Higashionna Kanryô. Apart from subtle differences influenced by the
philosophical bent of the instructors who transmitted their individual
styles, the major schools may be distinguished by their type of movement.
Shuri-di uses natural stances that facilitate a light, quick type of movement.
Naha-di uses the Sanchin (Three Battles) stance, which utilizes stepping in
a crescent moon pattern and a heavier, slower type of movement. Sanchin,
however, is not the only stance used in Naha-di, and practitioners may
move both fast and slow, light and quick.
The schools are also differentiated by their kata. Shuri-di forms are a
compilation of various individual physical techniques integrated into a
complex form. Naha-di kata are composed of various Buddhist mudras
(body forms), which function as kamae (Japanese; body positionings)
within the kata. Sanchin dachi(Japanese; stance) places the practitioner in
the vajra(in Sanskrit, diamond thunderbolt; in Japanese, kongô) mudra.
Combined with various breathing patterns and mental exercises, these mu-
dra are designed to be a synergistic system to stimulate ki(energy) flow
throughout the body and bring the adept to spiritual enlightenment. This
is one reason that kata bunkai (application) may vary between instructors.
In Naha-di, the self-defense applications are gleaned from the mudra.
Although informally known as Shuri-di (Shôrin-ryû) and Naha-di
(Shôrei-ryû), these styles were still considered to be toudi. The recognition
of karate as an Okinawan art form occurred sometime between 1916,
when as a representative of Okinawa, Funakoshi Gichin performed karate
at the Butokuden (“Martial Virtues Hall”) in Kyoto, and 1936, when the
Okinawan masters met at the Ryûkyû Shinpô conference and agreed to
change the characters from “China hand” to “empty hand.” These two
events respectively represented exoteric and esoteric recognition of karate
as an Okinawan art.
Shuri-di
The development of Shuri-di after the death of Matsumura Sôkon was
largely due to the efforts of his disciples Ankô Itosu (Yasutsune), Ankô
Asato, Chibana Chôshin, and Kyan Chôtoku. Itosu created the five Pinan
forms as standard teaching tools for the popularization of Shuri-di. He also
made significant contributions to having karate introduced into the public
school system in Okinawa. In 1901, Itosu introduced karate into the phys-
ical education program at the Shuri Jinjo Shôgakkô (Elementary School).
His continued efforts on behalf of karate eventually led to its being estab-
lished as a part of the physical education curriculum throughout the Oki-
nawan school system.
Asato and Itosu were the primary instructors of Funakoshi Gichin,
who popularized karate on the Japanese mainland and was largely respon-
Karate, Okinawan 245