The modern tradition of karate practice
is that one goes to a dojo three times a week and practices kata.
Every few months the karateka learns a new kata, and once they have
reached a certain level of black belt they might learn the most
advanced kata in their system. Along the way, they may engage in
prearranged sparring, visit seminars, run scripted drills and
possibly do a little bit of limited sparring. This is the mode of
most legitimate traditional schools. The conventional wisdom is that
one doesn't truly start to learn karate until they have learned the
basics. This means reaching black belt, which if it is a “good”
school will take a number of years to show that you have the ability
and determination to study karate. Along the way one pays dojo fees,
pays for seminars, pays for equipment, pays for weapons, sparring
gear and testing. We are told that karate is a continuous life long
practice, so this amounts to a monthly car payment extending out
infinitely into the future.
The hope of many of the students is
that once they work hard enough they will reach that coveted level
where their instructor will finally start to reveal the secrets of
karate to them. They will learn the secret techniques, the
applications to all of the kata, they will become fighters, the
master karateka of their dreams. The reason many people start
practicing karate is to learn an unarmed fighting art. The sad fact
is that there is no such thing as secret techniques, official
applications to kata, karate will not make you a fighter and no
sensei, teacher, coach or guru can make you into a master karateka.
The reason is that karate is almost completely theoretical.
The only concrete aspect of a karate
dojo is karate kata. Everything else is purely opinion. There are no
secret documents outlining the applications of all the kata. There
are no specific karate techniques and no one in the karate community
can agree on any theory, which explains kata. The karate community
exists in an uneasy truce involving the idea that all ideas are
legitimate, while they all secretly know in their hearts that what
they practice is the true karate. The only problem is that there is
no true karate.
Everything we have ever learned about
karate comes from word of mouth. They are merely stories shrouded in
myth, bias and political agendas. Many of the karate pioneers, such
as Gichin Funakoshi, Itosu Anko, Kenwa Mabuni and others openly admit
to modifying karate in order to bring it into the modern era. They
actively and purposefully changed karate into a cultural sporting
recreational activity. This is what we currently know as the Three K
approach to karate, which is kata, kihon, and kumite. Whatever karate
was and whatever karate meant in the past is completely lost to the
sands of time.
This is not a secret in the karate
world. This is only a secret to the new practitioner of karate. The
new student assumes that the instructor knows what he is doing and is
not merely handing down what is the equivalent of the illiterate monk
blindly copying down letters, which he does not understand. The
conventional wisdom is that one does not truly start to learn karate
until they reach black belt. This means that one wastes years
studying empty kata until the student knows whether or not their
teacher has anything of substance to pass on. This phrase may be used
to talk about the depth of karate, but to the layman it is a reason
not to question their teachers until it is much too late. After years
of following orders, bowing, and adhering to ritual a person has a
psychological and financial investment in their instructors not being
completely full of shit. They have literally spent thousands of
dollars and built an ego out of practicing karate. If the dojo is
wrong than they are a fool, so they will fight tooth and nail to
protect their self image that they are not a fool, no matter what the
evidence may suggest.
The few karate instructors who know how
to effectively apply it as a fighting art, or even begin to apply it
as a fighting art did so through their own study. They talked to
experts in violence, did research, practiced and expanded their
knowledge base to become better karateka. They did all of this to
better understand an art, which they supposedly teach. How can you
teach something if the lessons you pass on are from other martial
arts? Why didn't you learn these lessons from karate itself? What
exactly did you learn to become an instructor? These few people are a
representation of the survivor bias. They are the few people who have
managed to go through all of the empty karate hierarchy and come out
on the other end and not be completely mentally compromised. The vast
millions of people, who practice karate are no closer to
understanding their karate than anyone else, because they assume that
their teachers have the answers. Karate teachers have no answers that
you cannot find on your own. In fact some of the most reputable
karate teachers will withhold lessons, because they believe it is
best if you learn them on your own. A Yogi Bera quote comes to mind
“You have to be careful if you don't know where you're going,
because you might not get there.” I wonder how many promising
karateka have abandoned the art, because of lack of guidance or just
lack of information.
