Goju-ryu (Japanese for "hard-soft style") is one of the four traditional styles of karate, featuring a combination of hard and soft techniques. It is commonly believed that the concept of combining the two extremes originated in a Chinese martial arts doctrine known as wu bei ji (pronounced bubishi in Japanese.) Goju-ryu combines hard striking attacks such as kicks and close hand punches with softer open hand circular techniques for attacking, blocking, and controlling the opponent, including locks, grappling, takedowns and throws. Closed hand means Go which is hard, and open hand means Ju which is soft. Both principles, hard and soft, come from the famous martial arts book Bubishi (Chinese: wu bei ji), used by Okinawan masters during the XIX and XX. Major emphasis is given to breathing correctly. Gōjū-ryū practices methods that include body strengthening and conditioning, its basic approach to fighting (distance, stickiness, power generation, etc.), and partner drills. Gōjū-ryū incorporates both circular and linear movements into its curriculum.
There are two years that define the way Goju-ryu has been considered by the Japanese establishment: the first, 1933, is the year Gōjū-ryū was officially recognized as a budo in Japan by Dai Nippon Butoku Kai, in other words, it was recognized as a modern martial art, or gendai budo. The second year, 1998, is the year the Dai Nippon Butoku kai recognized Goju-ryu Karatedo as an ancient form of martial art (koryu) and as a Bujutsu. This recognition as a koryu bujutsu shows a change in how Japanese society sees the relationships between Japan, Okinawa and China. Until before 1998, only martial arts practiced in mainland Japan by samurai had been accepted as koryu bujutsu.
Chojun Miyagi
Cho
jun Miyagi (宮城 長順, April 25, 1888—October 8, 1953) was a Ryukyuan martial artist who founded the Goju-ryu school of karate. He was born in Naha, Okinawa and was the adopted son of a wealthy businessman. Miyagi began his study in karate at the age of nine (or eleven). He first learned martial arts from Ryuko Aragaki, who then introduced him to Naha-te Master Kanryo Higashionna when Miyagi was 14. Under the tutelage of this Master, Miyagi underwent a very long and ardous period of training.
Chojun Miyagi
Born April 27, 1888
Flag of Japan Naha, Okinawa
Died October 8, 1953
Flag of Japan Okinawa
Martial art practiced Goju-ryu
Teacher(s) Kanryo Higashionna, Ryuko Aragaki
Rank Sōke, Founder of Goju-ryu
Notable students An'Ichi Miyagi, Gogen Yamaguchi, Seiko Higa, Seikichi Toguchi, So Nei Chu, Ei'ichi Miyazato, Meitoku Yagi
After the death of Master Kanryo Higashionna, Miyagi travelled to Fukien Province in China as his teacher had done before him. In China he studied the Shaolin and Pa Kua forms of Chinese boxing. From the blending of these systems, the hard linear/external form of Shaolin, the soft circular/internal form of Pa Kua, and his native Naha-Te, a new system emerged. However, it was not until 1929 that Chojun Miyagi named the system Goju-ryu, meaning hard-soft style.
After some years in China, Chōjun Miyagi returned to Naha where he opened a dojo (training hall). He taught for many years, and even though Miyagi's reputation as a karate man was enormous, and even Kano Jigoro, the founder of judo, came to Okinawa to learn specific karate takedowns, his greatest achievements lie in popularization and the organization of karate teaching methods. He introduced karate into Okinawa police work, high schools and other fields of society. He revised and further developed Kata Sanchin - the hard aspect of Goju, and created Kata Tensho - the soft aspect. These kata are considered to contain the essence of the Goju-ryu style. The highest kata, Suparimpei is said to contain the full syllabus of Goju-ryu kata. Shisochin was Miyagi's favorite kata at the end of his years. Tensho was influenced by the White Crane kata Ryokushu, which he learned from his long-time friend Gokenki. With a goal of unification of various karate styles which was in fashion at that time (see Funakoshi Gichin for his works in Japan), he also created more Shurite-like katas Gekisai Dai Ichi and Gekisai Dai Ni in 1940, taking techniques from higher forms (notably Suparimpe also upper block was uncommon for Goju-ryu at that time) and incorporating them into a shorter forms. It is said he created these kata to bridge the gap between Sanchin-kata and Saifa kata, which contains much more complex moves compared to Sanchin kata. However, Gekisai katas are learned before Sanchin-kata now.
