From the outset of this short article, I must declare a bias.  Nijushiho is quite probably my favourite kata.  Although each of Shorinjiryu’s various kata are wonderful in their own way, Nijushiho has something about it that makes it special.  I don’t think I am alone in this thought – in correspondence, Kyoshi Myron Lubitsch has expressed his belief that Nijushiho “is the quintessential Shorinjiryu kata” and that it “is indicative of the theories of movement, timing, distancing – everything of Shorinjiryu”!  Kyoshi Myron made a further point that when senior Shorinjiryu teachers give a demonstration, their demonstration often consists of this kata.

What is about Nijushiho that makes it so popular – after all it is just another kata.  Isn’t it?  Lets look at the history and some possible theories about this kata that may help us to understand it a little more.

The word Nijushiho is made up of 4 Japanese kanji – ni (2), ju (10), shi (4) and ho (techniques).  Quite simply, the name means “24 Techniques”.  These characters may also be pronounced as “Niseishi”, and some styles utilize this pronunciation.  Hanshi Hisataka (1976) provides an alternative explanation of the name when he tells that it implies that combinations of 2 techniques are twice as powerful (4).

Nijushiho is a kata that is contained in the syllabus of many styles, particular Shitoryu, Shotokan and Wadoryu, as well as a number of Okinawan Shorinryu groups.  However, the vast majority of these renditions look absolutely nothing like our Nijushiho.  These Nijushiho’s are linear, where our is angular, and none of them contain the signature technique – nekozeken (cat back wrist).  Nekozeken is an unusual technique that can be used as a blocking technique, a striking technique or both.

Nijushiho exists as a form used in at least one school of Fujian Crane-Fist (McCarthy, 1995).  It is unclear as to exactly how this kata came to Okinawa, and this is an interesting area of further research.  In fact, this school of Crane-Fist also teaches a form of Sanchin, and it would be interesting to explore this school further to identify possible links to Shorinjiryu.

In Okinawa, most versions of Nijushiho can be traced back to a single figure in the annals of Okinawan karate – Master Seisho Aragaki (1840-1920).  A relatively little-known figure, Aragaki is also known to have been a major source of several other kata – notably Sanchin, Seisan and Sochin.  Aragaki was a teacher of several key figures, including masters Kenwa Mabuni (founder of Shitoryu), Tsuyoshi Chitose (founder of Chitoryu) and also master Kanryo Higaonna, teacher of Chojun Miyagi (founder of Gojuryu).

The Shorinjiryu version of Nijushiho is not traced back to any of these masters.

Instead, Hanshi Hisataka (1994) relates that our version of Nijushiho was passed to Shinan Kori Hisataka by Master Anko Azato (c. 1828-c.1915), a contemporary of Aragaki.  Supposedly, this version of Nijushiho was enhanced by Azato to reflect techniques he had honed to defend himself in a duel with the swordsman Yorin Kanna (Sells, 2000) – also referred to as Toshiaki Kirino (Hisataka, c.1963; Hisataka, 1994).

Azato is a lesser known but pivotal figure in Okinawan karate history, having himself been an upper level aristocrat (of the Peichin class), senior government statesman, learned scholar, master of both karate and the Jigenryu school of swordsmanship, and a noted horseman.  Apart from being an early influence on Shinan Kori Hisataka, he was the main assistant to Sokon “Bushi” Matsumura at his dojo in the gardens of Shuri Castle.  Among other students there was Master Chotoku Kyan (1870-1945), principle teacher of Shinan Kori Hisataka.  Interestingly, none of the other styles influenced by Kyan include Nijushiho.

So our Nijushiho, with its nekozeken and fast, angular movement stressing evasive action over blocking, is derived from Azato.  It is unlikely we will ever know where Azato got this kata.  Perhaps he and Aragaki exchanged technique, a feasible scenario for 2 aristocratic government officials.  Perhaps they both learned it from another source.  Perhaps it was a common kata among Okinawan masters of their time.

This also explains why our Nijushiho is different from most other styles – ours is based on one that has evolved from Azato, whilst that used in Shitoryu, Shorinryu and other schools traces back to Aragaki.

What has puzzled me, however, is why the version in Shotokan is unlike our Nijushiho.  The founder of Shotokan, Gichin Funakoshi (1868-1957) was a student of Azato, and never studied with Aragaki.  Given this, you would think that the Shotokan version would at least resemble ours.