Here's the question. If a good
reputable karate teacher just lets you learn on your own, and no
karate teacher can tell you the meaning of kata, and no one knows the
true meaning of kata than why should anyone pay for karate lessons?
The vast majority of karate schools
practice and teach kata during class time. A person comes to class
does warm ups and basics and then practices the kata. They punch and
kick air. They practice kata in the air. They might do strength and
conditioning exercises through calisthenics or what amounts to
lifting weights and they may practice scripted drills. What is the
difference between punching and kicking air at home and punching and
kicking air in the dojo? What is the difference between practicing
kata at home and practicing kata in the dojo? Absolutely nothing. A
karate teacher may correct posture and kata position, but if the
student doesn't practice, concentrate and pay attention to this on
their own than no amount of correction will do any good.
All the work, practice and study is
still squarely the responsibility of the student. The instructors
only real capacity in teaching is being a repository for the patterns
of kata, which they dole out little by little once you've reached the
required time markers or familiarity with other kata patterns. This
at first blush would seem like a legitimate reason to stay at a
karate school. This however is not the only way to practice karate.
Historically for most of karate's history at least until before the
reformation. A person only studied one kata at a time and was
expected to study it for three to five years before moving on to
another kata. A person might only know five kata at the most. Two or
three was more common. It was expected that you would have a very
deep understanding of a single kata, because a single kata is the
basis for an entire fighting system. It is a primer for unarmed
fighting, which are the essential body mechanics used to create
efficient and brutal kinetic energy. A fancy way of saying breaking a
person.
Kata were guarded secrets. A single
kata was a treasure that was only taught to people who you trusted,
and aspects may have been changed if you had to reveal it to those
who you didn't trust. This was a single kata, where as in today's
tradition one can learn up to 20 kata in a single system. One can
learn ten kata in the first year of study and spend the rest of their
time practicing kata in rank and file up and down the dojo floor
until they get their black belt. Kata are no longer a guarded secret.
They are open to everyone, but the classical style of a single kata
practice has fallen out of favor, mostly because by the time you are
interested enough in karate to learn that others practiced in a
different way you are fully indoctrinated into the conventional
paradigm of training. We might also ask ourselves that if it
historically took three to five years to competently learn a single
kata, not to master one, wouldn't that mean it is only possible to
become only competent in karate after nearly 60 or more years
of study? Even if it only took ten years to become competent, its a
terrible system of teaching. It takes less time to become a medical
doctor.
One might be asking themselves about
the role of self defense. Self defense is an often espoused perk of
learning karate. There is a difference however between self defense
and martial arts. According to Rory Miller, an expert in the subject,
self defense is more about teaching people not to be singled out as
prey than teaching people how to fight. To use my own analogy, it is
the same idea behind a bicycle lock. There is no bicycle lock, which
is thief proof. Cyclists in big cities know this very well, so the
strategy behind not getting your bike stolen is to make it harder to
steal than the bike next to yours. Criminals will go for the easier
prey. If your bike looks like more trouble to get than the bike next
to it than they'll choose the bike next to it. Predatory violence is
much the same. It's about being a harder target than the person next
to you. This has more to do with being aware of your surroundings,
body language, avoiding venues where people get their mind altered
and not being an idiot. Fighting has very little to do with it.
Besides this there is a threshold where people are able to access
their skills. Rory Miller puts this at close to 20 or more unarmed
incidents. Considering that one is not supposed to engage in violent
conflict if they are a good karateka than this is beyond the scope of
the hobbyist, and unless you are a force professional you are a
hobbyist.
This essentially means that to be a
fighter and have the access to your skills you need to get into a
bunch of stupid and dangerous situations. You need to have the luck
and instinct to survive these encounters. You also need to have
sufficient skills to access when you finally cross this threshold.
This is a bad idea, and is the exact opposite of good self defense
skills.
Karate is a martial art, or as some
phrase it a civil defense art, because it was not meant for war. It
is essentially studying the combative tradition of 19th
century Okinawa and the Old Ryukyu kingdom.
