Joe Swift

About The Author:

Joe Swift, native of New York State (USA) has lived in Japan since 1994. He holds a dan-rank
in Isshinryu Karatedo, and also currently acts as assistant instructor (3rd dan) at the
Mushinkan Shoreiryu Karate Kobudo Dojo in Kanazawa, Japan. He is also a member of the
International Ryukyu Karate Research Society and the Okinawa Isshinryu Karate Kobudo
Association. He currently works as a translator/interpreter for the Ishikawa International
Cooperation Research Centre in Kanazawa. He is also a Contributing Editor for
FightingArts.com.
Roots Of Shotokan:
Funakoshi's Original 15 Kata
Part 1- Classification & Knowledge Of 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 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 karate-ka) 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).
Pinan, Naihanchi, Kushanku & Passai 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).
In contrast, another theory states that Itosu did not create the Pinan kata, but actually
remodeled older Chinese-based 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 (1889-
1941), 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.
Kushanku (Kanku)
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 (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 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,

Funakoshi demonstrating
the first move of Kusanku
(Kanku) kata
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 (Toon-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.1809-1901) 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 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).
Seisan, Wanshu, Chinto, Jitte & Jion Kata

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
(1840-1920), 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 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 Tomari-based 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 not-so-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, 1621-1689). 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, 1886-1940) or Daiji Tang (Jpn.
To Daiki, 1888-1937), 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 (1829-1898. The great Okianwan
master) by a Chinese named Chinto, but this legend cannot be corroborated. According to a
1914 newspaper article by Gichin Funakoshi (1867-1957, founder of Shotokan karatedo),
based upon the talks of his teacher Anko Asato (1827-1906), 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)
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 17-19 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 (1869-1945), 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:
For an overview of the Pinan/Channan controversy, see an article on this subject on
FightingArts.com: Channan: The "Lost" Kata of Itosu?.
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.

Bibliography
Arakaki K. (2000) Okinawa Budo Karate no Gokui. Tokyo: Fukushodo.
Bishop, M. (1999) Okinawan Karate: Teachers, Styles and Secret Techniques, 2nd
Edition. Boston: Charles E. Tuttle.
Fujiwara, R. (1990). Kakutogi no Rekishi. Tokyo: Baseball Magazine.
Funakoshi G. (1922) Ryukyu Kenpo Karate. Tokyo: Bukyosha.
Funakoshi G. (1925) Rentan Goshin Karatejutsu. Tokyo: Okura Kobundo.
Funakoshi G. (1935) Karatedo Kyoan. Tokyo: Okura Kobundo.
Funakoshi G. (1956) Karatedo Ichiro. Tokyo: Sangyo Keizai Shinbunsha.
Gima S. and Fujiwara R. (1986) Taidan: Kindai Karatedo no Rekishi wo Kataru. Tokyo: Baseball Magazine.
Hokama T. (1998) Okinawa Karatedo Kobudo no Shinzui. Naha: Naha Shuppansha.
Iwai T. (1992) Koden Ryukyu Karatejutsu. Tokyo: Airyudo.
Kinjo H. (1956) Pinan no Kenkyu Part 2, Gekkan Karatedo. 1:3, July-August 1956. Tokyo: Karate Jiho-sha.
Kinjo A. (1999) Karate Den Shinroku. Naha: Okinawa Tosho Center.
Kinjo H. (1991b) Yomigaeru Dento Karate: Kata I. Video Presentation. Tokyo: Quest Ltd.
Kinjo H. (2001) Personal Interview. Kinjo Residence, Hiratsuka, Japan, 30 June 2001.
Mabuni K. and Nakasone G. (1938) Kobo Kenpo Karatedo Nyumon. Tokyo: Keibunsha.
McCarthy, P. (1999) Ancient Okinawan Martial Arts: Koryu Uchinadi Vol. 2. Boston: C.E. Tuttle.
McCarthy, P. (2001) Funakoshi Gichin & Karatedo Tanpenshu. Brisbane: IRKRS.
McKenna, M. (2000) "Jion: What You See is Not What you Get." Journal of the Shotokan Research Society
International 2:2. http://user.netomia.com/srsi/
Miki N. and Takada M. (1930) Kenpo Gaisetsu. Tokyo: Tokyo Daigaku Kenpo-bu.
Motobu C. (1926) Okinawa Kenpo Karate-jutsu: Kumite-hen. Osaka: Karate Fukyukai.
Motobu C. (1932) Watashi no Karate-jutsu. Tokyo: Toudi Fukyukai.
Murakami K. (1991) Karate no Kokoro to Waza. Tokyo: Shin Jinbutsu Oraisha.
Mutsu M. (1933) Karate Kenpo. Tokyo: Tokyo Imperial University Karate Research Society.
Nakamoto M. (1983) Okinawa Dento Kobudo: Sono Rekishi to Tamashii. Okinawa: Bunbukan.
Nakasone G. (1938) Karatedo Taikan. Tokyo: Tokyo Tosho K.K.
Sakagami R. (1978) Karatedo Kata Taikan. Tokyo: Nichibosha.
Shoto (1914) "Okinawa no Bugi Karate ni Tsuite 1-3." Ryukyu Shinpo, January 17-19, 1914.
Sofue T. (1997) "Bassai no Roots wo Saguru Gekkan Hiden," July 1999, Tokyo: BAB Japan.
Swift, C. (2001) "Channan: The Lost Kata of Itosu?" Dragon Times Issue #18. This article also appeared on
FightingArts.com.

