KATA FOLLOWS FUNCTION: a mouth too full

” In actuality, the practice of combative techniques in pre-arranged forms is a methodology that has been used by many cultures throughout history, from the Roman soldier whose drills taught striking with the shield and then stabbing with his gladius, to modern-day karateka whose kata is executed so crisply in their starched white gi”  Kata and the Transmission of Knowledge by Michael Rosenbaum

” A visitor from California promulgated to me the kata-as-an-exercise-in-futility idea.  He used to do kata, even liked them, but had totally dropped them from his regimen as they had nothing to do with martial arts except for a linkage to outdated training concepts. ”And what do you do to prepare for sparring?” I asked him. “My instructor shows me properly thrown individual blows, then how we work them into combinations.  I then practice them solo until I have them down with good speed and form.” he replied. “Oh” I interrupted “So  you practice kata too!”  Cracking the Kata Code by Tony Annesi

 

Kata is my one great love in karate.  Years ago I used to dedicate (and waste) much of my Internet time arguing fruitlessly with other Internet denizens about the relative value of kata training. I have since abandoned this debate: there will always be those who see no value in kata and then there will be the real karate practitioners.  That’s right; I just threw down the gauntlet and basically said that if you do not study and practice kata, you are not doing karate.  That’s just the way I see it.

Now don’t get me wrong: I am not saying that kata is a measure of the value of a martial art or that fighters that do not do kata are poor fighters. I am merely stating that kata is, and always will be, the cornerstone of traditional karate. Without the practice of kata, you may indeed be doing a really fantastic martial art, but you are not doing karate. My position on this is not negotiable; if you have dispensed with kata training, just change the name of your martial art (or, as my above quote from Mr. Annesi suggests, reconsider your definition of kata).

The topic of kata is an absolute Everest, probably far larger than I can possibly do justice to (thus explaining the title of this section: I likely bit off more than I can chew). At the end of this discussion, after I have pirated ideas from many more capable authors, I will provide a complete annotated reference list from whence my ideas have come.  I fully recommend my readers to check out most of the books on that list.  In fact, as a matter of decency, I will also point out the really poorly written and presented books with merciless critiques.  I will likely make a few enemies (take a number and form a line to the left).  My best advice on this topic is that the astute karateka should STUDY kata rather than just PERFORM kata. An unexamined life is not worth living (Socrates) and an unstudied kata is just so much dance.  Study kata.

I personally believe the major issue in kata training throughout karate dojos everywhere is the lack of true kata study.   We teach the kata as simply a grading requirement and, if we have a couple of minutes at the end of class we might throw a few perfunctory, uncomplicated applications to our students.  If I look at my own kata training over the years critically, I would suggest that I was told very few really valuable uses for kata other than grading requirements. I would hope that my own instruction is more complete, but, in truth, I doubt it really is.  This failure lies in the actual nature of karate and kata. Karate is an artform wholly centered around details and perfection. We often get so wrapped up in the details of performance that the performance becomes the only raison d’etre for kata. We either forget or simply marginalize the actual study of kata which encompasses just so much more than simple performance. If, as instructors, we could impart just a small fraction of the wealth of information hidden inside kata training, I believe we would likely win over even the most strident kata-phobic karateka. In this section, I want to deal with the general elements of kata study, then I plan to dedicate the entire rest of the project to discussing kata applications.

