Understanding Kata And Its Relationship To Bunkai

While kata is regarded as the ‘art form’ of karate, the original premise behind all kata is self-defense. Behind each technique lies multiple hidden self-defense application/s. The application of the techniques within kata is known as ‘Bunkai’.

Often, when studying or practicing Bunkai, students try to emulate or resemble the kata as close as possible. In other words, they try to achieve the means without compromising the kata – maintaining formal stances, perfect posture etc. The reason many emulate kata to this degree of detail when practising Bunkai, is due to the way they see the development of Kata. A case of the chicken before the egg; students often see the Kata being the original concept (the egg). They see a kata first being developed and only later, after studying the Kata in detail, could a self-defence meaning be unearthed. While this is true in some sense, people who see the Kata as the egg will tend to show the Kata clearly in Bunkai.

“Kata is both a method of self-defence AND an art form. And while it is two things, they do not have to resemble one another.”

This is not how bunkai is intended to be. One must note that kata is both a method of self-defence AND an art form, and while it is two things they do not have to resemble one another. The actuality is this; the self-defence technique was the egg. The karate forefathers had been training in karate for years before introducing their own kata. Over the years they learnt many self-defence techniques, and in that time developed techniques they swore by and may have even used in self-defence. As the years passed they would formulate a kata based on capturing their fighting philosophies. This is why kata can be seen as a study of history and people.

Lets take a few case studies. Sokon ‘Bushi’ Matsumura is regarded as the first person in Okinawa to teach kata Bassai-Dai. He was the Chief bodyguard to the King and responsible for training the King’s guards. Spending time in Royal grounds, the most likely time he or his men would ever need self-defense was when the town’s people would riot. Now let us examine the techniques of Bassai-dai. It involves fast techniques with quick changes in direction (as if negotiating a rioting crowd). The kata, therefore, illustrates his fighting philosophies. To study a kata developed by Chojun Miyagi (founder of Goju Ryu), one can get a look into this famous master’s fighting style and favoured techniques. Even to study Kancho Sullivan’s two original kata, you can clearly see Kancho’s fighting style come out, in other words, the techniques he would be most confident with in self-defence.

Meeting Kata Criteria

The question many ask is, did these masters intend the bunkai to look exactly like the kata? The answer is no. Remember, the kata is not the egg, the technique is. So if a self-defence technique was to be put into kata it had to meet the criteria for a kata. Kata has formalised stances, formalised hand positioning, perfect posture and clean angles (0, 45, 90 degrees etc). So the techniques had to be modified to fit. What’s more, kata is ultimately an art form, so techniques were changed again in their timing. This tells us by the time a self-defence technique made its way into a kata it no longer resembled its original shape.

“Bunkai takes from kata but need not be kata.”

So why would they do this? Why would they not simply stick to teaching self-defence techniques as they were? In many cases self-defence techniques are taught separately – as they can be done. But when it comes to those in kata, there are numerous reasons.

Firstly, the self-defence applications in kata were made abstract purposefully to hide their true meanings. It was unacceptable to teach a novice lethal techniques before they had revealed pure motives for learning. While they learned basic fighting skills in ‘basic training’, the more lethal techniques hidden in kata were only revealed as they developed their true understanding of karate.

Secondly, one aim of karate was self- mastery. With no formalised structure (eg the front knee placed directly over the foot in long forward stance) there would be no way of charting ones progress. By having formalised kata, it was easy to gauge how successfully a practitioner was mastering control over their body.

Thirdly, many of the postures (such as deep stances) in kata were designed for physical conditioning. To be capable of defending one’s self, knowledge only goes so far as the body itself had to be forged into a weapon. It is interesting to note when studying the Japanese symbol for Kata, that the upper part of the symbol ‘Kei’ means punishment. This symbol sits over another symbol, ‘Doh’ meaning earth or soil. Combined, it roughly translates to strictly imposed, physical punishment taking place outside on the ground.

All this backs up the earlier statement, that while kata is both a method of self-defence AND an art form, these two things do not have to resemble one another. Understanding that kata is the end-result of a self-defence technique, we come to realise the kata can and should be compromised to make Bunkai more effective. Just as self-defence is not so apparent in a kata, kata should not be so apparent in a Bunkai application.

