As brought from China, the pangainoon system known as Nan Pa Toro Ken (SouthGroup Mantis Fist) and now called UechiRyu karateDo consisted mainly of three kata, one bunkai, and several conditioning and training techniques.The basic system transplanted by UECHI Kanbun Sensei consisted of the kata Sanchin, Seisan, and Sandairyu. In the late 1950's and early 1960's, UECHI Kanei Sensei authorized a group of senior practitioners to piece together the fighting techniques taught to him by his father, modify the Seisan Bunkai, and create the intermediate kata and other material which today make up the system of UechiRyu KarateDo.The group included the following Senior Members of the newly-formed UechiRyu KarateDo Association:

(Alphabetical order)

ISHIHARA Sensei
ITOKAZU Seiki Sensei
KAWATA Sensei
MIYAGI Kunio Sensei
TAKAMIYAGI Shigeru Sensei
TAKARA Shintoku Sensei
TOMOYOSE Ryuko Sensei
TOYAMA Seiko Sensei
UEHARA Saburo Sensei

Others may have been involved with one or two assigned projects, but these were the principal members of the Kata Development Committee. All progress in creating the newer forms was closely monitored and refined by UECHI Kanei Sensei before their finalization and inclusion in the system.

There are eight kata in the system. Generally, the number of movements is not nearly as important as the depth of understanding of the movements and the underlying philosophy of mental toughness and moral strength --throughout this entire defensive system, one's first response to an aggressive situation is to detain the opponent, or to block his attack and diffuse his power. Never attack first, and avoid confrontation altogether if possible. Therefore, a block must first precede all strikes -- while it sometimes appears that the practitioner strikes before or without a block, in-depth training will show the block to be subtle but present, preceding the strike in all cases.

All movements in kata have purpose and meaning -- no move is simply a signature move, just to identify the style. Every move has a purpose -- even a simple turn or pivot has a special meaning in its particular place, and embodies vital fighting skills left untaught if the kata is not fully understood. Stances exist between moves and turns, defensive techniques are found between techniques the moves between the evident moves are important in practicing the whole system!

The kata practiced by the Okinawa KarateDo UechiRyu Zankai are in their original form. The original three kata from China are preserved as when they were taught by UECHI Kanbun Sensei in Wakayama, and the additional five are preserved as they were first created by the Development Committee  in the contemporary styles, all have undergone some modifications. The use of old-style technique and timing give the added forms a somewhat different feeling and meaning, and the overall performance is different from UECHI Kanei Sensei's contemporary (post-W.W.II) style. A brief description of major differences and reasons for the changes from Kanbun Sensei's older style of the system to Kanei Sensei's modernized form may be found in the essay Differences Between Old-Style and New.

The intermediate kata of UechiRyu are Kanshiwa, Kanshuu, Seichin, Seiryu, and Kanchin. Several two-man prearranged sparring drills, and bunkai for Kanshiwa, were also created (true to his father's wishes, no Sandairyu Bunkai was created by UECHI Kanei Sensei). Some instructors add their own special training forms when they see a need -- usually, such supplemental forms are not required for rank grading, and are normally taught in the dojo as specialties of that dojo alone. With the origins of each item indicated, the system consists of the following:

~ Junbi Undo (Japan Educational System, modified by UECHI Kanei Sensei for use in the dojo)
~ Body conditioning & toughening (China, generic to many styles)
~ Jiyu Kobo (practical application of kata techniques for defensive purposes -- China, as taught in the SHUU Family System, generally unused in contemporary UechiRyu dojo, replaced widely by sparring)
~ Jiyu Kumite (sparring -- Okinawa, contemporary development coincident with the rise of sport karate)
~ Sanchin (China, generic to many styles, open-hand style chosen for use in the SHUU Family System)
~ Kanshiwa (Kata Development Committee -- Senior: UEHARA Saburo Sensei.)
~ Kanshiwa Bunkai (Kata Development Committee)
~ Kanshuu (Kata Development Committee -- Senior: UEHARA Sensei)
~ Seichin (Kata Development Committee -- Senior: ITOKAZU Seiki Sensei)
~ Kyu Kumite (TOYAMA Seiko Sensei)
~ Dan Kumite (TOYAMA Seiko Sensei)
~ Seisan (China, SHUU Family System)
~ Seisan Bunkai (China, SHUU Family System)
~ Seiryu (Kata Development Committee -- Senior: UECHI Kanei Sensei)
~ Kanchin (UECHI Kanei Sensei)
~ Sandairyu (China, also known as Sanseiryu, or Sandui, SHUU Family System)