Channan: The "Lost" Kata of Itosu?
By Joe Swift
Introduction
The series of five basic kata called Pinan (later renamed Heian in Japan) are probably the most
widely practiced kata in karate today. It is commonly understood that they were developed by
Anko (or Yasutsune) Itosu (1832-1915) in around 1907 for
inclusion in the karate curriculum of the Okinawan school system. However, the actual history
of the Pinan series has been the subject of intense curiosity as of late. There are basically two
schools of thought, one that Anko Itosu (1) developed them from the older classical forms that
were cultivated in and around the Shuri (capital of Okinawa) area, and the other that Itosu
was re-working a longer Chinese form called Channan.
Unfortunately, most of the written references to the Channan/Pinan phenomenon in the
English language are basically re-hashes of the same uncorroborated oral testimony. This
article will examine the primary literature written by direct students of Itosu, as well as more
recent research in the Japanese language, in an effort to solve the "mystery" of Channan.
Anko Itosu
In order to understand the Pinan phenomenon, perhaps it is best to start off with a capsule
biography of their architect, Anko Itosu (1832-1915). Many sources state that Itosu was born
in the Yamakawa section of Shuri (Bishop, 1999; Okinawa Prefecture, 1994; Okinawa
Prefecture, 1995), however, noted Japanese martial arts historian Tsukuo Iwai states that he
was actually born in Gibo, Shuri, and later relocated to Yamakawa (Iwai, 1992). He is
commonly believed to have studied under Sokon ("Bushi") Matsumura (1809-1901), but also
appears to have had other influences, such as Nagahama of Naha (Iwai, 1992; Motobu, 1932),
Kosaku Matsumora of Tomari and a master named Gusukuma (Nihon Karate Kenkyukai,
1956).

There does not seem to be much detail about Itosu's early life, except for the fact that he was
a student of the Ryukyuan civil fighting traditions. At around age 23, he passed the civil
service examinations and was employed by the Royal government (Iwai, 1992). It seems as if
Itosu gained his position as a clerical scribe for the King through an introduction by his friend
and fellow karate master Anko Asato (Funakoshi, 1988). Itosu stayed with the Royal
government until the Meiji Restoration, when the Ryukyu Kingdome became Okinawa
Prefecture. Itosu stayed on and worked for the Okinawan Prefectural government until 1885
(Iwai, 1992).
There is some controversy as to when Itosu became a student of Matsumura. Some say that
he first met Matsumura when Itosu was in his late 20s (Iwai, 1992), whereas others maintain
that Itosu was older than 35 when he began studying from Matsumura (Fujiwara, 1990).
Matsumura appears to have been friendly with Itosu's father (Iwai, 1992).

