Niseishi (nijushiho), a beautiful karate kata

Niseishi (nijushiho) 二十四歩 Kata. Examination of one of the Seiyo no Shorin-Ryu karate kata, known in Okinawan dialect, as niseishi (“knee-say-she”) shows interesting characteristics. This kata, like most Shorin-Ryu kata, is a favorite of many students. Niseishi, translates as the "24", possibly referring to 24 techniques (waza). Others suggest it refers to '24 steps'.

Kyoju Hausel, Soke, demonstrates Okinawa white crane martial arts at Chinese New Year 

Celebration at the University of Wyoming. Photo courtesy of Sandra Sinicki, Geneva, France.

This kata was introduced to Okinawa karate by Seisho Arakaki (1840-1918), who was a member of the Okinawan royal court and held the recognized title of Chikudon Pechin. The title indicates Arakaki was part of a special class of Okinawa elite, equivalent to the Japanese samurai. The modifier - Chikudon, relates to a level of pechin that translates as ‘district’. It is apparent Arakaki’s martial arts skills went beyond karate and into the realm of kenjutsu. 

Arakaki’s karate education was directed by a Chinese boxing instructor Wai Shinzan. While in China, Arakaki studied southern Shaolin gung-fu as a student of Wai Shinzan, and was educated in the art of white crane (hakutsuru) martial arts. White Crane is a beautiful, but deadly art, taught in some traditional Shorin-Ryu styles as well as to some members of Juko Kai International. The kata and bunkai of white crane Shorin-Ryu, include aesthetic movements providing the observer with visions of white cranes posing along the edge of a pond. White crane techniques resemble wings of a crane, crane postures, and even beak thrusts at eyes; while other movements display wing strikes to neck, and wing blocks. However, these are mostly absent from niseishi with the exception of wing strikes that occur near the mid point of the kata. 

It is reported Arakaki learned the Chinese versions of niseishi, seisan and sanseiru from his Chinese instructor, and later adapted ‘hard’ and ‘soft’ techniques to these kata to make them more pliable to self-defense.

Today, niseishi remains a beautiful, yet brutal kata demonstrating the beauty of intermixed, fast and slow movement, along with strikes that include teeth-crushing elbow strikes (hiji uchi), hammer-fist strikes (kentsui uchi), ridge hand strikes (haito-uchi), and the simultaneous over-under double punches of yama uchi to the body core. Today, this kata is practiced in many styles including Shorin-Ryu, Shuri-Ryu, Shito-Ryu, Shotokan, Wado-Ryu and even Korean Tang Soo Do.

Most martial artists have heard of Okinawan Shorin-Ryu karate master Gichin Funakoshi in that he is considered by most, as the father of modern karate. Funakoshi moved from Okinawa to mainland Japan in 1922, and taught Japanese students the way of karate, known as karate-do. When Funakoshi introduced niseishi to mainland Japan, he renamed it nijushiho to make it acceptable to the Japanese culture by using Japanese, rather than Okinawan, dialect. Breaking down ni-ju-shi-ho, the individual words mean: ni=2, ju=10, shi=4; and ho=techniques: 24 techniques.

Seiyo Shorin-Ryu members training in waves of the south China sea along the coast of Vietnam.

Sudden contrasts between slow, and explosive accelerated movement in niseishi, provides a distinct rhythm in the kata likened to tides of ocean waves crashing on a beach. The kata focuses dynamic use of hips with smooth movement like waves crashing on a beach. Because the kata was taught by Wai Shinzan, it is thought to originally be a form from the Fujian Province of China, and part of the southern Shaolin curriculum.

Passai Kata

One of the many bunkai from Itosu's Passai Dai kata - Adam (right) follows up with double high block to stop Ryan (left)
 from grabbing his throat and finishes Ryan with double back fist strike. This is just one of many bunkai possibilities for
 this part of the kata practiced by members of Seiyo Kai Shorin-Ryu Karate and Kobudo.

Members of the Seiyo Shorin-Ryu Hombu in Mesa, Arizona, are introduced to Itosu's Passai kata. In our system of Shorin-Ryu Karate known as Seiyo-Kai, members are introduced two different Passai kata: Passai Dai (大 dai meaning major) and Passai Sho (小 sho meaning minor). Passai is nearly universal in traditional karatedo schools, but the kata have many differences depending on the style of karate. Soke Hausel kept these kata intact.

