Kata Stuff

1. 1. Seisan: Is of Chinese and Shorin Ryu origin. It is one of the original kata from the ancient Pangia-Noon style. Its name is derived from Master Seshan.

The kata teaches the student how to fight several opponents directly in front of him and how to turn and face opponents from different directions.

The footwork is semi-circular and is used to break the balance of an opponent’s attack and reach his centreline. There are joint locking in-close techniques, as well as long range. The kata teaches a vertical punch with thumb on top, instead of twist punch. It emphasises the ‘Seisan Stance’ (Sho Zenkutsu Dachi) of fighting.

2.Seiuchin: This kata was developed by Goju Ryu founder Master Chojun Miyagi. Miyagi combined the fundamental techniques of Naha-te he learned from his instructor Kanryu Higashionna with his soft breathing techniques of Pa Kue Chang he learned while in China to form this kata.

The word Seiuchin is written as ‘Control, Pull, Fight’ by many Okinawa Goju-Ryu stylists, as well as Isshin-Ryu teacher Uezu Angi (Son in law of Shimabuku Tatsuo), perhaps hinting at various grappling and grabbing techniques contained within the kata. Otsuka Tadahiko, a Goju-Ryu teacher who has spent considerable time in China and Taiwan researching the roots of his system, tells us that his research indicated Seiuchin may mean ‘Follow-Move-Power’ which would be pronounced Sui Yun Jin in Mandarin Chinese.

It is a horse stance position. This stance is most effective when the opponent is close and directly to the side of the karate-ka. Seiunchin kata begins very slowly and with ‘ubuki’ breathing, and then explodes into full power and extremely fast speed. One characteristic that makes Seiuchin different than any other empty hand Isshin-Ryu kata is that there are no kicks.

Seiuchin builds stamina and develops inner strength. Seiuchin introduces the reinforced blocking and striking techniques never before used in Isshin-Ryu karate. This is a rare type of blocking and striking, which is used against an opponent that is much larger and more powerful than karate-ka.

3. Naihanchi: This kata is from the Shorin Ryu origin. The exact date Naihanchi was founded is not known, but it is considered to be close to 200 years old.

The founder of Naihanchi is not known, but it was taught to Master Soken Matsumora by Tode Sakugawa. Matsumora is given credit for actually formulating the kata into a teachable pattern. He introduced the kata to Okinawa around 1825 by performing it in public for the first time. It was Choki Motobu, a well-known student of Matsumora’s that popularized the kata in the late 19th century by performing it well over 450 times; Naihanchi became known as Motobu’s kata in Okinawa a short time after this. Master Shimabuku studied this kata under both Master Motobu and Master Kyan, before adapting it for Isshin-Ryu. It is not known which Master instructed him first.

Naihanchi originally written as ‘Naifanchi’ was divided into 3 parts early in the 20th century, because of its original length and difficulties in teaching this kata. Tatsuo Shimabuku used what he considered the best techniques of each kata and combined them to form the Isshin-Ryu version of Naihanchi.

Naihanchi is the only Isshin-Ryu kata with no forward or backward steps. Naihanchi’s floor patter is a straight line, first to the right then to the left. Naihanchi defends against 4 to 8 opponents attacking from the front and sides, while the defender is pinned against a wall with nowhere left to go but sideways. This kata was not originally developed to be used when fighting against a wall, but this does not preclude such interpretations.

While the kata itself goes 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 up for necessary balance and physique for quick footwork and body shifting.

It teaches the Naihanchi stance (Uchi Hachiji Dachi). It is a very mobile, yet stable stance. Naihanchi is the only Isshin-Ryu kata that has both hands open in the beginning moves. Interestingly, most versions of Naihanchi start to the right side, including Itosu, Matsumura and Kyan’s versions. Isshin-Ryu’s Naihanchi start to the left. There are others that start to the left as well, including that of Kishimoto Soko lineage schools like Gensei-Ryu and Bugeikan, the Tomari version of Matsumora Kosaku lineage schools like Gohakukai and Motobu Choki’s version.

Naihanchi consists of elbow strikes, pressing wrist blocks executed both to the front and side, hammer fist strikes and blocks, low blocks, and spear hand strikes. The practitioner of Naihanchi will also avoid 9 foot sweeps and execute multiple blade kicks to the knees. Naihanchi introduces for the first time double vertical punches. ‘Nami Gashi’ has become this kata’s trademark. It translates as ‘returning wave’, which comes from avoiding the foot sweeps. This kata trains Karate-ka to tighten legs and to defend against opponents on both sides.

