the Japanese people through the martial arts. True to this vision, Yama-
guchi opened a dôjô in 1948 and went on to establish the All Japan Karate-
dô Gôjû-kai in 1950, which was to become one of the largest and most
powerful karate organizations in Japan. As his spiritual quest continued,
Yamaguchi created the Gôjû-Shintô style, which combined Gôjû karate
with Shintô and yoga. Yamaguchi’s three sons, Gôsei, Gôshi, and Gôsen, as
well as his daughter Gôkyoku, continued the teaching responsibilities of
the Gôjû-kai after their father’s death.
The Gôjû-kai uses the twelve basic kata of Gôjû (Gekesai daiichi,
Gekesai dain, Sanchin, Tenshô, Saifa, Seiyunchinor Seienchin, Seisan, San-
seiru, Shi Sho Chin, Seipa, Kururunfa, andSuparunpei) along with the ba-
sic Taikyoku(grand ultimate) forms (Taikyoku jôdan [upper],Taikyoku
chûdan [middle], and Taikyoku gedan [lower]) created by Funakoshi
Gichin. Yamaguchi Gôgen modified Funakoshi’s basic Taikyoku kata and
created Taikyoku mawashi-ukeand Taikyoku kake-uke.
It is evident from an examination of the major Japanese karate styles
that their present state is due to an evolution, rather than a simple trans-
mission, of martial ideas and methodologies. The history of karate in Japan
is one of dynamic eclecticism. The “traditional” method is one of adapta-
tion, innovation, and progression.
Ron Mottern
See alsoForm/Xing/Kata/Pattern Practice; Japanese Martial Arts, Chinese
Influences on; Karate, Okinawan; Kenpô
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