I AM VERY CONCERNED ABOUT THOSE WHO ARE TEACHING KATAS. I NOTICED SOME STUDENTS
WHO DID NOT KNOW KATAS 1-18 BUT KNEW THE LAST THREE OR FOUR.
ALL STUDENTS NEED TO KNOW KATAS YOU SHOULD STARTING FROM BEGINNING TO WHERE YOU ARE,
THIS IS AN IMPORTANCE TO SKKA STUDENTS. ALSO ALL NEW MEMBERS AND THOSE WHO ARE INTERESTED IN JOINING.
EVERYONE IS MORE THAN WELCOMED TO JOIN SKKA AND BECOMES AN ACTIVE MEMBER.
I WOULD LIKE TO STRESS TO YOU THAT ANY INFORMATION YOU NEED PLEASE CONTACT YOUR LOCAL ASSOCIATED SCHOOL
ABOUT ANY INFORMATION ON MY SELF OR HOW BECOMING A MEMBER CAN BE IMPORTANT TO FIT YOUR NEEDS.
IF YOU WOULD LIKE TO SEE ME PERSONALLY PLEASE CONTACT ME BY E-MAIL.
I AM OPEN TO ALL INVITATONS TO SEMINARS AND ANY OF YOUR LOCAL
EVENTS FOR MEMBERS DOJO. I WOULD JUST NEED ADVANCE NOTICE.

THANK YOU, EIHACHI OTA

THIS LIST TO BE OUR S.K.K.A. MOST RESPECT FUL GO-DAN AND UP:
1). YOU MOUST APPROVED BY SHOW OR SEND BY VIDEO OF THE 18'S MATSUBAYASHI(SHORIN-RYU) KATA
2). ANY MATSUBAYASHI(SHORIN-RYU) STYLE OR GROP ARE WELCOME TO BE ON LIST.
3). YOU ARE PERHAPS APPROVAL ADVANCED AND APPRECIATION CERTIFICATION FROME S.K.K.A.
.4). YOU MOUST SHOW OR APPROVED YOUR GO-DAN CERTIFICATION.

Biginer level Kata :
Fukyugata ichi(1) and Fukyugata 2 (NI)

Fukyugata 1 (ichi): Sharpening these mental skills considerably enhances our
reflexes and the physical speed of our techniques.
This kata also develops the practitioners ability to move from a
high stance or natural stanse to a low stance or forward
stance and vice-versa.This is critical to the beginner's
understandding of distance.Karate techniques are
maximized at specific,given distance.if we are too close
to our opponent,punches and kicks can be jammed or blocked.
if we are too far away strikes loose considerable power.
Achiving the proper ditance is a skill which requires constant practice.
In Fukyugata 1 the left leg determines thedirection or angle and distance from the opponent.
The right leg determines the speed and power of the technique.
Fukyugata 1(ichi) also develops the practitioners ability to change direction and angles.
To build up this skill the practitioner must learn to drop their weight in the stance,
concentrating all the tension on the rear leg.Then the practitioner must use this tension to push off in the
new diretion towards the opponent.
The feeling in these movements is like squeezing a spring tightly together and then letting it uncoil.

Fukyugata 2 (ni): was composed by Chojun Miyagi, the founder of Goju-ryu. Both Fukyugata 1 and 2
were created with the purpose ofteachingKarate-do to school children in Okinawa.
The governor of Okinawa prefecture selected Grndmaster Nagamine and Gradmaster
Miyagi for this important assignment,
and both kata were created for this purpose in 1940.
In the Goju-ryu system the form is referrend to as Gekisai dai .
Grandmaster Nagamine included Miyagi's kata in curriculum as a beginning level form

