Naihanchi (or Neh bu jin – Korean 內步进), Tekki (Japanese 鉄騎) is a karate Hyung (Korean) Kata (Japanese), performed in straddle horse stance. It translates to ‘internal step advance’. The form makes use of in-fighting techniques, low leg attacks and grappling.
There are three modern kata derived from this (Chodan, Yidan and Samdan). Some researchers believe Yidan and Samdan were created by Anko Itosu (the creator of the Pyong Ahn Series), but others believe that it was originally one form broken into three separate parts (probably due to constraints of space). The fact that only Naihanchi Cho Dan has a formal opening suggests the form was split.
In his 1922 book titled To-te: Ryūkyū Kenpō / 唐手 琉球拳法 Gichin Funakoshi called this series of forms “Naihanchi” and attributes the form to what he calls the “Shōrei-Ryu/昭霊流.” Similarly, Motobu Chōki spells the name of this form “Naihanchi” in his 1926 Okinawa Kenpō To-te Jutsu/沖縄拳法唐手術. By 1936, in his Karate-do Kyohan/空手道教範 Funakoshi had started referring to this form as “Kibadachi (騎馬立)” or “Cavalry Horse Stance,” while still referencing the original “Naihanchi” name. In the 1973 “Karate-do Kyohan The Master Text”, a translation of the 1956 second edition of the Kyohan book, there is no longer any mention of Naihanchi and the book claims the form, which it calls “Tekki” is named in reference to “the distinctive feature of these kata, their horse-riding (kiba-dachi / keema jaseh – Korean) stance.” Other than the “Shorei-Ryu” reference, none of these books attribute the form to any particular source or practitioner.
Itosu is reported to have learned the kata from Sokon Matsumura, who learned it from a Chinese man living in Tomari. Itosu is thought to have changed the original kata. The form is so important to old style karate that Kentsu Yabu (a student of Itosu) often told his students ‘Karate begins and ends with Naihanchi’ and admonished his students must practice the kata 10,000 times to make it their own. Before Itosu created the Pinan (Heian/Pyong Ahn) form, Naihanchi would traditionally be taught first in Tomari-te and Shuri-te schools, which indicates its importance. Gichin Funakoshi learned the form from Anko Asato. Funakoshi renamed the kata Tekki (Iron Horse) in reference to his old teacher, Itosu, and the form’s power.
Motobu’s Naihanchi
The oldest known reference to Naihanchi are in the books of Motobu Choki. He states the kata was imported from China, but is no longer practiced there. Motobu learned the kata from Sokon Matsumura, Sakuma Pechin, Anko Itosu and Kosaku Matsumora.
Motobu taught his own interpretation of Naihanchi, which included te (Okinawan form of martial arts which predates karate) like grappling and throwing techniques.
In the earlier days of karate training, it was common practice for a student to spend two to three years doing nothing but Naihanchi/Tekki, under the strict observation of their teacher. Motobu Choki, famous for his youthful brawling at tsuji (red-light district), credited the form with containing all that one needs to know to become a proficient fighter.
The Naihanchi series of forms were renamed by Funakoshi to Tekki kata. It was believed by some researchers that the forms were derived from an older, original form, Nifanchin Nifanchin was brought to Okinawa via Fuzhou, China, at some point in the long history of trade between the two kingdoms. It was broken into three distinct segments, possibly by Anko Itosu, Tokumine Pechin, or Motobu Choki. The kata are performed entirely in Keema Jaseh (“Horse stance”). The name Tekki itself (and Nifanchin) translates to “Iron Horse.”
Tekki Shodan (鉄騎初段), literally meaning “Iron Horse Riding, First Level”, is the first of the series, followed by Tekki nidan and Tekki sandan. In Tang Soo Do we use the original name Naihanchi Cho Dan, Yi Dan and Sam Dan. This also translates as Neh (inside) Bu (Step) Jin (Advance) in Korean.
Whilst the form is linear, moving side to side, the techniques can be applied against attackers at any angle. The side to side movements in a low stance build up the necessary balance and strength for fast footwork and body shifting. The forms are intricate strategies of attacking and defensive movement, done in the keema jaseh, for the purpose of conditioning the legs to develop explosive power. Some researchers believe the form is a non-ballistic two-man grappling exercise.