Naihunchin -Iron Horse

Naihunchin, the first of the nine katas, is essentially designed for the student with limited knowledge to become aware of the environment pertaining to a given self-defence situation. This form concentrates on the three major front angles, and the nine o'clock and three o'clock minor angles, and peripheral vision. The student's rear angles are not thoroughly addressed in the kata and thus the student is taught to find protection from the rear in the form of a wall or car or anything that will offer protection to this region during a defensive encounter. This form focuses heavily on building strength in the student's legs in preparation for the rigorous legwork of the more advanced traditional forms. It is hence known as 'Iron Horse'.

Sanchin -Three Battles

Sanchin was developed by the Indian monk, Bodhidharma, who was the son of a Brahman king. Bodhidharma renounced all of his riches and titles and lived as a wandering monk. In China his meditation lessons were too severe for his students to cope with so he developed Sanchin and Tensho which include Chinese fighting manoeuvres and Yoga breathing principles. Sanchin typifies the doctrines of true martial arts through its meditation and spiritual emphasis.

Through this kata, the student learns to overcome personal imbalances associated with physical, psychological and spiritual traits. This is done by developing a forceful external breathing process that is designed to purify the practitioner and bring about balance. The idea is that this breathing technique builds intrinsic force which can be channeled through the body by the mind when required. Such energy is said to be devastating when brought into union with the appropriate martial attitude (spirit).

Sensei Higaonna of the Goju-Ryu style in Okinawa explains that, "there are two ways of breathing in Sanchin kata. One is to breathe directly from the nose down into the lower abdomen. The other is imagining that the air is travelling up around the back of the head, down the spine, and up into the lower abdomen, where it is wound up like a spring. Both of these actions require harmonising the breathing with the movement. In Yoga, the body is usually relaxed; the difficulty of Sanchin lies in the fact that the breathing and the movements are performed with the abdomen tightened (as well as all the other muscles and joints of the body).

Tenso -Rotating Palms

Tensho is inspired by a story from Bodhidharma, an ancient master, who one day was observing the force of nature. Winds were so powerful that day that a bird flying north could no longer cope with the buffeting of the storm into which it was flying. The bird suddenly altered its strategy and rather than exerting its absolute energy against the overpowering winds, it relaxed and went with the flow of the force. With this, the bird developed incredible speed and as it passed the master's house the feathers at the tip of its wings shattered the corner tiles of the roof. Sanchin (Yang) and Tensho (Yin) were spawned as the first forms of the martial arts. It is said that this story also spawned the Karate man and his practice of breaking tiles with his open hands.

Tensho is practiced with a conscious fluidity of circular movements which is accompanied by relaxed inward breathing. Sanchin and Tensho, although principally inverse, integrate to communicate the esoterics of Zen Do Kai and all martial arts systems.

Seinchin -Lull Before the Storm

Seinchin is practised by the Zen Do Kai student throughout the coloured belt stages. Its understanding is required to be displayed in part throughout the student's gradings to black belt. It is the official Zen Do Kai black belt kata and full understanding of it must be demonstrated at the practitioner's black belt grading. The idea of this very important kata is to teach the student to suppress, attack and defeat an opponent. It also teaches such principles as pulling off balance, piercing, penetrating and overcoming. It is said that this kata was a turning point for Okinawan karate because it brought with it a very strong Chinese influence, particularly the internal Chinese boxing styles. At the time, Okinawan karate was very hard, so this kata assisted in balancing the style.

In Zen Do Kai, attainment of the coveted black belt is viewed upon as the beginning of a storm. The practitioner's training from first degree to fifth degree black belt should manifest an internal sensation of 'stormy activity' and one of powering ahead. This kata's name is drawn from this notion. Seinchin's significance lies in its array of broad basic principles which include balance, posture, coordination, hand techniques, low deep stances, development of strength and power and a minimal use of kicking techniques. It also includes comprehensive use of stances including the horse stance, dragon stance, half lunging stance, cat stance and the bear stance. Its all encompassing theme is that of pulling one's adversary off balance and throwing them.

Saifa sets out to symbolise lightning bolts and destroys the myth that lightning never strikes in the same place twice. It consists of continuous whiplash turns coupled with thrusting strikes and kicks which often impact identical target areas twice. This kata, which belongs to the 'intellectual' group of the traditional forms, perhaps sends strong intrinsic messages to the practitioner that much can be learned from history.

This is the third form of the second group of Kata. Its purpose is to exemplify the devastating forces of nature. The practitioner, having travelled through the storm in the fourth form and the lightning of the fifth form, is required, in this form, to lock the left foot to the floor around which the body will form a full sweeping circle and execute twenty one devastating manoeuvres. The student is thus centred in the eye of a tornado, protected by its walls which have become deadly.

This is the first kata of the final three forms - the spiritual forms. Seisan draws on the metaphor of the snake protectively curling itself around the blade of a sword seven times, as is depicted in martial arts history. During the three repeats of the centre run of this form, the practitioner's fists are slowly reared and then thrust outwards like the head of a striking snake. The turning of the body and the striking techniques conjure the image of a python as it encircles and crushes its adversaries. Symbolically this kata portrays the python's protection of "The Way of the Sword" - who would dare provoke its wrath?

Shisoochin, the eighth Zen Do Kai kata, second in the third group, is a form in which the practitioner must visualise attacks whilst assuming blindness. The theme is that of complete darkness and assault by eight adversaries who are stronger and larger than the practitioner. The form focuses on low levels and constantly launches attacks on the legs and the lower body regions. A superb anecdote comes with this form. During Zen Do Kai's early days, Soke Bob Jones, whilst instructing a blind student, felt that the student hadn't progressed as quickly as he should. The student at the same time could not see his own progress. To counter this problem Soke said, "today I shall wear a blindfold so that you may see that which you have learned." For the next five minutes the student proceeded to thrash the master soundly. The student replied, "thank you master, for the first time I can see what I have learned." Soke continues to practice this kata regularly...blindfolded!

Seipai is the third and final form in the final set of three traditional forms. The practitioner will demonstrate understanding of this form at the fifth degree, upper masters level. The sixth, seventh and eighth degree levels do not require further learning of traditional forms, though practice of all nine katas is expected to continue, to facilitate further integration and understanding of the Senjo philosophy. Further practice also develops the character of the practitioner's personal freeform and the extension forms (ie. the three weapons forms at fourth degree level).

There are two more katas though. These are contemplated at the ninth and tenth dan levels. They are named 'Kururunfa' and 'Suparimpei'. The Suparimpei kata is highly complex and difficult to perform because it contains some of the most advanced and secret techniques used in the school of Goju-Ryu. It is believed to be composed of one hundred and eight different fighting movements.