Karate styles – Shitō-ryū

Shitō-ryū (糸東流) is a major traditional Okinawan style of karate, which combines a mix of hard and soft techniques and is considered one of the four principal styles of Japanese karate.

Founding of Shitō-ryū

Shitō-ryū was founded by Kenwa Mabuni (摩文仁 賢和) around 1931 in Osaka, Japan. The style was initially called Hanko-ryū (“half-hard style”), chosen to imply its use of both hard and soft techniques. However, Mabuni later changed the name to Shitō-ryū in honour of his two primary teachers: Ankō Itosu (糸, shi) and Higaonna Kanryō (東, to). This naming convention was Mabuni’s way of paying respect and giving credit to his mentors. The style was officially registered with the Dai Nippon Butoku Kai in 1939, though Gōjū-ryū seems to have received this distinction first.

Kenwa Mabuni was born on 14 November 1889, in Shuri, the capital city of Okinawa, ten years after the Ryukyu Kingdom was annexed by Japan. From his childhood, he was immersed in karate and had contact with some of its greatest masters. He began his karate training at the age of 13 under Itosu Anko, and continued studying with him until Itosu’s death. His friend, Chōjun Miyagi, later introduced him to Higaonna Kanryō, allowing Mabuni to study the Naha-te tradition. Mabuni also had the opportunity to train with Aragaki Seishō, from whom he learned kata such as Unshu, Sochin, Niseishi, Aragaki Sai, and Aragaki Bo Kata. With Chōjun Miyagi, he learned from Go Genki (Wu Xian Gui), an expert in Hakutsuru Ken Kempo, which influenced kata like Nipaipo, Paipuren, and Hakutsuru in Shitō-ryū.

Kenwa Mabuni is known for his encyclopaedic knowledge of kata. He is reputed to have known in excess of ninety kata and assimilated new ones with exceptional speed. He also created at least ten kata himself between 1915 and 1940, though he did not teach all of them publicly. Mabuni’s diligence preserved many kata for future generations, and his Shitō-ryū curriculum contains an impressive fifty-three kata, reflecting the complexity and diversity of Ryukyu’s cultural heritage. Although the modern Seitō Shitō-ryū curriculum (which is supposed to be unaltered from Mabuni’s curriculum at his passing) has 43 kata. It was believed that this broad base allowed for appropriate kata to be found for any age and physical condition.

Mabuni was one of the first Okinawan karateka to teach karate in mainland Japan, making several trips to Tokyo in 1917 and 1928 to popularise the art. He held the view that karate, despite its traditionally secret transmission, should be taught with honesty and integrity to anyone seeking knowledge. In 1929, he moved to Osaka to become a full-time karate instructor. Mabuni died on 23 May 1952, at the age of 63.

Influences and Previous Styles

Shitō-ryū is a fusion style that intentionally combines elements from the three historical Okinawan methods or schools: Shuri-te, Naha-te, and Tomari-te.

  • Shuri-te: This style, considered by some to be the most indigenous Okinawan Te and less influenced by Chinese martial arts, was based on the teachings of Sōkon Matsumura and his teacher Sakugawa Kanga. It was taught as secret knowledge among the Shuri nobility. Shuri-te kata are characterised by many effective and fast attack and defence movements designed for long-distance fighting. Key teachers include Kanga Sakugawa(1733–1815), often called the “father” of Okinawan karate, who began training around 1750 with Pechin Takahara. Sōkon Matsumura (1800-1896), known as the “incomparable master of the fist,” perfected Shuri-te. His student, Itosu Anko (1831–1915), was the single most influential person in transitioning karate from a pragmatic combat form to karate-dō, and was the foremost exponent of Shuri-te/Shorin-ryū. Itosu revised kata, demonstrated single-blow victories, and made karate public in 1902.
  • Naha-te: This style is said to have preserved Chinese kempō most obviously and is typical for close-distance fighting with “heavy” movements and a special breathing technique derived from Chinese Fukien kempō. Higaonna Kanryō (1853–1916) is regarded as the first exponent of a distinct Naha-te style. He travelled to Fuzhou, China, in 1868 and studied martial arts under Ryū Ryū Ko for about fourteen years before establishing this lineage in Okinawa. The kata Sanchin, Saifa, Seiyunchin, Sanseiryu, Shisochin, Seipai, Seisan, Kururunfa, and Suparinpei were learned by Higaonna from Ryū Ryū Ko.
  • Tomari-te: Geographically and technically, Tomari-te is considered to be between Shuri-te and Naha-te. It shares many characteristics with Shuri-te, so much so that the distinction between them is often tenuous.

The Itosu-kei/Higaonna-kei (lineage) divide is fundamental to Shitō-ryū, as Kenwa Mabuni, deliberately synthesized the teachings of his two primary masters. Shuri-te lineage known for fast, straight, long-distance techniques, exemplified by kata like Pinan and Naha-te lineage, characterized by close-distance, heavy, circular movements with special breathing, as seen in Sanchin and Seisan. This deliberate fusion of distinct approaches forms Shitō-ryū’s comprehensive curriculum.