4. Wansu: This kata is of Shorin Ryu origin.

> Wansu was traced back to approximately 1695, which makes it nearly 300 years old. Wansu is believed that a Chinese martial artist named Wanshu taught a system of movements to a few Okinawan martial artists who later named them Wansu, after their instructor, Master Shimabuku learned this kata from Master Kyan, who was instructed by Master Sakugawa who was in turn taught by Master Peichin. <

>>This kata is said by many to have been brought to Okinawa by the 1683 Sappushi Wang Ji (Jpn. Oshu, 1621-1689). It is possible that it is based upon or inspired by techniques that may have been taught by Wang Ji.

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, Wang Ji was only in Okinawa for 6 months (Sakagami, 1978).

Wang Ji was originally from Xiuning in Anhui, 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 task would all but rule out the practice of martial arts, just time-wise. However, assuming that Wang Ji was familiar with the martial arts, the Quanfa of Anhui is classified as Northern boxing, while the techniques of the Okinawan Wansu kata are clearly Southern in nature (Kinjo, 1999).

So, if Wansu was not Wang Ji, just who was he? 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 artists named Wang. As the reader probably already knows, in the Chinese martial arts, it is common to refer to a teacher as Shifu (let. Teacher-father). Could not the name Wansu be an Okinawan mispronunciation of Wang Shifu (Kinjo, 1999)?

Other schools of thought are that Wu Xianhui (Jpn. Go Kenki, 1886-1940) or Tang Daiji (Jpn. To Daiki, 1888-1937), two Chinese martial artists who immigrated to Okinawa in the early part of the 20th Century, may be 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.

Shimabuku is believed to have added on several techniques to this kata, such as the side kicks, evasive body movement into double punches, and elbow smash as these are not found in any other version of Wansu known in Okinawa karate.<<

Wansu has a multiple attacks and flows from block to counterattack very graceful all while keeping strong, solid stances. Wansu kata is known for its unique technique known as, the dump, where the opponent is grabbed at the throat with the left hand and hooked between the legs at the forearm with your right hand then picked up and dumped to the floor during the 180 degree turn. Wansu also introduces the ‘Obi Waza’ where the opponent is pulled by the belt with your left hand at the same time you are side stepping and punching with your right hand.

Wansu’s symbolic meaning is ‘karate is my secret’. This is shown in the very first move when you step to the right keeping your left hand open and the right hand closed in a fist right before the left does a low body block and the right hand does a reverse punch.

What a Karate-ka should learn from this kata is to seize the advantage by changing the ma-ai (the distance between the opponents) It combines moves from the first three kata. The karate-ka is taught to fight opponents forward, backward, and on both sides.

The Writing in the brackets (> < & >> <<) is different theories about the origins

5. Chinto: (Shorin Ryu origins) >Chinto kata, also known as Gankaku by Shotokan means ‘crane on a rock’, Actually, Chinto translates to fighting toward the East. Chinto kata was named for a Chinese sailor who was shipwrecked on the island of Okinawa. The sailor had to hide out from the Okinawan natives by day and raid their food supplies at night to survive. One of the outstanding swordsman was dispatched by the king to arrest the sailor. Matsumura, the swordsman, cornered Chinto in a cave and a great fight ensued and Chinto escaped from the swordsman. Matsumura (Matsumora?) was so impressed with the techniques that Chinto used that he sought him out to be friends. In exchange for his friendship and help in getting Chinto back to China, Chinto agreed to teach him the a system of defences that he used. Matsumura eventually named those series of defences after his instructor.<

>>Another account of the Chinto Kata says that Bushi Matsumura brought the kata back from China to Okinawa with him. But Matsumura did not return to Okinawa from China until 1792. Chinto was supposed to have been in Okinawa in 1296. Because of the scarcity of written records, there is quite a difference of opinion as to how things happened.<<

Bushi Matsumura was one of the great Karate instructors of all times and was also respected as a great master. His wife also came from a martial arts family and she was exceptionally good for a woman and very strong. Story tells that she could pick up a 140lbs bag of beans and sweep under them at the same time.

Bushi Matsumora taught the kata to Itosu Yasatsuni and Yabu Kentsu. They were two of Okinawa’s greatest fighters. There is a story about Choki Motobu and Yabu Kentsu having a friendly fight. Motobu, being younger and much stronger, figured to win the battle. After about twenty to thirty minutes, Kentsu clearly won the fight and this was supposed to be the only fight that Choki Motobu ever lost.