Be that as it may, Itosu is said to have mastered the Naifuanchi kata (Nihon Karate
Kenkyukai, 1950; Okinawa Pref., 1995). In fact, one direct student of Itosu, namely Funakoshi
Gichin, recalled 10 years of studying nothing but the three Naifuanchi kata under the eminent
master (Funakoshi, 1976) (2).
Again, there is some controversy as to where Itosu learned the Naifuanchi kata. Some give
credit to Matsumura for teaching this kata to Itosu (Murakami, 1991). However, others say
differently, and here is where we first start to see reference to Channan, as the name of a
person. It is said that a Chinese sailor who was shipwrecked on Okinawa hid in a cave at
Tomari. It was from this man that Itosu supposedly learned the Naifuanchi kata, among other
things (Gima, et al, 1986).
In either case, it is known that Itosu was among the first to teach karate (toudi) publicly,
karate having previously been taught and practiced in secrecy for hundreds of years. Itosu
began his public teaching pf karate as physical education in the school system as early as
1901, where he taught at the Shuri Jinjo Primary School (Iwai, 1992; Okinawa Pref., 1994).
He also went on to teach at Shuri Dai-ichi Middle School and the Okinawa Prefectural Men's
Normal School in 1905 (Bishop, 1999; Okinawa Pref., 1994, 1995).
In addition to his "spearheading a crusade" (McCarthy, 1996) to modernize toudi practices and
get it taught in the school system, Itosu was also known for his physical strength. It is said
that he was able to crush a bamboo stalk in his hands (Funakoshi, 1976, 1988), once wrestled
a raging bull to the ground and calmed it (Nagamine, 1986) and one could strike his arms with
2-inch thick poles and he would not budge (Iwai, 1992).
Itosu's unique contributions to the art of Karate-do include not only his 1908 letter to the
Japanese Ministry of Education and Ministry of War (3), expounding on the 10 precepts of
Toudi training, but also the creation of several kata. These include not only the Pinan series,
but also Naifuanchi Nidan and Sandan (Kinjo, 1991; Murakami, 1991), and possibly Kusanku
Sho and Passai Sho (Iwai, 1992). Another kata that has often been attributed to Itosu is the
Shiho Kusanku Kata (Kinjo, 1956a; Mabuni et al, 1938), but more recent evidence points to
the actual originator of this paradigm to have been Mabuni Kenwa himself (Sells, 1995).
In addition to creating several kata, the other kata that Itosu
taught, such as Chinto, Useishi (Gojushiho), Passai Dai, and
Kusanku Dai, etc., were changed from their original guises, in
order to make them more palatable to his physical education
classes (Kinjo, 1991).
Itosu Anko passed away in March 1915, leaving behind a legacy
that very few today even recognize or comprehend.
Early Written References to Channan and Pinan
References to Channan can be found as far back as 1934. In the
karate research journal entitled Karate no Kenkyu, published by
Nakasone Genwa, Motobu Choki is quoted referring to the
Channan and the Pinan kata:
"(Sic.) I was interested in the martial arts since I was a child, and
studied under many teachers. I studied with Itosu Sensei for 7-8 years. At first, he lived in
Urasoe, then moved to Nakashima Oshima in Naha, then on to Shikina, and finally to the villa
of Baron Ie. He spent his final years living near the middle school.
I visited him one day at his home near the school, where we sat talking about the martial arts
and current affairs. While I was there, 2-3 students also dropped by and sat talking with us.
Itosu Sensei turned to the students and said 'show us a kata.' The kata that they performed
was very similar to the Channan kata that I knew, but there were some differences also. Upon
asking the student what the kata was, he replied 'It is Pinan no Kata.' The students left shortly
after that, upon which I turned to Itosu Sensei and said 'I learned a kata called Channan, but
the kata that those students just performed now was different. What is going on?' Itosu Sensei
replied 'Yes, the kata is slightly different, but the kata that you just saw is the kata that I have
decided upon. The students all told me that the name Pinan is better, so I went along with the
opinions of the young people.' These kata, which were developed by Itosu Sensei, underwent
change even during his own lifetime." (Murakami, 1991; 120)
There is also reference to Pinan being called Channan in its early years in the 1938 publication
Kobo Kenpo Karatedo Nyumon by Mabuni Kenwa and Nakasone Genwa. Mabuni and Nakasone
write that those people who learned this kata as Channan still taught it under that name
(Mabuni, et al, 1938).
Hiroshi Kinjo , one of Japan's most senior teachers and historians of the Okinawan fighting
traditions, and a direct student of three of Itosu's students, namely Chomo Hanashiro, Chojo
Oshiro, and Anbun Tokuda, wrote a series of articles on the Pinan kata in Gekkan Karatedo
magazine in the mid-1950s. In the first installment he maintains that the Pinan kata were
originally called Channan, and there were some technical differences between Channan and
the updated versions known as Pinan (Kinjo, 1956a).
Again according to Hiroshi Kinjo, Hisateru Miyagi, a former student of Itosu who graduated
from the Okinawa Prefectural Normal School in 1916, stated that when he was studying under
the old master, Itosu only really taught the first three Pinan with any real enthusiasm, and
that the last two seem to have been rather neglected at that time (Kinjo, 1956b). Although
one can speculate about what this means, it is nevertheless a very interesting piece of
testimony by someone who was "there."
Ryusho Sakagami, in his 1978 Karatedo Kata Taikan as well as Tokumasa Miyagi in his 1987
Karate no Rekishi both give extensive kata lists, and both list a kata known as Yoshimura no
Channan (Miyagi, 1987; Sakagami, 1978). It is unknown who Yoshimura was, but he may
have been a student of Itosu.
American karate historian Ernest Estrada has also stated that Juhatsu Kyoda (1887-1968), a
direct student of Kanryo Higashionna, Xianhui Wu (Jpn. Go Kenki), Kentsu Yabu, etc. and the
founder of the To'onryu karatedo system, also knew and taught a series of two basic blocking,
punching and kicking exercises known as Channan (Estrada, 1998).
Shiraguma no Kata
According to Tsukuo Iwai, one of Japan's most noted Budo researchers and teacher of Choki
Motobu's karate in Gunma Prefecture, Motoburyu Karatejutsu, which is being preserved by
Choki's son, Chosei Motobu, in Osaka, contains what is known as Shiraguma no Kata, which
he maintains used to be called Channan. He also states that this kata is "somewhat similar to
the Pinan, yet different." (Iwai, 1997).
The Other Side of the Coin
The flip side to this theory states that Itosu did not create the Pinan kata, but actually
remodeled older Chinese-based hsing/kata called Channan. This theory states that Itosu
learned a series of Chinese Quan-fa hsing from a shipwrecked Chinese at Tomari, and
reworked them into five smaller components, re-naming them Pinan because the Chinese
pronunciation "Chiang-Nan" was too difficult (Bishop, 1999).
It has been argued that the source for these Channan kata was a Chinese from an area called
Annan, or a man named Annan (Bishop, 1999). On the other hand, others say that the man's
name was Channan (Iwai, 1992). Still others go into even more detail, stating that Itosu
learned these hsing/kata from a man named Channan, and named them after their source,
later adding elements of the Kusanku Dai kata to create the Pinan (Gima, et al, 1986; Kinjo.
1999).
There is also interesting oral testimony passed down in the Tomari-di tradition that is
propagated in the Okinawa Gojuryu Tomaridi Karatedo Association of Iken Tokashiki that
states that Itosu learned the Channan/Pinan kata from a Chinese at Tomari in one day. The
proponents of Tomari-di said that there was no need to learn "over-night kata" and that this is
the reason that the Tomari traditions did not include instruction in the Pinan kata (Okinawa
Pref., 1995).
This sentiment also echoes the statement by one of Itosu's top students, Yabu Kentsu, made
to his students:
"(sic) If you have time to practice the Pinan, practice Kushanku instead (Gima, et al, 1986, p.
86)."
Conclusion
While more research, such as in-depth technical analysis of Motobu's Shiraguma no Kata,
needs to be done, the evidence at hand seems to point not to a "long lost kata" but rather to
the constant and inevitable evolution of a martial art.
Although there is opposition, most of the primary written materials point to the fact that Itosu
was indeed the originator of the Channan/Pinan tradition, based upon his own research,
experience, and analyses.