Bunkai Training Involves Compromise 

The conditions go unchanged in kata, yet in real life, very few opponents will stand in their forward stance with their arm outstretched awaiting your next move. This implies compromise has to be made.

Be Distance Adaptable 

Many times you’ll discover in your Bunkai training that you are too far away or too close to execute a fully effective technique. Distance is one of the most important factors in self- defence, thus where distance is out, you should always be willing and ready to correct it. When too far, take an extra step in, add a kick on the way in or even try pulling your opponent inwards. When you are too close for your desired technique to be effective, you may have to change a hand strike to an elbow technique, push them back to create the room or even shove them with your body if very close.

Be Target Adaptable

A kata might depict a body level punch, but you may find in class that your bunkai partner’s arm is in the way of your target. Adaptability is also a key factor in self-defense and where a target is covered; always be willing and ready to change techniques. In such an instance you might deliver your punch to the face or opt for a knife hand strike to the temple.

Be Ready To Add Techniques

A kata may depict a single hand or foot technique. Likely, the kata suggests that you put 100% commitment behind that technique to completely disable your opponent. In life however, there’s always something that may go wrong. You may hit the stomach instead of the solar plexus, the forehead instead of the nose; you may have poor distance rendering the technique weaker etc. Another key factor of self-defence is what the Japanese call ‘Zanshin’ (a continued state of awareness). The aim of bunkai training is self-defence effectiveness, so any time you feel your technique may not have met success, be ready to add techniques. Always be sure you and your partner are careful and aware that extra techniques may come if completely necessary.

Forget The Rules Of Kumite 

When people practise bunkai, they often subconsciously lean their techniques towards the rules of kumite. Don’t be afraid to make a front kick to the stomach a groin kick, or a body punch a throat punch. In any such instance BE VERY CAREFUL, you do not wish to injure your training partner.

Forget Formalised Stances 

While the Kata may involve ‘Sanchin’ or ‘Zenkutsu’ stances, the Bunkai being self-defense orientated need not have perfect stances. In Bunkai training, your stance guide should generally be your distance. If you are close, a shorter fighting stance is ideal, if you are further away, pressing in with a regular fighting stance is ideal. Where you are side on, a relaxed horse or sumo stance can be applied. Whatever the case, the focus is on effectiveness, not Kata. But remember, while your stances need not be formal, a deep- grounded stance is the base of a powerful strike.

Forget Formalised Posture And Hands

During kata, our posture is always straight. In part because good posture is in alignment with good health, and the better the posture the more powerful the technique. That said, there may be times in bunkai training where it is necessary to lean forward in a punch to gain more reach or duck a potential oncoming attack. Furthermore, where kata sees our returning hand come back to the hip, you may feel more secure keeping your returning hand in front of your body or jaw as protection.

The final note is that bunkai takes from kata but need not be kata. Your focus in bunkai should be different to kata. A kata focus is on successfully mastering your body – hence the need to strictly adhere to the formal path laid out. Bunkai’s focus, on the other hand, is on successfully mastering your opponent – hence the need to be adaptable to the path laid out.

By Shihan Anthony Ryan

The post Understanding Kata And Its Relationship To Bunkai appeared first on GKR Karate.

Why Kata is an Integral Part of Karate

There are numerous reasons why kata is such an integral part of karate, Shihan Anthony Ryan explains them below:

1. Kata Is the Art Form of Karate 

Without kata, most styles would be virtually the same – a series of punching and kicking techniques. Kata represents the ‘art’ or ‘culture’ of a style providing a direct link to the past by studying the techniques and principles practiced by karate’s forefathers. By observing a style’s Kata, one can also gain insight into some of a style’s philosophies and, as a student practicing kata, become a moving breathing example of the art itself. In this way, kata almost becomes the signature of an art.

Perhaps the reason kata is associated with karate’s art form is because it is a work of art. While there is no clay to mold, the practitioner is the clay, and their endeavor is to master their body and mold themselves into an incredibly moving sculpture. This may sound over the top but is not far from the truth. Kata is an art that when mastered can appear deadly, yet beautiful. It can appear powerful, yet soft; explosive, yet flowing. When Kata is not mastered, it appears nothing like art and no more than a sequence of abstract fighting techniques or calisthenic exercises.

