Okinawan Funakoshi Useshi [Sho] (Gojushi-ho [Sho])

This kata is another illustration of a derivation of mostly Itosu gojūshiho. There are certain movements in gojūshiho [dai] and gojūshiho [shō] which, put together, would show Itosu gojūshiho (ūsēshi) more purely. Far fewer movements are purely Matsumura gojūshiho (ūsēshi), though the methods of movement are largely the same. It is evident upon comparison that Funakoshi gojūshiho [dai] was influenced by Tōyama (Oyadomari) koryū gojūshiho which is a version of Itosu gojūshiho. Funakoshi gojūshiho [shō] was influenced by Mabuni-Itosu gojūshiho. This, however, for each, only goes for certain techniques at certain points. Tōyama and Mabuni were also taught by students of Master Sōkon Matsumura, but their gojūshiho kata seem to be at least principally, if not entirely, from Master Itosu (Shishū). Master Funakoshi's gojūshiho are clearly his versions, taught to him by Masters Asato, Itosu, Matsumura and maybe other teachers he noted, and then influenced by Masters Tōyama and Mabuni. 

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Okinawan Funakoshi Useshi [Dai] (Gojushiho [Dai])

Edited together due to a lack of space, this is another presentation of an Okinawan-style Funakoshi karate kata. In these videos, performances of Funakoshi ūsēshi [dai], otherwise known as gojūshi-ho [dai], are shown. It could be demonstrated in a few different ways, so I have filmed two examples. As Master Funakoshi taught, not every movement should be fast and strong. He advised varying between hard and soft, fast and slow, expansion and contraction. The Okinawan style is more simple and direct, and less "performed", than the modern versions of kata most often seen in sport karate. Kata is a not a "performance", despite being just that. It is for the memory of a set of techniques for a particular system / style, as well as many benefits including the development of a good, moral, principled character, being respectful and courteous, training the frame of mind of not wanting to fight, health and fitness, mental composure, the essence of the system, and simply enjoyment. This particular version of gojūshiho is a variation of Itosu gojūshiho, apparently related to Tōyama koryū gojūshiho for the purpose of revision of the kata, and this seems evident, yet it is clearly a Funakoshi creation, including some influence from Matsumura gojūshiho, for instance in the second and third movements.

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Okinawan Funakoshi Naihanchi [San / Sandan] Kata

A performance of Funakoshi naihanchi [san / sandan] shown without a top, in the traditional manner. The three naihanchi kata are three stages in the study of the system called naihanchi.

Okinawan Funakoshi Naihanchi [Ni / Nidan] Kata

An illustration of Funakoshi naihanchi [ni / nidan] performed in the traditional style without a top.

Okinawan Funakoshi Naihanchi [Ichi / Shodan] Kata

A demonstration of Okinawan Funakoshi naihanchi [ichi / shodan] in a version of the traditional style without wearing a shirt or jacket.

Okinawan Funakoshi Okan (Wankan) Kata

Front- and side-start views, respectively, of Funakoshi ōkan (wankan) kata. 

What's The Alternative?

I think everything in life is just about trying. You're born at some moment in the infinite history of the Universe, created by your parents and yet actually a product of an unbroken genetic line, and even further a product of the Creator, be it the Universe or, indeed, this or that deity. There are a thousand and one religions and philosophies, each with its own ideas on how best to live and behave and even about what happens after death. No one can profess to know the truth of the latter, nor the word of any deity. But you can open your eyes to see how to act in life. True moral behaviour should be obvious. There is right and wrong in life, plain and simple. Delusion plagues us all, as humans. We are all stuck in an existence filled with our own thoughts and feelings, wanting to advance our positions, feeling dissatisfied and wondering about the afterlife. These things can lead to depression, which has the potential to transport a person to a dark place from which they may not be able to finally escape, losing hope and the motivation to get up and try. As studied in the teachings of bu, whatever type of philosophically-based martial (bu) boxing you may study if you indeed do, our greatest and real battle is against ourselves. If we correct our own behaviour to be truly good, without simply conforming to what any belief system or culture might tell us is "correct", then we can truly advance as a species, globally, in real peace, seeing that every single person and life-form is equal, no matter the race / ethnicity, gender, religion / philosophy, culture, language, height, weight, sexuality, disability, or, indeed, species. Opening your eyes to the truth is all that is needed for peace and prosperity to truly and finally exist. As a species we have lived for about 3 million years. What will the next million comprise? You make your own future, no matter the difficulties thrown in your way by life and, as is often the case, by other people. We study Okinawan-Chinese boxing methods not to be fighters but to fight life. Think of the alternative. Is there one? In my opinion it's either do or give up, and giving up is not an option. What's the point of that? Just try, make something good, do something useful, create purpose. Intent and decisiveness are of absolute importance in the art of tī (the hands), as is benevolence. Keep high spirits even in the face of adversity, because what we know is that we are here now after having been given life by something we cannot pretend to understand. And that's okay because as cruel as life can be, and whatever orchestrates that cruelty, we are all in it together. Everything is infinite, time does not exist, change is constant; these fact can be accepted when we understand that whatever you believe, we are all in life and death, yin and yang, together. The Universe - the Creator - brought us to life at this or that time. We are strangely connected with certain people and events. The Universe has a plan. You just have to have faith. Blind faith, perhaps, but faith nonetheless. 