The kata includes a variety of bunkai. Each ryu has their own variations of bunkai. Some historians suggest the kata was created by a left-hand martial artist; while others suggest it was designed to defend against an antagonist armed with bo. Soke Hausel noted that he sees no evidence the kata was created by a left-handed martial artist, particularly when there are more than a half-dozen movements that favor right-handed martial artists. 

As far as defending against bo? Soke Hausel claims there is no evidence for this. Anyone attempting to block a full-force strike from a bo with closed fist blocks like those in passai dai would spend a lot of time in the ER. Bunkai demos of Japanese Shotokan practitioners emphasize blocking bo, but Soke doesn't believe anyone in their right mind would survive such a strike. This is because the force of the strike of bo in flight would be greatly increased by blocking with an arm to yield an additive force of a head-on-collision between bo and arm. Visualize blocking a baseball bat swung at full force with your arm - your baseball career would be over. For those unfamiliar with Shotokan - Shotokan is variety of Shorin-Ryu introduced to mainland Japan by Funakoshi in 1922. 

As with many kata, the origin of Passai are obscure probably because karate was kept secret for hundreds of years with nothing written about the fighting art until it was introduced to Japan during the second decade in the 20th century. So, we are left to speculation as to where this kata came from, its meaning, and who was the author or authors.

The version of Passai we practice in Seiyo Shorin-Ryu is similar to the form taught by the Okinawan Shorin-Ryu karate masters Anko Itosu and Gichin Funakoshi. It is suggested the Okinawan kata is at least 400 years old based on a silk drawing of the kata that was analyzed using carbon isotope age dating. It is also suggested by others that the kata was originally a form named after a family on Okinawa.

But others turn to the translation of Passai to help find the origin for the kata. The kata is called Passai on Okinawa. On mainland Japan, it is called Bassai. The kata is also found in Korean martial arts such as Taekwondo and Tang Soo Do. In Korea, the kata is known as Bassahee, Bal Se, Pal Che, Palsek, Bal Sae, Ba Sa Hee, and Bal Sak. 

In Gichin Funakoshi’s 1922 book, the kata is referred to as Passai which was also the name used by Motobu Chōki of Okinawa in 1926. But for some reason, Funakoshi decided to rename the kata as Bassai in 1936. It is suggested “Bassai” was the Chinese pronunciation.

The meaning of Passai can be “to penetrate a fortress” or to “extract from a fortress”. The Japanese meaning of batsu is "to pull out or extract” while the Chinese meaning is "to seize or capture”. Additional insight comes from an interpretation of kanji for sai/soku which can mean “fort”. In the 1973 translation of Funakoshi’s book Karate-do Kyohan, the author refers to the kata as “Breaking through an enemy's fortress.”

This may be in reference to the power in which the kata (especially closed-fist blocks) is executed, as well as emphasizing power from hip rotation. The kata focuses on destroying an attacker’s defense with very strong and powerful blocks. When we practice this kata, we have a feeling of precise movements with fast execution of each individual technique, with attention to balance, speed and power. Remember the TV series ‘Tool Time’ - this is a kata that needs MORE POWER to be done properly! Each closed-fist block in the first half of the Passai dai kata needs every ounce of power, strength and speed you can muster. Your blocks should shake the walls of the dojo! If you practice this kata like tai chi (slow and with no power) you are doing yourself a great disservice and butchering the art. You need to feel the power and snap in every closed fist block!

So, it may be that the kata was an Okinawan family kata or had some other lineage. Even so, karate has its origins in Chinese gung-fu. After Okinawan martial artists learned gung-fu in China, they stream-lined or remove many of the aesthetic movements and deep stances, and developed a more pragmatic self-defense system. It is thought this kata also originated from Chinese boxing before it fell into the hands of Okinawan martial artists. This is supported by Gichin Funakoshi who stated that the form is “a Shōrin-ryū form derived from Chinese Shaolin styles”. 

Some historians point to similarities of Leopard and Lion gung-fu to movements in the kata. Okinawan karate historian Akio Kinjo believes the name of this kata originated from the Chinese term “bàoshī” meaning “leopard-lion” which is pronounced “bá-săi” or “pà-sai” in some Chinese dialects. Other historians see a resemblance to Wuxing Quan (Five Element Fist) gung fu. 