Master Matsumura taught this kata to Master Kyan who incorporated it into his style of Shon Ryu karate. Master Kyan became Tatsuo’s Shimabuku’s first instructor and taught this kata to him. Master Shimabuku revised it and then incorporated it into his own style of Isshin-Ryu.

Chinto kata teaches you to take advantage of the natural terrain and environment by keeping uphill, above your opponent and keeping the sun or moon at your back. The kata also teaches you to fight in narrow areas like hallways, paths, barrs or any confined area. Itosi developed a shorter version of Chinto. Yabu Kentsu continued teaching the original form. Master Shimbuku took our Chinto Kata from the original form.

Chinto contains hundreds of conscious and unconscious movements preformed at different levels. When performing Cxhiinto kata, your weight is constantly changes in order to obtain the best results and the most power from each technique. Its Japanese counterpart is Gankaku.

Chinto’s floor pattern is a straight line at a 45 degree anglefrom thr starting point. The main principles are pivoting and sidestepping. The main strategy iis an evisionary sidestepping followed by immediate multiple or single strikes to the attacker. Chinto consists of constant spinning motion with double hand protection by moving them up and down, which makes penetration of its defences almost impossible. Chinto is devastating on the counter attack. The counters come very fast and one right after the other.

Chinto makes use of many different stances. The very first six movements in Chinto consists of 6 different stances: open toed stance, natural stance, back stance, cat stance, Seisan stance and Seiuchin stance.

Chinto introduces the flying front kick and a spinning block. It is the first kata to introduce a counterattack from a posture other than a solid stance, such as a flying kick and a punch off one knee.

There is a legend tied to this kata.

6. Sanchin: (Goju Ryu origin) The three in Sanchin is often described in English as the battles between mind, budy and breath. Other descriptions refer to attack and defence of three levels ie the upper, middle and lower levels. The three most important points of Sanchin have been described as the stance, the breathing method and spirit, and if any one of these three is lacking, one will not be able to master Sanchin.

Sanchin kata can be traced back to China’s T’ang* where a revolutionary art of self defence called Shaolin Chuan Fa began to build up in militant Buddhists’ Temples in order to establish itself as a leading force in that country’s martial arts. This system was neither relaxed nor tensed in its combative actions; instead, it was influenced by the Taoist philosophy of combining both soft and hard techniques, so that they would become a bit more flexible in their actions of motion. This would also help them become tense and solid only at the exact instant of the block, strike or kick. This system of breathing was referred to as Sam Chien and was introduced to the Shaolin Temple by a man known as Daruma, sometimes called ‘the father of modern day karate’. The man responsible for bringing Sanchin kata, as we know it to Okinawa is Kanryu Higashionna. Higashionna was an Okinawan accountant from the city of Naha, who lived from 1851 to 1915. Curious about these Chinese fighting arts, he travelled to China and met with a Shaolin Chuan Fa Master named Woo Liu Chin from Fukien Province whom he studied with for some 20 years.

<*Side note: This kata has been described by many writers as the original exercise that Bodhidharma taught to the monks at the Shaolin Temple. However, this theory has no substantive proof either way, so this actually remains nothing more than speculation.

.At any rate, the Okinawan versions of Sanchin have their origins in the Quanfa originating from Fujian Province, where many, if not most, Quanfa styles have a form of this name. In fact, the term Sanchin (written as "three battles" in kanji) seems to be found only in Fujian-based Quanfa systems, as forms of this name are not found in the martial arts of other areas (Kinjo, 1999).

Many researchers, especially from the Gojuryu tradition, credit Higashionna Kanryo with bringing back Sanchin from his studies in China (Higaonna, 1981; Kai, 1987). However, there is evidence that Sanchin had existed in Okinawa since before Higashionna's voyage to Fujian and was passed on by Aragaki Seisho, who was Higashionna's first teacher (Iwai, 1992; Okinawa Prefectural Board of Education, 1995). Higashionna's teacher in Fujian is believed by many to be Xie Zhong Xiang, founder of Whooping Crane boxing (McCarthy, 1995; Okinawa Prefectural Board of Education, 1995; Otsuka, 1998; Tokashiki, 1995), although there is opposition to this theory (Kinjo, 1999).