The set of junbi undo (warming-up or opening exercises) was created by the Japanese Public Educational System for use in elementary through high school PE programs. In late September 1999, Sumako-san and I watched old film excerpts shown on an educational TV program that showed sets of school PE warm-up exercises from three different ages. One was an old set from the Meiji Era, very graceful and requiring much flexibility. The next film clip was from the Taishoo and early Showa Eras showing a slightly different set performed to patriotic music as part of the militaristic doctrine of wartime Japan. The third excerpt from later in the Showa Era showed a set much more like today's Japanese school PE warm-ups, though still calling on the student to exercise great flexibility. Most striking about all these sets was an almost Chinese kung fu quality about the performance, and their immediately-obvious similarity to the current but more rigidly-performed set of contemporary-style UechiRyu Junbi Undo. While we have always known the old schoolyard PE warm-ups were adapted by UECHI Kanei Sensei for the dojo, this was the first time I had seen the older sets performed. A very modern set is seen daily in schools and industrial yards all over Japan, and a follow-along program is broadcast daily via NHK radio and television.

The TV discussion panel remarked that today's modern schoolyard junbi undo is less flexible and more mechanical than yesteryears, and watched amazed as the film clips showed the grace and beauty of the old-time warm-ups. A group then came out on stage and performed one of the oldest sets of drills live quite nicely, but obviously lacking the natural grace and flow of the old-time performers.

In January 2000, Ms. Tsueko (a schoolteacher friend of Sumako's) sent a video from NHK TV showing the daily exercise program. Performed much more gracefully than the modern version we see live in schools and business today, the professional performers do a very basic and gentle stretching routine, followed by two different versions of junbi undo. Accompanying this videotape are two audiotapes with music and vocal instructions to follow for the rhythm, one with Japanese instructions and the other with English instructions. These exercises and music have been in use since at least the early 50's. Sumako-san remarked that these were performed exactly as she recalled them from her elementary school days.

Of the eight kata, Sanchin is still considered to be the basis of the system -- the link of continuity between all the other kata and movements in UechiRyu. If a student is in doubt as to whether a movement is in its correct form, he can go back to the basics and check it against Sanchin. The arms and elbows must be in the proper Sanchin position, and the hands must be placed at the proper height. All blocks and strikes merely a modification of a basic Sanchin motion. So, the system comes full circle, as was intended: like a tree depending on its roots for strength and support, the entire system of UechiRyu relies on its Sanchin kata for developing strength and balance in all other movements.

Sanchin is shared by several other systems as well, in varying forms; however, UechiRyu considers Sanchin to be a true kata and the most important to the system, while many other systems use some form of Sanchin as an exercise for breathing practice, form, or conditioning, and do not stress its development quite as much. No other system known today relies so heavily the development of Sanchin as does UechiRyu, save perhaps old-style Chinese White Crane Kung-Fu. As originally brought back from China, the Sanchin chosen for use within the SHUU Family System employs open-hand thrusts and more diagonally-placed wauke strikes (morote boshiken), while most other systems have adopted a closed fist thrust and more vertically-placed strikes after the wauke.