There are several Okinawan versions of Passai. The version practiced by members of Seiyo no Shorin-Ryu Karate Kobudo Kai could be termed Itosu no Passai Dai or Funakoshi no Passai Dai to imply the version of our kata was authored by these two great Okinawan karate men. Anko Itosu popularized karate by introducing it into the Okinawan school curriculum. Itosu was also known for modifying kata to fit his karate personality. He modified Passai Dai from the Matsumura version. The Passai who kata is thought to have been created by Itosu. Funakoshi, a student of Itosu, also modified the kata when introduced to Japan.

It is also interesting to note that Passai may have roots in Tomari village on Okinawa, simply because Passai dai begins with the right fist covered by the left hand, like other kata thought to have originated from Tamari, such as Jutte, Jion, Giin and Empi. This hand gesture is a common salutation in China. 

Watching some variations of this kata on videos just to see the differences employed by different karate schools. It is important to look at every variation because we can sometimes gain important insight into the bunkai. 

For the various kata bunkai, the initial stance in the kata can relate to a simple self-defense technique against a wrist grab. Other wrist grab self-defense applications are found throughout the kata and include single wrist grabs, cross-wrist grabs, double wrist grabs, as are defenses against kicks, punches, arm bar defenses, sucker punches, chokes, etc.

Training in Passai kata at the Arizona Hombu Dojo in Mesa, Arizona

The covered fist - a very nice beginning
to a powerful kata. Sensei Paula Borea
demonstrates Passai kata at the Arizona
Hombu dojo.

Naifanchi Kata - A Time to Horse Around

Training in Naifanchi kata at the Seiyo no Shorin-Ryu Karate Kobudo Kai hombu in Arizona.
Members train using kiba dachi, or horse riding stance, which is prevalent in these three forms.

Gichin Funakoshi, the father of modern karate and a Shorin-Ryu Karate practitioner stated, “Once a kata is learned, it must be practiced repeatedly until it can be applied in an emergency: for just understanding the sequence of moves in kata is useless.” Karate taught in most Shorin-Ryu Karate dojo are designed to build balance, muscle memory, hip rotation, blocking, kicking and punching power. Each and every strike and block in kata is taught to be focused and powerful. But then there is much more to kata.

Kenwa Mabuni, the founder of Shito-Ryu Karate, is quoted as saying, "Karate is not fixed or immoveable. Like water, it's ever changing and fits itself to the shape of the vessel containing it. However, kata are not some kind of beautiful competitive dance, but a grand martial art of self-defense which determines life and death".  Could it be that these great Okinawan masters of karate knew something that those who claim there is nothing of value to kata know. I suspect so.

When a qualified person takes each kata and dissects it into several bunkai (self-defense applications), each individual bunkai (every move in kata) can be taught as self-defense. When this done over and over to educate the muscles, mushin will take over and the technique, or a variety of the technique, will appear later during karate training when you least expect it, or during a time when you need to defend yourself - but only if the bunkai is practical and it becomes part of your daily life.

Every move in kata should be able to stand alone for self-defense. Such self-defense applications are taught to increase punching, blocking and kicking power while at the same time strikes are focused on pressure points. In Shorin-Ryu schools, we also teach shitai kori (body hardening) to assist the practitioner in the ability to take strikes to pressure points. Through time, kata becomes a personal sensei (teacher), that self-instructs the student in self-defense and should include punches, blocks and kicks along with hidden techniques such as pressure point strikes, throws, chocks, releases, restraints, ground techniques, and more.

Kata is very important in most Shorin-Ryu Karate schools. A large variety of kata are taught at the Arizona Hombu dojo in Mesa and Gilbert, Arizona, as well as all of our schools around the world. Students of Shorin-Ryu Karate and Kobudo train in many of these forms including the Naifanchi kata. These three kata (forms) known as Naifanchi are practiced by nearly all Okinawa karate and Japanese schools and even some Korean taekwondo schools. The kata are known as Chulgi (Korea), Dai Pochin (China), Tekki (Japanese) and Naihanchi or Naifanchi (Okinawa), and sometimes referred to as Naifunchin. The interpretation of how they are used in training and combat (bunkai) varies from style to style and even from school to school. All three kata follow the pattern along an imaginary embusen (line) running right (migi) to left (hadari) focusing on kiba dachi (horse-riding stance).