Andre Bertel, a Godan ranked follower of Asai Sensei whom I “met” years ago as an Internet acquaintance, frequently commented on his experience of kata training while in Japan.  Kata was, and presumably still is, viewed by the Japanese he trained with as merely a form of kihon training.  Applications, on the rare occasions they were brought up, were pretty rudimentary and quite pedestrian in nature. This “kata as kihon” is not necessarily a poor approach to kata training and really should be the first segment of nearly every kata session. Go back to the discussion sections on kihon, but now apply those elements to  training.  Start with eye-line: each turn in each kata represents an opportunity to train eye-line acquisition. Consider the “mechanical drills” espoused by Sensei Ron Fagen: the first step in each move, including the turns, is to look directly along the next part of the embusen without any “sight-seeing” along the way. Once you have the eye-line established, maintain that line as you work on alignment  of stance and technique. Train so that each specific posture is absolutely correct in form, posture and alignment. The next time through the kata, concentrate on the elements of movement, working each element with the concept of moving as a single mass centered on the tanden. It may also be worthwhile to look at each kata as a lesson or theme: some seem to emphasize balence, others seem to work hip action, while yet others seem to develop alignment. No doubt each karateka can find something of value emphasized in any kata, depending on our own point of view.  I actually select my “favourite” kata based on my own perceptions of my personal weaknesses.  For example, a few years ago my balance was abysmal; as a correction I started to train Gankaku as my tokui kata. Years before that, after being accused of having very stiff hips, I trained Bassai Dai to the exclusion of all others for over a year. Finally, whenever training kata, remember to co-ordinate your breathing to augment your actions: properly done kata should leave the audience breathless, not the performer.

There are some drills that can be used to assist development of all these skills; many of them everyone will know well.  We have already discussed the eye-line drills previously in two sections; utilizing a simple kata such as Heian Shodan (Pinan Nidan) have one person perform an unannounced attack from the traditional embusen directions (ie: first move is a stepping in abdominal attack from the left) while the defender must perform a pre-emptive block and counter with early sen timing. I know I have discussed this drill several times: I cannot emphasize the utility of this drill enough. This sort of very simple drill trains timing, eye-line, alignment, and speed. It also allows for a cross-over between kata training, kumite training and, yes, self-defense training.  To train “self-defense” merely substitute the standard karate attack of very limitted value in “real life” with a lunging knife attack to an unsuspecting victim: the element of reality can be increased or decreased merely by making slight alterations to the attacker’s distance (ie: stepping in stab or slash versus shifting-in stab or slash).  Continuing on in partners, the  correct alignment of the stance, technique, and eye-line, also known as proper form, can be tested by applying forceful resistance against each finished stance as a performer works through his kata. Performing the entire kata to a count, have one partner apply resistance to the completed posture of the performer from several directions, against the actual technique, the upper torso and the hips; any loss of balance may represent a lack of good form (or excessive force by the partner).  Finally, again in partners, have one person move through the kata while the other applies moderate, appropriate pressure against the performer as they move.  If there is any break in form as the karateka moves, this will show up under this stress test and allow for self-corrections. This drill is very much like the drills we discussed in basic kihon where one partner used his belt looped around his partner’s hips to apply moderate resistance as they stepped across the floor.  Finally, one way to develop “spirit” or at least help import kumite spirit into kata performance is, training as partners, perform one kata side by side immediately followed by a full speed sparring drill such as Kihon Ippon kumite or Jyu Ippon Kumite or simply Kogo sparring (previously discussed). Training kata this way tends to “ramp-up” the spirit of the kata performance and it is usually reflected in vastly better kata.