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Funakoshi Rohai (Okinawan-style Meikyo)

A version of Funakoshi rōhai (meikyō) following Master Gichin Funakoshi's illustration. A kata created by combining the three Itosu rohai, this performance is in the Okinawan style. The system can be performed in a few different ways, as is usual for any formal exercise. You might prefer Master Funakoshi's later way of practising kata. This is the same Funakoshi karate. I prefer the Okinawan style. 

Old Okinawan Funakoshi Chinto

An alternative demonstration of Okinawan Funakoshi chinto (gankaku) showing the same movement as the first, for the sixth, as described by Master Gichin Funakoshi in his text, Rentan Goshin Karate Jutsu (Karate Jutsu).

Old Okinawan Funakoshi Sesan

Another performance of Okinawan-style Funakoshi sesan (hangetsu), based, as usual, on direct instruction combined with ongoing study of the teachings of Master Gichin Funakoshi, specifically focusing on his old Okinawan teachings. In this illustration, I have emphasised the yoriashi during the jabs, and altered the final technique. This is based on Master Gichin Funakoshi's writings and Master Otsuka's demonstration and Sensei Ohshima's illustrations. I believe this is correct. 

The signature stance varies depending on the source and exponent. The old way in Funakoshi karate is, evidently, a short front-stance. By 1935, Master Funakoshi lengthened the zenkutsu-shitsu dachi used in his sesan (hangetsu). And by the time of the second edition of Karate-Do: Kyohan, in 1958, Master Funakoshi described the stance also as a front stance but added that it is not like other front stances. There is a feeling of solidity. This is like the feeling of what became known as hangetsu-dachi, which is not just a later-developed stance but one used by, for example, one of Master Funakoshi's first Japanese students, Hironori Otsuka. His earlier version you might rather call sesan-dachi, but it is really a type of sanchin-dachi. There is a similarity between sanchin-dachi, hangetsu-dachi, han-zenkutsu-shitsu dachi and naihanchi-dachi. They all require and train solidity which needs a feeling of pulling inwards. An additional note is that using a short front-stance for this kata, for instance, is comparable with the Chinese sanzhan stance which varies in motion but partly resembles a short front-stance. 

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Old Okinawan Funakoshi Wansu

Another illustration of the Okinawan-style of Funakoshi wansū (enpi) kata, lifting the left leg as it's retracted into a horse stance / naihanchi-dachi. This seems to be the way Master Funakoshi might have meant for it to be performed, based on his descriptions and Master Otsuka's demonstration. However, it could have been either way, I feel. To describe further, I'm referring to the point at which you are in a front stance executing a lower-level parry and intend to retreat back with your left leg to sit in a horse-riding stance at the same moment as opening the left hand and looking at it as it comes round to your diagonal left before lifting the right knee and striking the left palm with the right forearm followed by returning the right foot to the horse stance whilst retracting the right fist in a circular fashion to the right hip and lightly extending the left open hand in front of your chest. This is clear in the footage.

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Funakoshi Pin'an Nidan (Heian Shodan)

The performer seems to be wearing a sash, and can clearly be seen to be one of Master Funakoshi's students, rather than Funakoshi himself as in some other footage that looks to have at least been shot in the same location (a university; maybe Keio (noted by a club of Sensei Ohshima's Shotokan Karate of America) or Waseda), if not also at the same time (around 1935 for the other films), as he is wearing glasses and has short gi-trousers. It's a good example of an older version of Funakoshi pin'an nidan. It is very Okinawan in style. 

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Okinawan Funakoshi Passai

Another demonstration of Okinawan Funakoshi passai [dai] kata.

Funakoshi Taikyoku (Shodan, Nidan, & Sandan)

Above are two illustrations of Okinawan-style Funakoshi taikyoku [shodan] kata, one with the rear foot at 45 degrees, the other with the rear foot positioned at 90 degrees. This is because Master Funakoshi applied both methods, and each have advantages and disadvantages. 

From my perspective, the taikyoku kata and the ten-no-kata (omote and ura being inseparable) are one and the same. The ten-no-kata, devised and published at the same time as taikyoku, by 1943, are composed of fundamental movements which are also found in the taikyoku kata that include shodan, nidan and sandan stages, as well as further variations to the techniques and the general performance as shown below. You can alter the depth of stances, the speed of movements, the formation of the fist, the hardness / softness of execution, etc. In my opinion you should experiment with kata practice to try to understand karate kenpō better. It is a constant struggle to find understanding of anything in life, and that struggle is emulated in the art of karate. 