When Kata is performed properly, like any piece of art, you can see the heart of the person performing it. Like any piece of art, you can see the emotion yet equally, self-control over this emotion. When it is not performed properly it appears empty or over-emotional. When Kata is performed properly, the practitioner appears to be fighting an imaginary opponent. It appears powerful but effortless. When it is not, the practitioner appears to be fighting their own body, their own energies.

This is made apparent when a person is completely worn out after performing just one kata with intensity.

Many warriors throughout the history of the world fascinated themselves with art. For example, it was expected that the great warriors in Spain would also be expert dancers (ballroom dancers). This showed they were masters of their craft, men with culture and finesse, not just ‘men who bore arms’. Many tribal warriors throughout the world not only engaged in dances the evening before the battle, but painted beautiful works of art on their skin beforehand. And most notably, the famous Samurai warriors of Japan often practiced calligraphy for hours on end trying to perfect their technique.

Having art is integral to any martial art for it acts to restore balance. Training in a fighting art generates aggressive qualities (essential for self-defence). However, developing these qualities without balance leads to an aggressive nature.

When we again look back into history, the warriors of Spain and Japan were also famous for being loving fathers and husbands. The art and culture that was endorsed to them helped them to keep balance. While their fighting art trained them to be fierce warriors, the arts helped them maintain self-control and inner harmony. This meant they were also cunning and emotion-controlled warriors, but away from a battle, could be highly respected and noble citizens.

The warriors of other countries who often painted their faces and bodies and danced before battle were also noted as having loving qualities. In many respects, the face painting was about creating a mask and symbolised an alter ego being created solely for battle. This way they could be two people, a warrior and a citizen, but both were different people so one did not disrupt the life of the other.

In comparison, countries throughout history whose warriors trained in fighting arts without any promotion of art or culture often struggled to keep balance, unable to separate the warrior from the man. Away from battle, warriors would often take women against their will, were rude and obnoxious and often misused their skills. They also failed to fit into society, something many war veterans feel from the more modern wars.

2. Kata Teaches Self-Defence

As well as an art form, Kata is also a form of self-defence training. Commonly described as a fight scene against imaginary attackers, each technique or combination of techniques within a kata has a Bunkai (application) based on a self-defence scenario. At times the self-defence applications are easily recognised, while some require slight explanation before becoming apparent.

What has frustrated those unappreciative of kata and led to their labeling it as no more than an art form and an ineffective means of self-defence, is the fact that many kata applications are very abstract, while others required ‘added’ techniques (like a jigsaw) before the technique becomes ‘effective’ and apparent. There are three major influences behind kata having a sense of ‘mystery that needs to be unlocked’.

Firstly, and perhaps the most understandable, is that karate’s forefathers originally created kata with deliberate intention to conceal their self-defence application. This served to prevent casual observers or those who were not serious about learning all things involved with karate (such as the time it takes to develop humility etc) from learning potentially deadly techniques.

The second major influence came in 1901 when Master Yasutsune Itosu introduced karate into the Japanese school system. He believed that kata was too dangerous to be taught to young children so he set about disguising many of the techniques inside.

The third major influence came due to the fact that kata mostly dealt with defence from being grappled and as such, contained numerous highly effective techniques such as eye-gouging, throat grabbing, groin squeezing etc. These techniques were known as entrance techniques. However when karate arrived from Okinawa, the Japanese believed it to be ‘too violent’, therefore resulting in a number of these entrance techniques being removed. Understanding that kata had a number of these entrance techniques removed helps to illuminate the real potential of kata. For example: When studying bunkai, a person will discover that almost all kata have a number of defences against a ‘wrist grab’. Again, some kata critics make a point that it is extremely rare for an attacker to start by grabbing their victim’s wrist.

What must be understood however, is that if our first reaction were an entrance technique (such as the seizing the attacker’s eyes, throat or groin), their likely reaction would be to try and remove your grip (hence grabbing your wrist). From this position it suddenly becomes apparent the advantage of knowing a number of ways to either remove or reverse a wrist grab. Equally, by understanding that the attacker has not just grabbed your wrist for no reason, and that the philosophy is for you to have control, or part control of one of their vital areas, the attacker will have less strength in their arm, making it believable that a weaker person could execute the technique effectively.