Cook (2001) relates a story that apparently Funakoshi may have forgotten a number of kata, specifically including Nijushiho.  In an effort not to lose the original teachings, Funakoshi sent his son, Gigo Funakoshi, Masatoshi Nakayama and several other senior students to Osaka in around 1927-28 to learn several kata from Kenwa Mabuni.  As we’ve seen already, Mabuni was a student of Aragaki, thus explaining why the Shotokan version resembles that of Shitoryu.

This is further backed up by Chambers (date unknown), who tells us that the kata (re-)learnt from Mabuni included Rohai, Wankan, Nijushiho and Sochin, among others.  Chambers goes on to describe that the form of Shotokan Nijushiho was further modified by Gigo Funakoshi and his contemporaries to include several side kicks and other techniques not present in the original form.  Interestingly, Hanshi Hisataka has of recent years been demonstrating a version of Nijushiho with a similar form as the Shotokan one.  This he refers to as Kudaka no Nijushiho, suggesting the possibility that perhaps that form of the kata is traced back to the Kudaka (Hisataka) family.  Outside of the Kenkokan group, this version of Nijushiho does not appear to be practiced in Shorinjiryu.

Sells (2000) tells of the existence of at least 2 other forms of Nijushiho – a longer “Okinawan Nijushiho”, and the short “Niseishi-sho” of Chitoryu.  I personally have yet to see these 2 kata, so cannot comment as to whether either is related to our form.

So we can see that Nijushiho has an interesting and colourful history.  Next time you compare our version with another stylist, hopefully the above will serve to help you explain why ours is different.

The Shorinjiryu Nijushiho was one of the original five kata emphasised by Shinan Kori Hisataka (1907-1988), along with Sanchin, Naihanchin, Chinto and Kusanku.  Of these, it is the only one not depicted in his c. 1963 book.  According to Hisataka (1994), Shinan chose Sanchin, Naihanchin and Nijushiho as the basic kata, as they emphasise three directions – linear (Sanchin), lateral (Naihanchin) and angular (Nijushiho).

Clearly Nijushiho is well suited to the task of relating angular fighting strategies.  Various open leg step (hiraki ashi) and cross-legged (kosa ashi) movements are utilised to move around the imaginary opponent, and many of the techniques emphasise getting inside the opponents attack to negate the technique.  Presumably this strategy is derived from Azato’s applications against a swordsman, where it would be necessary to kill the effectiveness of the long range weapon by getting inside its effective range.

As a matter of interest, the sai kata practiced by many Shorinjiryu schools (and depicted in Scientific Karatedo) is commonly just referred to as Sai no Kata.  However, it appears that Shinan referred to this kata as Nijushiho no Sai.  Close investigation of the 2 forms will bring many similarities to light, and it becomes obvious that the 2 are originally the same.  By depicting Nijushiho no Sai in his c.1963 book, Shinan filled the gap left by not including Nijushiho with the other forms.

Nijushiho is unique among all Shorinjiryu kata, and the Shorinjiryu version is unique among all kata in general.  It is at the same time graceful and fast, and gives insight into evasion, angles, and killing the techniques attempted by an opponent.  Nijushiho is a kata that should be studied in great depth by all practitioners of Shorinjiryu, as it contains so many of the essential elements of our style.

References

• Chambers, D. (unknown).  Kenwa Mabuni: The Founder of Shotokan?.  Fighting Spirit of Martial Arts.  Pp. 20-22.
• Cook, H. (2001).  Shotokan Karate: A Precise History.  London, Harry Cook.
• Hisataka, K. (c.1963).  Shorinjiryu Kenkokan Karate: History and Theory of the Art.  Tokyo: Kenkokan.
• Hisataka, M. (1976). Scientific Karatedo. Tokyo: Japan Publications
• Hisataka, M. (1994). Essential Shorinjiryu Karatedo.  Tokyo: Charles E. Tuttle.
• McCarthy, P. (1995).  The Bible of Karate: Bubishi.  Tokyo: Charles E. Tuttle.
• Sells, J. (2000). Unante: The Secrets of Karate (2nd Ed.).  Hollywood: Panchita S. Hawley.