Kata Names and History

Kata forms the foundation of Kyokushin Karate, allowing practitioners to develop technical proficiency, mental discipline, and a deeper understanding of the art. Through dedicated practice, practitioners can unlock deeper aspects of kata that transcend the physical movements. Kata can be practiced in a number of different ways. Through practice it can even become a moving and dynamic form of meditation.

Taikyoku (太極)

The three Taikyoku kata were created by Yoshitaka “Gigo” Funakoshi, the third son of Gichin Funakoshi, the founder of Shotokan karate. Yoshitaka Funakoshi was diagnosed with tuberculosis when he was seven. He began formal training in karate at age 12 as a way to improve his health. He moved to Tokyo with his father when he was 17. He later assumed duties as the senior assistant instructor under his father.

Taikyoku translates as “First Cause.” The Chinese kanji used for the name Taikyoku are pronounced as “Tai Chi” and in Chinese translate as “Grand Ultimate.” These kata are the foundation and the first to be taught to beginners. They introduce basic techniques, movement, direction, balance, and coordination while giving the student a framework upon which more advanced kata can be built.

There is also a philosophical aspect to Taikyoku. The beginner approaches training without the accumulated assumptions that come with experience. In that sense, Taikyoku can be associated with the beginner’s mind: open, receptive, and prepared to learn.

Pinan (平安)

The Pinan katas were introduced to the Okinawan school system by Anko Itosu in 1905. These five kata were created as a method for teaching schoolchildren. According to stories, Anko Itosu created these kata by breaking down an older kata that he felt was too difficult for children to learn. The kata was Chiang Na, also known as Channan, which he is said to have learned from a Chinese man. Gichin Funakoshi introduced these kata to Japan with modifications and called them Heian.

Both Heian and Pinan translate as “Peaceful and Safe.” The name reflects more than the absence of conflict. Through repetition, the Pinan kata develop composure, control, and the ability to move deliberately under pressure. The goal is not simply to memorize increasingly complex sequences, but to perform them without unnecessary tension or hesitation.

Sanchin (三戦)

Sanchin can be translated as “Three Battles” or “Three Conflicts.” Some interpretations refer to the battle to unite body, mind, and spirit. This kata has versions practiced in many different styles of karate.

There are two versions that come from Goju. The most widely taught one was created by Chojun Miyagi and is known as “Sanchin dai ichi,” or “Miyagi’s Sanchin.” This kata goes forward and then backwards and has no turns.

The second is called “Sanchin dai ni” (even though it is older) or “Higaonna’s Sanchin” and was taught by Miyagi’s teacher Kanryo Higaonna. His version came from his training in Fujian Province in China and was originally done with open hands. Juhatsu Kyoda, who trained with Higaonna at the same time as Miyagi, revised the kata to closed fists. Miyagi later adopted this as well. Sanchin dai ni always moves forward but has two 180° turns.

Sanchin was again revised by Mas Oyama. In the Kyokushin adaptation of the kata, aspects of both Goju versions were used to create a new variation of Sanchin. Sanchin develops physical power, stability, and internal energy. It emphasizes strong stances, controlled breathing, muscular tension, and the ability to coordinate the entire body as a single unit. The “three battles” are therefore not merely physical; the kata demands concentration and control of the mind and spirit as well.

Tensho (転掌)

“Among the karate formal exercises, none is more important than Tensho.” — Mas Oyama

Tensho can be translated as “Revolving Palms” or “Turning Palms.” This kata was introduced as a companion to Sanchin and was created by Chojun Miyagi. Miyagi wrote about it in his 1933 book Karate-do Gaisetsu. It is said that he was inspired by the six open-hand techniques called “Rokkishu” that are illustrated in the Bubishi.

Where Sanchin emphasizes tension, structure, and direct power, Tensho introduces softer, circular, and flowing movement. The two kata complement one another. Tensho teaches that effective karate does not always meet force with greater force; movement, redirection, breathing, and control are equally important.

Shihan Bobby Lowe was Sosai Mas Oyama’s first uchi-deshi (live-in student) and opened the first Kyokushin branch outside of Japan in Hawaii. Karateka from all over the world traveled there for his annual seminars, which were focused on goshin-jutsu (self-defense) using this kata as a basis.

Yantsu (安三)

One translation of Yantsu is “to maintain purity” or “keep pure.” It is also sometimes called “Yansu.” The character for Yan means “safe” and Su means “three,” so another translation is “safe in three ways” or “safe in three directions.” There is some debate about the origin of the kata. Some say that it was brought to Okinawa by a military attaché during the 19th century and, depending on the source, has been attached to both Naha-te and Shuri-te.

A longer version of the kata called “Ansan” is taught in some Motobu Ha Shito Ryu schools. Shogo Kuniba may have taught the kata to Mas Oyama, who modified it for Kyokushin, making it slightly shorter and placing a greater emphasis on power.

Within Kyokushin, the traditional idea of “maintaining purity” can also be understood as remaining true to one’s principles despite pressure or adversity. The kata combines forceful technique with control, reinforcing the idea that strength and principle should develop together.

Tsuki No Kata (突きの型)

This is translated as “Punching Form.” Creation of this kata is credited to Tada Seigo and comes from Seigokan Goju-ryu. It was introduced to Kyokushin by Tadashi Nakamura from his prior study of Goju and adopted by Mas Oyama as part of the Kyokushin curriculum.

The apparent simplicity of Tsuki No Kata can be misleading. Repeated punching combinations allow the karateka to concentrate on stance, hip rotation, timing, breathing, coordination, and the connection of the entire body to a basic technique. Repetition also develops endurance and spirit. A fundamental punch may be simple to learn, but refining it is a lifelong process.

