With the goal of unification of various karate styles which was in fashion at that time ( see Gichin Funakoshi 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 Suparinpei, and upper blocks uncommon for Goju-ryu at that time ) and incorporating them into a shorter forms.

The formal kendo exercises known as kata were developed several centuries ago as kenjutsu practice for warriors and are still studied today, albeit in a modified form.

Interestingly, among the multitude of the latter were also training tools that appear to be very similar to Asian martial arts Forms or kata, and were known as cheironomia ( χειρονομία ) and anapale ( ἀναπάλη ).

Whatever its origins were, the nunchaku were not a popular weapon, evidenced by the fact that no known traditional nunchaku kata exist.

Advanced students ( from shodan and above ) study the 3 long kata from which the basic kata were derived.

His appearance at the start of the play is not just a coincidence but a godsend ( kata theon, line 147 ), the shameless pranks that enable him to defeat Paphlagonian were suggested to him by the goddess Athena ( 903 ), he attributes his victory to Zeus, god of the Greeks ( 1253 ), and he compares himself to a god at the end ( 1338 ).

These kata were created around 1940 by Chojun Miyagi and Nagamine Shoshin as beginners ' kata, to introduce the basic forms of karate ( kihon ) to middle school students in Okinawa, to help bring about the standardization of karate, and to teach a basic set of techniques for self-defense.

Many of the names of the newer kata were formed from the names of prominent figures in the art, e. g. Kanshiwa from Kanbun and Sushiwa.

It was Itosu who first developed the Pinan kata, which were most probably derived from the " Kusanku " form.

While both Itosu and Higaonna taught a " hard-soft " style of Okinawan " Te ", their methods and emphases were quite distinct: the Itosu syllabus included straight and powerful techniques as exemplified in the Naihanchi and Bassai kata ; the Higaonna syllabus stressed circular motion and shorter fighting methods as seen in the kata Seipai and Kururunfa.

He created and introduced the Pinan forms ( Heian in Japanese ) as learning steps for students, because he felt the older forms ( kata in Japanese ) were too difficult for schoolchildren to learn.

Some believe the final three movements, a series of backwards hops, were added to bring the kata back to the original starting place in order to facilitate competition, because they are not present in the other versions of the kata practiced by other styles of Japanese Karate.

Their origin is thought to be from the Tomari-te school, however Hirokazu Kanazawa speculates that the Jion kata were devised in the Jionji 慈恩寺, the Jion temple, where martial arts were famously practiced.

From there, Kanazawa believes the Jion kata were spread into the Tomari region.

One person kata is an important practice, and the main kata taught in the style in its early days were versions of Naihanchin, Nijushiho, Sanchin, Chinto and Kusanku, as well as a Bō ( 6 ft staff ) kata ( Shishiryu no Bo ), a Jo ( 4 ft staff ) kata and a Sai ( iron truncheon ) kata ( Nijushiho no Sai ).

Tensho was influenced by the White Crane kata Ryokushu, which he learned from his long-time friend Gokenki.

Strikes and thrusts by hands and feet as well as weapons defenses are a part of judo, but only in pre-arranged forms ( kata ) and are not allowed in judo competition or free practice ( randori ).

Funakoshi changed the names of many kata and the name of the art itself ( at least on mainland Japan ), doing so to get karate accepted by the Japanese budō organization Dai Nippon Butoku Kai.

The expanded Pseudo-Ignatian version of Magnesians, possibly from the middle of the 3rd century, rewrites this passage to make " Lord's " refer to the first day ( the variant textual reading of kata kyriaken zontes, " living according to the Lord's ", is supported by the medieval Latin manuscript Codex Caiensis 395, " secundum Dominicam viventes ").

Seitei Iaido ( 制定 ) (" basis of the Iaido ") or Zen Nippon Kendo Renmei Iaido is the standard set of iaido kata created in 1968 by a committee formed by the All Japan Kendo Federation ( AJKF, Zen Nippon Kendo Renmei or ZNKR ).

Work on standardizing kenjutsu kata continued for years, with several groups involved, until in 1912 an official edict was released by the Dai Nippon Butoku Kai.

On the other hand, in many other Eastern martial arts, competitors can display their skill by performing standard routines, called kata or forms, to receive recognition.