Of course, proper “spirit” is always important in karate and kata, but what is the nature of that spirit?  We have discussed the term “zanshin” several times throughout this project, and have referred to it variously as “readiness” or “continued readiness”. The translation I have is “remaining spirit” or “alertness remaining form”.  This is a difficult topic that encompasses so much that it becomes nearly impossible to define. Perhaps we should start with looking at the way the brain works. There are four basic levels of brain activity, each characterized by a particular electrical wave frequency. Beta waves, cycling at 14 to 30 cycles per second, represent a fully awake, excited, and focused brain (thinking HARD).  Alpha waves, cycling at 8 to 13 cycles per second, represent a relaxed, composed and passively aware mind.  Cycling a bit slower, at 4 to 7 cycles per second, is the Theta waves. The Theta waves represent a state of light sleep or drowsiness. Finally, Delta waves, the slowest at 0.5 to 3.5 cycles per second, represent a person in deep sleep.  Obviously, the first two states of mind activity are the states we are concerned about while performing martial arts (unless, like me, you get hit really hard while thinking with Beta waves, then your brain may slow right down to Theta and Delta waves as you crumple unconscious onto the floor).  The  most useful level of consciousness for us is the Alpha wave: observant, aware, but not actually thinking or judging. The Beta wave, that excited state of mind where you are constantly puzzling over the past, present or future is just likely to get you hit: thinking and fighting do not mix well.  The description used so often in many texts to characterize this Alpha brain wave state is “mizu no kokoro” and “tsuki no kokoro” or “mind like water” and “mind like the moon”.  And, we ask, just what the hell does that really mean?  For your mind to be like water, or specifically for your mind to reflect everything like the surface of a placid lake, it needs to be completely calm. Once your mind becomes disturbed (moves from Alpha waves up into Beta excitement) it’s ability to assess the correct situation may become clouded (with thought and emotions) .  On the other hand, your mind should also be non-judgemental, seeing, assessing and reflecting equally on everything that is within it’s purview. Everything your senses take in has to be judged equally, the same way everything under the moon receives equal light. The other term we might see is “mushin” or “no-mind”. Mushin may be defines as a mental act without thought or acting without thought. In fact, mushin may actually be our entire goal in karate training: the ability to act appropriately instinctively, without thought or hesitation, when faced with danger.  We can train ourselves to reach this state of mushin; in fact the best athletes can slip into Alpha states (getting into “the Zone” is the term) at will in preparation for their competition. The other example of  people who can “find” the Alpha zone at will are practitioners of Zen meditation.

Many people consider mushin to be the very essence of zen.  The goal of meditation in Zen is to find that void where you sense everything around you but think about nothing. Zen meditation can be done in several ways: Sazen is sitting meditation and is the most commonly known form of Zen. Tachizen is standing meditation and I have no idea what that would look like. Finally, ugokizen would be zen in moving performance.  It is the last one that I am interested in: zen in movement. I personally consider kata a form of ugokizen when performed correctly.  The question that one asks is how can we use kata in this way.  The first step along this path is constant, intense, repetitive training of the kata.  You need to get to that point that the kata flows without any consideration on your part for either the last move, the present move, or the next move.  I compare it to driving a stick-shift car: the actual mechanical action of steering, working the gear shift, the brakes, the clutch and the gas pedal must be done without thought while we actually navigate over the road.  We cannot mistake the act of operating the car with the act of driving.  The same should be said for performing kata: we should not mistake the physical movement and techniques for actual kata performance, they are merely the superficial shell of the kata.  The second part of kata training should be static visualization: you should be able to perform an entire kata, step by step in every detail, without moving a muscle. Try this sort of training as you lie in bed before sleeping; start at the formal bow-in and proceed in as much detail as you can to the formal bow-out.  I actually found this training drill to be very worthwhile for passing time without wasting time on my last visit to the hospital: it helped me control my emotions as my doctors decided my fate.   Kata training may also take on a “flow” type of drilling, as long as the karateka is able to dispense with some of the karate dogma that demands speed, staccato rhythm and kime.  Try training each kata with a flowing action, moving absolutely seamlessly from posture to posture without discernible pauses or changes in rate.  I find the longer katas to be most amenable to this sort of drill.  This style of training kata is exactly what the practitioners of Tai Chi Chuan are doing while performing the 108 moves of the Yang style long form.  Within that form there are infinite postures, 108 postures and only one posture, all of them performed with equal emphasis. The goal is to perfectly form each posture and perfectly flow between each posture.  This takes us back, full circle, to the concept of zanshin: continuing spirit.

