Roots Of Shotokan: Funakoshi's Original 15 Kata

Transcription

1 Roots Of Shotokan: Funakoshi's Original 15 Kata Part 1- Classification & Knowledge Of Kata by Joe Swift Editor's Note: The first of this three part series that examines the roots of Shotokan karate through Gichin Funakoshi's 15 original kata. The first article discusses the controversy over Funakoshi's classification of Shorin and Shorei by body type, as well as his knowledge of kata. The last two articles focus on in-depth discussions of the meaning and origin of Funakoshi core kata. Introduction Gichin Funakoshi is probably the best known karate master of the early 20th century and is known by many as the "Father Of Japanese Karate." It was Funakoshi who was first selected to demonstrate his Okinawan art on mainland Japan. In Japan Funakoshi helped build the popularity of his fledgling art and helped it gain acceptance by the all important Japanese organization founded (and sanctioned by the government) to preserve and promote the martial arts and ways in Japan (the Dai Nippon Butokukai). An author of several pioneering books on karate, he was the founder Shotokan karate from which many other styles derived. When Funakoshi arrived in Japan in 1922, he originally taught a total of fifteen kata, although it has been speculated that he probably knew many more. The purpose of this article will be to introduce some of the theories on the possible origins of these kata, provide some historical testimony on them, and try and improve the overall understanding of the roots of Shotokan. Funakoshi's Kata Classification System Funakoshi, following a traditional model of classifying karate by divided it into two separate traditions, Shorei and Shorin. This classification derives from early karate masters which were not associated with their own ryu or martial traditions, but with the towns within which they lived and practiced: Shuri, the capital and political center; Naha, a nearby seaport and trade center, and Tomari a smaller sea port. The early karate practiced in Shuri and to a lesser extent Tomari combined to be known as Shorin-ryu and is associated with the descendants and/or styles of such karate luminaries as Soken Matsumura (Shuri), Kosaku Matsumura (Tomari) and followed by Anko Itosu and Chosin Chibana. The karate of Naha became known as Shorei-ryu and is associated with such karate styles of Goju-ryu and Uechi-Ryu. It was the Shorei and Shorin classification of styles (ryu) that Funakoshi followed. He characterized them as follows. Funakoshi said that "Shorei-ryu is suitable for people of large build, whereas Shorin-ryu is suitable for those of smaller frames, less physically powerful or thin, like a willow. For basic posture, Shorei- ryu is good, but it lacks the speed necessary for a real confrontation. Shorin-ryu is quick, but if the practitioner is grabbed, they will be unable to move. Therefore, for those who aspire to practice karate, it is important to pick up the good points of each." (Funakoshi 1922, pp. 5-6) This specific classification, i.e. dividing Shorin-ryu and Shorei-ryu by the body types of the practitioners, can be traced as far back as 1914, when Funakoshi penned an article on karate for the Ryukyu Shinpo newspaper, based on the lectures of his main teacher Anko Asato, and writing under his pen name Shoto. While it is true that Funakoshi's other main teacher Anko Itosu, had also stated that there were two "styles" of karate, Shorin-ryu and Shorei-ryu, in his 1908 letter addressed to the Ministry of Education and the Ministry of War, he never characterized them as relating to body types. The famous Okinawan Bubishi also mentions Shorinji-ryu and

2 Shoreiji-ryu (see, for example, Mabuni, 1934), but again, does not state the differences between the two. Indeed, other prominent teachers of the day also took exception to Funakoshi's classification. In 1930, Chojun Miyagi was quoted as saying that the breakdown of Shorin-ryu and Shorei-ryu into kata for differing body types, as Funakoshi did, was unfounded (Miki, et al, 1930). Miyagi also went on to say basically the same thing in his 1934 essay Karatedo Gaisetsu (McCarthy, 1999). At the 1936 "meeting of the masters," he said that the only real difference between Shorin-ryu and Shorei-ryu lay in their teaching methods (ibid.). Later, Mabuni Kenwa and his co-author Nakasone Genwa, in their 1938 publication "Kobo Kenpo Karatedo Nyumon," also disagreed with Funakoshi's categorizations. The main thrust of the Mabuni/Nakasone argument is that if this is indeed a valid classification system, then why did Funakoshi change the classifications of certain kata, namely Wanshu (Shorei-ryu to Shorin-ryu), Chinto (Shorei-ryu to Shorin-ryu) and Jitte (Shorei-ryu to Shorin-ryu, than back to Shorei-ryu)? They also argue that following Funakoshi's classification method, Chojun Miyagi's (founder of Goju karate) brainchild Tensho would clearly belong to the Shorei-ryu. However, as Mabuni (founder of Shito-Ryu karate) and Nakasone (a famous Tomari/Matsumura karateka) state, Tensho was based on the chapter entitled Rokkishu (showing six open hand positions with some description of their application) in the Bubishi (a once secret text on White Crane and Monk Fist kung fu hand copied and passed among many early Oknawan karate masters), and it is clearly stated within that Rokkishu belongs to the Shorin(ji)ryu (Mabuni et al, 1938). Funakoshi's Kata Knowledge The fifteen kata in Funakoshi's syllabus included: Pinan 1-5 (Heian) Naihanchi 1-3 (Naifanchi, Tekki) Kushanku (Kanku) Passai (Bassai) Seisan (Hangetsu) Wanshu (Enpi) Chinto (Gankaku) Jitte (Jitte) Jion However, his early books indicate that he may have had at least a passing familiarity with several others. In his 1922 "Ryukyu Kenpo Karate," Funakoshi also lists an additional 16 kata (Funakoshi, 1922) including: an additional Passai kata (listing both Dai & Sho) and Kushanku kata (listing both Dai & Sho), Gojushiho, Chinte, Jiin, Wandau, Rohai, Jumu, Wando, Sochin, Niseishi, Sanseiru, Suparinpei, Wankan, Kokan, and Ushu. It is also no less interesting that in his 1925 "Rentan Goshin Karate Jutsu," he lists the same kata, with the addition of Sanchin (Funakoshi, 1925). So, we can see that Funakoshi had at least a passing familiarity with many kata outside of his own curriculum of fifteen. This is only natural as Funakoshi himself tells us that he had received brief instruction from many prominent masters of that era, including Sokon "Bushi" Matsumura, Peichin Kiyuna, Seisho Aragaki and Kanryo Higashionna (Funakoshi, 1956). Some sources even point to the famous Taite (Kojo) Kogusuku as being Funakoshi's first instructor (Fujiwara, 1990; Iwai, 2000). Although he does not quote his source, noted Japanese martial arts historian Ryozo Fujiwara states that Funakoshi first learned Pechurin kata under Taite Kogusuku, Kushanku under Anko Asato and Naifuanchi under Anko Itosu (Fujiwara, 1990).

3 Roots Of Shotokan: Funakoshi's Original 15 Kata Part 2 - Pinan, Naihanchi, Kushanku & Passai Kata Editor's Note: This three part series examines the roots of Shotokan karate through Gichin Funakoshi's 15 original kata. The first part discussed the controversy over Funakoshi's classification of Okinawan karate's Shorin and Shorei traditions by body type, as well as his knowledge of kata. The following two articles focus on in-depth discussions of the meaning and origin of Funakoshi's core kata. The Original Fifteen Kata of Shoto: The First Ten Pinan (Heian) 1-5 Funakoshi demonstrating pinan two (nidan) The Pinan series is commonly accepted as being created by Anko Itosu (one of Funakoshi's teachers). The only real controversy is whether he created them based upon his knowledge of the classical kata such as Kushanku and Passai, or whether he was reworking a unique Chinese form called Channan. Others historians suggest the Channan kata were originally Itosu's creations but were changed. There has also been argument recently about whether Itosu had created them as an adjunct to physical education, or whether he was trying to establish a separate tradition to further distinguish his modern karate tradition from Quanfa (fist techniques), or Toudi (Chinese Hand, also alternately pronounced as karate) -- both referring to older style fighting and self-defense traditions. In either case, the Pinan can be considered representative of Itosu's karate. The Pinan kata are said to have been officially introduced in the spring of 1904 (Gima et al, 1986). Although there is some opposition to the idea Itosu had developed these kata, most of the primary sources, including those by Itosu's students, point to Itosu as the architect of this tradition. Choki Motobu, in both his 1926 and 1932 publications, states: "The Pinan were created by the modern Bujin (warrior) Itosu Sensei as teaching materials for his students, making them truly a unique form of Okinawan kenpo, which is indeed a very joyous thing for those who follow the Way" (Motobu, 1926, 1932). In their early, formative years, these kata seem to have been called Channan, but later the name Pinan was adopted by Itosu, apparently upon hearing the opinions of the young students (Kinjo, 1956a; Mabuni et al, 1938; Murakami, 1991; Swift, 2000). Apparently, many of those who learned the Pinan kata as Channan continued to teach them under that name (Mabuni et al, 1938).