Key Teachers and Lineage

After Kenwa Mabuni’s death on 23 May 1952, his sons, Mabuni Kenei (1918–2015) and Mabuni Kenzo (1927–2005), both claimed succession to Shitō-ryū.

  • Mabuni Kenei, as the elder son, was traditionally considered the rightful successor. However, he had not trained extensively in the art, so one of Kenwa Mabuni’s most senior students, Iwata Manzo, served as the chief instructor and technical adviser for Kenei until he was sufficiently trained. Kenei went on to lead the Union Shitoryu Europe and was known for teaching authentic karatedo in seminars worldwide.
  • Mabuni Kenzo, the younger son, had trained consistently with his father and travelled with him, leading his mother to ensure he assumed leadership of the Honbu Dojo in Osaka and his father’s complete syllabus.

Despite rivalry between their affiliated dojos for decades, both factions now acknowledge and respect each other’s legitimacy as successors to the Shitō-ryū legacy. Shitō-ryū is seen as an accumulated body of knowledge, research, analysis, wisdom, and experience from all its past and present sensei and members.

Other notable martial artists who studied under Kenwa Mabuni include Ohtsuka Hironori (founder of Wadō-ryū) and Yasuhiro Konishi (founder of Shindō Jinen-ryū), both of whom were also students of Funakoshi. Shimabukuro Masayuki Hanshi, a significant figure in Shitō-ryū, initially studied Shorinji Kempo, then became a direct student of Hayashi Teruo, who founded the Hayashi-Ha branch of Shitō-ryū. Shimabukuro later aligned with Mabuni Kenzo, blending Hayashi-Ha and Mabuni Kenzo’s Seito Shitō-ryū with his own research.

Growth and Spread

Kenwa Mabuni’s efforts to popularise karate in mainland Japan involved several trips to Tokyo in 1917 and 1928. He moved to Osaka in 1929 to teach karate full-time. With support from Sakagami Ryusho, Mabuni opened several Shitō-ryū dojos in the Osaka area, including at Kansai University and the Japan Karate-dō Kai dojo. Today, the largest concentration of Shitō-ryū practitioners in Japan is centred in the Osaka area. His contemporary, Shinpan Shiroma, remained in Shuri, Okinawa, and established Okinawan Shitō-ryū.

Shitō-ryū encourages competitive sparring, a departure from traditional Gōjū-ryū, where kata are performed slightly differently by Gōjū-Kai karateka, but these differences are not significant enough to create a new style. The style is understood as a “Japanified” interpretation of Gōjū-ryū developed from its Okinawan roots.

Characteristics and Differences from Other Styles

  • Fusion Nature: Shitō-ryū’s most distinguishing feature is its large number of kata, intentionally combining Shuri-te, Naha-te, and Tomari-te elements. This stands in contrast to Shotokan, which has a narrower curriculum, and Gōjū-ryū, which focuses primarily on Naha-te.
  • Fighting Distance: Shitō-ryū incorporates both the long-distance fighting techniques of Shuri-te and the close-distance fighting with heavy movements and special breathing techniques of Naha-te, derived from Chinese Fukien kempō.
  • Number of Kata: Depending on the school, between 50-60 kata are taught. This is a significant number compared to the twelve of Gōjū-ryū and the twenty-six of Shotokan, including all kata from these two styles plus fifteen additional ones. This vast repository makes Shitō-ryū a comprehensive representation of Okinawa-te.
  • Authenticity and Purpose: Kenwa Mabuni emphasised the “spirit of the fist of the noble men” (kunshi no ken) passed from Matsumura via Itosu, highlighting that karate was originally not an attack technique but prioritised blocking with sufficient energy.

Katas Associated with Shitō-ryū

Shitō-ryū has a diverse and extensive kata curriculum, drawing from various sources and Mabuni’s own creations. The curriculum includes many classical kata and some that Mabuni Sensei himself created.

List of Kata (from sources, combining various mentions):