Higashionna is believed to have learned the Happoren form from Xie, which is said to be the basis for the modern Gojuryu version of Sanchin (Otsuka, 1998). Higashionna probably integrated concepts from Happoren to the Sanchin he learned under Aragaki. When practicing Happoren alone, however, the breathing is silent (Otsuka, 1998).>

Higashionna returned to Okinawa and established a dojo in the city of Naha, a section of Tonno, where he became known for his ‘unbreakable neck’. He would allow his students to put a rope around his neck and try to choke him. None were ever successful. Higoshionna drilled his students on the Taoist breathing methods he learned in China. This method became known as Sanchin kata and was practiced with open hands. The minor modifications were made by Chojun Miyagi (Higashionna’s number one student). Master Miyagi altered the original Higashionna form by practicing it with closed hands (fists) rather than opened hands. Miyagi wanted to emphasize the ‘hard’ aspect of his newly formed Goju Ryu style. Master Miyagi passed this kata on to Master Shimabuku, who incorporated it into Isshin-Ryu with very few modifications, if any at all.

Sanchin epmhazes slow, powerful techniques combined with ubuki and deep concentration. Even though there are only 29 movements in Sanchin, including 3 steps forwars and 2 steps back, Sanchin takes longer to complete, at 117 seconds, than any other Isshin-Ryu kata. Sanchin kata when demonstrated correctly can be very impressing and rewarding. It is said that throughout the karate-ka life that if the karate-ka can perform this kata perfectky one time it is a great defeat.

A Chinese monk named Hui Meng, who lived in the later part of the Ming Dynasty wrote that “The lungs are reservoirs of air, and air is the lord of strength. Whoever speaks strength must know air”. He was right to the point. This was one hundred percent correct. These methods of obtaining correct breathing techniques were to spread from China to Okinawa and bcome the heart of all karate styles.

Sanchin is the only empty hand Isshin-Ryu kata that does not contain any of the vertical punches that became Isshinryu’s trademark. Every punching and blocking technique is done in the traditional corkscrew and bone blocking method. Though Sanchin does not contain any kicks or kiais, and appears to be a very simple kata, Sanchin, is actually quite complex. Sanchin kata teaches the karate-ka the principles of sabaki and Ibuki, the fundamentals of movement and breath, and a way to control these conflicts. The basic stance for each movement in Sanchin starts with toes gripping the floor, and tightening every muscle in the body. The purpose of the Sanchin stance is for the Karate-ka to become rooted to the floor starting from his toes and working up. This stance is known as ‘Iwao No Mi’, a body like rock. After the karate-ka learns the movements of Sanchin and the correct way of moving, stepping, ‘sabaki’, Ibuki is focused on. Ibuki is an isometric exercise which builds the physique, stamina, and vital energy necessary to karate. While going throughout our normal day we tend to breathe through our chest, known as the upper part of our lungs. In Sanchin, the karate-ka learns Ibuki or to use their diaphragm and inhale completely using the abdomen. When exhaling, the karate-ka learns to use their abdominal muscles to controllably squeeze the air out of their body.

Higoshionna’s Sanchin features two turns, and only one step back. In order to remedy the lack of backward stepping, Miyagi Chojun created a shorter version of the kata, featuring no turns, and two steps backwards. It is this version that Master Shimabuku utilized in his Isshin-Ryu system.

It emphasizes strong techniques and breath control. The name means ‘three battles’, and refers to the control of the mind, body, and breathing during the performance of the kata. The control of mind, body and breathing are the only sources of chi. This energy is generated in the tanden, which is an area two or three inches below the navel.

7. Kusan-Ku: (Shorin-Ryu origins) >Kusanku was developed by Master Sakugawa around 1762 after studying for nearly 6 years under a Chinese emissary named Kushanku, who lived in Nakashim-Yukaku, Okinawa. After studying under Peichin Takahara, his first instructor, Sakugawa accidentally met Kushanku by trying to mischievously push him off a bridge into a river. Master Kushanku quickly stepped aside and grabbed Sakugawa and shocked him with his tremendous speed and power. Sakugawa was then introduced to Kushanku by a younger student of his. Kushanku made the comment that Sakugawa needed to learn the ‘why’ of the martial arts, not only the ‘how’.

