It is theorized by some Isshin-ryu researchers that this kata is an original composed by Miyagi, based on his experiences in Fuzhou, China.

Popular history has the kata coming from a Chinese political visitor who, during his duties, taught his fighting method in the open.

Isshin Ryu's version of this form is unique for its inclusion of two side kicks - techniques seen in the system previously only in the Chart Two exercises.

Also, depending on the lineage, Wansu is one of two kata in Isshin Ryu which use the "zenkutsu dachi", the longer front stance seen in other forms of karate.

The kata is set up in such a manner as to allow continual study of application potential from basic standing grappling and close striking in the beginning, to more aggressive and proactive techniques near the end.

Previous to the instruction of Miyagi, the kata was practiced with open hands, turns, and natural breathing methods.

With the founding of Gojū-ryū, this form was practiced with closed fists (a more traditional method on Okinawa), no turns, and a controlled, almost hard inhalation and exhalation.

The kanji and the katakana on the 1966 film of Tatsuo Shimabuku clearing shows it is TOKU MINE (pronounced Toe-koo-mee-nei)).

The spelling changes, and pronunciation conflicts, may have indeed come from the 1966 film of Tatsuo Shimabuku and which is readily viewable on YouTube at the time of this update.

It is written in both Romaji (romanized spelling for Japanese writing) and in Katakana (a simplified form of Kanji also used for foreign words and non-Japanese names).

The Romaji is shown as "TOKOMENI" (noting the "KO" on the sign and the common replacement as "KU" throughout most Isshin-Ryu schools).

Taira is the founder of the Ryūkyū Kobudō Hozon Shinkokai,[2][user-generated source] whose goal is the preservation of Okinawa's weapons forms.

Chatan Yara is taught as the second Sai kata in the Isshin Ryu system, coming from Shimabuku's instruction with Shinken Taira.

The form focuses on the development of the "sequential summation of movement", which is the scientific term for full-body whipping motion.

It is made from an immovable punching post constructed of wood or some firm material, wrapped in straw or other soft padding.

Unlike a hanging bag, timing, cadence, and footwork are rarely utilized with this implement, instead using it almost solely as a resistance training aide.

Shimabuku was one of the first, if not the first, Okinawan instructors to institute free-sparring using full Kendo armor to allow for full-contact training while minimizing the risk of injury.

Current equipment makes free-sparring much easier and safer, allow for a more involved and effective karate training method.

[3][4] While "The four most widely recognized of Tatsuo Shimabuku's instructors are Chotoku Kyan, Choki Motobu, Chojun Miyagi, and Taira Shinken,"[5] his training history remains controversial, with one review finding his karate career "riddled with historical inaccuracies, flaws, and unlikely scenarios.

[4] Nevertheless, the Shuri-Style Lineage Chart of the Okinawa Prefecture Board of Education lists Kyan as Shimabuku's teacher.

"[4] Bishop further cites Shimabuku having studied for various lengths of time with Chojun Miyagi, Choki Motobu, and Taira Shinken.

The "Classical Fighting Arts" article claims that local sources list Shimabuku training for two months with Chojun Miyagi.

"[11][12] At the age of 50 (c. 1959) Shimabuku began studying kobudō, the art of traditional Okinawan weapons, under Shinken Taira.

Classical Fighting Arts contends that this misunderstanding results from "erroneous information that appeared in a 1969 edition of Action Karate Magazine."

In this simplified version of the Isshin-ryu no Megami, one important symbol is left out; in the traditional patch depicts the goddess with a raised right fist and a lowered open palm.

The rough seas and grey background depict a terrible typhoon, which represents the uncertainty of the future, and how trouble may arise spontaneously at any time.

Apart from Karate teachings, he's also the head for Tokushinryu Kobudo System (an ancient weaponry art of Okinawa) in India.

By using the two bones and the muscle to form a block, less stress is created against the defender's arm, increasing the ability to absorb a strike.

Isshin-Ryu kicks are primarily a "snapping" motion, as opposed to placing primary emphasis on thrusting and follow-through.

Competition kicks are aimed above the belt; however, these are largely meant to show one's flexibility and balance and not intended for practical use.