However, in either case, Anko Itosu and his efforts left a lasting mark on the fighting traditions
of old Okinawa, and will probably always be remembered as one of the visionaries who were
able to lift the veil of secrecy that once enshrouded karatedo.
2000, by Joe Swift. Posted with permission of the author.
Notes:
1- Japanese names in this article are listed by given name first and family name second
instead of customary Japanese usage which places the family name first.
2- According to noted Japanese martial arts historian Ryozo Fujiwara in his 1990 book entitled
"Kakutogi no Rekish" (History of the Martial Arts), Funakoshi first learned Pechurin
(Suparinpei) under Taite Kojo, then Kusanku under Anko Asato, and finally Naifuanchi under
Itosu.
3- For a comprehensive English translation of this letter, see (McCarthy, 1990)
Photos:
The Itosu drawing was contributed by Kyoshi Frank Hargrove from his book, The 100 Year
History of Shorin-Ryu Karate. Since there are no know photos of Itosu, the drawing was a
composite done in Okinawa based on available descriptions.
The Funakoshi photo was reproduced from his 1935 book, Karatedo Kyohan.
The Motobu photo was reproduced from his 1926 book, Okinawa Kempo: Karate Jutsu on
Kumite.
Bibliography:
Bishop, M. (1999) Okinawan Karate: Teachers, Styles and Secret Techniques, 2nd Edition.
Boston: Charles E. Tuttle, Co.
Estrada, E. (1998). Personal Communication: Kyoda and Channan.
Fujiwara, R. (1990). Kakutogi no Rekishi (History of Martial Arts). Tokyo: Baseball Magazine.
Funakoshi G. (1976) Karatedo: My Way of Life. Tokyo: Kodansha International.
Funakoshi G. (1988) Karatedo Nyumon. Tokyo: Kodansha International. Tr. by John Teramoto.
Gima S. and Fujiwara R. (1986) Taidan: Kindai Karatedo no Rekishi wo Kataru (Talks on the
History of Modern Karatedo). Tokyo: Baseball Magazine.
Iwai T. (1992). Koden Ryukyu Karatejutsu (Old-Style Ryukyu Karatejutsu). Tokyo: Airyudo.
Iwai T. (1997) Personal Communication: Shiraguma no Kata.
Kinjo A. (1999) Karate-den Shinroku (True Record of Karate's Transmission). Naha: Okinawa
Tosho Center.
Kinjo H. (1956a). "Pinan no Kenkyu (Study of Pinan) Part 1." Gekkan Karatedo June 1956.
Tokyo: Karate Jiho-sha.
Kinjo H. (1956b). "Pinan no Kenkyu (Study of Pinan) Part 2." Gekkan Karatedo August 1956.
Tokyo: Karate Jiho-sha.
Kinjo H. (1991) Yomigaeru Dento Karate 1 Kihon (Return to Traditional Karate Vol. 1, Basic
Techniques) - video presentation. Tokyo: Quest, Ltd.
Mabuni K. and Nakasone G. (1938) Karatedo Nyumon (Introduction to Karatedo). Tokyo:
Kobukan.
McCarthy, P. (1996) "Capsule History of Koryu Karate." Koryu Journal Inaugural Issue.
Australia, International Ryukyu Karate Research Society.
McCarthy, P. (1999) Ancient Okinawan Martial Arts: Koryu Uchinadi, Vol. 2. Boston: Charles E.
Tuttle, Co.
Miyagi T. (1987) Karate no Rekishi (The History of Karate). Naha: Hirugisha.
Motobu C. (1932) Watashi no Toudijutsu (My Karate). Tokyo: Toudi Fukyukai.
Murakami K. (1991). Karate no Kokoro to Waza (The Spirit and Technique of Karate). Tokyo:
Shin Jinbutsu Oraisha.
Nagamine S. (1986) Okinawa no Karate Sumo Meijin Den (Tales of Okinawa's Great Karate
and Sumo Masters). Tokyo: Shin Jinbutsu Oraisha.
Nihon Karate Kenkyukai (1956) Zoku: Karatedo Nyumon (Introduction to Karatedo:
Continued). Tokyo: Wakaba Shobo.
Okinawa Prefecture Board of Education (1994). Karatedo Kobudo Kihon Chosa Hokokusho
(Report of Basic Research on Karatedo and Kobudo). Naha: Nansei.
Okinawa Prefecture Board of Education (1995). Karatedo Kobudo Kihon Chosa Hokokusho II
(Report of Basic Research on Karatedo and Kobudo Part II). Naha: Nanasei.
Sakagami R. (1978) Karatedo Kata Taikan (Encyclopedia of
Karatedo Kata. Tokyo: Nichibosha.
Sells, J. (1995) Unante: Secrets of Karate. Hollywood: Hawley.


Throws in Karate?
by Joe Swift

The mere mention of the word "karate" conjures up many images to the listener, the most
common probably being that of two combatants fighting each other with kicks and punches.
However, this image seems to stem from the training methods and practices adopted by
modern karate, and is not necessarily a true representation of the older Okinawan methods. In
fact, karate is more of a complete self defense system than most non-practitioners realize,
incorporating not only strikes, punches, and kicks aimed at the body's most anatomically
vulnerable areas, but also joint locks, takedowns, throws, strangulations, restraints, etc.
This article will focus its attention to one all-but-forgotten aspect of karate application, namely
throwing techniques.

Specific mention of throwing techniques in karate can be found as far back as 1922, in the
first known published book on the art, Funakoshis classic Ryukyu Kenpo Toudi. This book
nominated eight throws, with specific mention that at least two of them were applications from
kata described in the book. Funakoshis next two books, Rentan Goshin Toudijutsu (1925) and
Karatedo Kyohan (1935), also contained examples of throws and takedowns.

One other book worth taking a look at is the 1938 collaborative publication entitled Kobo
Kenpo Karatedo Nyumon by Mabuni Kenwa and Nakasone Genwa. In addition to describing
many throws and takedowns, Mabuni also states that the karate that was introduced to Tokyo
(Mabuni lived/taught in Osaka) was only a single portion of a larger whole, and that the fact
that people in Tokyo viewed karate as a solely striking and kicking art only served to point out
their overall lack of awareness of the complete nature of karate (Mabuni et al, 1938).

More often than not, throws are not implicit in the kata techniques, but serve more as follow
ups or "exit techniques" after the necessary set-up, or "entry technique" has been established
through strikes. One general rule of thumbs for throwing in general is to first damage the
opponent with strikes, so as to lessen the chances for resistance (Kinjo, 1991).

Senior American karate teacher Dan Smith, who has spent considerable time learning karate
at the "source" in Okinawa, from numerous teachers, recently observed the following:

"The question was why didn't the kata show the full follow through on throws in the kata. I
asked the question while on Okinawa of several senior teachers. Their unanimous answer was
that the throws in Okinawan karate are not meant to throw the opponent anywhere but the
ground. Secondly, it is not appropriate to think you can throw someone far when you have
already struck them and at the point of throwing or tripping them to the ground they should
already be headed that way. . . If you follow the bunkai of the kata the throws are proceeded
by striking techniques, which should eliminate the ability to off balance the opponent and use
their momentum to throw them very far from where you are." (Smith, 1999)

Let us now take a look at some specific throws found in karate kata.

From Kusanku, Passai, Pinan Godan, Seiyunchin, Chinto, etc.

This particular throwing technique that can be utilized in response to many types of attack,
including a straight punch to the facial area, a wrist grab, an attempted lapel or throat grab,
etc. Thus, as the method of entry depends upon what type of attack is being defended
against, this description will not cover a specific entry into the technique, but rather explain
the actual technique itself.

This technique is actually an application of a position found in most, if not all, versions of
Kusanku, as well as in Passai, Chinto, Pinan Godan, Seiyunchin, and several other kata. This
posture goes by many names, such as Manji-gamae, Tettsui-gamae, Ura-gamae, etc., and
comes in many variations. It is represented by one hand in a low position in front of the
performer and the other hand raised up either above the forehead or behind the head. Some
kata use an open hand, others a closed fist, and the stance also often changes between kata
and/or variations. However, the fundamental principle remains the same.