A good karate instructor is practically
an anomaly. Many who teach karate are unethical, immoral, ignorant
and closed minded. They are happy to take your money and design their
teaching to be over complicated and cloudy, so you have to keep
coming back. They tailor training to meet the expectations of the
consumer, the students, so that it resembles their ideas of combat.
Ideas learned from television, movies and professional sporting
matches. It has more to do with the aesthetics of a foreign culture
than internalizing and studying a fighting art.
There is an alternative to the modern
tradition of karate training. This is the individual study of a
single kata. Kata are freely available. People film them on social
media, they are handed out like candy in dojo and there are books
filled with pages and pages of kata in local libraries. The study of
a single kata requires no money, no dojo fees, no uniform, and no
testing. It is built completely on your willingness to learn and
study. One will have to put in the work themselves anyway if they go
to a dojo, except they will pay for the privilege. A karate teacher
cannot tell you anymore about kata than what you can learn on your
own from a few books and constant and dedicated practice.
The only difference between the
independent study of a single kata and dojo practice is a belt. The
independent practitioner does not have one, but since belts are
supposed to be unimportant, this does not matter. The practice of a
single kata gives a person all the advantages of practicing
traditional karate, but without monetary cost, or searching for a
legitimate dojo.
Studying karate is a physically and
mentally fulfilling study. Practicing a single kata makes karate a
personal journey to the heart of a individualized understanding of
karate. It is a democratic study, which is open freely to everyone,
and it won't take you decades to become competent. Just a few years.
The Paradox
The nature of a single kata practice
requires that it be structured differently for training. One would
think that there wouldn't be that much difference between practicing
one kata and practicing many. The very core of the practice is the
study of kata, but by changing the number of kata studied at one time
one drastically changes the type of training one can do. One cannot
engage in the traditionally taught technique-based training method.
This is where we practice the kata and after a sufficient amount of
time we begin to extract specific techniques and technique variations
from the kata to practice in scripted or semi-scripted drills. Unlike
other martial arts, which contain a fixed list of techniques, karate
kata do not have a verifiable list of techniques from which to draw.
Some would argue that each kata is merely a memory-aide list of
simple defensive techniques, so this is our list. The problem with
this theory is that there are so many viable technique variations
within each kata. I have never once seen two people with exactly the
same application of a kata movement, unless they practiced at the
same dojo. This becomes a paradox. The widely held and correct belief
that “there is no one
viable interpretation of each kata movement” is a contradiction for
technique-based training. If a kata movement can be multiple
techniques, it is not one technique. If it is one technique, it can't
be multiple techniques. This logically means that a kata movement is
not a technique at all. This can be shown in two ways: the
practicality of trying to extrapolate technique and the practicality
of practicing individual technique variations from kata.
Technique is not
the smallest component of karate kata. It is the smallest part of the
theoretical side, which includes technique, tactics and strategy, but
it is not part of the nuts and bolts of kata. These are context
driven considerations, which are dynamic and change from situation to
situation. The humble punch for example is a single type of
technique. It is a strike. Simple, yes? But, the straight, the hook
and the upper cut each use different body mechanics to produce force.
The straight uses gravity and a step, the hook is the rotational
torque of the body, and the uppercut uses the upward driving force of
the legs. One of these punches does not show the body mechanics of
the other. They only share a striking surface. When you can use the
straight, hook or uppercut are also different considerations, which
change due to situation. It is hard to extrapolate technique, but it
is easy to extrapolate body mechanics. The body mechanics of a
straight, a hook and an uppercut can also be used to lever someone
off their feet. This is also dependent on body position and context,
but the same movements are used. If I put a foot behind someone's leg
and push them over it, that's a straight. If I grab onto someone's
chin and hair and twist that's rotational torque,a hook. If I drive
upward at someone's shoulders and push them over a curb, I'm driving
with my legs, an uppercut. None of these examples involve striking,
but the body mechanics are the same. Mechanics can be applied to
produce an infinity of technique.