(Kata Pinan 1-5 . . Kata Naihanchi 1 and 2 . . Kata Arnanku) Back

Pinan 1-5: Most historians belive that the Pinan Kata were composed and introducedofter
1902 by Anko Itosu(1813-1915).Itosu was one of the most accomplished student of
Soken Matsumura. and a teacher to Chotoku Kyan and Choki Motobu,
two of Grandmaster Nagamine's most prominent instructors. Pinan kata clealy has many
similar techniques and sequences as the Matsubayashi-shorin-ryu version of the kusanku kata.
Therefore many believe Itoshu derived Pinan from this form.
When Karate was first introduced publicly in the high school in okinawa.
Itosu did not want to give the impression that Karate -do was about violence or aggression.
Consequently, he intoduced Pinan kata, which transleted means "Peaceful Mind".
Pinan kata strives to develop a mental stste in the practitioner similar to the state of awareness
in Zen Buddhism.That is, where the mind is completely relaxed,
yet completely alert at the same time. In Pinan kata, the practitioner is surrounded on all sides by
several imaginary opponents, but does not knill be unable to react to an attack by muiple opponents.
It is essential to clear your mind of all distractions in order to change direction and prepare for the next attack.
All five Pinan kata beginwith an imaginary opponent attacking from the left.
In Matsubayashi shorin-ryu it was decided for the first move of each Pinan kata that the practitioner
should move away from the attack by steppingback with the
right foot and twisting into a cat stance.
In other Shorin-ryu styles the practitioner, however,
moves into the oncoming attack by moving the left foot first.Psychologically
this is an enormous difference.
The way this technique is performed can chang the entire nature and
philosophy of the Pinan form.Pinan kata is about developing
the skill to move out of the way of harm by stepping at an angle in the cat stace.
The practitioner must land with the weight down so
that the spring is already tightly compressed once the practitioner's leg touches the ground.
In Pinan, tpracio lns m a wh a icr in ainmetepriterIn more advanced kata,
the practitioner develops the skill to move in when being attackded.
The first time in the Matsubayashi-shorin-ryu curriculum that this technique is used is at
the begining of Wankan kata. In pinan,step at an angle,
away from the attacker so that it is advantageous to deliver the counter attack.
AAs soon as the toes of the right foot touch the ground,
use the legs to snap the hips and generate power on the blocks,
When the practitioner steps back to avoid the attack they must land with their
weight already dropped, so that the coil is already compressed.
This create greater speed and power on the subsequent counter attack.
Before turning or changing direction in pinan, the practitioner must remember to
look in the direction of the attack before moving their bodies.

A - NAIHANCHI 1 AND 2: The composer of this kata is unknown,
but it has long been treasured by karateman from Shuri and Tomari.
Many traditions assert that Soken Matsumura created Naihanchi or based his version on older forms known to him.
Most Shorin-ryu styles practice trree distinct short form of Naihanchi. Before Pinan's invention in 1907,
Naihanchi kata were the first forms taught to beginner level practitioners.
The most important purpos of Naihanchi lies not in the fighting skills it develops,
but in training the lower parts of the body through slow and steady sideward movements.
Developing strong legs and hips are indispensable to karate training.Accrding to
Grandmaster Nagamine the posture for Naihanchi is similar to the sitting posture for Zen,
with stregth concentrated in the abdomen.
Nagamine recalls that the Naihanchi kata were a favorite of Choki Motabu.
Naihanchi kata is useful when there is limited space.
The punching and blocking motions are short because space is very restricted.
The short techniques make Naihancme consideration might be given to thinking of
Naihanchi as a more technically advanced level form.
Naihanchi, or Tekki in japanese, tranlated means horse when riding.
Some practitioners perform Naihanchi with the knees directed inwards.
This is incorrect posture and the practitioner do this because they have not properly developed their legs.
When performing each of the Naihanchi kata,
once the practitioner drops into the horse stance it is critical to keep their
height consistant throughout the entire kata.
The practitioner's height should not fluctuate up and down.
The only way to build power is not a stace is a strong stance for defense
from the front and rear of the practitioner.
However, it is extremely strong from the left and right sides of the practitioner.
The weight distribution is equally spread between the two legs.
if the weight is ever transferrred to one leg the practiyioner looses all strength in
the stace from the sides and is vulnerable to attack frome t ri ss thodThfo w
spiovtove tho sce adeways direction,
the practiyioner must try and shorten the time
the weight distribution is over the supporting leg. This is one of the primary
skills developed in the three Naihanchi forms.