Of course, if a person would prefer to practice the ten-no-kata as they were published by Masters Gichin and Gigō Funakoshi, arguably that would follow his teachings more purely. It depends how you look at it, though, as Master Funakoshi taught not to just follow blindly, but rather that evolution of practice is natural. It was always the way to make alterations based on your various teachers's instruction and your own experience. "Finding your own kenpō" is what Master Funakoshi was taught and what he transmitted, evident by the various lines stemming from his ever-changing school. 

Taikyoku is taiji in Mandarin Chinese. It means "grand ultimate" and refers to what happens after there is nothing; that there is stillness and then action. It is yin and yang, in and yo, soft and hard. Master Funakoshi taught these principles in his karate, evident, for example, from his article entitled "Stillness & Action / Yin & Yang", written in 1934 and translated into English by Patrick and Yuriko McCarthy in 2001 in the text Karate-Dō Tanpenshu, appearing on pages 54-58. 

Taikyoku [Nidan]

Taikyoku [Sandan]

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Old Okinawan Funakoshi Wansu Kata

Two demonstrations of Funakoshi wansū kata, including back-stances following the lunging punches into kosa-dachi. 

Tenryu nu Bo (Tenryu no Kon): Funakoshi Bojutsu

A Funakoshi bōjutsu kata is Tenryū nu bō (Tenryū no kon). No kobujutsu kata is / are actually mentioned by Master Funakoshi. However, Shinkin Gima noted in an interview that he learnt Tenryū no Kon directly from Gichin Funakoshi. Otherwise, the best way to follow Funakoshi’s kobudō is to practise the techniques he demonstrated and consider the kobujutsu within the kata of Funakoshi karate. Of course, that doesn’t mean that a student shouldn’t learn other kata from elsewhere. On the contrary, you should always look to learn from good teachers of any effective martial / fighting art.

S. R. Marshall

Edited on 25 November 2022

Okinawan Funakoshi Wanshu Kata (alternative)

An alternative version of Funakoshi wansu kata.
Including diagonal front-stances after the lunging punches into kosa-dachi.

Okinawan Funakoshi Wansu: With and without the jump - Alternatives

Variations of Master Gichin Funakoshi's Okinawan wansu kata.

Including diagonal front-stances after the lunging punches into kosa-dachi.

Okinawan Funakoshi Chinto

A demonstration of Master Gichin Funakoshi's Okinawan chinto kata.

Actions have consequences

Don’t pretend; do. Don’t talk; do. Don’t think; do! 

An actor acts as a character who can do the thing that the actor likely in most cases cannot actually do. Their job is to act. Pretending is their “doing”. They are pretending to be the people who actually do whatever it is that the character can and does do. Everyone could have an actor playing their role. 

In real life, you might put on an act for this or that reason. It should be a good one. if that's the case. No one likes a pretender. 

Real life “is”. You have to “be”. Don’t act; do!

A Study of Master Gichin Funakoshi's Ryukyu Kenpo Karate: Page 10 - Kusanku [Dai]

A Study of Master Gichin Funakoshi's Ryukyu Kenpo Karate: Page 8 - Pin'an [Shodan]

A Study of Master Gichin Funakoshi's Ryukyu Kenpo Karate: Page 6 - The Value of Karate

Okinawan karate is a comprehensive system of physical development and education. Master Funakoshi wrote in his 1925 Rentan Goshin Karate Jutsu that an important aspect of karate is the concentration of power. Hence, it develops the entire body like that of an athlete. It does not take too long to notice results, but three or four years are required to become properly, initially, trained, physically and mentally. Master Funakoshi noted in Rentan Goshin Karate Jutsu that even a very short period of training will develop an individual to be distinct from the general populace. At the time Japan was still militaristic, so it was a good time to promote military teachings. Using karate's selling points to complete affect made sense and worked. Just like the creation of sport-karate served a purpose at the time, despite a definite lack of essential need for such an initiative. And changing the characters for "kara-te" from "Chinese-hands" to "empty-hands" also was somewhat culturally and linguistically required at the time, while now it is not. It is true that if karate, for example, were to be implemented in schools around the world we could see greater peace. However, it only works if discipline is fundamental in those schools and their respective societies, and these days modernism (not so-called "Westernisation") has succeeded in diluting cultures to the point of generic behaviour and appearance, as well as the abolition of discipline and respect. This is not solely a problem found in the public generally, but one that is fostered in homes and schools. So, despite karate teaching discipline and enabling the opportunity to change and grow into a better human being, the real benefits cannot be obtained in an improper environment. It is just like an organism attempting to grow. 

While Master Funakoshi mentioned, as is of course true, that karate does not require any special equipment, he himself used some training equipment such as the chiishi, makiwara, tetsu-geta and bo, as depicted in photos of the master. Karate can be dangerous, but it is supposed to be practised in a civil and cautious manner so as to reduce the risk of injury. Hence, it is not dangerous if correctly conducted. Furthermore, it is true that anyone of any age can engage in karate kenpo training, and that it benefits a person's health and life-expectancy. Many people who practised karate diligently lived long and healthy lives, into their 80s and 90s. Perhaps hard, daily training in such a method is a key to long life. Although, diet, habits and prudence are equally important. Karate is more than just exercise, and even the physical element is not ordinary or comparable with another form of physically working out. 