Inside the Arizona Hombu.

When in horse-riding stance, the practitioner (karate ka) may imagine being part of a cattle drive in Wyoming. Visualize climbing into a saddle whether on the back of a horse, or on the sawhorse at the Texas Roadhouse while placing your boots (in Arizona - your flip flops) in stirrups. Your feet will be parallel while your knees are bent to straddle the horse. This is what kiba dachi should feel like (try this at the Texas Roadhouse and just tell your waitress you are practicing karate should she ask).

As you practice Naifanchi kata, keep this feeling in mind. Now imagine riding a short pony named ‘Shorty’. The only way you can keep your feet from dragging on the ground on Shorty is to emphasize the bend in your knees (hiza). I can’t emphasize how important it is to practice this stance (dachi) correctly as beginners tend to relax and avoid deep knee bends while throwing a partner over their legs during bunkai practice. This can lead to hyper-extension of a knee – so keep those knees bent!

Wyoming Horse riding stance,
(c) sketch by Soke Hausel

Because of the use of kiba dachi throughout these kata, many have speculated they were designed for samurai to train in combat karate (karate-jutsu) from horseback. But this is not possible. The status of samurai was revoked during the Menji Restoration (beginning in 1868), and karate had not been introduced to the Japanese people until more than 50 years later in the 20^th century. It was still a secret on Okinawa.

Others suggest the kata were designed to teach peasants to fight on rice paddy dikes. In this scenario it is suggested the word 'naihan' in Naihanchi refers to ‘narrow path’ through a rice paddy. And if ‘chi’ were pronounce ‘chin’ (as in Naifunchin) it could imply ‘battle’ as it does for Sanchin (another common shorin-ryu kata). Thus naihanchi it could be interpreted as ‘battle in a rice field’. 

Kiba dachi on the rocks – practicing kata at 8,500
 feet in the Laramie Mountains on 1.4 billion year 
old Sherman Granite in 1985.

Still others suggest these kata were designed to teach close quarters combat for a defender with his back against a wall. With this in mind, most waza (techniques) in Naihanchi seemed to be directed against attackers from the front and sides. But, there is at least one exception - the first waza in Naihanchi Nidan that is almost always interpreted as a defense against a bear hug from behind. But the more we examine this technique, it is apparent there are many applications including defense against single and double lapel grabs, and single and double wrist grabs.

What if the creator of this kata only had a long, narrow, training hall or small yard in which to practice? I suggest this only because I know some martial artists who have private dojo (gym or martial arts school) in their homes that are tiny such that Naifanchi kata would fit in their dojo.

I suspect these kata were taught not only for close combat education, but also to build leg strength and endurance. As a teenager, I spent considerable time training in kiba dachi due to a lack of space in the small Black Eagle Federation dojo in Sugarhouse of Salt Lake City, Utah where I trained in karate. We practiced nearly all basics (kihon) and fighting (kumite) from kiba dachi. Kiba dachi was also used to build leg strength and power.

Front kick (mae geri) at the University
of Wyoming about 1993.

There were many nights we stood in kiba dachi for muscle strength and stamina. Our sensei (teacher) invented ways to torture that actually benefited us in the long run. In one exercise, our partner climbed on our thighs from the back while leaning on our shoulders to add weight as we squatted in kiba dachi with our hands on our knees to provide stirrups for our partner. We did this often. Other times we repeated dozens of squat kicks from kiba dachi where we dropped to a full squat, rose to kiba dachi and followed with mae geri (front kick). Other times, we squatted in a deep kiba dachi while our junior sensei walked around punching or kicking each of us in the stomach or ribs as part of body hardening (shitai kori). On other evenings, we would squat in kiba dachi while practicing outward blocks while sensei came around to each of us, punching with full power so if we missed our block, we would hear about it after waking up on the floor later that evening. After sensei cycled through all of us, we were ordered to squat lower and the exercise would begin again and again until we stood in a deep squat that any Shaolin monk would have been proud of. It was a stance we all knew well. This was usually followed by duck walks.

Master Cho of the Shaolin,
(c)pencil sketch by Soke Hausel.