The name Sanchin means three challenges. These are of the spirit, mind, and body, representing yawarakasa (softness -- relaxation), binkansa (timing -- awareness and spontaneous motion), and chikarazuyosa (hardness  natural power) coming last. Very basically, the spirit represents the softest motion possible. Later, the mind represents awareness, coordinating spontaneous body motion with pinpoint accuracy. Then the body is representative of power or sudden and momentary hardness, learning where to place the power in a movement without exhausting the body's reserves. Hardness comes last, and is only applied for the briefest instant -- the old saying is Power first kills power last, meaning that the practitioner must learn to be soft until the very instant of impact, never tensing up before or after. When his Sanchin has developed in all three stages, the practitioner is on the road to mastery of the system. It normally takes years to master these concepts in actual practice. All movements in UechiRyu spring from Sanchin, and so Sanchin is considered the Seed Kata or Master Kata, teaching the basics for the entire system.

Another meaning for Sanchin is mitsu ga hitotsu -- three things moving together, blending as a single move. This concept must be addressed constantly in live practice, and is far too involved for a short essay. The lower, middle, and upper body must move together while maintaining proper relationship to the purpose of the move. The feet must move to place the middle body in a superior position to that of the opponent, the middle portion settles the balance and maintains posture for a strong foundation, and the upper body effects the defensive move and counter, timing it precisely with the settling of balance and the motion of the feet to position.

The kata Kanshiwa (attributed to UEHARA Saburo Sensei, the Senior on that committee at the time, and one of UECHI Kanbun Sensei's original five students at the Shataku Dojo) was created by the Kata Development Committee from fighting moves Kanbun Sensei used often. The name is a tribute to UECHI Kanbun Sensei and SHUU Shiwa Sensei (a combination of elements from both names). The kata name was suggested by TAKAMIYAGI Shigeru Sensei.

Kanshiwa teaches the important application of taikawashi -- shifting the intended target out of harm's reach or away from the attacker by moving the body out of the line of attack. This concept is developed further through use of bunkai.

The same committee created Kanshiwa Bunkai. When performed in its original form with old-style technique, it exercises defensive maneuvers later used and developed more deeply in the Seisan Bunkai.

The third kata was originally known as Kanshabu, then renamed to Kanshuu, and later Daini (Second, or Lesser) Seisan, and finally Kanshuu once again. This form was also created by the group of seniors headed by UEHARA Sensei and so is attributed to him. The name Kanshuu contains elements from the names Kanbun Sensei and SHUU Shiwa. Kanshabu is named after Kanbun Sensei and SHUU Shabu (same person, different dialect or pronunciation of Shiwa). The UechiRyu Zankai retains the original name Kanshabu for this kata. TAKAMIYAGI Sensei also named this kata.

The kata Seichin was created by the group headed by ITOKAZU Seiki Sensei (Kanei Sensei's Senior Student at the Hyoogo Dojo), and so is attributed to him. The name is phonetically represented in Japanese by the Kanji symbols for ten/fight (or ten/fighting) and is sometimes thought of as meaning ten fighting situations. This could be, but it may make more sense to name it Challenge of Ten when one realizes that the nine committee members plus UECHI Kanei Sensei make up the group of ten persons who cooperated in creating this kata. The name was phonetically determined by UECHI Sensei and was so named for the same reason Kanchin was named: given that the Sei sound also came from Seiki (ITOKAZU Sensei's given name) and that chin means challenge this was ITOKAZU Seiki's Challenge (to head the group that created this kata).

Sei also translates as soft and natural in Chinese, and has special meaning in the kata. Seichin teaches the use of softness and whip-like, relaxed movements. New movements introduce new concepts in timing and balance -- here we find a one-legged crane stance, and our introduction to ryu no kamae -- dragon ready stance.

The Kyu Kumite was among several two-person yakusoku (prearranged) sets created and experimented with in the early 1960's. The final five-set form was created mainly by TOYAMA Seiko Sensei, and is almost unchanged today. A few techniques were altered for the contemporary style, and the use of taikawashi -- body-shifting technique -- throughout the sets is not so much emphasized as it was in the older form. Tobikomi (a plunge and powerful settling-down of the body weight into certain techniques) was used originally in set number 4, but this technique was eliminated in favor of a lunge or jump forward into position. Also, set number 5 originally had a takedown which when taught and performed correctly is safe and quite effective. However, teaching and practicing this takes much time and patience, so an alternate technique was created. The Zankai practices both techniques -- the newer alternate is used for training kyu students and youth, the takedown is for Dan students.