4 In contrast, another theory states that Itosu did not create the Pinan kata, but actually remodeled older Chinesebased kata called Channan. This theory maintains that Itosu learned a series of Chinese Quan-fa xing/kata (kung fu) from a shipwrecked Chinese person at Tomari (a small seaport town on Okinawa), and reworked them into five smaller components, re-naming them Pinan because the Chinese pronunciation "Chiang-Nan" was too difficult (Bishop, 1999). An interesting side note on the Pinan kata is provided by the Okinawan karate authority Hiroshi Kinjo. He states that Hisateru Miyagi (a former student of Itosu who graduated from the Okinawa Prefectural Normal School in 1916) said that when he (Miyagi) was studying under the old master, Itosu only really taught the first three Pinan with any real enthusiasm, and that the last two were rather neglected (Kinjo, 1956b). Naihanchi (Tekki) 1-3 The Naihanchi, a.k.a. Naifuanchi (here demonstrated by Funakoshi in his 1924 book), series is said to be typical of in-fighting techniques, including grappling. There are three kata in modern (i.e. post 1900) karate, with the second and third thought to have been created by Anko Itosu (Iwai, 1992; Kinjo, 1991a; Murakami, 1991). Another popular theory is that originally the three were one kata, but were broken up into three separate parts by Itosu (Aragaki, 2000; Iwai, 1992). More research is necessary to prove or dispute either theory. This kata (as some have suggested) was not originally developed to be used when fighting against a wall, but could be used for this purpose. While the kata itself linear, moving side to side, the applications are more often than not against an attacker who is in front of you, or grabbing at you from the sides or behind. Some say that the side-to-side movement is to build the necessary balance and physique for quick footwork and body-shifting (Kinjo, 1991b). Itosu was considered to have mastered the original Naifuanchi (Aragaki, 2000; Nihon Karate Kenkyukai, 1955). It is also thought that changed the original kata. Kenwa Mabuni ( ), a direct student of Itosu and founder of Shito-ryu karate-do, supposedly learned the Naifuanchi kata from an old expert named Seihaku Matayoshi. Upon showing this kata to Itosu, Mabuni was told that the way he performed it was the old way, and that Itosu had researched and improved the kata, so Mabuni should practice it the new way instead (Iwai, 1992, 2000). So important was the Naifuanchi kata to old-style karate that Kentsu Yabu, the martial arts instructor at the Okinawa Prefectural Teacher's School, often told his students "Kata wa Naifuanchi ni hajimari, Naifuanchi ni owaru" (Kata begins and ends with Naifuanchi) (Gima et al, 1986). Yabu often admonished his students that one must practice the kata 10,000 times in order to make it one's own. Even Funakoshi recalled in his autobiography that he spent a total of ten years learning and practicing the three Naihanchi kata while studying under Itosu (Funakoshi, 1956). As far as the origins of Naifuanchi are concerned, there are several theories, but unfortunately little if any evidence to corroborate or disprove them. The oldest written references to Naifuanchi's history are probably in the books of the renowned fighter Choki Motobu. Motobu stated in his two books, "Okinawa Kenpo Toudijutsu Kumite-hen" and "Watashi no Toudijutsu" that Naifuanchi was imported from China, but is no longer practiced there (Motobu, 1926, 1932). Unfortunately, this author is unable to confirm whether or not Naifuanchi is still practiced in China. Noted Okinawan karate historian Akio Kinjo relates his own experience in researching the roots of Naifuanchi. In the 1960s, he sought out Danchi Kaneko, who had studied a Taiwanese form of White Crane boxing known as Ban Qiu Ban Bai He Quan (lit. Half Hillock, Half White Crane Boxing). Kaneko, an acupuncturist who lived in Yonabaru, taught a form that would be pronounced Neixi (lit. Inside-Knee) in Mandarin Chinese, which includes the same sweeping action found in the Nami-gaeshi or returning wave technique of the Okinawan Naifuanchi kata. This technique is shown below, as demonstrated by Motobu in his 1926 book. The "returning wave" (the term actually coined by Funakoshi to explain an Okinwan technique to the Japanese), involves sweeping the sole of one foot up to the thigh of the other leg. Some have alternately interpreted this move to be a block of a kick, avoiding a sweep, a stomping down, or kick to an opponent's leg. Kinjo also states that subsequent research in Fujian revealed to him that Neixi is pronounced "Nohanchi" in the Fuzhou dialect. From this, Kinjo feels that Neixi is the forerunner of the modern Okinawan Naifuanchi kata. (Kinjo, 1999) However, even with this speculation, many questions remain unanswered with regard to the origins of this important kata.