Specifically, Master Funakoshi discussed, among others, Masters Asato and Shishu (Itosu) in his 1925 text, Rentan Goshin Karate Jutsu. Funakoshi noted that Master Shishu reached 85 years old and Master Asato made it to 80. The significance of this is that there is some contention amongst researchers as to when Masters Asato and Shishu were born and when they passed. I have even questioned the alleged facts. Master Funakoshi wrote in Karate-Do: Ichiro that he sent letters to his teachers Asato and Itosu to ask them for their guidance on embarking on a difficult road of popularising karate in mainland-Japan from the 1920s. If that is indeed what he did, when exactly did he do so, and when did the two men actually pass, as it would seem that they must have done so a little before 1925 at the most? Apparently Master Itosu died in 1915, and this seems to be recorded as correct fact. Who knows what Master Funakoshi meant when he wrote that he contacted his teachers after 1915?. 

Master Funakoshi himself believed strongly in educating the mind through using the brush or the pen to balance training with the sword or hands. He taught that a person should seek knowledge, enriching themselves through reading and writing and all matters of intellect. Okinawan boxing also, of course, comprises scientific studies, including biology, chemistry and physics. Okinawan-style boxers study anatomy and the principles of movement and the way of things in the most detail, while medicine and diet are also studied, though not necessarily to as great a degree by comparison. That being said, often Chinese boxers would learn medicine intricately. I believe that you should study all three sciences with effort. As he noted in Karate-Do: Ichiro, Master Funakoshi passed the examination for entry into medical school, but only could not attend because of political pressure surrounding the topknot. 

Some people today choose to arm themselves with guns or knives. Regarding firearms, this is particularly relevant in countries in which the law permits such weapons to be acquired and held by any member of the public. Bladed weapons may be more prevalent, naturally, largely for criminals, in countries not allowing legal gun-ownership. It is my view that only the military should carry weapons. No one else should even feel the need to arm themselves. We, as a species, cannot move toward a truly educated and advanced future if we do not seek and achieve peace amongst all of humankind, regardless of gender, race, religion etc. Arming ourselves suggests fear and aggression. This is not the way. 

Karate is not a method of fighting without weapons. However, while it is not, from a defence perspective, solely reliant on the empty hands, it is, most importantly, about developing your character so that you do not have a taste for conflict. Though, you must also become capable, should an unfortunate situation of life-or-death arise. It is about improving yourself physically and mentally. If practised diligently, it forges a strong and healthy body and mind, and an intelligent outlook. It fosters awareness, physically and psychologically. Applying techniques found within its myriad of formal exercises is not just what is seen externally (omote), but is also about the unseen (ura); to apply yourself in life. Teachers are constantly telling students to apply themselves. That is how anything gets done. We live for a short time, regardless of how many years in the end. Inaction will only result in a pointless existence, whatever the time-span. Kenpo also teaches us to be careful and non-violent within our actions. It is not, however, a matter of following certain doctrines or beliefs. There is no uniform, there are no ranks or titles, there is no particular place to study, and certainly no one and nothing to bow down to or worship. It is simply about being a good, peaceful person. Of course, there are usually actual weapons included in the training, which Master Funakoshi taught in addition to his empty-handed methods of defence, before the Pacific War. If desired or required, however, just as at various points during the history of karate kenpo, a practitioner could not use any weapons and purely practise unarmed techniques. In terms of international peace, it would be better if societies allowed this to be a safe reality, without the need for preparation for any eventuality such as defending against armed assailants. 

Spirit is the third aspect of the trio known as the three battles of mind, body and spirit, called sanchin in the Okinawan pronunciation of the Mandarin sanzhan. It does not matter if you practise a sanchin kata. The idea of this teaching lives within all kata / quan. Spirit does not refer to some esoteric spiritual philosophy. At least, not necessarily. It is really about mindset in the sense of determination, and about physical energy and breath ("chii" in Okinawan, "qi" in Mandarin, and "ki" in Japanese). Hence, it links the mind and body as if it were in fact the essence of ourselves. But this, too, is not a matter of philosophical indoctrination. These sorts of "boxing" methods offer profound teachings for humans in the pursuit of bettering ourselves and finding understanding. An important gesture in Chinese and Okinawan boxing is the action of placing your left palm over your right hand or fist. Originating in Chinese culture, it signifies peace; a lack of desire to fight, despite whatever skill you may have acquired to that end. You must stop fighting, not provoke it. Someone without knowledge of old Chinese culture may call this very message a doctrine. But they are missing the point. There is no doctrine. The meaning of the gesture is simply the right way to behave, and not in the sense of what a certain group deems to be "correct". The pursuit of peace is genuinely moral.

Page 5

Front Page Navigation

Funakoshi Ryukyu Kenpo Hojo Undo: Two-finger Press-ups

Okinawan Funakoshi Passai [Sho] (2)

The second demonstration of Master Funakoshi's Okinawan passai [shō] kata.