The
practicality of trying to pull out individual technique variations,
or rather the impracticality of trying to practice each technique
variation even of a single kata, is that there are so many different
technique variations for each movement. For a single kata movement
there can easily be 10 different technique variations or more.
Strikes, locks, take downs, gouges and chokes, not to mention limb
clearing, or moving and manipulating a body. These change based on
position of yourself and the position of your opponent. This doesn't
cover all the possible actions of the opponent as well. To use my own
kata as an example, there are 13 distinct movement patterns. If there
are 10 technique variations for each movement, and I want to practice
all the different permutations in a flow drill or even in my head
there are hundreds of billions of permutations. For a set of 13 there
are over 6 billion ways to put these 13 movements in order. Even if I
try and simplify the process by narrowing my practice down to how
each of these different variations could be a simple attack and
counter attack drill, I run into similar problems. Even with 10
variations of each movement taken two at a time there are tens of
thousands of permutations. Imagine having to memorize this many
flashcards. Keep in mind this is only one kata. Once we get into the
billions of permutations it would take well over one hundred thousand
years of continual practice to get through one repetition of each
distinct flow drill. Each new technique discovered adds to this
process. This is not a practical mode of study when it comes to kata.
This problem also becomes more compounded when the more we practice.
We find different and more creative ways to apply the kata, which
mean more scenarios and continually adding to the list of techniques.
We can see that
technique cannot be extrapolated and that memorizing techniques from
an increasingly variable amount of applications is impractical. This
means that kata is not technique. Kata has to be something smaller
and more fundamental, which can be used to make an infinity of
possibilities. This is something we see in nature all of the time.
Protons, neutrons and electrons compose all of matter. Base pairs of
DNA produce all life. We have followed this pattern artificially.
Binary is the fundamental language of computers and it is merely 1's
and 0's. Our alphabet is 26 letters, which is capable of spelling any
phonetically spoken word. Kata is Japanese, but we don't use kanji we
use our own alphabetic script. Every word that has been spoken and
every word that will be spoken can be spelled in phonetic script.
This is because the alphabet is a primer. It is the most fundamental
component of our English language, which are phonemes used to create
syllables. It is the foundation, which is built an ever more complex
system of language. If we treated our alphabet like we treat many
kata, as flow drills and scripted exercises to be memorized there
would be over 403,291,461,126,605,635,584,000,000 permutations of
these 26 letters. There are only a couple million English words in
use today. We do not interpret the alphabet however, we apply it. It
is a tool for the transmission of ideas from one person to another.
Each individual letter is meaningless on it's own. It's the combined
relationships between these letters and rules for application, which
give a relatively small set of fixed sounds and squiggles their
versatility and adaptability. Kata is the same.
Kata is a primer
for an individual martial art. They are the fundamental body
mechanics and movements, which take advantage of physics, anatomy and
physiology, to have the greatest effect on an opponent possible with
the smallest amount of effort. Instead of transmitting ideas, we are
transmitting kinetic energy to do damage. It is not a list of
techniques, but effective and efficient movement, which can be
extrapolated and applied to produce a near infinity of techniques. It
is a system and a system is greater than the sum total of its parts,
because it's the connections between the parts, which are important,
not the individual parts themselves.
The Nature of
Kata
Our English
alphabet gives a very convenient parallel to using kata as a primer.
It is highly abstract and requires cognition (thought), but once it
is learned is fast, frugal, efficient and highly versatile. It works
by ingraining a series of cognitive processes to the point that they
are instantaneous and effortless. If you are reading this now, you
are using a host of mental machinery that is operating below the
conscious level which is not directly observable. Letters are
associated with one another based on sound, meaning and syntax to
produce syllables, syllables are combined to produce words, words are
interpreted based on their context and placement in a sentence and
sentences transmit larger ideas and concepts. This is done below the
conscious mental level after some practice, but it is all built on
the bedrock foundation of 26 letters. The letters do not change only
the context changes. We do not memorize all the words and then pull
from a mental list, we employ a rule, which we use to make
associations. A single kata practice is built on this same type of
mental process.