5 Kushanku (Kanku) Funakoshi demonstrating the first move of Kusanku (Kanku) kata Described by some as a "night fighting kata," no references to night fighting are found in the primary references coming out of Japan and Okinawa, leading this author to conclude that such interpretations were contrived to fit movements of this classical kata that are not very well understood. In the year 1762, a tribute ship sent to Satsuma (the Japanese clan based in Japan's most southern island, Kyushu) from the Ryukyus (the island chain in which Okinawa is the principle island) was blown off course during a storm and landed at Tosa Province (named after the Tosa clan) on Shikoku island, where they remained for a month. The Confucian scholar of Tosa, Ryoen Tobe ( ), was petitioned to collect testimony from the crew. The record of this testimony is known as the "Oshima Hikki" (literally "Note of Oshima", the name of the area of Tosa where the ship ran aground). In this book, there is some very provocative testimony by a certain Shionja Peichin, describing a man from China called Koshankin, who demonstrated a grappling technique (McCarthy, 1995; Murakami, 1990; Sakagami, 1978). It is commonly accepted that Koshankin was the originator of the Okinawan Kusanku kata (Kanku), or at least inspired it. However, there are several unknowns in this equation. First of all, was Koshankin his name or a title, or even a term of affection? Second, if it was a title or term of affection, what was his real name? Third, what martial art(s) did he teach, and how do they differ from the modern karate kata of Kusanku? Most of these questions are still being researched by this author and others. For now, suffice it to say that Kusanku is a highly important kata in the Okinawan martial arts, and has spawned many versions over the years. While there are numerous others, some of main kusanku versions include: Kusanku Dai/Sho of Anko Itosu lineage styles Chibana no Kusanku of Shudokan Takemura no Kusanku of Bugeikan and Genseiryu Kanku Dai/Sho of Shotokan Shiho Kusanku of Shito-ryu Yara no Kusanku of Chotoku Kyan lineage styles Although it is said that Funakoshi learned Kushanku from Anko Asato, after a careful comparative analysis it is my belief that he in fact learned it from Itosu (as Kushanku Dai that Itosu had re-worked for his physical education curriculum). More research is necessary, however. Kanku Dai (the modern Shotokan version of the Itosu Kushanku Dai kata) is one of two standardized Shotokan forms designated by the Japan Karatedo Federation (JKF) for kata competitions. Passai (Bassai) The Passai kata has perhaps spawned the greatest number of confirmed versions than any other kata in the Okinawan self-defense traditions. Although the roots of this kata are obscure, there are several theories as to its history. Okinawan karate researcher Akio Kinjo feels that the Passai kata is related to Leopard and Lion boxing forms (Kinjo, 1999). He believes that the first step in the kata, where one steps in, twists the body sideways and performs a strong strike/block with the closed fist (here demonstrated by Funakoshi in his 1924 book), is representative of Leopard boxing, whereas the use of the open hand and the stomping actions are more representative of Lion boxing. The name itself, Kinjo holds, actually means "Leopard-Lion," which would be pronounced "Baoshi" in Mandarin, "Baassai" in Fuzhou dialect and "Pausai" in Quanzhou dialect (Kinjo, 1999). Other theories as to the original meaning of the name Passai include "eight fortresses" (Bishop, 1999). Noted Okinawan karate historian Tetsuhiro Hokama has even hypothesized that it might represent a personal name (Hokama, 1999). Katsumi Murakami, a direct student of such luminaries as Choshin Chibana (Shorin-ryu), Motokatsu Inoue (Ryukyu Kobujutsu), Juhatsu Kyoda (Toíon-ryu) and many others, calls upon his knowledge of Chinese martial arts when searching for the possible roots of Passai. He says that some parts remind him of the Wuxing Quan (Five Elements Fist) form of Xingyi Quan (kung fu) (Murakami, 1991). Of the Okinawan versions of Passai, a clear evolutionary link can be seen from the "Matsumura no Passai" (named after the great karate master Soken Matsumura c ) to the "Oyadomari no Passai" (named after the Tomari karate legend) and then on to the "Passai Dai of Itosu" (Kinjo, 1978, 1991). The Matsumura version seems to have retained an essentially Chinese flavor, whereas the Oyadomari version is a more "Okinawanized" form, which was further modified by Itosu into the uniquely Okinawan modern version seen today (Kinjo, 1991). Noted Shito-ryu instructor and researcher Toshihisa Sofue discusses the theory that Passai was developed as a