Old Okinawan Funakoshi Passai [Sho] Kata (1)

The first illustration of Funakoshi passai [shō].

Okinawan Funakoshi Passai [Dai] (2) (Alternative)

The second demonstration of Master Funakoshi's Okinawan passai [dai], illustrated here as an alternative to the first in that a few movements can be performed in more than one way, as taught to me.

Old Okinawan Funakoshi Passai [Dai] (1)

The first illustration of Master Gichin Funakoshi's Okinawan passai [dai] kata.

In Funakoshi passai [dai], the first and last position, being the same, is a version of the palm-over-fist gesture which is derived from Chinese culture and means "to stop fighting". This is significant, as it illustrates the meaning of karate kenpo in the most simple fashion. These positions, like in the beginning of naihanchi, are not for technical applications. That is the opposite of their meaning. It would be against the essence of Okinawan boxing to apply these postures to fighting, regardless of if they are used for defence. Karate / karati is Okinawan and Chinese, and old Okinawan culture was (is) heavily, though not entirely, Chinese-influenced; kara-ti is karate kenpo or Ryukyu kenpo as in it is the Okinawan style of Chinese boxing, basically.

Funakoshi Karate Hojo Undo

Some examples of supplementary training in Master Gichin Funakoshi's karate, including iron-body methods such as the makiwara (machiwara), striking gravel with the finger-tips, hitting yourself with your arms and hands as well as with bamboo, conditioning the toes, applying dit da jow (medicinal "fall-hit wine"), and using a stone rolling-pin, and training with testu-sashi (iron kettle-bells in place of padlocks), tiger-style press-ups, and movement and stance training. 

Okinawan Funakoshi Sesan Kata (4)

A further illustration of Funakoshi Ryūkyū kenpō sēsan kata. An alternative to the other sēsan demonstrations, performed here without a top as is often traditional in Okinawan boxing.

Okinawan-style Funakoshi Sesan Kata (3)

Another demonstration of Master Gichin Funakoshi's Okinawan sēsan kata.

Okinawan Funakoshi Sesan (2)

A demonstration of Master Gichin Funakoshi's sēsan kata.

Karate Research in Italian: Translation of "The Okinawan Origins of Japanese Shotokan Karate"

Some of my work is and will be available in Italian, translated by Alessandro Mario Rebuscini and published on his website. His idea was that he wants to make English-language karate-research accessible to Italians. I welcomed the initiative, as the point is to try to involve as many interested people as possible in this project and others from other researchers. The aim should be to bring all relevant parties together to move along the same track. Please follow the link below for the first translated article from my work. The original edition of this piece was published in July 2014 in issue 120 of Shotokan Karate Magazine.

The Okinawan Origins of Japanese Shotokan Karate (Italian Translation)

Okinawan Funakoshi Ji'in - Alternative opening technique

Okinawan Funakoshi Kusanku [Dai] Karati Kata

Okinawan Funakoshi kūsankū [dai] performed with certain shutō executed as searching-hands rather than sword-hands.

Master Gichin Funakoshi's Okinawan Jion Kata

Another performance of Funakoshi jion, demonstrated in daylight.

Old Okinawan-style Funakoshi Kusanku Sho

This demo. includes the jumps that can be performed in kūsankū [shō], with the addition of showing two variations of the techniques that follow the second jump.

Old Okinawan Funakoshi Kusanku [Dai] Kata

Master Gichin Funakoshi's Okinawan kūsankū [dai], as seen in Rentan Goshin Karate Jutsu (1925). 

Old Okinawan Funakoshi Kusanku [Sho] Kata

A version of Funakoshi kūsankū [shō] without the jumps. This tends to be, though isn't always, the Okinawan style. In Master Funakoshi's karati, he taught jumps. 

Bojutsu no Funakoshi Pin'an Kata

Old Okinawan-style Funakoshi Ji'in Kata

Old Okinawan-style Funakoshi Jitte - alternative performance

Old Okinawan-style Funakoshi Jitte Kata

Alternative demo. of Funakoshi tekki kata (later Funakoshi-ha naihanchi) - as found in old Shotokan Shorin-ryu karate

This version of tekki kata, including all three stages demonstrated in succession, is presented as a part of my research of Master Gichin Funakoshi's Okinawan karate because he himself developed naihanchi further to create a style of practice that differed from his original method as he had been taught, though was / is not unlike some other lineages of Okinawan karate. All variations are relevant for research purposes, regardless of chosen style of practice. There are various ways of performing the movements of naihanchi / tekki. More than one version is shown, to add more value to the research presentation, considering the differences between performances by several students of Master Funakoshi. The point here is to show objectivity and comprehensive study. 