KATA - ARNANKU: The history of Ananku is comparatively short, and the composer is unknown.
Chotoku Kyan either learnd the kata form a Taiwanese who visited Okinawa,
or brought it back with him following a journey to Taiwan. The term ko or ku may mean elder
and that this form may refer to an elder or teacher of Kyan named Anan.It is interesting that practitioners
fromdifferent schools can use the same kata,and even claim the same origination of the form,
yet the movements and performanceare virtually unrecognizable.
we know Ananku genealogically comes fromChotoku Kyan,
yet the Matsubayashi-shorin-ryu version is unique compared to other versions with thesame name.
Ananku distingushes itself by developing offensive and defensive skill using the forward stance.
Ananku is the only kata in the Matsubayashi shorin-ryu kata curriculum where thepractitioner
moves back to block in the forward stance.
Another important skill practitioner develop by practicing Ananku is how to move forward in a front
stance while maintaistent height t's height changes, speed is severly comprimised. Moreover,
the practitioner becomes vulnerable to attack from the oopnent.
Practitioners of other styles of Karate, particularly the Japanese styles likes Shotokan,
learn this skill early in their kata curriculum.
In Okinawan Shorin-ryu styles, however, variations of the natural stance are far more commonly used.
Therefore,practitioners of Shorin-ryu styles tend to learn to move forward in the natural stace,
and from a natural stance to a front stance and vice-versa. In Matsbayashi shorin-ryu,
develop[ing movement in a front stance comes after kata like Fukyugata, Pinan, and Naihanchi.
Learning this way of moving is good training,
but does not have much practical value for self-defense.

Kata-Naihanchi-sandan: Naihanchi |||. is grouped in the Intermediate Level
forms because of the more difficult combination movements. Also, if prac
titioners learned all three Naihanchi in succession ,
they would spend almost a year on only Naihanchi.
Kata-wankan: few extant kata from the Tomari district of Okinawa.
It is important to note that Matsubayashi-shorin-ryu is one of the few styles which strives
to preserve these Tomari-te Traditions. Wankan translated means "The Kings Crown" but the title
does not lend insight into the kata's history or philosophy. The foundations developed in this form are
fundamental to learning advanced combinations.There fore, Wankan is according to Grandmaster Nagamine,
Wankan's history is very old.The composer is unknown, but it is one of the useful
transition from begining level kata like pinan and
Naihanchi to the advanced level forms like Passai, Chinto, and Kusanku.
The difference between the combination sequences in Wankan and the higher level forms is that
the practitioner is not required to move forwqrd or backwards executing the techniques.

-wanshu: Wankan kata was introduced into the Tomari district of Okinawa in 1683 by a Chinese
envoy or Sappushi of that name. Sappushi were the official governmantal contact between China and Okinawa.
Following Wanshu, there is nearly a century gap until our knowledge of the development
of Karate re-surfaces with Kung Shang K'ung or Kusanku. The ready positions in all other Shorin-ryu kata are
quite different than the ready position in Wanshu. However, this position is consistent
with many openning salutations in Chinese style forms. Historically, these postures were
ways of identifying and differentiating between specific organixations. According to Grandmaster Nagamine,
the hidden fist strike is the signature technique of this kata. Wanshu lived and woked in Tomari,
and aside from his diplomatic responsibilities. He also instructed a small following of disciples
in a style called Shaolin White Crane Fist Boxing. Wanshu taught the practitioner also develops the
secrets of taking the opponent up and offhis feet and thro to the ground. Many believe the original
version of Wanshu was much longer than the modern kata, which derives from either Kyan or Itosu.

Kata-Rohai: Like Wankan kata, Rohai also has a very long history, and like Wankan,
has an unknown composer. More importantly , Rohai is another extant Tomari-te from,
passed down by Kosaku Matsumura. Translated, Rohai means "vision of white heron".
The kata's signature movement of stepping back and blocking on one leg is reminiscent of this
title.Rohai develops continuous rhythm in technique, which is the foundation for quick and powerful combinations.
Rohai is the first kata in Matsubayashi-shorin-ryu which focuses upon these kinds of advanced
combinations and movements, and is therefore asignificant leap from all preceding forms. lt;