Photograph 1. The application of the posture. The right hand pulls the opponent's right hand to
break his balance as the left hand strikes into the lower body. Possible kyusho targets are denko
(GB-24) or inazuma (Liv-13). The idea here is to inflict damage on the opponent before throwing.


Photograph 2. Step in front of the opponent's right leg, and slap the testicles with the left hand to
inflict more damage and to get the opponent to bend forward.


Photograph 3. Controlling the opponent's left hand, apply pressure to the Golgi receptors at the
back of the tricep tendon (kyusho name hiji-tsume, TW-11), and


Photograph 4. Turning the hips to the right, throw the opponent down. Possible follow ups can
include a well placed strike or kick, a joint lock, or similar technique of subjugation.


From Kururunfa

This throw is actually described in Mabuni and Nakasoni's 1938 Karatedo Nyumon, page 208.
It is an application against a full nelson hold from behind. Below is an English translation of
the instructions, with accompanying line drawings from the book.

Ura-nage (Throw to the Rear)

When the opponent grabs you in a full-nelson by inserting his hands under your armpits,
before he can get set, immediately bring both arms up, backs of the hands facing each other,
and strike down with your elbows with all your strength (as if performing a descending elbow
smash).

The opponent's grip should loosen, and you should then head-butt him in the face (if the
opponent has gotten you in a deep full-nelson, your head-butt will probably strike him in the
throat or the chest). Sink your body down, grab the back of his knees with your hands, and
topple him backwards by striking again with the back of your head.

Note: Be sure to keep your mouth open when you perform the rear head-butt, as if you close
it, you run the risk of numbing your eyes (temporary blindness tr).

In closing, I would like to share a personal anecdote. Showing a copy of a Japanese translation
of the Bubishi to my current teacher, we were looking at the 48 self defense techniques
presented therein. After a few minutes, he looked at me, and said, "Lets get out on the dojo
floor." He proceeded to demonstrate (on me!) several takedowns and grappling techniques
that were almost verbatim from the Bubishi. I asked him where he learned them. His reply:
"Jujutsu."

Bibliography

Funakoshi, G. (1922) Ryukyu Kenpo Toudi. Tokyo: Bukyosha (Reprinted edition, 1994, Naha:
Yoju-shorin)

Funakoshi, G. (1925) Rentan Goshin Toudijutsu. Tokyo: Kobundo. (Reprinted edition, 1996,
Yoju-shorin)

Funakoshi, G. (1935) Karatedo Kyohan. Tokyo: Okura Kobundo.

Kinjo H. (1991) Yomigaeru Dento Karate (A Return to Traditional Karate) Vol 3 (video
presentation). Tokyo: Quest Productions.

Mabuni K. and Nakasone G. (1938) Kobo Kenpo Karatedo Nyumon. Tokyo: Kobukan. (Reprint
edition, 1996, Naha: Yoju-shorin)

Smith, D. (1999) E-mail Post to Cyber Dojo

Photo Credits:
All old photographs in this article were provided by Mr. Takeishi Kazumi of Yoju Shorin
Bookstore in Okinawa. I would also like to personally thank my dojo-mate Mr. Matsumoto, for
posing in the other photographs, as well as my teacher Uematsu Yoshiyuki Sensei, for the use
of his dojo when shooting the photos.



Two of Mabuni Kenwa (from his 1938 book Karatedo Nyumon)
His partner in the photos is Taira Shinken.