Alternative demonstration of Funakoshi Okinawan naihanchi kata

A Study of Master Gichin Funakoshi's Ryukyu Kenpo Karate: Page 5 - Ranking

Master Funakoshi felt, in 1925, that shiai (arranged matches) were necessary to enable ranks to be assigned to practitioners. Karate, apparently unlike kendō ("modernised" kenjutsu) in which protective armour was worn, and jūdō (Kōdōkan jūjutsu) which could be more easily controlled on account of mostly containing pure grappling, was too dangerous to engage for the sake of grading or sport. Yet, not long after that time, Master Kenwa Mabuni and others employed armour like that of kendō to spar with full contact. Protective gear was not used by all schools, and Master Funakoshi clearly did not truly believe in it as, despite noting in Rentan Goshin Karate Jutsu that it could be adopted in karate as well, in addition to banning certain deadly targets from being struck or intended to be struck, he did not actually have his students wear such gear. As Master Funakoshi referenced, real swordsmanship, for example, cannot be practised realistically completely, as it is simply too dangerous. If you learn to use a sword it is like learning to use a stick, for application in the modern times and for karate kenpō generally. In any case, whether with or without weapons, training must be earnest and as real as possible. It can be taken quite far, which has always been proven to be far enough to become properly prepared for battle or a situation. In more recent times, the use of protective equipment has brought about a slackness in technique in terms of useability. This degradation is far more dangerous than studying actual techniques. It results in developing the body to fight without properly training the mind to understand and apply correctly. No doubt this is imprudent training without the necessary comprehensive substance required to control the individual's behaviour upon acquiring some degree of fighting ability. Real skills are both technical and conscientious.

Master Funakoshi even stated that he thought it was important to develop a ranking system in karate, in reference to the thought of protective equipment being utilised for sparring to take place. Yet he did note that assessment through observation of kata and questioning respective meaning is a viable method, too. The old way, however, in Ryūkyū kenpō, was to not specifically rank a student, instead leaving them to be judged based on their teacher's reputation and influence or / and how long they themselves had been practising. I think the latter is a better method simply because history has taught us, since the time of modern grading, that other methods are actually easily diluted and influenced by teachers, usually to make it too easy to move up in the ranks. With this, it could be more effective to test on the basis of actual fighting, as first stated. But the only way for that method to be "true" is to have a fairly realistic match. Perhaps the number of years a person has being studying and their own reputation in addition to knowledge of who taught them would be the best way of generally gauging level, while specifically a student can be examined in a session simply by observing their form and application, discussing the art, and testing their mind and intellect in various ways. It must be objective and based on genuinely testing the pupil to feel that you are comfortable that they have achieved a good standard which will enable them to be an effective fighter on the field and in life. Really there can only be the black sash in terms of representation of achievement of rank, following the white sash which follows the probationary period. Subsequently the menkyo indicates that a practitioner is ready and approved to teach. The black sash represents a trained person who is beginning to continue practice towards further development and the pursuit of perfection. The menkyo does not represent actual achievement of perfection; there is no rank that can mean this, as it is not possible.

The modern method of grading karate students through ten classes and ten ranks at a maximum is unnecessary and not useful. Nor is it realistic for genuine progression. The system began in Kanō jūjutsu (Kōdōkan jūjutsu / Kōdōkan jūdō) in which the old method of ranking was altered. The oldest version of this system was to use a black sash / belt to represent a certain level of achievement. Master Funakoshi was given a jūdō-gi and black sash by Master Jigorō. Evidently from photos taken in 1921 and before, as well as written records by Master Funakoshi, he did not own such a uniform prior to this time. Ordinary Okinawan clothing was also training attire, meaning that there was no special uniform, just as there were no special gradings. And actual training was often conducted in nothing more than the practitioners' loin cloths. A far cry from the modern karate-gi. Master Funakoshi awarded his first students with certificates (evident from the photo of Master Hironori Ōtsuka receiving one such document from Master Funakoshi) and black sashes which were crafted simply by cutting lengths of cloth. Such recognition is very much derived from old Japanese militarism, unsurprisingly. It is like a rank, which is military. However, sooner or later there will be some form of acknowledgement, and a black sash is only a rank if it is termed and viewed as such. In my opinion, noting that a student has achieved a certain level of skill and understanding by presenting them with a black sash which signifies having become experienced in that you begin wide-eyed, soft and clean, and transform to be eagle-eyed, hardened and full of grit, is acceptable. That is when you are trained. A menkyo (teacher's licence) comes years later when a pupil is properly prepared to instruct others without missing elements of knowledge. If you are not truly ready, you will not be able to teach correctly and effectively. This is improper and dangerous.

Some schools, such as Shōtōkai and Sensei Ohshima's lineage, rank students up to Fifth Dan only. This reflects a similar time-frame to the old methods of Japanese būjutsu. Instead of shoden, chūden, okuden, kaiden and hiden (with the menkyo), it became shodan, nidan, sandan, yodan (yondan) and godan. These are not in comparable order. There just happen to be five for each. There are other methods of old-style ranking in the Japanese military arts. Yet, it is always true that natural progression, regardless of supposed rank, will take a person from beginner to advanced; from basic to trained to knowledgeable to expert to master, possibly teaching the secrets of the system along the way. The reason for not grading higher in these schools is also because Sensei Ohshima and Harada (Shōtōkai), for instance, were taught and assessed by Master Gichin Funakoshi himself, and after he adopted the Dan system, he only awarded up to Fifth Dan. There is simply no need for any more Dan grades. The current state is relatively pointless and superficial. As I am most interested in the old ways, I think that a black sash and the menkyo are enough. Too many people get caught up in a struggle for ranks, recognition, awards, trophies and titles, none of which, in themselves, benefit your training.