Sakugawa studied under Master Kushanku until he was 29 years old and his first instructor died. It was at this time that he developed Kusanku kata from a series of techniques he learned from Kushanku and Peichin Takahara and then named the kata in honour of Kushanku. Therefore, we can say Masters Peichin Takahara and Kushanku both influenced the development of Kusanku kata. Master Sakugawa passed his kata down to Master Matsumora and Master Itosu. Itosu then developed two versions of Kusanku: Kushanku dai and Kushanku Sho and incorporated them into his own system of karate. A very well known student of Itosu’s, Gichin Funakoshi became very well known for his mastery of these kata.

Master Matsumora is given credit for teaching this kata to Master Kyan who then passed it on to Isshin-Ryu’s Grand Master Tatsuo Shimabuku around 1926. Some accounts say Master Yara taught Master Shimabuku Kusanku kata, but the facts show Yara taught him his own version of Kusanku known as Yara Kushanku.<

>>Often described in Isshin-Ryu as a "night fighting kata," this form was passed down from Kyan Chotoku to Shimabuku Tatsuo. Interestingly enough, 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 that are not very well understood.

In the year 1762, a tribute ship sent to Satsuma from Ryukyu was blown off course during a storm, and ended up landing at Tosa Province in Shikoku, where they remained for a month. The Confucian scholar of Tosa, Tobe Ryoen 1713-1795), 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 had run 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; Sakagami, 1978).

It is commonly accepted that this Koshankin was the originator of the Okinawan Kusanku kata, 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 towards him? Second, if it was a title or term of affection, what was his real name? Thirdly, 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.<<

Kusanku is one of the most complex kata of Isshin-Ryu. It consists of variety of offensive and defensive techniques. Executed at many different levels from the ground to the air.

The Japanese version is known as Kwanku. Kusanku was originally written as Kushanku. Some other versions of the kata have been Yara Kushanku, Shiho Kushanku, Kushanku dai and Kushanku sho.

Kusanku symbolizes fighting up to 15 different opponents in a large field of uneven terrain in the dark and makes use of ‘deception’, which is demonstrated in the very first movements. The performer leans to one side and does a foot stomp to the other, drawing the opponent to the wrong side in the dark.

Kusanku introduces the advanced students to low kneeling defensive postures. After executing a flying crescent kick block (mikazuke uke) the performer turns 180 degrees and lands on the left knee with the right knee close to the chest, and then he reverses, facing the opposite direction. Kusanku also introduces simultaneous hand and foot attacks such as from snap kick and back fist strike combination, which is used 5 times throughout the kata.

Kusanku uses 4 major stances: Seisan, cat, Seiuchin and crane. The performer will pivot from one stance to the other within seconds. Kusanku consists of a variety of blocks such as double open block, middle level, low level, high level, palm heel, kneeling middle level, and upper and lower x blocks. The major kick of Kusanku is the front snap kick.

8. Sunsu: Sunsu encompasses the essence of Isshin-Ryu karate and is the kata that Isshin-Ryu is most known for. Sunsu is most difficult of the Isshin-Ryu empty hand kata to perform. Grand Master Shimabuku formed this kata after years of studying other 7 empty hand kata. Sunsu is considered the ‘master’ kata. The exact year Sunsu was developed is unknown though it is believed to be in the late 1940’s. Sunsu combines the main points of all the empty hand kata, though Kusanku and Wansu have the most influence.

There seems to be some confusion as to what the name Sunsu means. It has been stated that it means either ‘strong man’ or ‘son of old man’. However, a recent newspaper article from Okinawa tells a different story:

"It is said that when Shimabuku performed Sanchin kata, he appeared so solid that even a great wave would not budge him, like the large salt rocks at the beach, and his students nicknamed him "Shimabuku Sun nu Su" (Master of the Salt) out of respect."

Another possibility is that Sunsu may be named after a family dance of the Shimabuku family.

Tokumine no Kon

This kata was passed down from Kyan to Shimabuku. Kyan is said to have learned the kata from a direct student of Tokumine Peichin. According to the story, Tokumine Peichin was said to have been a teacher of Motobu Choki. Tokumine loved to drink liquor, and one day got into a drunken brawl in which he injured 20 to 30 constables to the point where they could not even stand up. For this he was exiled to Yaeyama Island. Kyan, wishing to learn the cudgel tradition of Tokumine, traveled to Yaeyama to seek out his instruction. Upon arriving, Kyan learned that Tokumine had already passed away, but had taught his kata to the old man who acted as the landlord of the place where Tokumine had lived. It was from the landlord that Kyan had actually learned this form. (Jahana, 1978)

Uezu Angi stated that Shimabuku studied this kata from Kyan, but later relearned it from Taira (Uezu, 1997). This author, however, has found no evidence to date that Taira ever taught or even knew this kata. It is one possibility that Shimabuku studied Tokumine no Kon under Kyan, but later when re-modifying the kata to fit his vision of kobudo, may have been influenced by Taira's method of utilizing the bo.