To find more articles of interest, search on one of these keywords:
karate throws, kata techniques, bunkai, leg techniques
http://www.fightingarts.com/reading/article.php?id=77
Chinkuchi: The Unique Power of Uchinandi
By Dan Smith
The Uchinan Chu or Okinawan people use the term chinkuchi in Uchinan gushi (Okinawan
language) to describe the power that occurs when using the mind and body in a spontaneous
action creating maximum power with minimum effort. To achieve chinkuchi all of the
muscles, tendons, ligaments, breathing and mental intentions are in perfect coordination in a
single moment of time.
One of the goals of any Okinawan style karate-ka is to achieve chinkuchi at the right
moment. It is not possible for all movements to achieve chinkuchi due to the situation but
every technique should have the possibility. The achievement of this unique power of
Okinawan karate is accomplished through the five elements of creating maximum results with
minimum effort.
Intention or Zanshin: You must have the correct intention and understanding of the
particular circumstances of the situation. Strategy and tactics are of extreme importance.
Okinawan kata provides the strategy and tactics to be deployed for multiple situations.
Perfection of Technique: Execution of the kamae, intermediary movement, and timing and
distance are elements that when integrated with perfection lead to chinkuchi. The balance
and stability of the postures are effected by the correct use of shitabara, koshi and jushin.
Fluid Movement: Fluid movement comes from the relaxed use of the body. The body moves
as one without pauses. Breath control and use of the koshi, shitabara, and jushin are key
ingredients to fluid movement.
Speed of Movement: Speed of movement is determined by the acceleration and velocity of
the movement. The transfer of energy from the koshi (hip area) to the limbs creates the speed
of movement and impact of the technique.
Power of Movement: Muscle contraction and snapping of the tendons and ligaments have to
be strong to produce energy to deliver a decisive blow. The correct posture has to be
maintained to allow the energy to be transferred to the opponent.
Examining Yasutsune Itosu
Part 1: The Man And His Lineage
by Tom Ross
Shishu, Anko (Yasutsune Itosu) (1831-1915) is one of the most influential early 20th century
karate pioneers. For those knowledgeable in karate history, his name to you is legend.
It was Itosu who first started teaching karate to the public and was one of the teachers of
Gichen Funakoshi (who many know as the father of Japanese karate), as well as many other
founders of the karate we know today. He was the creator of the Pinan Kata series, and he
modified of many other kata practiced throughout karate today.
But what is history behind this man? What is his heritage, and what truth is there to the many
legends about this man?
Itosu was born in the Gibo section of Shuri (the capital city), Okinawa, in 1831 and died on
January 26, 1915. His first name was Anko (the Kanji for which may be alternately read in
Japanese as Yasutsune and his last name Shishu read as Itosu). He is probably most
commonly known by the name Anko Itosu. He was born to a prominent family and was well
educated in the classics of Chinese literature.
Descriptions of him vary, and there are no known photos. He was short by modern standards,
but in Okinawa at the time his approximately five feet of height was average. Some sources
describe him as stocky, barrel chested and very strong. He also had immense discipline.
After taking and passing civil service exams, he became a clerk for the Ryukyu government.
At least one sourse he was a secretary to the last King of the Ryukyus (the island chain of
which Okinawa was the capital), Sho Tai (the monarchy was ended in 1879 when the islands
offically became part of Japan).
It was through the assistance of his good friend Anko Azato (1) that he rose to a position of
prominence in Ryukyu governmental administration. This was a bond of friendship that existed
throughout their lives, and they are often described together by Gichin Funakoshi, who studied
under both of these masters. By all accounts he was built strongly, and there are many tales
of his incredible punching ability.
The early training of this martial legend is shrouded in mystery. Many martial historians refer
to Itosu as having been a disciple of the Great Sokon "Bushi" Matsumura. He was most
influential martial artist of his time who helped bring karate into the modern era as exponent
of Shuri-te (meaning Shuri hands or art). It was Matsumura who was a student of Tode
Sakagawa (1733-1815) who in turn studied under Kusanku -- after which the famous kata is
named (Konku).
Was Itosu the link to this heritage, an interpreter of Matsumura's karate? Upon closer
examination this appears to be incorrect, or at least overstated.
The question then becomes how do we ascertain the truth when so much of martial history is
based on oral accounts and opinions? While we may never know the truth for sure, we should
look to accounts of those who actually trained under Itosu for significant periods of time.
One such account comes from Choki Motobu (one of Okinawa's greatest early twentieth
century karate masters) who spent eight to nine years under Itosu. In his 1932 book,
"Watashi no Tode Jutsu," Motobu is quoted as saying: "Sensei Itosu
was a pupil of Sensei Matsumura, but he was disliked by his teacher
for he was very slow (speed of movement). There (in the dojo) for
although Itosu sensei was diligent in his practice his teacher did not
care about him so he (Itsou) left and went to sensei Nagahama."
According Motobu, while Sensei Nagahama was quite well known and
very diligent, his method or idea of teaching was entirely different
from master Matsumura. Nagahama stressed just building of the
body. Apparently Itosu adjusted well and trained hard for Motobu
reports that Nagahama referred to Itosu as his disciple and "right
hand man." It must have been a shock when Nagahama told Itosu on his deathbead (as
reported by Motobu), that he had actually only taught him (Itosu) strength building and had
never once given thought to actual combat. In other words his method lacked the idea of
liberty in motion and alertness in action, and therefore he wanted him to go back to master
Matsumura.
Itosu had learned much from Nagahama. It is likely that through his instruction many of the
seeds were planted for using tode (an early name for karate) as a method of physical and
mental strengthening. These seeds combined with Itosu's unique perspective and experience
came to fruition in the Okinawan school system as a method of developing the youth of
Okinawa.
Itosu likely realized, as Nagahama suggested, that he needed further training in combative
principles. It would have been highly unlikely for Itosu to return to the Matsumura, however,
since he had previously left him. The question then becomes,"Where did Itosu go next?"
If we look at the words of Gichin Funakoshi (the great karate pioneer who is often referred to
as the "Father of Japanese Karate.") who is regarded as a top student of both Anko Azato and
Anko Itosu, we find that Anko Itosu became a disciple of GUSUKUMA OF TOMARI! (also
sometimes known as Shiroma).
On page 18 of his text (reprinted as "Tote Jitsu" in 1925) Funakoshi states, "It is confirmed
through written documents and collections that .....(2) ASATO followed MATSUMURA and
ITOSU followed GUSUKUMA, according to what has been told through generations." In his
later text, "Karate-do Kyohan" (page 8, 1973 edition), Funakoshi says again that "It is stated
that ...... (3) masters AZATO and ITOSU were Students of MATSUMURA and GUSUKUMA
respectively. Masters Azato and Itosu were the teachers who instructed this writer and to
whom the writer is greatly indebted"
Thus through the combined weight of the statements made by two direct long term students
of Anko Itosu (Motobu and Funakoshi), we can logically come to the conclusion that Anko
Shishu (Anko Itosu) began his training under Matsumura, left to become a disciple of
Nagahama of Naha (a seaport city near Shuri, the capital), and upon Nagahama's death
became a disciple of GUSUKUMA of TOMARI.
This would explain the inclusion of the Tomari (a seaport village near the capital Shuri) (4)
kata Rohai and Wanshu within the Itosu curriculum. Sokon Matumura was not known to have
taught or passed on these forms.
To explain the presence of these kata in the Itosu curriculum, other historians have theorized
that Itosu, as student of Matumura, must have therefore trained briefly, side by side, with
Kosako Matumora of Tomari sometime after 1873. But, the more logical explanation is to
assume that Motobu and Funakoshi are correct in stating that Itosu had studied with