Kyu Kumite was intended to be an Ippon Kumite -- start-stop kumite as basic training for Bunkai, and to prepare students for the more advanced Dan Kumite.

The Dan Kumite set was originally created by TOYAMA Sensei using strictly old-style fighting technique as taught him by Kanbun Sensei. The original Dan Kumite was called Renzoku Kumite (continuous or non-stopping kumite) and was later modified under UECHI Kanei Sensei's direction. It then came to be taught and performed in Ippon Kumite style, with the continuous flow broken down into 6 start-stop sections. While the 6 sections can be performed almost non-stop, the original sequences of attacks and defenses have been changed and mixed -- however, it is easy to identify them in the old-style Renzoku Kumite. The original version makes extensive use of the difficult arts of taikawashi, tobikomi, and other techniques.

Almost all Okinawan systems have some form of Seisan Kata, and it is interesting to note similarities in them all. Which of them was actually the first or oldest is not truly known, only that the UechiRyu Seisan Kata is still performed very much like the original old-style Chinese form. The name Seisan is phonetically represented by the Japanese numbers ten/three and is sometimes thought of as meaning thirteen. In China, this kata was known as Seisan-bo meaning 13th Room and was the completed form learned in the 13th of 36 rooms in the Fuchanshin Buddhist Temple in Foochow, Fukien.

Three Sanchin thrusts were added to the kata by UECHI Kanei Sensei, probably during the 1950's. The Zankai preserves this addition in memory of Kanei Sensei.

The Seisan Bunkai was modified in 1958 for safety and to eliminate certain aspects of the older style which could no longer be performed by UECHI Kanei Sensei. Prior to that time, the older, more dangerous and difficult bunkai was taught only to senior Okinawan practitioners. It was used in the Futenma Dojo for the last time in June 1958 at the Dan Test for Okinawan students (apparently one of three tests that month), and then replaced by the contemporary version. The older form was quietly preserved, and restored to active practice recently within the UechiRyu Zankai. It originated in China and was taught by UECHI Kanbun Sensei in the Wakayama Dojo. Along with the Dan Kumite, a fully developed understanding of taikawashi is necessary at this stage in training to perform the Chinese-style Bunkai safely.

The kata Seiryu was a creation of the same development committee, under UECHI Kanei Sensei. It is phonetically represented by the Japanese numbers ten/six and is sometimes thought to mean sixteen. The outstanding technique taught in this form is the sequence of four Ryu no Kamae (Dragon Ready stances). The name may imply Soft Dragon Fighting. All techniques are performed in a soft, whip-like fashion, similar to Seichin. UECHI Sensei named this kata.

It is possible that UECHI Kanbun Sensei learned some of the techniques found in Seiryu in the 16th room at the Fuchanshin Temple under the direction of SHUU Sensei.

Kanchin is Master UECHI Kanei's personal addition to the system, and was his favorite kata. The name is a combination of the Kanji KAN from Kanbun and Kanei, and CHIN from Sanchin. Another story refers to it as Kanei's Challenge, possibly referring to the personal challenge he undertook to create and perfect this kata. UECHI Kanei Sensei determined the name. In its original form, some differences in the direction in which some techniques are performed are evident, and the UechiRyu Zankai uses tobikomi. Also, the meanings for several moves differ when performed using older-style technique. Kanei Sensei still considered it a lesser kata, however, when compared to Sandairyu.

Of the three original SHUU Family System kata, Sandairyu is the most complex and difficult, yet one can still find the basis for every move in Sanchin. At first, it seems to be a very complex kata. Yet, when the movements are finally performed correctly, one finds that one has returned to Sanchin -- the simplest and yet most complex form in the system! Upon realizing this, the practitioner has come through the circle of development and back to the beginning -- as should be, for to truly understand any system, one must always return to the roots for strength, power, and answers.