Chōjun Miyagi was a man of extremely mild temperament and it is said that he was a very humble man. He lived according to the principles of martial arts, that of non-violence. Master Miyagi died in Okinawa on October 8, 1953 from second heart-attack (first took place on 1951).
Some of his more notable students were Seiko Higa (also a student of Kanryo Higaonna), Seikichi Toguchi (founder of the Shorei-Kan dojo), Miyazato Ei'ichi (founder of the Jundokan dojo), Meitoku Yagi (founder of the Meibukan dojo, he eventually accepted late master Miyagi's gi and obi from Miyagi's family), Tatsuo Shimabuku (founder of Isshin-ryū), and in Japan, Gogen Yamaguchi (founder of Goju-kai and who, after short training with Miyagi, spent later most of his time studying katas under Meitoku Yagi while being himself a representative of Goju-ryu in Japan).
Koryu Bujutsu
The names goju ryu and karate are recent, but the art is older. The Okinawan name for their XIX century martial art was toudi or to, meaning Tang (a Chinese dinasty) or Chinese; and te, meaning hand[citation needed]. In Okinawa there were three main toudi tendencies: Naha-te (or nafadi), Tomari-te and Shuri-te. Goju-ryu comes from Naha-te.
As stated before, in 1998, the Dai Nippon Butoku kai recognized Goju-ryu Karatedo as an ancient form of martial art, or koryu, and Goju-ryu Karatedo was also the first Okinawa Martial Art to berecognized as Bujutsu 2. The origins of this art explain this recognition: there are three possible sources for the ancient Naha-te or Goju-ryu. The first source would be the old Okinawan fighting arts. The second source would be different Southern Chinese schools of martial arts known by Okinawan travelers such as Higashionna Kanryo sensei. The third source would be a Chinese school of martial arts established in Naha at the beginning of the XIX century. These sources may well complement each other.
• Okinawan fighting arts:
In Okinawa there were five old native fighting arts which, blended with Southern Chinese martial arts, gave birth to toudi. First, ti'gwa, a percussive art originated in Siam and imported to Okinawa during its early period of inter-cultural commerce. Second Kata or Hsing/Xing from Southern/Fujian-based quanfa. Third, Tuite (torite, chin na or qinna), or joint locks to seize or control opponents, used by law enforcement officials. Fourth, Tegumi or Okinawan wrestling and grappling. Fifth, Buki'gwa or weapons arts, which was severely limited after the weapons ban in 1609. One of the main components and sources of Okinawan karate is the above mentioned native tradition called "tuite": grappling, joint locks and breaks, throws, sweeps, which often led to ground fighting. These techniques were widely practiced in Ryūkyū's small villages and were blended with Chinese martial arts to give birth to karate. In kata, usually low stances and/or hands in chambers are the signs of a technique of this kind.
The use of "soft" techniques in the Gōjū-ryū kata tensho reveals an influence from one or more White Crane schools. Traditionally,[citation needed] Goju-ryu is considered a descendant of the Fujian White Crane style (known as "Fujian Bai He" in Chinese). From White Crane, Gōjū-ryu takes the circular movements and fast strikes. From Tiger Style, Gōjū-ryu takes the strong linear attacks and the tiger claw pinching (especially in kyusho-jitsu). There are two theories about how these Chinese influences contributed to the birth of Goju-ryu:
• Southern Chinese arts studied in China:
The late 19th century saw the great karate masters going back to China for a "martial-arts pilgrimage" of sorts. The development of Gōjū ryū goes back to Kanryo Higashionna, (1853–1916), a native of Naha, Okinawa. As a teenager he trained with an Okinawan master named Arakaki Seisho. Later in life he traveled to Fuzhou in Fujian Province, China, where he studied wushu and kempo from various teachers, primarily a kung fu master called Ryū Ryū Ko (or Liu Liu Ko, or To Ru Ko; the name is uncertain.) This great master taught a handful of Okinawan students who went on to become karate legends. Some sources have identified him as Xie Zhongxiang, second generation master of Whooping Crane Kung Fu and a student of Pan Yuba.
Higashionna returned to Okinawa during the middle of the Meiji Era (1868–1911) and continued in the family business of selling firewood, while teaching a new school of martial arts, distinguished by its integration of gō-no (hard) and jū-no (soft) kempo into one system. Higashionna's style was known as Naha-te. Gojukai history considers that Chinese Nanpa Shorin-ken was the strain of kung fu that influenced this style. As such, this style and that of Uechi Ryū were built upon a similar foundation.