6 lead-in to Kushanku kata, by citing that most of the "Shuri" styles of karatedo today teach the Pinan, Naifuanchi and Passai before entering into the study of Kushanku (Sofue, 1999). However, he contradicts his own theory by also citing that Passai, while containing some similarities to Kushanku, is indeed an independent tradition, based upon the fact that it contains several unique features that are not found in Kushanku (Sofue, 1999). Funakoshi's Passai is clearly the Passai Dai of Itosu, which is very similar to the Ishimine no Passai, believed to be passed down by Bushi Ishimine (Murakami, 1991; Sakagami, 1978). Roots Of Shotokan: Funakoshi's Original 15 Kata Part 3 - Seisan, Wanshu, Chinto, Jitte & Jion Kata by Joe Swift The Original Fifteen Kata of Shoto: The Last Five Seisan (Hangetsu) Meaning 13, some people refer to this kata as 13 hands, 13 fists, or 13 steps. Customarily taught in both Tomari and Naha (towns on Okinawa), this kata, following the tradition of Chotoku Kyan, is the first kata the Isshinryu karate student learns. A move from Seisan is here demonstrated by Funakoshi in his 1935 book. It is unclear exactly what the number 13 represents. Some think it was the number of techniques in the original kata; some think it represents 13 different types of "power" or "energy" found in the kata; some think it represents the number of different application principles; some think it represents defending against 13 specific attacks; and some think that it is the number if imaginary opponents one faces while performing the kata. Out of all these theories, this author must disagree with the last, as it is highly unrealistic that kata teaches one to handle such situations. On the contrary, kata was designed to teach the principles needed to survive more common self-defense situations, rather than a long, drawn out battle against several opponents (Iwai, 1992). Akio Kinjo, the noted Okinawan karate researcher and teacher who has traveled to China, Hong Kong and Taiwan well over 100 times to train and research the roots of Okinawan martial arts, maintains that this kata originally had 13 techniques, but due to a long process of evolution, more techniques were added to it (Kinjo, 1999). He also maintains that the Okinawan Seisan kata derives from Yong Chun White Crane boxing from Fujian Province in Southern China. It is unsure who brought this kata to Okinawa, but we do know that in 1867, Seisho Aragaki ( ), a master of the Chinese-based fighting traditions (Toudi) demonstrated this kata (among others) in front of the last Sappushi (Chinese Imperial envoys), Xin Zhao (Tomoyori, 1992; McCarthy, 1995, 1999). The main lineages that include Seisan include those passed down from Kosaku Matsumora /Kodatsu Iha /Chojo Oshiro, Chotoku Kyan, Seisho Aragaki, Kanryo Higaonna, Kanbun Uechi, and Norisato Nakaima, among others. Shimabuku learned this kata from Kyan. Both the Kyan and the Shimabuku versions of this kata strongly resemble the "Matsumura no Seisan" used in some sects of Shito-ryu (see Sakagami, 1978). Noted senior Okinawan karate authority Hiroshi Kinjo (b. 1919) states that there is no evidence of a Seisan kata being passed down in the "Shuri" lineages of Sokon Matsumura and Anko Itosu, and that the familiar "Shuri" lineage Seisan versions such as the Hangetsu of Shotokan and the Seisan of Kyan lineage systems, should be referred to as Tomari Seisan. His reasoning is that the so-called Oshiro Seisan as presented in the 1930 "Kenpo Gaisetsu" by Nisaburo Miki and Mizuho Takada was actually passed down from Kosaku Matsumora to Kodatsu Iha

7 to Kinjo's own teacher Chojo Oshiro of Yamaneryu Bojutsu fame. Kinjo believes that Funakoshi, being a school teacher in Tomari (the small port town near Shuri, Okinawa's capital city), may have learned same from Iha, and that as much of Kyan's tutelage seems to have come from Tomaribased masters like Kosaku Matsumora and Kokan Oyadomari, the Kyan version could also likely be traced to Tomari (Kinjo, 2001). This is in direct contrast to many writings on the lineage of Kyan's Seisan (see, for example, Bishop, 1999). The "Master Seisan Theory," which claims that the kata was brought from China to Okinawa by a Chinese martial artist named Seishan (or Seisan), is uncorroborated myth at best, probably propagated by well-meaning, but