Of course, we do need to at least touch upon the topic of performing kata for the sake of performance.  The value and demands of perfect kata performance should not be underestimated. Perfection is valuable in it’s own right.  Let’s just take a detour here into the topic of human surgery.  Anyone that has ever suffered an inguinal hernia knows that it is bloody uncomfortable, life limiting and sometimes life threatening.  There are numerous repair methods ranging from simply sewing it shut to implanting an artificial carbon filament mesh into the body wall.  At most hospitals, the surgery to repair it takes up to ninety minutes long and has about a fifteen percent failure rate, which results in a second or even third surgery. At the Shouldice Clinic, a small surgical hospital north of Toronto Ontario, the surgery takes about 45 minutes and has an astonishing one percent failure rate.  The Shouldice Clinic represents an even greater anomaly: they have no secret techniques or high tech cures: they merely sew the damn thing shut.  The difference at the Shouldice Clinic? Every surgeon does every hernia surgery exactly the same way and all they do is hernia surgery. Thousands of them every year, exactly the same way every time. Furthermore, typically, the doctors on staff at the Shouldice Clinic are not “board certified” surgeons. Most of them have very limited surgical training but after a one year apprenticeship at the Shouldice Clinic any of them can be considered among the best in the world when it comes to hernia surgery.  Why? Practice of course. They do the same thing the same way over and over and over. If we checked their brain waves while in surgery, I would bet that they constantly hover on the edge of Alpha wave patterns. When asked if they find surgery at the Shouldice Clinic to be tedious or boring, most of them reply that true perfection is the reward: perfection is exciting.  If you wish to perform well in kata and indeed karate, you need to find perfection exciting.

While performing a kata you need to go beyond simple form.  Of course form is important and you need to start your kata training by mastering the outward, superficial form. Refer back to the paragraph above dealing with kata as kihon. On the other hand, you need to find the proper rhythm to each kata: none of the kata are meant to be a tedious metronomic marches through the steps; they are meant to have the broken rhythm of a real battle.  Within each kata there are groups of actions that are meant to be performed as combinations with a significant but not lengthy pause after each. Envision an opponent for each combination and a finishing blow for each opponent.  My first sensei, a practicing Polish Catholic, used to entreat us to “say a rosary over the disabled body of each enemy” before we continued on to the rest of the kata. This may have not been politically correct, but the suggestion worked to create a rhythm within such simple kata as Heian Shodan. Furthermore within most kata there are slow elements and fast elements: make sure you differentiate those two.  Allow the slow elements to actually be slow, but do not let them become “rest stops”; rather look upon them as tension builders, performed as if you are the Great White Shark circling, poised to strike and kill at a moment.  Any movement out of these slow actions should come with an explosiveness and suddenness that takes the breath away from any observer.  For the fast movements the feeling should be twofold: each move must be as fast as you can imagine moving, but yet each technique should have appropriate kime so that they remain separate entities rather than all running together. There should be a staccato rhythm yes, but also a sense of continuity where each technique is complete yet completion is merely the commencement of the next technique.  Perfect performance also suggests a perfect finish. You really should attempt to start and finish on the exact same spot; to do so demonstrates a consistency of stance performance throughout the entire kata and a strict adherence to the traditional embusen. Again, there really is a certain beauty to perfect reproduction of kata.  On the other hand, we need to remember the difference between an artisan and an artist.  An artisan is a skilled technician, capable of exactly reproducing an artifact with no appreciable variation from the original. The artisan does not create art, he reproduces it.  The true artist creates art which not only reflects something of his own perception of the world, it allow his audience to experience some of that perception. True art is about individual sensations, perceptions and emotions.  In performing your own kata you need to become an artist rather than an artisan.  You need to become the fighter in the kata, battle the enemies sequentially and end the fight with composure and continued awareness. You need to perform on a stage and sell the kata rather than just plod on through it. The artistry in kata performance lies in visualization: you need to see an application for each technique or sequence to perform them realistically. Obviously, to correctly see the applications in your mind’s eye, you need to know some applications.  Even for the tried and true competitive kata performer who cannot ever envision using kata techniques in a real fight will benefit from knowing at least some rudimentary applications for every part of their kata.