• Southern Chinese arts studied in Okinawa:
According to Fernando Câmara, both Goju and Uechi may have come from a specific school of Quan Fa in Okinawa, established in Naha around 1828. Câmara says that Miyagi Chojun, in his "Karate-do Gaisetsu" (1934), didn't mention Higashionna Kanryo, but a Chinese school stablished in Naha as Goju-ryu's originator. Câmara gives us the names of some prominent masters of this school: Sakiyama, Aragaki Seisho, Kojo Taitei, Nakaima, and Higashionna, and he thinks that Ryu Ryu Ko may have been one of the advisers of this school, along with Iwah, Wai Shin Zan, and others.
According to Chojun Miyagi: "In 1828, our ancestors inherited a kung fu style of Fujian province in China. They continued their studies and formed Goju-ryu Karate. Even today, there still exists an orthodox group which inherited genuine and authentic Goju-Ryu karate. It should be noted that, to Miyagi, there is a continuity from the 1828 kung fu group to the 1936 orthodox gojuka group, and that he considered that both groups were one and the same, and therefore according to Miyagi Chojun, Higashionna Kanryo effectively was not the origin of Goju-ryu, but the person who passed down the system to Miyagi. This leads to a question: who were the first non-orthodox gojuka, Higashionna Kanryo or Miyagi Chojun It is known that Miyagi changed the system when he adapted it to modern times, and it is said that Higashionna traveled to China and brought back some kata. It is also part of the historical tradition of Goju-ryu that Higashionna changed the kata by using fists instead of open hand techniques in order to adapt his art to physical education courses in Okinawan high schools.
Gendai budo
In 1933, Gōjū-ryū was the first Karate school officially recognized as budo in Japan by Dai Nippon Butoku Kai and the only style of Karate with a full historical representation in both Okinawa and Japan. This recognition places Goju-ryu Karatedo among the modern martial arts, or gendai budo.
Higashionna's most prominent student was Chojun Miyagi (1888–1953) who began training under Higashionna at the age of 12. After Higashionna's death Miyagi sailed to China and studied there for several years, returning to Naha in 1918. Many of Higashionna's students continued to train with him, including Higa Seiko (1898–1966). However, Higashionna's most senior student Juhatsu Kyoda, who studied under Higashionna one month longer than Miyagi, formed a school he called Tōon-ryū (Tōon is another way of pronouncing the Chinese characters of Higashionna's name, so Tōon-ryū means "Higashionna's style"), preserving more of Higashionna's approach to Naha-te.
The name Goju-ryu Karate (Go means "hard"; jū means "soft") literally means "hard soft school of karate." The naming of Gōjū-ryū came about more by accident than design. In 1930, numerous martial arts masters asked Chojun Miyagi’s top student, Jin’an Shinzato, while in Tokyo as to what school of martial arts he practiced. As Naha-Te had no formal name he came up with the impromptu name "Hanko Ryū" (Half-Hard Style). On his return to Okinawa he reported this incident to Chojun Miyagi, who, after much consideration, decided on the name Gōjū-ryū (hard and soft school) as a name for his style. Chojun Miyagi took the name Gōjū-ryū from a line of the poem Hakku Kenpo, which roughly means: "The eight laws of the fist", and describes the eight precepts of the martial arts. This poem was part of the Bubishi, a classical Chinese text on martial arts and medicine. The line in the poem that contains Gōjū reads: "Ho wa Gōjū wa Donto su", which means: "the way of inhaling and exhaling is hardness and softness", or "everything in the universe inhales soft and exhales hard".
Kata / bunkai
In kata, each movement can be interpreted as different techniques and its applications. Kata is to be understood as a "living textbook" in which karate proper—its techniques and philosophy—is passed down. The practice of kata itself provides the practitioner a sense of structure and possibilities to use in a real fight. Bunkai, on the other hand, is the analysis—or interpretation (oyo-bunkai)—of kata movements. After the analysis of bunkai, karateka usually practice two or more person drills to ingrain the application in the muscle memory, which makes sense of sequences of movements in kata forms. Techniques-within-techniques are revealed through constant practice of kata and bunkai.
