▁incorpor ating ▁significant ▁elements ▁of ▁their ▁respective ▁styles , ▁Sh ind ō ▁j inen - ry ū ▁and ▁Sh ito - R y u , ▁as ▁well ▁as ▁feedback ▁from ▁Mor ihe i ▁U es hib a , ▁who ▁ad vised ▁them ▁on ▁changes ▁intended ▁to ▁more ▁closely ▁tail or ▁the ▁techniques ▁included ▁in ▁the ▁form ▁to ▁the ▁needs ▁of ▁women , ▁for ▁whom ▁it ▁was ▁being ▁designed . ▁The ▁k ata ▁that ▁resulted ▁from ▁the ▁collaboration ▁between ▁these ▁three ▁master s ▁- ▁Se iry u ▁( 青 <0xE6> <0x9F> <0xB3> , ▁meaning ▁Green ▁Will ow ) ▁- ▁includes ▁core ▁principles ▁from ▁kar ate , ▁a ik ido ▁and ▁ju j ut su , ▁and ▁became ▁part ▁of ▁the ▁training ▁regiment ▁for ▁female ▁railway ▁workers . ▁ ▁World ▁War ▁II ▁and ▁Kar ate ▁▁ ▁With ▁Japan ▁em bro iled ▁in ▁World ▁War ▁II , ▁the ▁continued ▁evolution ▁and ▁ref in ement ▁of ▁kar ate ▁plate au ed ▁as ▁many ▁pract ition ers ▁en list ed ▁to ▁fight ▁for ▁their ▁country . ▁With ▁Japan ' s ▁surrender ▁in ▁ 1 9 4 5 , ▁however , ▁the ▁nation ' s ▁male ▁population ▁returned , ▁only ▁to ▁encounter ▁a ▁prohib ition ▁on ▁the ▁practice ▁of ▁all ▁mart ial ▁arts ▁( with ▁the ▁exception ▁of ▁sum o ) ▁that ▁had ▁been ▁ordered ▁by ▁Douglas ▁Mac Ar thur , ▁commander ▁of ▁the ▁Al lied ▁Occ up ation . ▁As ▁life ▁slowly ▁returned ▁to ▁normal , ▁Mac Ar thur ' s ▁ban ▁was ▁lifted , ▁and ▁Kon ishi