| Kihon Kata Shodan | | | | punch to the ground represents blocking a kick, |
| Basic awareness, stances, defenses, attack angles, | | | | throwing the opponent, and knocking him/her out. |
| economy of motion, & focus. High Blocks 2 & 3 may | | | | The next sequence blocks and throws an opponent, |
| be used as strikes. | | | | then jumps over him/her to kick another, and follows |
| Kihon Kata Nidan | | | | through with a finishing strike. The last sequence is a |
| It teaches power generation through hip twisting and | | | | takedown with a knockout blow. |
| body torque as well as momentum. | | | | Naihanchi |
| Pinan Shodan | | | | Naihanchi develops lower body strength. It also |
| This kata helps movements become stable, efficient, | | | | teaches one to settle all one's strength in the |
| and intimidating. The first technique, "c block", sets up | | | | abdomen/center and draw from it. The methods |
| for a redirection. Even the sword hand blocks can | | | | employed in Naihanchi are best applied and |
| become attacks. | | | | interpreted in a narrow space. |
| Pinan Nidan | | | | Bassai |
| This kata instructs further on timing, distance | | | | Bassai builds a stronger, more efficient defense. The |
| management, body shifting, consistency of stances, | | | | first two middle blocks may be seen as a kick |
| and redirection of attack. The first half may be | | | | counter and takedown; the backfists near the end |
| interpreted in various ways. When practicing Pinan | | | | may also be used this way by performing scooping |
| Nidan, imagine perceiving an opponent's intent and | | | | blocks to set up for the attacks. The crescent kick is |
| counter-attacking quickly. | | | | a block to set up for the elbow strike. After the |
| Pinan Sandan | | | | elbow is 3 sets of double strikes to counter a rear |
| This kata teaches a continuous guard. It also helps | | | | grapple attempt. |
| become less predictable, and more efficient. The | | | | Wanshu |
| middle & low blocks in the beginning may be termed | | | | Wanshu, like Bassai, is technical and efficient, but is of |
| "continuous block", which may be interpreted in many | | | | a more aggressive nature. It is also a study in timing |
| ways. The turn after the spearhand strike, and | | | | and follow- through. Stepping into side stance as you |
| follow-up with the outward tetsui, is twisting out of | | | | set up for a low block may be seen as body shifting |
| the opponent's grappling of your arm, and countering. | | | | to dodge an attack, as you move in to punch the |
| The use of the elbows in naihanchi dachi may be | | | | opponent. The jump represents stomping on a |
| either strikes or strong blocks. This may be | | | | downed opponent while preparing to block an attack |
| interpreted in many ways in close quarters. The last | | | | from another. |
| moves of the kata may be seen as elbowing to both | | | | Seipai |
| the back and front, breaking rear grapples with an | | | | As an Okinawan kata, Seipai uses a small structure to |
| elbow to each opponent's abdomen and a hook to | | | | reinforce mobility. Due to the Crane influence, Seipai is |
| the face, or a powerful hook to an opponent in front. | | | | a study in entering and parrying. The first combination |
| Pinan Yodan | | | | blocks and pulls a low attack, then knocks the |
| Stepping into a back stance as you double block | | | | attacker down. The rolling motion of the arms after |
| disrupts the opponent's movement, as you | | | | the turn, low block, middle block, and mawashi uke |
| simultaneously block and counter. Blocking behind you | | | | combination represents a damaging arm lock. In a |
| immediately after the initial blocks cuts a sneak | | | | variation of Seipai, juji uke is performed just before |
| attack short. The low block, front snap kick, and | | | | the sweep. The last two strikes of the kata knock |
| elbow combination will block, stumble, and knock out | | | | the opponent down, then out. |
| an opponent. The sequence after the second elbow | | | | Gojushiho Sho |
| assists in learning how to follow through with attacks, | | | | This kata is a study in close quarters techniques. The |
| and helps practice economy of motion. | | | | first sequence is a double wrist block, and counter |
| The cross-block that begins the second half of the | | | | attack. The sequences after the elbow strike |
| kata counters a grab attempt. Pulling the hand back | | | | represent a kick counter, nukite, and grapple counter. |
| as you kick may be interpreted as trapping the | | | | The last sequence represents blocking an attack to |
| opponent's arm under yours, and pulling him/her into a | | | | the midsection, blocking a grapple attempt, then |
| kick to the groin. | | | | counter attacking to the collar bones. |
| Pinan Godan | | | | Annan |
| The high cross block sets up for an arm lock, tetsui, | | | | Annan contains many practical, efficient counter |
| and finishing punch. The jump ends with a strike to a | | | | attack methods. It is also very useful in practicing |
| fallen opponent. The palm strikes followed by pulling | | | | breathing, focus, and fighting principles. Raising the |
| motions represent attacking the groin and causing | | | | knee and striking with the finger may represent |
| severe trauma to it. | | | | blocking a kick, then hitting the vital point below the |
| Kushanku | | | | ear. Stepping into naihanchi dachi, extending the |
| The Pinan kata help one understand Kushanku, as | | | | hands, and clinching them into fists will jam the |
| there are many similarities. The ready phase of | | | | opponent, and grab him/her to gain control for the |
| Kushanku clears the mind. The slow motions may | | | | side kick. The "ox jaw" wrist blocking sequence near |
| often be used as blocks and/or attacks, but it is | | | | the end blocks a middle punch, then knocking the |
| preferable to perform them slowly for breathing and | | | | shoulder out of joint. |
| focus. Practice consistency in stances, torque, and | | | | The author lives in Lake City, South Carolina, where |
| momentum in this kata. Kushanku provides endless | | | | he also teaches at his Wado ryu Karate school. For |
| insight, and helps greatly in the study of other | | | | more information about Karate and the martial arts, |
| advanced kata. | | | | please visit Johnston Wado ryu Karate or the |
| In the second half, the sequence that ends with a | | | | Johnston Karate Online Community. |