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Later Version of Funakoshi Naihanchi Kata (1935): Tekki

Master Gichin Funakoshi's later version of naihanchi kata, including all three stages performed consecutively. All of Master Funakoshi's teachings should be studied to understand his school properly, even if, like me, you are most interested in his earlier, old Okinawan-style, teachings. This is one version of Master Funakoshi's later naihanchi kata. 

Old Okinawan Funakoshi Naihanchi Kata (Ichi, Ni and San / Shodan, Nidan and Sandan)

A Study of Master Gichin Funakoshi's Ryukyu Kenpo Karate: Page 4 - Kata: A Broad List

Even as early as 1925, Master Funakoshi noted the fact of students training in a "...broad and shallow" manner as opposed to the old way of practising in a "...narrow but deep" format. This, I think, is interesting. Perhaps it is just down to students becoming less naturally disciplined, or maybe it is the fault of the teachers. Master Funakoshi narrowed his primary focus of kata instruction to 15 forms (nine if you group the pin'an and naihanchi), but overall he taught an apparent maximum of about 32 kata, seemingly after reducing the number. As Master Funakoshi recognised, there are benefits in learning many different kata and in studying a few thoroughly, just as there are, equally, drawbacks for each. Looking deeply provides a higher level of skill and knowledge, while a broad practice offers varied knowledge and physical development.

Master Gichin Funakoshi's original list of Okinawan karate kata included the five stages of pin'an, the three stages of naihanchi, passai (dai and shō), kūsankū (dai and shō), gojūshiho (ūsēshi), sēsan, chintō, chinte (mariti), ji'in, jitte, jion, wansū, wandau, rōhai, jiyūmu, wandō, sōchin, nijūshi (nisēshi), sanjūroku (sansērū / sansēryū), hyaku-rei-hachi (sūpārinpei), wanku-un, kokan, unsu and sanshintō. Several of these kata seem to have not been taught by Master Funakoshi, at least in Japan, if not Okinawa, too. It can varyingly be speculated as to what some of those kata which are not known to have been transmitted in this lineage looked like. Was the sūpārinpei Master Funakoshi noted in Rentan Goshin Karate Jutsu (Karate Jutsu) like the versions commonly seen, or was it different? Likewise, Master Funakoshi likely studied Aragaki sōchin as well as Kudaka sōchin, but it isn't known for certain. He may have only been taught the latter. How did his originals present?

The various kata of Master Funakoshi's karate are, indeed, his kata. To one degree or another, he made changes to the forms he had learnt. Kata such as meikyō, which is really Funakoshi rōhai, were devised later, by the 1940s, but should still be included in the list of kata for Funakoshi-ha Shōrin-ryū karate kenpō. Meikyō comprises elements of all three Itosu rōhai. Master Funakoshi's later teachings are just as necessary to study as his earlier teachings, when practising Shōtōkan Shōrin-ryū karate. They all represent Funakoshi karate. Yet, his old Okinawan teachings did not include meikyō or taikyoku, for example. He probably learnt various rōhai including Itosu rōhai and Matsumura rōhai. He likely also studied Aragaki (Niigaki) sōchin in addition to Aragaki nisēshi and Aragaki unsu, though, if this was the case, he switched Aragaki sōchin for Kudaka sōchin, and, if they had not already occurred, made alterations. Kudaka no sōchin, found in the book, "Essential Shorinjiryu Karatedo" by Masayuki Kukan Hisataka, illustrating Kenkokan Shōrin-ji-ryū Karate-Dō, was developed on Kudaka Island. Master Gigō Funakoshi likely influenced this kata [as well] to the end of it appearing as it usually does these days, at least more closely than his father's likely edition. (It was due to reading an article by Sensei Victor Smith on fightingarts.com that I found the lead to check Kudaka sōchin with the Shōtōkan sōchin.)

Shishū (Itosu) sōchin would appear to be quite possibly the variation of what is usually called Aragaki sōchin, that is found in the Kyudōkan Shōrin-ryū karate school of Master Yuchoku Higa. Evidence indicates that the similar version of Aragaki sōchin found in Mabuni Shitō Ryū karate must be the "correct" Aragaki sōchin, considering a note made by Sensei Patrick McCarthy in Volume 2 of Ancient Okinawan Martial Arts, on page 6.

The ūsēshi that Master Funakoshi originally practised were likely Itosu ūsēshi and Matsumura ūsēshi (from Masters Asato and Matsumura at least). Later, for one reason or another, Master Funakoshi adopted Master Tōyama's ūsēshi, called koryū gojūshiho, and Master Mabuni's gojūshiho, both of which are versions of Itosu gojūshi. He made changes to both kata. Tōyama gojūshiho became Master Funakoshi's gojūshiho [dai] while Mabuni gojūshiho became Funakoshi gojūshiho [shō].