The kata taught in Gōjū-ryū are rather traditional and in most organizations are emphasized more than actual kumite (or free sparring). This emphasis in kata is also an emphasis in bunkai, the actual self-defense application of the kata movements. The self-defense approach explains why Gōjū-ryū does not emphasize free sparring and its limiting rules.
Kata detractors say that these kata are useless in a real fighting situation, while proponents say they are failing to realize what the purpose of kata and bunkai is. This conflict of views is due to the sport emphasis of gendai budo and the fighting emphasis of koryu bujutsu. As gendai budo, the practice of karate kata is focused in performance and channeled through performative sport-oriented tournaments. This way of practicing kata ultimately makes it useless for self defense. On the other hand, as bujutsu, the practice of kata is focused not only on performance but also in the fighting knowledge codified in it. So the term "kata practice" has two totally different meanings: as gendai budo it is performance; as bujutsu, it is performance and self defense application.
Kihongata
Kihongata means a "kata of basics". It is intended to teach basic movements and technique so that the karate-ka is ready for the Heishugata learning stage.
• Sanchin kata : Sanchin kata is the foundation to all other Gōjū kata, it is also the foundation of body conditioning. First variation of Sanchin-kata (sanchingata dai-ichi) serves as Kihongata. See more on Sanchin kata below.
Heishugata
Heishugata means "kata with closed hands" or "fundamental kata". This kata teaches fundamentals (i.e. not only basics of movement but also principles) of the style while basics are learned during Kihongata. Traditionally, Kaishugata was taught as a second kata, or a "specialty kata" of a student, after Heishugata (e.g. Sanchin-kata and/or Tensho-kata for Naha-te or Naifanchi-kata for Shuri-te and Tomari-te is learned (sometimes it could take up to three years). Ranking (dan/kyu) and current kata curriculum with grading was established only after 1953, i.e. after Miyagi-sensei's death.
• Sanchin kata : Sanchin kata (三戦, サンチン) has the simplest techniques, and yet is arguably the most difficult to master of all Gōjū kata. Sanchin is often taught as a black belt kata, yet it is simple enough to teach at the white belt level. This is often done in order to prepare the student for this kata by the time he or she reaches black belt.
Only one stance is used—the sanchin (meaning "three battles") stance, from which a name of the kata is derivative now (initially it was named as Peppuren 1. Sanchin-dachi is a practical stance, and yet is the most difficult stance to master. The legs protect the body from sweep kicks, the thighs are to trap low kicks. According to a tai chi manual ("Zhengzi 13 postures"), the punch draws its power from the earth through the legs—the flip of the hips enables the strength of the whole body to be channeled and focused into one punch.
Properly employed, Sanchin kata follows the "hard" style of karate—all the muscles are to be flexed and tensed throughout the kata—actually making it the most strenuous kata. This type of strength training, taught for thousands of years, is only recently understood in Western science and is known as "isometric training" in bodybuilding.
In Chinese training, Sanchin kata also introduces the student to the use of "qi" (Japanese "ki") for training and fighting applications. It can be understood to be a form of "qigong" as employed in Chinese Wushu. Many western interpretations of qi/ki explain it as an enhanced understanding of internal body dynamics and muscle control through repeated and strenuous training.
In Gōjū, there are two sanchin kata: the first one, Miyagi's sanchin (or "sanchin dai ichi"), the most widely taught as initial and Kihongata, was created for such purpose by Chojun Miyagi, and has no turns so the karateka goes forward and then backwards. The second sanchin, Higashionna's sanchin (or "sanchin dai ni") is a full-version Sanchingata and is older and was taught by Higashionna Kanryo. In this kata the karateka always goes forward, but turns 180 degrees twice. Initially it was taught with open hands, as sanchin-kata still is in Uechi-ryu, but later it was also revised to closed fists by Miyagi's co-student Juhatsu Kyoda, founder of To'on-ryu, and adopted by Chojun Miyagi as well.
This kata was adopted by other styles such as Isshin-ryū.
• Tensho kata : Tensho (転掌, テンショウ) was created in 1921 as "softer sanchin" by Chojun Miyagi to balance Go aspect of Heishugata (Sanchin-kata) with Ju variation for Heishugata. Tensho means "revolving hands." It is a combination of hard dynamic tension with deep breathing and soft flowing hand movements, and is very characteristic of the Gōjū-ryū style. Some styles calls it as Rokkishu and it was created from some movements taken from Hakutsuru, although more careful analysis suggest that it might be Miyagi's personal interpretation of Kakufa-kata that was in Higashionna's syllabus but is omitted in Gōjū-ryū now.