By understanding, and even visualizing the Bunkai (application) of the techniques while performing kata, practitioners equip themselves for a self-defence situation by:

• They gain insight into various defenses against numerous situations (defence against both striking and grappling attacks).
• They gain muscle memory of how to move when fighting numerous attackers (such as changing between stances to remain balanced and strong and changing angles).
• It trains a person to execute their techniques with full spirit and Kime. To land their techniques perfectly without fear of hurting their opponent (sparring often fails to endorse this).

Some practitioners proclaim that sparring is modern karate’s best training for self-defence. While it is absolute that sparring is important for self-defence training by developing timing, distance and a familiarity with the mental and physical ramifications of being attacked, all practitioners are limited without kata training. This is because sparring follows a set of rules, a designated distance and rarely involves being grappled or surprised.

3. Kata Promotes Self-mastery 

Is kata entirely essential? A tool for developing self-defence skills and ideologies? Karate’s art, and an historical link to its past? It could be proposed that each of these could be developed by numerous means. Students can, and do learn self-defence during basics, sparring and specific self- defence drills. And the history of karate can be preserved through studying its history. So perhaps the most potent tool that kata equips a student with, is the pursuit of self- mastery. Great emphasis is placed upon the perfection of every aspect of kata, including correct form, breathing, focus, balance and they are designed to perfect the grace, consciousness, and power of the physical self and spirit.

All karate-ka would agree that irrespective of their development, there is always something they need to improve upon, even if only to fine tune every kata they practice. And it is this attitude of self- mastery that is most essential, for without it, all else suffers.

In terms of kata as an art form, any fine artwork is flawless. Consider again that a kata practitioner is like a piece of clay and must mould their kata into an incredible moving sculpture. A practitioner who has no focus towards perfection will never develop a great kata. In terms of self- defence, considering that a self-defence situation can be unpredictable and emotion driven, coming up with highly effective techniques under stress will be difficult for the practitioner who has not developed a focus towards perfection.

Before any technique can be mastered, one must master themselves. Knowing exactly ‘how’ a technique or combination of techniques must be performed can be very different to actually ‘doing’ it. To develop a powerful, well-balanced strike, block or throw, the entire body must work in unison. By practicing kata with the pursuit of perfection, we develop our mind and body connection. Developing this connection is more difficult during basic training as techniques are more often practiced individually while kata involves a series of techniques bound together in a sequential timing.

Getting every movement correct in both timing and technique requires mastery over our entire body, but one cannot master their physical selves until they have mastered their thoughts. Completing an entire kata ‘properly’ so that it is not only representative of the art of Go-Kan-Ryu but also viable as a means of self-defence, requires one to have mastered their thoughts.

A few examples highlighting a lack of self-mastery of the mind are:

Distraction: Being unable to perform a kata beginning to end without being distracted sounds easy but can prove difficult. It often arises when a mistake in technique occurs and the practitioner remains focused on the error rather than mentally moving on.

Nerves: Especially when performing solo, being unable to control one’s nerves causes a person to rush and make vital errors.

Over-effort: Again, especially when performing solo in their attempt to be powerful, a practitioner may put too much effort into techniques. This actually detracts from their power output, slows them down and produces telegraphed movements. It is essential that a student allow the proper technique to provide their power.

Each of the above is not only essential in the unlikely event of a self-defence situation, but in our everyday lives. There will be many times in our lives that the ability to control these emotions and others can pay massive dividends. When we can master our minds, we can master our bodies and our entire world.

Why The Same Kata Can Appear Different?

While most traditional karate styles study a similar kata curriculum, each style will have small differences, its own unique interpretation or method of delivering a technique. Some argue this should never occur and endeavor to find the ‘purest’ form of the Kata so it may be practiced the way it was first intended.

While this would be ideal, original teachings in Okinawa were never written down and many records died with their creators. Furthermore, when some of the top students of the original masters ventured out and taught for themselves – while maintaining the core of the Kata – they made slight adjustments based on their own personal philosophy and educated opinion of a technique.

In the same manner, when their students moved on and taught the same happened again. Even if you visit the top masters in Japan today you will notice that their students will practice kata differently, or associate a different Bunkai (application) to the techniques. Were you to visit Okinawa (the birthplace of karate), you will find the differences even more prevalent.

By Shihan Anthony Ryan

The post Why Kata is an Integral Part of Karate appeared first on GKR Karate.