When we practiced self-defense in the dojo, nearly all applications were applied from kiba dachi perpendicular to our opponent. So, for my experience, I suspect the author of these kata enjoyed close-in fighting and felt the kata movement gave him or her feeling of conflict while providing leg strength exercise. I would love to teach kiba dachi the same way I learned because it would improve everyone’s strength, stances, and provide fond memories for all of you to tell your students one day. But our dojo has too many students with knee and back problems inherited from long ago. Remember, when I trained under these harsh conditions, I was a teenager with a good back, knees, and few memories of pain.

One of the main characteristics of Naihanchi lies in training the lower parts of the body through slow and steady sideward movement. When practicing these kata, one needs to maintain the same shoulder height throughout the kata (without bobbing) with weight distribution equally spread to each leg. According to the late Okinawan Grandmaster Shoshin Nagamine (1907-1997), the posture for Naihanchi is similar to a sitting posture for Zen, with strength concentrated in the abdomen. Soke Nagamine recalled that Naihanchi kata were a favorite of Choki Motobu. Motobu was famous for brawling in the red-light district on Okinawa, and credited the Naifanchi kata as containing all one needs to become a proficient fighter.

Sensei Hausel stands in kiba dachi
with 400 pounds of weight on his back at the
University of Wyoming.

Most kata in karate came from China and were modified by Okinawan royalty and body guards for pragmatic self-defense. Kata were designed as living encyclopedia for martial arts techniques, bunkai, physical fitness and building a karate mind. One of the oldest references to Naifanchi is found in a book by Choki Motobu (1870-1944). Motobu claimed Naifanchi was imported from China, but was no longer practiced by the Chinese.

Motobu was taught these kata by Sokon Matsumura (1809-1901) and Motobu taught his own interpretation of Naifanchi which included tode-like grappling and throwing techniques. Initially there was one Naifanchi kata that was separated into three kata by Anko Itosu (1831-1915). The original kata was apparently lengthy.

According to various sources, Itosu learned Naifanchi from Sokon Matsumura who had learned it from a Chinese man living in Tomari (a neighborhood of the Okinawan city of Naha). The form was so important to old style karate practitioners that Kensu Yabu (a student of Itosu) often told his students “Karate begins and ends with Naifanchi” and urged his students to practice the kata 10,000 times to make it their own. Before Itosu created the Pinan kata, the Naihanchi kata was traditionally introduced as the first kata learned in the Tomari-Te and Shuri-Te schools. 

In a 1922 book entitled ‘Tote: Ryūkyū Kenpō’, Gichin Funakoshi attributed Naifanchi kata to the Shōrei-Ryu lineage. This is what I was also taught as a teenager, that this group of kata was originally a Shōrei-Ryu kata. Shōrei-Ryu, also known as Naha-Te, is often referred to as Goju-Ryu karate, the style of karate practiced by some of our students who moved here from Yuma, Arizona.

Today, Naifanchi kata include three forms referred to as Naifanchi Shodan, Naifanchi Nidan and Naifanchi Sandan. Naifanchi is from the Ryukyu (Okinawan) dialect but is also pronounced Naihanchi. In our hombu, either pronunciation will work.

Gichin Funakoshi, father of modern Okinawa
Karate. (c)pencil sketch by Soke Hausel.

Sometime after the kata were introduced on mainland Japan in the 20^th century, Gichin Funakoshi (the father of modern karate) changed the name of the kata to Tekki (鉄騎). This change was made by 1956 and was used almost exclusively by Shotokan karate groups. However, Shorin-Ryu martial artists retain the original name. Funakoshi supposedly renamed the kata Tekki (Iron Horse) in reference to his teacher Itosu. It has also been suggested that Funakoshi renamed the kata to reference to the distinctive feature: the horse-riding (kiba-dachi) stance. In fact, the kanji used to write Tekki (鉄騎) and kiba dachi (騎馬立ち) both employ the graphic for horse (ideograph with four legs).

Hanshi Finley, 7th dan, trains in kiba dachi at the University of Wyoming

The three kata can be powerful making use of close-fighting techniques using grappling, footwork and handwork (te sabaki). The side to side movement in a horse-riding stance is designed for balance and strength and for body shifting. When practicing these kata, focus on a deep stance keeping your knees pushed out to your sides to develop leg muscles. In the early days of karate, it was common practice for a student to spend 2 to 3 years doing nothing but Naihanchi under the strict observation of their teacher.