notso-well-researched instructors. This legend cannot be found in any of the literature coming out of Okinawa or Japan. Wanhsu (Wansu or Enpi) This kata is said by many to have been brought to Okinawa by the 1683 Sappushi (Chinese Imperial envoy) Ji Wang (Jpn. Oshu, ). It is possible that it is based upon or inspired by techniques that were taught by Ji Wang. A move from this kata is here demonstrated by Funakoshi. The problem with this theory is that why would such a high ranked government official teach his martial arts (assuming he even knew any) to the Okinawans? Also, Ji Wang was only in Okinawa for 6 months(sakagami, 1978). Ji Wang was originally from Xiuning in Anhui (a geographic section of west central China), and was an official for the Han Lin Yuan, an important government post (Kinjo, 1999). In order to become an official for the Han Lin Yuan, one had to be a high level scholar, and pass several national tests (Kinjo, 1999). Just preparing for such a position would be such a time consuming task that is would all but rule out the practice of martial arts. However, assuming that Ji Wang was familiar with the martial arts, the Quanfa (a generic Chinese term referring to martial arts) of Anhui is classified as Northern boxing, while the techniques of the Okinawan Wansu kata are clearly Southern in nature (Kinjo, 1999). So, was Wanshu named after Ji Wang, or someone else? This is as yet unknown. However, in the Okinawan martial arts, kata named after their originators are not uncommon. Some examples include Kusanku, Chatan Yara no Sai, and Tokumine no Kon. It is entirely possible that this kata was introduced by a Chinese martial artist named Wang (not the offical Ji Wang). As the reader probably already knows, in the Chinese martial arts, it is common to refer to a teacher as Shifu (lit. Teacher-father). Could not the name Wansu be an Okinawan mispronunciation of Shifu Wang (Kinjo, 1999)? Other schools of thought are that Xianhui Wu (Jpn. Go Kenki, ) or Daiji Tang (Jpn. To Daiki, ), two Chinese martial artists who immigrated to Okinawa in the early part of the 20th Century, may have been responsible for the introduction of the Wansu kata (Gima, et al, 1986). As a side note, Wu was a Whooping Crane boxer and Tang was known for his Tiger boxing. They were both from Fujian. Chinto (Gankaku) This kata is said to have been taught to Sokon Matsumura ( The great Okianwan master) by a Chinese named Chinto, but this legend cannot be corroborated. According to a 1914 newspaper article by Gichin Funakoshi ( , founder of Shotokan karatedo), based upon the talks of his teacher Anko Asato ( ), student of Sokon Matsumura): "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 Kosaku Matsumora, of Tomari. The fact that Kosaku Matsumora is said to have taught Chinto to Chotoku Kyan, is evidence that Matsumora may also have been taught this kata as well (Kinjo, 1999). Now, what exactly is Chinto? There is a form (kata) 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, or Fukien (Kinjo, 1999), the southern Chinese province facing modern day Taiwan, a popular destination and departure point for both trade and immigration to an from Okinawa before the 20th century. Chen Tou refers to sinking the body and protecting the head. In the Okinawan Chinto kata, this is the first technique, but in the Five Ancestors Fist (style of kung fu) it is the last (Kinjo, 1999). However, that being said, this author has never seen the Chen Tou form to make a comparative analysis. It is, however, worthy of further investigation. There are three distinct "families" of Chinto in modern Okinawan karate: (1) Matsumura/Itosu lineage (performed front to back), (2) Kosaku Matsumora lineage (performed side to side), and (3) the Chotoku Kyan lineage (performed on a 45 degree angle). The version practiced by Funakoshi is clearly from the Matsumura/Itosu lineage. Jitte (Jitte)

