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
