minor) versions. Both trace their origins back to Useishi, which also means 'fifty four (Go is five, ju is ten and shi is four, or 5 x 10 + 4 = 54). It seems that the form was known for a short time at least as Hotaku (Woodpecker) but that name, used by Funakoshi sensei, was another that didn't stick so the kata went with a different name but with the same meaning as the original. The name again suggests some influence at least of Buddhism, with 54 being half of the 108 'Defilements' in Buddhist philosophy, though I would argue that these numbers have a far older pedigree than an association with Buddhism would suggest (see also Nijushiho for a longer explanation).

There is an interesting and amusing story that in the JKA syllabus the Dai and Sho versions are reversed. This is due to a high ranking Japanese karateka announcing at an international competition that he would do one kata before promptly doing the other. So as not to embarrass him the Japanese created the fiction that he was in fact correct by uniformly changing the names to refer to the sister kata. Thus Gojushiho Dai became Gojushiho Sho and vice versa. Kanazawa sensei (featured in the video below) was of higher rank and refused to follow suite. The Gojushiho Dai demonstrated below is therefore consistent with the original.

Master Kanazawa performing Gojushiho Dai

Kanku Sho

Kanku Sho is another creation from Itosu sensei inspired by the older Kanku Dai. Like other forms from Itosu, this form is built on 'basic' techniques and combinations while introducing more advanced techniques to complement what the karateka has already studied.

Like Bassai Sho the practitioner is apparently introduced to the concept of weapons defense (at 1:05). The kata also includes a 'sky viewing moment' at 1:23. This reverses the opening movement of Kanku Dai where the practitioner looks ahead; in this form the karateka is looking behind him.

This pattern is popular in competitions owing to its dynamic nature.

Master Kanazawa performing Kanku Sho

Bassai Sho

Bassai Sho is the younger sibling to the original Bassai Dai. Created by Itosu sensei the form is less forceful than the 'dai' version. It was brought to mainland Japan by Funakoshi sensei who changed the name from the Okinawan Passai to Bassai.

As with other Itosu kata this version introduces specific new movements (and through them, new concepts) that build on the existing catalog of techniques. Many of the movements are in fact 'basic' but they are presented in combination with other unique waza that is not seen elsewhere. In this case, one of the most notable introductions is an empty-hand defense against a bo (staff). In keeping with Shotokan fundamentals, the defense requires the practitioner to seize the initiative when threatened directly and to use economy of motion.

Master Kanazawa performing Bassai Sho

Nijushiho

Nijushiho is yet another kata that Funakoshi sensei changed the name of from the original Niseishi. In this case the new name stuck, though both words mean 'twenty-four' and describe the number of movements (not techniques) in the form. This number is reported to relate to the number 108, which is important in Buddhism as it represents the number of afflictions to the soul, as 108 can be divided by both '2' and '4' (though not 24 itself). I would go further than this however and suggest that the number 24 is related to the precession of the equinoxes, the prime number of which is 72 which indicates the number of years it takes the earth to 'wobble' one degree (24 x 3 = 72). The number 108 is itself first and foremost a precessional number (72 + 36 = 108) and had significance a long time before Buddhism emerged. The number 108 is found in various martial arts, such as in the 108 moves of the wing chun kung fu wooden dummy form.

This form entered the Shotokan syllabus via Master Nakayama, Funakoshi sensei's successor. He learned it from the Shito ryu master Kenwa Mabuni (along with Gojushiho). This kata does not appear therefore in Karate Do Kyohan and was a later addition.

Some hold that the pattern was created by Aragaki sensei (1840-1920) while Patrick McCarthy notes that it is used in an least one school of Fujian Crane kung fu. What does seem credible is that the Okinawan version of this kata was created by Aragaki sensei, though who he learned the original from is unknown. Aragaki sensei is also said to have been the source of the kata Sanchin, Seisan and Sochin and was a teacher of Mabuni sensei (Shito ryu) and Kanryo Higaonna (Goju ryu).

Anko Azato is also known to have performed a version of this kata which is less linear. What is strange is that Funakoshi sensei studied with Azato sensei but didn't apparently learn this form from him or, if he did, he didn't teach it. Shotokan employs the more linear version from the Aragaki line. Historian Harry Cook speculates that Funakoshi may have studied this kata and then later forgotten it.