  • From Shuri-te/Shorin-ryū influence:
    • Pinan (平安) # 1–5: These elementary kata were extracted by Itosu Anko from longer Kūsankū and Chang Nian/Channan kata. In Shitō-ryū, the original ordering of Pinan Shodan and Nidan is maintained, unlike modern Shotokan where they were transposed.
    • Kūsankū (Kosukun) (公相君): Originally composed by Sōkon Matsumura, Shitō-ryū practices “sho” and “dai” versions.
    • Passai (Bassai) (披塞): Shitō-ryū includes versions like Matsumura no Passai, Shimpaku no Passai, and Tomari no Passai.
    • Chinto (鎮東): This kata contains many palm heel strikes and evasive footwork, possibly rooted in Chinese kung fu. Itosu is said to have learned it from a Chinese man in Tomari.
    • Wanshu (腕秀)
    • Rohai (鷺牌): Shitō-ryū teaches all three of Itosu’s Rohai kata, as well as Matsumora Rohai.
    • Gōjūshiho (五十四歩): Developed by Sōkon Matsumura and originally named “Uesheishi,” meaning 54 methods in Chinese. Shitō-ryū includes Gōjūshiho Shō and Gōjūshiho Dai.
    • Naihanchi(n) (内歩進): A fundamental kata passed down from Sōkon Matsumura and Itosu Anko.
  • From Naha-te/Shorei-ryū influence:
    • Sanchin (三戦): Shitō-ryū may favour the shorter (Miyagi) version.
    • Saifa (砕破)
    • Seienchin ( 征遠鎮_)
    • Sanseiryu (三十六)
    • Shisochin (四向戦)
    • Seipai (十八)
    • Seisan (十三): Many versions exist, and Shitō-ryū has its own.
    • Kururunfa (久留頓破):
    • Suparinpei (壱百零八): Also known as “108 steps”
  • Kata learned from Aragaki Seishō: Unshu (雲手), Sochin (壯鎭), Niseishi (二十四歩), Aragaki Sai, and Aragaki Bo Kata.
  • From Go Kenki (Hakutsuru Ken Kempo): Nipaipo (弐八方), Paipuren, and Hakutsuru. Niipaipo (or Nepai) is a southern Chinese White Crane style kata, modified by Kenwa Mabuni for Shitō-ryū.
  • Unique to Shitō-ryū:
    • Matsukaze (松風): Means “wind in the pines” and may be named after a Noh play. Likely adapted or a variation of the same version of Wankan practiced elsewhere, e.g., Matsubayashi-ryū.
    • Aoyagi (青柳) (Green/Blue/Fresh Willows).
    • Juroku (十六) (16).
    • Myojo (明浄) (Bright Clarity).
    • Shinpa (新破) (New Breakaway): A Mabuni creation, also taught in Shindō Jinen-ryū and Shūdōkan karate.
    • Happo Sho (八方掌) (Eight Directions).
    • Shinsei (2) (新生) (New Life).
    • Shiho Kosokun (四方公相君) (Four Directions Kosokun).
    • Kenshu (拳秀) (Fist Genius).
    • Kensho (賢掌) (Talented Palms).
    • Kenpaku (拳伯) (Kenpaku Paramount Fist)
  • Kata with Similarities/Differences to other styles:
    • Heian/Pinan: In Shitō-ryū, the original Okinawan ordering of Pinan Shodan and Nidan is maintained (Pinan Nidan was originally the first Pinan kata), unlike modern Shotokan where Gichin Funakoshi transposed their names in the 1930s. Shitō-ryū versions of Heian Sandan may have no foot lift, with the performer merely stepping through each technique, in contrast to some Western interpretations with high crescent kicks.
    • Seisan: The Shitō-ryū version of Seisan shares features with Gōjū-ryū, including tension and breathing techniques, but also reflects Shorin-ryū origin. The Seibukan Shorin-ryū Seisan features Shiko-Dachi and strong pivots, stemming from Sōkon Matsumura. The Uechi-ryū Seisan is very different, relying on the Sanchin stance and introducing knee strikes, one-knuckle punches, spearhands, and front kicks.
    • Jion, Jitte/Jutte, Ji’in: These three kata are considered by some to be different versions of the same kata, despite Funakoshi classifying them as different styles. In ancient times, they may have been a single kata.

Branches and Official Organisations

After Kenwa Mabuni’s passing, Shitō-ryū branched into several lines of transmission, not always amicably. His two sons, Mabuni Kenei and Mabuni Kenzo, both led factions. Mabuni Kenei became the head of Shitō-ryū, and his statements are still considered true in 2009. Mabuni Kenei leads the Union Shitō-ryū Europe. Mabuni Kenzo took leadership of the Honbu Dojo in Osaka.

Another significant branch is Hayashi-Ha Shitō-ryū, founded by Hayashi Teruo, who was a strong proponent of tournament competition. Shimabukuro Masayuki Hanshi trained with Hayashi Teruo for thirty years and later with Mabuni Kenzo, resulting in his teaching being a blend of Hayashi-Ha Shitō-ryū and Mabuni Kenzo’s Seito Shitō-ryū.

Shitō-ryū organisations claim with pride that it was the first karate school to be recognised by the Dai Nippon Butoku Kai, though this distinction seems to belong to Gōjū-ryū. In 1939, Mabuni established the forerunner of the current umbrella organisation, Shitokai.

Legacy

Shitō-ryū, through Kenwa Mabuni’s dedication, has played a crucial role in preserving a vast array of Okinawan kata. It stands as a style that deliberately sought to integrate the diverse martial traditions of Okinawa into a single, comprehensive system. This commitment to preserving the breadth of Okinawan karate is one of its most enduring legacies.

The style’s evolution from a secret fighting art to a more open discipline, influenced by Japanese nationalism and the desire for official recognition, mirrors the broader history of karate-dō. Shitō-ryū represents an actual attempt at combining both the Shorin and Gōjū styles of Okinawa, and as such, offers a unique comprehensive approach to karate. Mabuni’s work helped to put the techniques and spirit of karate into words, making it more accessible and understandable to the general public, and contributed to karate’s acceptance as a true Japanese martial art.