Urashi Bo

This kata came directly from Taira, and was modified by either Shimabuku or Taira. This kata is called Urasoe no Kon in Taira's syllabus, and can be found in Inoue's series. Urasoe is the standard Japanese pronunciation of the name whereas Urashi is the old Okinawan pronunciation. According to Nakamoto (1983) Taira supposedly learned this kata from Mabuni Kenwa (1889-1952), founder of Shitoryu, which went on to become one of the "big four" styles of modern Japanese karatedo. Mabuni gained most of his influence from the likes of Itosu Anko (1831-1916), Higaonna Kanryo (1852-1915), Aragaki Seisho (1840-1920), etc.By sheer coincidence, Mabuni's karate, like that of Shimabuku, is a unique blend of the various kata traditions that were formerly practiced in and around the three main "karate areas" i.e. the Shuri, Tomari, and Naha districts.

Kusanku Sai

This kata was created by Shimabuku himself, based upon the Kusanku kata he had learned from Kyan. The following information was gleaned from a personal communication from A. J. Advincula (1998), who studied with Shimabuku in Okinawa. Before studying with Taira Shinken in the late 1950s and early 1960s, Shimabuku only knew the cudgel tradition of Tokumine that he had learned under Kyan, as well as a sai kata called Kyan no Sai. It is unknown whether this sai kata was created by Kyan or created by Shimabuku from techniques that he learned under Kyan.

Kusanku was, along with Chinto and Passai, Kyan's specialty, and this may have influenced Shimabuku's decision to create a sai kata from this form. According to Advincula (1998), Shimabuku originally included kicks in the kata, but later removed them. Upon being asked why, Shimabuku stated that when he first created Kusanku Sai, he knew little about kobudo, but after gaining more experience apparently removed the kicks.

Chatan Yara no Sai

This kata was also passed down by Taira, who is said to have learned it from Kamiya Jinsei. It was either created by a master called Chatan Yara or based upon his teachings. Yara was, according to Nakamoto (1983), a karateka who lived before Bushi Matsumura (1809-1901), and studied under Kusanku who came from China in 1762. He also states that Yara, who held the title Peichin, lived during the time of King Sho Boku who reigned from 1752-1795, and held a stipend of land in Chatan, where he carried out the last years of his life. This kata can also be found in Inoue's series.

Hama Higa no Tuifa

This was another kata taught to Shimabuku by Taira. In the now-famous 1966 film taken of Shimabuku during his second and last visit to the United States, this kata is often denoted as Chie-fa in English. However, this is nothing more than a misspelling of a misspelling.

It is said that Shimabuku always referred to the weapon as tuifa. On the 1966 film, the katakana syllabary for this kata reads Tsuifa, an innocent misspelling, apparently made my the Japanese translator, which was then misspelled again as Chie-fa in English.

According to Perkins (1998) Tokumura Kensho, a direct student of Shimabuku, stated in an interview that Shimabuku never taught the kata on the film in Okinawa. There is speculation that this kata is what bits and pieces Shimabuku remembered from the longer, older Hama Higa no Tuifa as taught by Taira.

This longer, older version can be found in Inoue's series as well as in Taira's own book. On the film, one can clearly see him fumbling for movements and techniques. However, there are still Isshinryu groups in the United States and elsewhere who still refer to this kata as Chie-fa no Tonfa, apparently because that's what it says on the film.

The following account of Hama Higa Peichin is a summary of an essay written by Taira Shinken, and can be found in the 1998 republication of his 1964 Ryukyu Kobudo Taikan (pages 183-184). Hama Higa accompanied King Sho Shin and Prince Nago Chogen on their trip to Edo, where he played a game of go with the famous Japanese master Hon'inbo Dosaku on 17 April, 1682. It is also said that with the permission of Shimazu Hidehisa of Satsuma, Hama Higa also performed Toudi (Karate) and Saijutsu in front of the 4th Shogun Tokugawa Tsunayoshi. This sai kata later became known as Hama Higa no Sai, and is still practiced in Okinawa kobudo today. (Taira, 1998)