Kaishugata
Kaishugata means a "kata with open hands." This is a more advanced from Heishugata type. Kaishugata serves as a "combat application reference" kata and is open to vast interpretation (Bunkai) of its movements purpose (hence, "open hands").
• Saifa : Sai-fa (砕破, サイファー) means "to destroy and defeat." This kata is the first traditional Gōjū-ryū's Kaishugata. It is usually first taught at gokyu to sankyu levels (green to brown belt). The first three moves are the signature of the kata—a wrist-grab-throw technique that is very similar to Aikido's iriminage technique. Saifa teaches, among other things, how to counter being grabbed by one or two opponents. The centrepiece of the kata is the crane kick movement. The layout of the footwork is similar to Taikokyū kata.
• Seiunchin : Sei-un-chin (制引戦, セイユンチン) means "Attack, Conquer, suppress (also referred to as "to control and pull into battle")". This kata is typically taught at sankyu to ikkyu levels (brown belt). Seiunchin kata demonstrates the use of techniques to unbalance, throw and grapple, contains close-quartered striking, sweeps, take-downs and throws. Though the kata itself is devoid of kicks, many practitioners make the grave mistake by missing the opportunity to apply any leg technique, not discovering a "hidden bunkai" in it. Though almost invisible to the untrained eye, the subtleness of ashi barai and suri ashi can represent footsweeps, parries and traps. The centrepiece of Seiunchin kata is a stance taken directly from the White Crane style. This kata has been adopted by other Okinawan styles such as Isshin-ryū.
• Shisochin : Shi-so-chin (四向戦, シソーチン) means "to destroy in four directions" or "fight in four directions" and emphasizes the power of Gōjū-ryū, the hard and the soft, and integrates it into one. It is a switch between long distance combat (Shotei zuki-palm punch) and close quarter combat (Nukite - or knife hand - and armlocks).
Miyagi Chojun called Shisochin his favorite kata when he was getting old, as he believed it to be best suited to his body type at that time.
• Sanseiru : San-sei-ru (三十六手, サンセイルー) means "36 Hands" and is taught at higher black belt levels. It is said the number 36, along with numbers 13, 18, 54 (e.g. kata Gojushiho in other styles), and 108 that provided names to other kata, is based on Buddhist mythology. Thirty-six representing 6×6, the first six being eye, ear, nose, tongue, body and spirit and the second six, colour, voice, smell, taste, touch and justice. However, this is not entirely accepted and taught. The kata teaches complex punching combinations, employs many entry, joint attacks and defenses against kicking attacks.
• Sepai : Se-pai (十八手, セイパイ) means "18 Hands". This kata is one of four (Sepai, Kururunfa, Seisan, and Suparinpei) that are more subtle and contain more hidden moves. The true meaning of a kata becomes clear only when one learns the application of it (Bunkai). In Sepai, and the three that follow, the applications are not immediately clear. Techniques were deliberately masked within these kata so that bystanders were not able to fully comprehend the depth of the applications being practiced. Sepai kata incorporates both the four directional movements and 45° angular attacks and, as in Shisochin, implements techniques for both long distance and close quarter combat. This was a Seikichi Toguchi's specialty kata.
• Seisan : Sei-san (十三手, セイサン) means "13 Hands." This kata contains many unusual techniques and demonstrates the difference between Go (Hard) and Ju (Soft). Seisan is thought to be one of the oldest kata quite spread among other Nahate schools. Shito-ryu has its own version and different versions are now practised even in Shurite derivatives like Shotokan (called Hangetsu) and in Wado-ryu (called Seishan). Seisan was a favourite kata of Jin'an Shinzato and his specialty kata initially. This kata was adopted by other styles such as Isshin-ryū.
• Kururumfa : Ku-ru-rum-fa (久留頓破, クルルンファー) means "holding on long and striking suddenly" and its techniques are based on Chinese Praying Mantis style. Initial idea was to have a "counter-style" against other "traditional Shaolin-type styles" where each kata could be considered as a representative of such particular "style" (or expression of certain strategy in fighting). It was Ei'ichi Miyazato's specialty kata.