Master Kanazawa performing Nijushiho

Meikyo

Meikyo was originally called Rohai and was developed by Kosaku Matsumora in the Tomari te tradition. Itosu sensei then took the core form and developed three variations. These three kata can still be seen today but in Shotokan Funakoshi sensei took the three patterns of Itosu sensei and reversed his master's creation process, distilling the three forms into one again (though this is vastly different to the original developed by Matsumora sensei and in fact is almost unrecognizable as having developed from a common kata when compared to the Shito ryu and Wado ryu versions of Rohai. It should also be mentioned that the Shito and Wado versions also differ from one another).

Funakoshi sensei also took this chance to rename the kata Meikyo, which means 'bright mirror' and is said to refer to the need to constantly polish one's basic techniques even when learning more advanced waza. The form blends movements that are unique with others that are the most fundamental to Shotokan.

Following Kanazawa sensei you can see Funakoshi sensei himself doing the form way back in 1924.

Master Kanazawa performing Meikyo

Sochin

Sochin came down to the Shotokan syllabus from Seisho Arakaki, a Naha te master. Unusually though it was not introduced by Funakoshi sensei but by his son, Yoshitaka 'Gigo' Funakoshi, a man many people believe to have played a key part in deepening the stances of Shotokan and making it more dynamic and 'harder' in style as compared to its Okinawan roots. Still, this was another kata that Funakoshi sensei tried to change the name for mainland Japanese, and this time he succeeded. Formerly the pattern was called Hakko.

This form itself is a very powerful kata. The name means 'Tranquil Force' and the pattern promotes the use of a wide, deep, powerful stance that roots the practitioner to the ground making him supposedly immovable in the face of danger.

Master Kanazawa performing Sochin

Hangetsu

Hangetsu means 'Half moon' though originally it was known as Seisan. In its variations it is the most widely practiced form across all the different karate styles. The opening movements, and moreso the breathing and pelvic movements, closely resemble Sanchin, though this form switches to swifter, lighter techniques towards the end.

The kata introduces a stance suitable for close quarters fighting and the look and feel of the first half of the form are distinctly 'un-Shotokan'. However, the pattern has a strong pedigree and it is known that it was being taught by Seisho Aragaki by 1867. This kata or, more precisely the Uechi ryu version of Seisan is what led author Nathan Johnson to the conclusion that it was originally intended to be a sai form but came to be performed without the actual weapons. This is covered in the book The Great Karate Myth.

Master Kanazawa performing Hangetsu

Gankaku

Gankaku was originally named Chinto, supposedly after a shipwrecked Chinese sailor trapped on Okinawa who taught it to 'Bushi' Matsumura. Funakoshi sensei again changed the name for his mainland Japanese audience with the new name meaning 'Crane on a Rock', so-called because of the distinctive one-legged stance employed at different points. The form may have its origins in Five Ancestors Fist, a type of kung fu popular in Southern China and which includes a form named Chen Tou, which is pronounced Chinto in Japanese. Movement #10 (at 0:37) is highly reminiscent of Crane style kung fu poses, though this is much clearer in the original Okinawan versions where the same move is executed in a cat stance rather than a front stance. The kata also continually returns to the theme of taking a stance balanced on one-leg, again highly reminiscent of a crane and a (slight) variation of a stance found in Crane kung fu.

The kata was practiced in both the Tomari te and Shuri te schools before it came down to Funakoshi sensei and entered the Shotokan syllabus. Here the form was modified and became more linear. It is a difficult kata to perform well and a popular choice in competition.

Master Kanazawa performing Gankaku

Enpi

Enpi is sometimes also written and spoken as Empi. The name can be literally translated as 'Flying Swallow', though the original name of the form was Wansu. This was another kata that had its name changed by Funakoshi sensei when karate came to mainland Japan, though in this case the name change stuck.

It is believed that the kata can trace its origins in Chinese martial arts, from which it entered the Tomari te system. The predominant theory on its development is that it was a kata practiced and taught by the Chinese diplomat Wang Ji, known as Wanshu in Okinawa, who arrived in Tomari in 1683. Wang Ji practiced Fujian White Crane kung fu and taught connections in the Tomari area. It came to Funakoshi sensei via Itosu sensei.

Older versions of Wansu / Wanshu are almost unrecognizable when compared to the Shotokan version, though there are some more recent interpretations - such as the version found in Wado ryu - that are somewhere between the more traditional Okinawan versions and the more recent Japanese ones. Certainly the Shotokan kata makes greater use of pauses and slowed movements but suffers from being less complex and nuanced than those forms seen in pure Okinawan styles.

Master Kanazawa performing Enpi