At the Arizona Hombu in Gilbert and Mesa, Arizona, students train in these kata until they learn all of their bunkai (self-defense applications) before moving on to another kata. But during this training, they also learn many other martial arts including kobudo, jujutsu, various self-defense applications and samurai arts to keep the students from getting bored. Not all Arizona martial arts schools teach naifanchi kata but they are a very important part of the curriculum at Grandmaster Hausel's school in Gilbert, Mesa, Arizona, who taught martial arts for 3 decades at the University of Wyoming prior to moving to Gilbert, Arizona.

Bunkai from Pinan Yodan and from Naihanchi Shodan practiced by Lexi and Janet at the Hombu Dojo

Gavin and John practice bunkai from Naihanchi Sandan kata.

Meikyo and Rohai Kata of Seiyo Shorin-Ryu

For our style of Shorin-Ryu karate, Soke Hausel included two versions of Rohai kata from Okinawa. Rohai is a powerful kata with finesse adapted from the Tomari-Ryu karate system of Okinawa (for those of you who have read about karate’s origins, three styles were developed near one another in Naha City, Shuri City and in the Tomari district).



Rohai is believed to have been authored by Kosaku Matsumora and originally referred to as Matsumora Rohai Kata. Itosu (Ankoh) Yasutsune (1830-1915), one of the legendary Okinawan Shorin-Ryu masters, later created three versions of Rohai from the original kata to make it easier for students to learn. He named these simply Rohai Shodan, Rohai Nidan and Rohai Sandan.

Itosu was known for simplifying complex kata and did the same to the long and complex Kusanku Kata (also known as Kanku). We teach a Kusanku Dai and Kusanku Sho kata. Kusanku-Dai kata has more than 100 steps. To simplify Kusanku, Itosu broke it down into five katas that became known as the Pinan katas. Instead of retaining all three Rohai, it was decided by Soke Hausel to include two Rohai kata. Thus one day, most of us will learn Rohai as well as another kata known as Meikyo.
Some of you are aware that Itosu and Gichin Funakoshi were two Okinawan masters who introduced karate to the world during the early part of the 20^th century. While Itosu remained in Okinawa to teach the art, Funakoshi moved to mainland Japan. Funakoshi had a difficult time introducing karate to the Japanese people simply because he was Okinawan. Okinawans were basically considered Hillbillies to the Japanese – they spoke a different language and did things differently.

Meikyo kata

To win over the Japanese, Funakoshi had to be diplomatic and employ Japanese culture to promote karate. This was also true of the rohai kata. Rohai translates as white heron and Funakoshi decided to modify one of the three kata and name it Meikyo to honor the Japanese. Meikyo translates as shimmering mirror or polishing a mirror. Both of these kata, Rohai and Meikyo use ippon ashi dachi (one-legged stance). Another very interesting technique was introduced in meikyo known as gedan shotei ate or downward palm heel strikes that occur at the beginning of the kata while using one's hands in a movement that might suggest to an outsider that the karate-ka is polishing a mirror.

Jumping elbow strike - a characteristic waza in
meikyo kata

This was a very important diplomatic move by Funakoshi. In Japanese mythology there are three sacred Shinto treasures that are controlled by the Japanese emperor. These are a sword (representing valor), a jewel (representing benevolence) and a mirror (representing wisdom).  In Japanese, these are kusanagi, yasakani no magatama, and yata no kagami. The mirror was very important. Legend states  that the Sun goddess Amaterasu hid in a cave from the Storm god and as a result, the brightness of the clear day was lost since it was hidden in the cave with the goddess. To lure her out of her cave, a mirror was brought to the mouth of a cave as an inducement to her, and once she stepped out of the cave to admire herself, her cave was sealed behind her bringing daylight to Japan. Today, mirrors are found at the center of Shinto shrines and also figure prominently in Buddhism. The great all encompassing mirror is a common reference to the enlighten mind of Buddha.

Since Buddhism and Shinto are important in the Japanese culture, Funakoshi used such references to help promote karate – and with the help of Jigoro Kano, it worked. Most people outside of Okinawa believe karate was of Japanese origin, but it was introduced to the Japanese people just as it was introduced to America at a later date.

Double back fist strike from Meikyo kata.