8 There is very little in the way of written materials concerning the last two kata on the list, namely Jitte and Jion. The earliest reference we see to Jitte is in the 1914 article penned by Funakoshi (under his nom de plume Shoto. He here demonstrates a move from this kata in his 1935 book) in the January editions of the Ryukyu Shinpo newspaper, where it is mentioned twice. In the section on the "kinds" of karate (i.e. the kata), it is stated that Jitte is a kata that clearly distinguishes the upper, middle and lower levels of technique (Shoto, 1914). As already seen in the Chinto section of this article, Jitte is said to have been taught by a Chinese castaway in the Tomari (the small seaport town nearest Shuri, the capital of Okinawa) region. Chinto is said by many to be related to Jion and Jiin kata (Iwai, 1992, Sakagami, 1978). It is not known where Funakoshi may have learned the kata, but Anko Itosu seems to be the best bet. In fact, Sakagami(the karate historian) states that although Itosu modified many kata to fit his physical education tradition, he seems to have left the Tomari kata of Jitte, Jion and Jiin pretty much alone, thus hinting that Itosu did indeed teach versions of these kata (Sakagami, 1978). Although many of the applications of Jitte in the modern Shotokan world seem to rely upon empty hand defenses against a stave-wielding attacker, some believe that Jitte may actually be descended from a bojutsu kata (Iwai, 1992). Unfortunately, neither can be proved with any satisfying certainty. It is also interesting to note that in the book "Kenpo Gaisetsu," there is a unique interpretation of this kata called Itokazu no Jitte (Miki et al, 1930). Jion (Jion) Again, Jion is said to have some connection with Jitte and Jiin, but exactly what that connection is, remains unclear and the object of intense curiosity among karate researchers. First presented in Funakoshi's 1922 book "Ryukyu Kenpo Karate," another version of this kata was also included in Nakasone Genwa's 1938 book "Karatedo Taikan," where it was performed by the legendary Chomo Hanashiro ( ), a student of Soken Matsumura and Anko Itosu, who assisted Itosu in his teaching of karate to young people in the Okinwan school system. With lack of reliable written resources about the origins of the kata, we are left with naught but speculation. One researcher in Japan states that Jion seems to have descended from a kata utilizing the Tekko, a kind of Ryukyuan "knuckle duster." (Iwai, 1992) Tekko were similar to western 'Brass Knuckles." Most often one was held in each hand. In their traditional form (later models were often made of molded brass or aluminum) Tekko had a grip (usually a round piece of wood wound in rope) that was held in the palm of each fist. A rounded studded metal piece then looped from each end of the grip to cover the front of the fist (looking like a hand guard seen on many European swords). They could be quite formidable weapons. But alas, there is also no reliable evidence that these small, concealed weapons of Ryukyu Kobudo were ever codified into formal kata before Shinken Taira (a student Funakoshi and Mabuni in Japan, and Okinawan weapons, or Kobudo under Moden Yabiki. He later formed the Ryukyu Kobudo Hozon Shinkoku) came along. Another more plausible possibility is that Shinken Taira may have been inspired by the Jion kata that he learned from Funakoshi to create a formal kata for the Tekko (Nakamoto, 1983). Jion seems to have been passed down to Funakoshi from Itosu, but if it is indeed a kata passed down in the Tomari area, then it is also possible that Funakoshi picked it up during his time as a school teacher in that district. Jion is also the second standardized kata for JKF competitions from the Shotokan lineage. Reader Notes: Part 1 of this series, the classification, i.e. dividing Shorin-ryu and Shorei-ryu by the body types of the practitioners, can be traced, however, as far back as 1914, when Funakoshi penned an article on karate for the Ryukyu Shinpo newspaper, based on the talks of his main teacher Asato Anko, and writing under his pen name Shoto. Part 2 n the section on the Pinan kata, In their early, formative years, these kata seem to have been called Channan, but later the name Pinan was adopted by Itosu, apparently upon hearing the opinions of the young students (Kinjo, 1956a; Mabuni et al, 1938; Murakami, 1991; Swift, 2000). A note about Kanku Dai (the modern Shotokan version of the Itosu Kushanku Dai kata) discussed in Part 2 of this series of articles. This kata is one of two standardized Shotokan forms designated by the Japan Karatedo Federation (JKF) for kata competitions. In these articles reference to various Funakoshi books are: (1922) refers to Ryukyu Kenpo Karate, (1925) refers to Rentan Goshin Karatejutsu, and (1935) refers to Karatedo Kyohan. The JKF has designated two kata from each of the "big four Japanese styles" for their kata competitions. They are: Kanku Dai & Jion from Shotokan, Seishan & Chinto from Wadoryu, Bassai Dai & Seienchin from Shitoryu, and Saifa & Seipai from Gojuryu.

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