The taikyoku kata of Funakoshi karate were developed by the 1940s by Master Funakoshi. While his son, Gigō, also innovated, they were his changes, not his father's, and Master Gichin made many developments from long before Master Gigō. Master Gichin stated in the 1958 edition of "Karate-Dō: Kyōhan" that the taikyoku kata were his. They are not, however, one of the elements of so-called "Japanese karate". Developments "in Japan" do not make them Japanese in style. Japanese karate is militaristic karate. Otherwise, all karate is simply kara-ti; it is all Okinawan. 

It is difficult to know precisely what the Okinawan Funakoshi chinte (mariti in Okinawan) looked like. It would have at least been very similar to the version we see in the oldest known performances of the so-called "Shōtōkan" lineage of kara-te, but not necessarily identical, considering the evidence showing Master Funakoshi's karate evolving from the simple to-the-point performances of forms to the somewhat more physically demanding and elaborate versions he himself developed in the 1930s and 1940s, with his son furthering the intent of a somewhat more physically strenuous school of kara-te. A simplification of the particularly unusual techniques in Shōtōkan chinte is probably actually the best educated guess as to the original chinte of the school, but it should be remembered that it may either have been more incomparable or similar. From the research presented in Origins of Shōtōkan in 2013, to now in 2018, my ideas have developed further, so the mariti (chinte) I performed and discussed then is not identical to the mariti I practise now. Research is an ongoing process.

Likewise, on the subject of the kobujutsu of Funakoshi karate, it is not known for certain which kata he knew, though he definitely would have been taught kobudō kata. This is, however, only partially evident from the image of Master Gichin Funakoshi performing a technique individually with the bō. Although, a little proof is a lot more than none, and still goes a long way to more fully knowing what Master Funakoshi's complete old karate comprised. The photo could be illustrating a technique from one of a number of bōjutsu kata, for example Tenryū no kon. This looks to be the most plausible possibility, though it is not certain. Tenryū no bō is mentioned by other practitioners to be a kata transmitted within the lineage, but this is not proof that Master Funakoshi himself knew or taught it. He was likely versed in a variety of kobujutsu kata, with the bō and the sai at least, but he seems to have not particularly transmitted weapons kata, mostly demonstrating techniques with the sai versus the bō and applications defending against the bō with empty hands. This is the greatest evidence of the kobudō teachings of Funakoshi karate.

Otherwise, there are the odd techniques in various unarmed kata, applicable to one or more weapons, and there are some Funakoshi karate kata which fit one implement or another entirely, naturally. The best examples are wansū nu bō, passai [shō] nu bō, kūsankū [shō] nu bō, jitte no konbō, jitte no sai and nisēshi nu sai. Applying karate kata to weapons is not a new idea. Quite a few practitioners do it, and noted experts talk about this being the correct mode of practice. Funakoshi-Kudaka sōchin, for instance, works with the kama and is apparently a sai kata. However, any karate kata can be applied to one or more items or weapons, so the movements are traditionally interchangeable between the bare hands and weaponry. This notion is also prevalent in Chinese quanfa, with, for example, taijiquan students practising some of the same movements in their hand and weapons forms. This is not surprising, considering the obvious fact that you use the same two arms [and two legs] to move in essentially a limited number of ways, whether your hands are empty or not.

Gigō Funakoshi definitely practised kata at least with the six-foot staff. There are pictures of him demonstrating his technique. I am not absolutely certain of the particular kata. It may be a Shuji no kon or a Sakugawa no kon. The photos might even be illustrating some of the techniques of Matsukaze no kon which is Master Gigō's own bōjutsu kata, apparently created alongside Master Tomosaburo Okano. This does not provide evidence for one of his father's bō kata, as Master Gigō also learnt from other teachers.

Kata such as wandau, jiyūmu, wandō, sansērū, sūpārinpei, wanku-un (unless this is wankan / ōkan), kokan and sanshintō, as already noted, are unknown in the sense of uncertainty as to which of them Master Gichin Funakoshi knew. They may even just be notes of numerous kata that are practised in Okinawa. Although, the chances are that Master Funakoshi selected the kata he perpetuated. Whether or not he was indeed familiar with a version of sanchin, he did mention the name at least once in one of his texts. Clearly he did not decide to transmit it, if he did know a sanchin kata. That is also potentially more evidence of noting various Okinawan karate kata in passing, without necessarily actually knowing the forms. However, this is speculative, and as he focused on 15/nine primary kata in 1922/5, yet still taught, studied and developed others after that time, the evidence points to him likely being versed in a number of other kata as well. Regardless, we know for certain that he taught at least about 26 empty-handed kata in 1925, and about 27 by the 1950s. And we know that his favourite kata were naihanchi (shodan, nidan and sandan), kūsankū [dai], and perhaps wansū (enpi) and meikyō (Funakoshi rōhai), judging by the video footage of his demonstrations in around the 1930s (maybe in the 1940s). (Note: That old footage is not from 1924 as has been so wrongly popularised.)

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