Sandairyu (also Sanseiryu, or Sandui) is represented phonetically by the Japanese numbers three/ten/six and is sometimes thought to mean simply thirty-six. SHUU Shiwa's assigned duty in the Fuchanshin Shaolin Temple was to teach the kata Sandairyu. He was known in the temple as The 36th Room Priest and his routine instructional duty was to teach the kata Sandairyu-bo (36th Room Form) -- training was conducted in the Fuchanshin Shaolin Temple through thirty-six training rooms in progression. This is noted in the old UechiRyu Kyohon (1977), pages 307-308. Interestingly, Shorinji Kempo (Shaolin-Style Fist-Way) also has a form called Kata no San Ju Rokku Bo -- Kata of the 36th Room.

The UechiRyu Zankai preserves Sandairyu in its original form as taught by UECHI Kanbun Sensei. The differences can be seen in the timing and direction of some sequences, usage or meaning of some techniques, and application of tobikomi.

There once was another kata taught in the Fuchanshin Temple, known as Suparimpe. This kata allegedly had 108 movements. It is speculated that since there were 36 rooms of training in the temple, one would have to make the circuit of 36 rooms three times to learn the necessary techniques, eventually culminating in the Suparimpe Kata. It is unknown whether it was actually a kata of the SHUU Family System. UECHI Kanbun Sensei often expressed regret that he had not remained in China long enough to study this kata -- he said it took 39 years to master Suparimpe. Several versions of Suparimpe are found in other Okinawan karate systems, but it is unlikely they can be proved to derive from the Fuchanshin Temple.

Kanbun Sensei did know a fourth kata, however. What it was and where he learned it is not known --- he did state that he knew a fourth form but felt it was unnecessary that his students learn it. It's possible Kanbun Sensei learned it in the Okinawan Dojo in Fuchow before meeting SHUU Sensei, or possibly at the Fuchanshin Temple. Since Kanbun Sensei was a GojuRyu practitioner before his trip to China, it may even have been a previously-learned GojuRyu kata. At any rate, he did not elaborate on it, and apparently did not teach it. However, this fourth kata was not the Suparimpe of which he spoke.

Kanbun Sensei was proficient with the bo, though he did not teach kobudo in the Wakayama Dojo. It is possible the form he studied as a youth in Izumi is still preserved as a specialty of that locale, and a research visit is planned to that area. Kanbun Sensei was also familiar with the use of nunchaku, since he used them along with bo quite effectively during his travels in China. However, he did not pass any nunchaku forms on to his students, though he apparently practiced certain techniques he found useful. At one point, he showed some of his bo technique to TOYAMA Sensei, but didn't teach it, only demonstrating the techniques to illustrate a story he was telling at the time of his travels in China.

On November 16, 1995, the Board of Directors of the Okinawa Karatedo Association created a new school (ryuna) and officially named it SHOHEIRYU, choosing one out of 28 proposed names.

The name SHOHEIRYU is very significant, historic and memorable for all members of the Okinawa Karatedo Association regardless of nationality. The Chinese character 'SHOEI' consists of the combination of the initial letters 'SHO' of SHOWA and 'HEI' of HEISEI.

The Okinawa Karatedo Association was founded on April 1, 1989. The year 1989 was also very historically significant for Japanese people. That year, the accession of the present Emperor to the throne was carried out and consequently the era name was changed from SHOWA to HEISEI. The Okinawa Karatedo Association was organized just during this stage of transition.

The SHOHEIRYU is an epoch-making term, symbolizing a bridge between the past and the future and a well-balanced linking between traditionalism and modernism. We value the cultural weight of tradition as well as the present-day being. Thus, the SHOHEIRYU promises unlimited and everlasting development of the Okinawa Karatedo Association in the days to come.

In this new development, the members of the Okinawa Karatedo Association will be enriched both in spiritual and technical aspects of the Okinawa karatedo.