Gusukuma. He was a Tomari instructor, and both katas are recorgnized as Tomari kata.
Itosu continued to teach Wanshu as well as Rohai, which developed into three versions based
on the original Tumaidi (Tomari te) prototype.
Then there is the kata Seisan. It was a kata taught by Soken Matsumura. If Itosu's primary
karate teacher had been Matsumura, surely he would also have taught this kata. But he did
not. An explanation for the absence of Seisan can be found in the existing Tomari te (Tumaidi)
traditions. For example, the continuing Tomari traditions as were passed down through the
Oyadomari brothers of Tomari (5), as well as those of the Matsumora ha Tumaidi (Tomari te)
as passed down to Tokashiki Iken (6), also lack the kata Seisan, as does the tode passed on by
Itosu. Seisan was not a Tomari kata. (7)
In any event all the forms Itosu apparently borrowed from the Tomari curriculum appear to
have been heavily altered when compared to the existing Tomari traditions. Given the existing
Tumaidi forms, one can see that Itosu utilized the sum of the knowledge given to him and
further altered it to reflect his experience and objectives.
It is also interesting to contrast Itosu's kata and how they are performed as compared to the
kata of Tomari (Tumaidi) as practiced today. (8) When one compares the kata of Tumaidi (9)
with those traced to Anko Itosu, one is struck by the greater use of open hand techniques and
the more upright stances in the Tomari tradition. The kata themselves are performed with a
much more relaxed and lighter feel. There is also greater emphasis placed upon the use of
koshi (hip area) -- the lower back/hips/pelvic girdle move in more of a figure eight pattern and
on multiple planes as opposed to rotating around a horizontal axis as is found in the Itosu
heritage.
In his book "Okinawan Karate: Teachers, Styles And Secret Techniques," Mark Bishop
contrasted the karate of Azato (Matsumura heritage mixed with a swordsmanship perspective)
and Itosu:
"While Azato believed the hands and feet should be like bladed weapons and that one should
avoid all contact of an opponent's strike, Itosu held the idea that the body did not have to be
so mobile and should be able to take the hardest of blows. Chosin Chibana (a long time
student of Itosu) once said that Itosu indeed have a very powerful punch, but Matsumura had
once said to Itosu: 'With your strong punch you can knock anything down, but you can't so
much as touch me.'"
Itosu's Legacy
It is through the efforts of this "Father of Modern Okinawan Karate" that many basic exercises
and forms were simplified and organized into a curriculum suitable for the mass instruction of
students. In addition to placing importance on basics, Itosu took the Channan forms he had
previously devised (or had been taught him, according to historians), altered them slightly and
renamed them Pinan, which he thought would be more appealing to students. This is
evidenced in such journals as "Karate No Kenkyu" by Nakasone Genwa 1934 and "Kobo Kenpo
Karate-do Nyumon" by Mabuni Kenwa and Nakasone Genwa 1938. Let it never be said that
Itosu lacked enthusiasm, for he didn't stop at the Pinans. He went on to supplement Naifanchi
by the creation of a Nidan and Sandan (Kinjo 1991, Murakami 1991) and possibly Kusanku
Sho and Passai Sho (Iwai 1992) as well!
Even though questions persists about Itosu's lineage, there is no doubt about the profound
and universal impact he had on the development of karate in Okinawa.
It was Itosu who brought Karate from the shadows into the light of public study. (4) In 1901
he began instructing karate at the Shuri Jinjo Primary school (Iwai 1992, Okinawa Pref. 1994)
and taught at the Dai Ichi middle school and the Okinawa prefectural Men's Normal School in
1905 (Bishop 1999, Okinawa Pref. 1994, 1995).
It is perhaps one of the greatest testaments to the skill of this karateka that he developed
such a group of superb students, who in turn promoted his art. The karate that descended
from Itosu represents one of the great Okinawan karate heritages known as Shorin-Ryu. His
students comprise a virtual "who's who" of the founding fathers of modern karate. They
include: Kentsu Yabu, Chomo Hanashiro, Jiro Shiroma, Chojo Oshiro, Shigeru Nakamura
Anbun Tokuda, Moden Yabiku, Kenwa Mabuni, Gichin Funakoshi, Chosin Chibana, Moden
Yabiku, and Choki Motobu (who contrary to popular stories spent some eight years of training
under Itosu).
In October of 1908 Itosu realized it was time for Karate to reach beyond the shores of
Okinawa to the heart of Japan itself. It was to this end that he wrote his famous letter of Ten
Precepts (Tode Jukun) to draw the attention of both the Ministry of Education as well as the
Ministry of War. After demonstrations were held for several naval vessels, the most important
of which was the 1912 visit of Admiral Dewa, karate emerged as an attractive vehicle for
developing young fighting men for the imperialistic Japanese government of the period.
On January 26, 1915 a great light in the martial world was extinguished when Anko Itosu drew
his last breath at the age of eighty five. It is a shame that he did not live to see the art he so
vigorously propagated achieve its world wide popularity, and to see his crusade vigorously
pursued on the mainland by his student Gichen Funakoshi.
Acknowledgments:
I would like to thank Christopher Caile for his many suggestions for this article and his editing efforts.
Itosu Drawing: The Itosu drawing was contributed by Kyoshi Frank Hargrove from his book, The 100 Year History
of Shorin-Ryu Karate. Since there are no known photos of Itosu, the drawing was a composite done in Okinawa
based on available descriptions.
Footnotes:
(1) Ankoh Azato was a scholar-warrior who came from a well-known Okinwan family of wealth. Socially he held
an honorable rank equivalent to that of a lower Daimyo in Japanese society. Since childhood he excelled in both
the martial arts (archery, Jigenryu swordsmanship and karate under Soken Matsumura) and in literary studies,
including Chinese studies. As a politician he became Minister of State and was one of the best known political
figures of his time. As a karateka he was known for his awesome strength, but also for his intuition -- the ability
to sense an attack and destroy it before it fully developed.
(2) Also Funakoshi said: Sakiyama, Gushi and Nagahama of Naha trained under Buken (Shorei ryu). Matsumura
of Shuri (the Okinawan capital city) and Maesato of Kume (a town near Shuri populated by Chinese, many whom
where translators, teachers of Chinese classics as well as martial arts) trained under Tomoyori (Shoalin ryu)
Shimabuku of Uemondono, Hikashi of Kyunenboya, Seneha, Kuwae and others trained under Kojo (Shorei ryu),
and that Shiroma (also read GUSUKUMA) of Tomari (a small port city near Shuri the capital) , Kaneshiro,
Matsumora, Yamasato and others trained under Taika, who originated from the Fukushu-an-nan (a province in
China. However, Oyakata-Tomigusu of shuri followed SAKIYAMA.
(3) Funakoshi also said, "The teacher of Gusukuma, Kanagusuku, Matsumora, Oyatomari, Yamada, Nakazato,
Yamazato and Toguchi, all of Tomari, was a southern Chinese man who drifted ashore at Okinawa." Furthermore
it was stated, "In more recent times Master Tomigusuku received his training from Sakiyama.
(4) Historians often group Okinawan karate traditions of this time around the town in which they were practiced -
- Shuri the capital, and Naha and Tomari which were both seaports. Tomari traditions, with a few notable
exceptions, have either been lost or partly absorbed into the curriculums practiced by the descendants of the
Shuri and Naha traditions.
(5) The curriculum of the Oyadomari Brothers was provided by Mark Bishop's interview of Seikichi Hokama
(Student of Kotsu and Konin Oyadomari) contained on page 73 of his book "Okinawan Karate: Teachers, Styles
And Secret Techniques (1991)."
(6) The curriculum Matsumora ha Tumaidi can be assessed by what is taught by Toakashiki Iken, student of
Seiyu Nakasone who was in turn the top student of Kodatsu Iha, disciple of Kosaku Matsumora, from an interview
with Richard Florence on February 12, 1997 for the Bugeisha Magazine article, "Tokashiki Iken and the
Gohakukai".
(7) Then there is the question of the katas Jion, Jiin and Jitte in the Itosu curriculum. Since they are not found in
the curriculum of Tomarai traditions, Itosu could have learned them from either Gusukuma or Nagahama, either
of which would have created them. It is perhaps a question for which we may never know the answer for sure but
which begs further scrutiny.
(8) Karate had for centuries been taught in secret in Okinawa.
(9) As taught by the students of Tokashki Iken, who was a student of Seiyu Nakasone, who in turn studied under
Kodatsu Iha, a top student of Kosaku Matsumora.