Gekisai Dai and Gekisai Sho (撃砕大・撃砕小)

Gekisai Dai and Gekisai Sho were adapted after 1964 by Masutatsu Oyama and are based on the Goju-ryu kata Gekisai Dai Ichi and Gekisai Dai Ni, which were created by Chojun Miyagi in 1940.

The name Gekisai carries the sense of attacking, smashing, or breaking through. The kata combine strong, decisive techniques with changes in direction and more fluid movement. Beyond the physical techniques, the idea of breaking through an obstacle fits naturally with Kyokushin training: difficulties are not simply avoided but confronted and overcome.

Tekki (鉄騎)

Tekki can be translated as “Iron Knight,” “Iron Rider,” or “Mounted Soldier.” Gichin Funakoshi renamed the older Okinawan Naihanchi kata as Tekki when he introduced them in Japan. There are three Tekki kata. All three kata use Kiba Dachi (Horse Stance).

These kata are not part of the requirements for advancement but were once taught in many Kyokushin dojos. Their repeated lateral movement and sustained Kiba Dachi develop strong legs, stability, hip use, and the ability to generate power while maintaining a firm base.

Seienchin (征遠鎮)

There is some debate about the origins of Seienchin, also sometimes spelled “Seiunchin.” It comes to Kyokushin through Mas Oyama’s study of Goju-ryu. Some believe it was introduced to Okinawa by Kanryo Higaonna following his time studying in Fujian Province in China and passed on to his student Chojun Miyagi, the founder of Goju-ryu. Other sources say it was actually Chojun Miyagi who created the kata after he spent a year in China studying Pa Kua Ch’ang Kung Fu.

Seienchin is generally translated either as “the calm in the storm,” “to grab and pull in battle,” or “subdue the distant rebel.” Seienchin emphasizes powerful and explosive movements, incorporating close-quarters techniques, grappling, and takedowns. It develops strength, body control, and dynamic power.

Its low stances and demanding movements also make Seienchin an exercise in endurance and perseverance. Maintaining structure and technique while the legs fatigue is part of the lesson. The karateka must continue to move with control when the body would prefer to stand up, rush, or quit.

Garyu (臥竜)

Garyu is translated as “Reclining Dragon” and was created by Sosai Mas Oyama. “Garyu” was also Mas Oyama’s pen name.

The image of the reclining dragon suggests power that does not need to be constantly displayed. A dragon at rest remains a dragon. In that sense, Garyu can be associated with humility, restraint, and strength held in reserve. Kyokushin training seeks to develop power, but also the judgment and character necessary to control it.

Seipai (十八)

Seipai comes to Kyokushin through Goju-ryu and is traditionally associated with the Naha-te lineage of Kanryo Higaonna and Chojun Miyagi. It is translated as “Eighteen Hands.”

The number eighteen has also been given traditional symbolic interpretations, including six multiplied by three, sometimes associated with the six senses and three conditions or states. As with many older kata traditions, interpretations vary. In practice, Seipai combines controlled movement with sudden changes of direction and explosive power.

Kanku (観空)

This kata is called Kanku Dai in Shotokan. The earliest reference is 1922 and is Gichin Funakoshi’s version of Kushanku, a kata he learned from Asato Anko and Itosu Anko. In Kyokushin it is called simply “Kanku” and is translated as “To Look at the Sky” or “To Behold Emptiness.”

Kanku begins with the hands forming an opening through which the practitioner looks toward the sky. The movement has come to symbolize clarity, openness, and looking beyond immediate limitations. This opening gesture also inspired the familiar Kyokushin Kanku symbol.

Sushiho (五十四歩)

This kata is adapted from Gojushiho, which means “Fifty Four Steps,” and comes from Shuri-te on Okinawa. Mas Oyama created the Kyokushin version.

Sushiho is an advanced kata requiring precision, coordination, and control through rapid changes in technique and direction. At this level, power alone is not enough. The karateka must be able to move efficiently, maintain balance, and transition cleanly between techniques without losing structure.

Saiha (最破)

This kata is called “Saifa” in Goju-ryu and Shito-ryu, but in Kyokushin we call it “Saiha.” This kata is believed to have originated from Kanryo Higaonna in the early 1900s. Saifa can be translated as “To Rend Asunder” or “Maximum Destruction.” Saiha can be translated as “Sai” — smash, break — and “ha” — rend, rip, tear, destroy — or “Smash and Destroy.”

The idea behind Saiha is not simply destruction for its own sake. It represents the ability to break through resistance and continue despite adversity. Within the IFK tradition this idea is reflected in the wave incorporated into the IFK emblem: the wave may be broken, but it continues forward. In this sense Saiha represents resilience as much as physical power.

Sokugi (足技)

There are three Sokugi kata. They are variations of the Taikyoku kata, sono ichi, sono ni, and sono san, and were created by Mas Oyama to drill kicks. They follow the same embusen (lines) but substitute kicks for punches. These are not required kata in all Kyokushin organizations.

Because the patterns are already familiar from Taikyoku, the karateka can concentrate on balance, chambering, recovery, hip position, and control while repeatedly executing kicks. The forms demonstrate how a familiar structure can be used to isolate and develop a specific physical skill.

Ura (裏)

Kata performed in ura substitute a reverse spin for the turns. Maintaining balance while turning is much more challenging. In some organizations these are used only as a training tool and are not required for advancement.

Under IFK requirements, the ability to perform Taikyoku sono ichi, ni, and san in ura is a requirement for Shodan. Pinan sono ichi in ura and Pinan sono ni in ura are requirements for Nidan and Sandan respectively.

Ura practice forces the karateka to experience familiar kata differently. The techniques may be known, but the altered turns challenge balance, orientation, coordination, and concentration. It is another example of how kata can continue to present new problems long after the basic sequence has been learned.