GOJYUSHIHO:The composer of this kata unknown. Most modern versions can trace their
genealogies back to either Itosu or Kyan. Kyan learned versions of this kata from Matsumura of Shuri and
Oyadomari of Tomari.The spear hand movements distinguish Gojushiho from other kata.
Gojushiho has been labeled the "drunken monk" from because certain movements are
designed to appear off balance to the unsophisticated eye. Th pracctitioner.
however, should maintain perfec control and balance during execution of these movements.
Literally, however, Gojushiho is (translated as "54 steps"The 54 steps,however,
does not refer to the number of counts or movements in the kata. According to Zenko Heshiki,
Kyoshi 7th Dan in Matsubayashi-ryu, the 54 steps refers to the concept of 108 Defilements
in Buddhist philosophy.These defilements or faults cause both the body and
mind to suffer in Buddhist philosophy.When a Buddhist sees numbers.
that are factors of 108(54,36, or 18)according to Heshiki,
he is reminded of the Defilements. in Goju-ryu there are kata like Sepai,
which means 18,Sanseru which means 36, or Supernpei which means 108.
The relatedness of these numbers between kata from different styles is striking and
suggests more than pure coincidence.Many Buddhist temples have108 steps leading to the shrine.
As each of these steps are climbed, a defilement is elightenment.Perhaps in the same way, as the Karateman
practices Gojushiho he is symbolically polishing his spirit to receive the true benefits of karate training.

PASAI: Pasai has long been cherished by Karateman from both Shori and Tomari,
and was said to be the favorite kata of Chotoku Kyan. The composer of this kata is unknown.
Indeed, the Shuri-te and Tomari-te versions of this form are discernably similar,
but which version pre-dates the other is uncertain. Most historians, however,
ascribe to the theory that Passai derives from the Soken Matsumu tradition.
Translated,Passai means "to breach a fortress". The practitioner develops skills for night fighting,
grappling techniques, but most importantly, the mental confidence "to thrust asunder".
passai mentally demands that the practitioner make a quantum leap from any kata preceding it
inMatsubayashi shorin-ryu karate pinan kata develops a peaceful mind:
the ability to relax and still be extremely alert. The strategy of pinan is to establish
an angle outside the opponent's power line, then block and counter attack.Conversely,
the strategy of passai is to move directly into the line of attack and brea's attack or"fortress".
The pinan strategy is far less risky and allows for a much greater margin of error.
for this reason Pinan is ideal for beginners, while Passai is reseved for more advanced students.
Grandmaster Nagaminenoted that Kyan never retreated in a fight, but rather stepped
forwards orto the side and counter attacked. Perhaps this was his favorite form.
In the Matsubayashi shoorin-ryu genealogy, it's version of Passai comes from
Chotoku Kyan and uses many open handed techniques similar to other Tomari-te versions of the kata.
Kyan learned seversl versions of this form: Matsumura-passai,Oyadomari-Passai,
and Matsumura-Passai and it has been suggested the his personal version refectselements of all three.

SHIHANDAI KATA:

Kata Chinto Kusanku and Bunkai(all 18's Kata)

SHIHANDAI KATA: Kata Chinto / Kusanku and Bunkai(all 18's Kata)
KATA CHINTO: The composer of this kata is unknown, but we know the form was a favorit of Kyan and Ara kaki.
Chinto means "fighting to the East" ,and the embusen for the kata is performed in a straight line,
but in a diagonal from the opening stance.Most version of Chinto derive from either:Matsumura of Shuri
which use a straight forward and back embusen,or Matsumura of Tomari, which use a side to side embusen,
or Chotoku Kyan whichi use a diagonal embusen.The Kyan version of Chinto clearly traces it's origins back to
the Tomari-te kata of Matsumura.The Matsubayashi-ryu version of Chinto comes directly from Kyan..
The kata is characterrized by dynamic movements using kicking techniques including the flying front kick.
Chinto contains may chages of direction all along the same straight line pattern,and requires an advanced level of
skill and balamce to perform properly.Thesignature movement where the right arm moves in a backwards.
circular movement is performed three times during the kata.The verd invi:japanese provides insight into the application
of this movement in the kata. Indeed,many kata contain movements that suggest an invitation to the opponent to attack.

Here are a few suggestion I have made to our members
regarding Kobu-Do,

**1),Choose a Kobu-do that calls to you. Remember that certain
kobu-do's,however, are inherently
more dangerous to the practitioners them selves.Kobu-do's
which are swung, like the nunchaku or
kama, are more difficult to control. Bladed kobu-do's like the
Kama clearly presents greater chance of
serious injury. My recommendation is to begin with the bo because
of the way it conditions the body and
its effectiveness in combat situations. Once a student gains skill
in the bo, they should select a
second KOBU-DO.It is not necessary to gain proficiency in more
than 1 or 2 kobu-dos.
**2), Focus Upon a small number of kata,2 or 3. Quality in kata
is always more important than quantity
** 3).You must learn from your experience.

（Bo - kata's . Kama - kata's . Sai - kata's . tunfa - kata's)