Three fundamental kata emerged during this period: Tenshingoso ( which Aoki had created by April 1966 ), Eiko ( which the Rakutenkai discovered during a late-night practice on 1 December 1966 ; and Hikari ( see below ).

Techniques in kihon and kata are characterized by deep, long stances that provide stability, enable powerful movements, and strengthen the legs.

Shotokan practitioners first learn how to apply the techniques taught in kata to hypothetical opponents by way of kata bunkai.

Kihon Kata, or Taikyoku Shodan, was developed by Yoshitaka Funakoshi, the son of Gichin Funakoshi, as a basic introduction to karate kata.

" Funakoshi's karate reflects the changes made in the art by Ankō Itosu, including the Heian / Pinan kata series.

Formed by numerous masters throughout the ages through dedicated training and research, the kata are like a map to guide us, and as such should never be changed or tampered with.

* Sanseirū-Kanji: 三十六手-Katakana: サンセイルー ( 36 Hands ): The kata teaches how to move around the opponent in close quarters fights, and emphasizes the destruction of the opponent's mobility by means of kanzetsu geri.

The rift came about through some teachers wanting to teach a varied form of Uechi ( from slightly different kata to newer conditioning drills ), and some wanting to teach the " classical " form as designed by Kanbun.

* Taikyoku series: developed by Gichin Funakoshi as a preliminary exercise before the Pinan series ; many Wadō-ryū schools teach these basic kata, particularly Taikyoku Shodan ( 太極初段 ).

* Pinan kata: created by Ankō Itosu, and consisting of Pinan Shodan ( 平安初段 ), Pinan Nidan ( 平安二段 ), Pinan Sandan ( 平安三段 ), Pinan Yodan ( 平安四段 ), and Pinan Godan ( 平安五段 ).

* Naihanchi ナイハンチ ( 内畔戦 ; also known as Naifanchi ): this was the original name for the three Tekki kata, but was changed by Funakoshi.

" Transmitted by Ankichi Aragaki, this kata is known in Japanese as Nijūshiho.

Each area and its teachers had particular kata, techniques, and principles that distinguished their local version of te from the others.

Otsuka thought that the full spirit of budō, which concentrates on defence and attack, was missing, and that kata techniques did not work in realistic fighting situations.

Some martial artists compete in non-sparring competitions such as breaking or choreographed routines of techniques such as poomse, kata and aka, or modern variations of the martial arts which include dance-influenced competitions such as tricking.

The exact activities and conventions undertaken when practicing kenjutsu vary from school to school, where the word school here refers to the practice, methods, ethics, and metaphysics of a given tradition, yet commonly include practice of battlefield techniques without opponent and techniques where two persons paired kata ( featuring full contact strikes to the body in some styles and no body contact strikes permitted in others ).

* Ninjutsu techniques Ninjutsu kata and techniques in the AKBAN wiki

In Shotokan, kata is not a performance or a demonstration, but is for individual karateka to practice full techniques — with every technique potentially a killing blow ( ikken hisatsu )— while paying particular attention to form and timing ( rhythm ).

" In Gōjū-ryū, sanchin kata is the foundation to all other Gōjū kata because it teaches basic movements, basic techniques, power generation and breathing techniques from qigong.

* Seiunchin ( kanji: 制引戦 ; katakana: セイユンチン ( attack, conquer, suppress ; also referred to as " to control and pull into battle "): Seiunchin kata demonstrates the use of techniques to unbalance, throw and grapple, contains close-quartered striking, sweeps, take-downs and throws.

) This kata teaches the new student the concept of harnessing natural strength through the use of primarily tiger-style techniques. Also known as Kanshabu.

) This kata teaches the concept of precision in timing through using crane techniques.

An alternate translation uses phonetics rather than literal kanji meaning, and can denote " 10 Dragons Form ", as there are 10 dragon techniques in the kata.

This kata teaches the concept of stability since the four consecutive Dragon techniques in rotation call for a strong sense of balance.

Thus, like kata bunkai, these exercises help students become familiar with the application of Uechi Ryū techniques.

These paired kata are performed by two people ( one as the attacker and one as the defender ), demonstrating a range of self-defense techniques.