References:
"Chanan: The Lost Kata of Itosu" (article), by Joe Swift
"Unante: The Secrets of Karate" (book), by John Sells
"Tales of Okinawa's Great Masters" (book) by Shoshin Nagamine
"Karate no Kenkyu" (book), by Nakasone Genwa
"Kobo Kenpo Karatedo Nyumon" (book), by Mabuni Kenwa and Nakasone Genwa
"Okinawan Karate Teachers, Styles and Secret Techniques" (book), by Mark Bishop

Part 2: Itosu's Ten Precepts

Karate developed on Okinawa not in public light but in secret, practiced at night and behind
closed doors and taught only to the most trusted few. So secret was the practice that a
student of the art would not tell his best friend or associates. This was the way of karate as it
existed for centuries when arms had been banned, first by the government and later by the
Japanese who occupied the country. When Okinawa was annexed along with the other Ryukyu
islands late in the 19th century, the stage was set for the art to emerge from secrecy.
It was Itosu who brought karate from the shadows into the light of public study. In 1901 he
began instructing karate at the Shuri Jinjo Primary school (Iwai 1992, Okinawa Pref. 1994)
and taught at the Dai Ichi middle school and the Okinawa prefectural Men's Normal School in
1905 (Bishop 1999, Okinawa Pref. 1994, 1995).
In October of 1908 Itosu realized it was time for karate (meaning Chinese Hand) to reach
beyond the shores of Okinawa to the heart of Japan itself. It was to this end that he wrote his
famous letter of Ten Precepts (Tode Jukun) to draw the attention of both the Ministry of
Education as well as the Ministry of War. After demonstrations were held for several naval
vessels, the most important of which was the 1912 visit of Admiral Dewa, karate emerged as
an attractive vehicle for developing young fighting men for the imperialistic Japanese
government of the period.

Ten Precepts Of China Hand (1)
China Hand did not develop from Buddhism or Confucianism. In the past the Shorin School
and the Shorei school were brought here from China. Both of these schools have strong
points, which I will now mention before there are too many changes.
1. China Hand is not merely practiced for your own benefit: it can be used to protect one's
family or master. It is not intended to be used against a single assailant but instead as a way
of avoiding a fight should one be confronted by a villain or ruffian.
2. The purpose of China Hand is to make the muscles and bones hard as rock and to use the
hands and legs as spears. If children were to begin training in China Hand while in elementary
school, then they will be well suited for military service. Remember the words of the Duke of
Wellington after he defeated Napoleon: "Our victory here today was achieved in our school
yards."
3. China Hand cannot be quickly learned. Like a slow moving bull, it eventually travels a
thousand miles. If one trains diligently everyday, then in three or four years one will come to
understand China Hand.
Those who train in this fashion will discover China Hand.
4. In China Hand training of the hands and feet are important, so one must be thoroughly
trained on the makiwara (striking post). In order to do this, drop your shoulders, open your
lungs, take hold of your strength, grip the floor with your feet and sink your energy into your
lower abdomen. Practice using each arm one to two hundred times each day.
5. When one practices the stances of China Hand, be sure to keep your back straight, lower
your shoulders, put strength in your legs, stand firmly and drop your energy into your lower
abdomen.
6. Practice each of the techniques of China Hand repeatedly, the use of which is passed by
word of mouth. Learn the explanations well and decide when and in what manner to apply
them when needed. Enter, counter, release is the rule of releasing hand (torite).
7. You must decide if China Hand is for your health or to aid your duty.
8. When you train, do so as if on the battlefield. Your eyes should glare, shoulders drop, and
body harden.. You should always train with intensity and spirit and in this way you will
naturally be ready.
9. One must not overtrain; this will cause you to lose the energy in your lower abdomen and
will be harmful to your body. Your face and eyes will turn red. Train wisely.
10. In the past masters of China Hand have enjoyed long lives. China Hand aids in developing
the bones and muscles. It helps the digestion as well as the circulation. If China Hand should
be introduced beginning in the elementary schools, then we will produce many men each
capable of defeating ten assailants. I further believe this can be done by having all students at
the Okinawa Teachers Collage practice China Hand. In this way after graduation they can
teach at the elementary schools that which they have been taught. I believe this will be a
great benefit to our nation and our military. It is my hope you will seriously consider my
suggestion.
Anko Itosu October 1908

Footnote:
(1) There are many translations of these Ten Precepts. I based this interpretation on the
translations in works by the historians Sells, Nagamine (McCarthy) and Bishop. I believe it
preserves the integrity of what Itosu said and is a compromise of the points made by the
above translations which vary significantly in some areas.