• Suparimpei: Su-pa-rim-pei (壱百零八, スーパーリンペイ) means "108 Hands. The most advanced and intricate kata of the Gōjū-ryū system now. While initially it was known as Pitchurrin and had three levels to master (Go, Chu, and Jo), later Miyagi left only one, the highest, "Jo" level. This was a Meitoku Yagi's specialty kata.
Fukyugata
This type of kata is not traditional Gōjū-ryū kata and means "promotional kata" or "common kata for the all styles of karate". The purpose of Fukyugata was to unify all karate styles in one so to make Karate as a general and more standardized Japanese-like art for the sake of popularization as was done with Kendo and Judo.
• Gekisai : Ge-ki-sai (撃砕, げきさい) means "to destroy" or "attack and destroy". The first Gekisai was developed as a Fūkyū Kata to be practiced by Gōjū-ryu and other Ryu (notably, Shorin-Ryū). This Fūkyū Kata (Gekisai-dai-ichi, the first) was created by Miyagi Chojun after 1936 as Fukyugata Ni, while another Fūkyū Kata, not practiced by Gōjū-ryū nowadays, was developed by Nagamine Shoshin (Matsubayashi Shorin-Ryū) as Fukyugata Ichi. Miyagi created also Gekisai-dai-ni, richer in Gōjū-ryū stances and techniques and was intended by him to become common kata Fukyugata San. However, WWII put all revisions on hold and works were not resumed after the war was over.
The Gekisai kata (Gekisai Ichi and Gekisai Ni) are usually first taught at hachikyū or rokukyū levels (yellow to green belt). Gekisai kata integrates kicking with blocks, strikes, and punches. It introduces the use of tensho technique, how to move in eight directions, side-stepping, back-stepping, and the use of the cat stance neko ashi dachi (in Gekisai-dai-ni, the second). It comes close to the idea of irimi, or "entering" techniques, used in Aikido. It should be noted that there are now in some schools three versions of this Kata, Gekisai Dai Ichi, Gekisai Dai Ni and Gekisai Dai San. Gekisai Dai Ni incorporates slightly "softer" techniques, although it follows a similar pattern to that of Gekisai Dai Ichi. Gekisai Dai Ni involves the use of techniques of higher difficulty (especially open-handed techniques), thus making it applicable to only blue, brown and black belts in some schools.
Other non-traditional Gōjū-ryū Kata
Some Gōjū-ryū schools have their additional, style-based kata, that are not in other Gōjū-ryū kata curriculums. Some of this extra kata are simple kihon kata (like fukyugata dai ichi or taikyoku), some are advanced kata (like Meibukan kata). Other schools of Goju (such as the Shorei-kan ) from the Touguchi branch offers extra katas such as Geikiha 1 & 2 and the Hookiyu katas 1 & 2.
• Taikyoku kata : Taikyoku katas were created by Yamaguchi Gogen who founded Gōjū Kai and is credited with popularising Gōjū in Japan. Therefore, it is not accurate to consider these kata as traditional Gōjū-ryū kata (passed or created by Miyagi). Okinawan kaiha usually do not teach them. Taikyoku are usually first taught in jukyu to ikkyu levels (white belt to brown belt). The Taikyoku katas teach basic block and attack pattern, and how to move in four directions. These are taikyoku kata:
Okinawan Goju-ryu Karate Introduction Part 1
Okinawan Goju-ryu Karate Introduction Part 2
Okinawan Goju-ryu Karate Introduction Part 3
Goju-ryu karate with amazing demonstration video
The history of Goju-ryu is controversial, due to the lack of documentation; however, we can try to summarize the main theories about its origins. What we know is that Goju-ryu did follow the same path of other martial arts due to the process of modernization in Japan: it changed from a fighting discipline into a general purpose educational discipline. Higaonna Morio noted that in 1905, Higashionna Kanryo sensei taught martial arts in two different ways, according to the type of student: At home, he taught Naha-te as a martial art whose ultimate goal was to kill the opponent; however, at the Naha Kuritsu Shogyo Koto Gakko (Naha Commercial High School), he taught karate as a form of physical, intellectual and moral education.
A kata is a set of techniques organized as pre-arranged movements that simulates a fight. Okinawan kata have traditionally been used to preserve sets of techniques and fighting principles, and they have also served as the basis upon Okinawan fighting systems (such as Gōjū-ryū) are taught.
• Meibukan kata : Meitoku Yagi sensei, founder of Meibukan, created a set of five kata with the techniques he considered were Miyagi Chojun's favorite techniques:
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