Physics,
anatomy and physiology lead to body mechanics, body mechanics lead to
movement, movement leads to function, function leads to application,
application leads to technique, technique leads to tactics and
tactics leads to strategy. Each level effects all the rest and
misunderstanding one level leads to a misunderstanding of all the
levels that come afterwards. None of the levels are exclusive to one
another because they all work together and effect each other. The
type of situation will effect your strategy. Strategy effects
tactics, tactics effects techniques and techniques effect movement.
This is the same as how expanding your vocabulary and language skills
changes the way you write and communicate. The most base element of
this entire process is your kata. The fundamental movements, which
need to be ingrained first and hard to allow us to build a strong
starting structure, which can support the rest of the process.
This means we will
not be memorizing a list of techniques and specific scenarios for
their use. As shown above there are too many different ways to apply
a movement as a specific technique to memorize them all. The only
things we will be memorizing and internalizing are the body mechanics
of our kata, their functions and the rules for applying these
functions. This is a principle based training method. It also means
that what is important is not the individual isolated movements,
techniques, tactics or strategies, but the connections between them.
Understanding the connections between these is what's important. If
we understand that a letter is a letter, but don't understand how it
becomes a word than knowing the letters means little. It's the
connections between shape, structure, function and the abstract
meanings they represent, which are important. This means
internalizing and studying the connection between these different
principles.
Individual and
Creative Nature
The abstract nature
of a single kata practice puts the focus on the mental processes as
well as the physical. They go hand and hand. The physical without the
mental is dance and the mental without the physical is just thought.
We want both of them combined. Regardless of the physical skill
learned there is always some cognition in the beginning. Aspects,
which must be mentally attended to in the beginning, which are no
longer attended to past their internalization. Repetition and
scripted drills can work for things that have a one to one ratio of
meaning, but kata movements do not have a one to one ratio of
application. The meaning changes with the context of the situation.
I am not you, you
are not me. Body type, size, temperament and personality can have as
much impact on the application of a kata as an opponent. The meaning
of each movement is individual because of these factors. They are
individual to you and only to you. This requires more mental work
than is usually expected of in other martial paths. It requires not
only that we build our bodies, but that we build our minds. We must
think and be creative to unlock the secrets of kata for ourselves,
because they will be different for each and every person. This makes
kata a wonderful tool if you're up for the challenge. It is something
that will be internally personalized beyond traditional style
markers. We may practice the same kata, but my kata is mine and yours
is yours. They will be different, because we are different.
The Goals of
Study
The goal of this style of practice like other styles of martial arts
practice is to make intent and action spring forth intuitively,
instantly and effortlessly. We want to ingrain a set of martial
movements, rules for application, techniques, tactics and strategies,
which we can use in an emergency. We will do this by slowly and
diligently attending to each aspect of the training process until all
the required skills become second nature. A skilled fighter will know
their own position, available weapons and techniques that can be
performed from that position, the position of the opponent, open
targets, the environment, appropriate tactics and strategies for the
individual type of situation and survival goals. They will be acting
on, adapting and responding to the opponent in a continuous and
dynamic fashion, and almost all of this will be done below the
conscious level in less than a second. It is a none observable
process built on applying principles, knowledge, experience and
conditioned responses. On the inside this entire process is taking
place, but on the outside it merely looks like someone kicked the
legs out from under a person and knelt on their neck. It will look
like a predicted outcome, when the situation was actually instantly
read like a book and acted on.
Mental Tools for
Study
The physical and
cognitive tools for violence require cognitive tools for study. Most
of what is contained in this book are thought experiments and guided
thinking problems and ideas for creative practice. We want to flex
our problem solving muscles as much as our physical muscles. It is
easy however to get trapped by certain modes of thinking. I will
cover these again as they are relevant in each subsequent section,
but I want to go over them now, so you can be thinking about them.
Ideas as Possessions
We should not think
of ideas as possessions. The point of practicing a single kata in the
manner that follows is so that we can change our minds if needed. We
will grow, adapt and change over time, but this cannot happen if we
get locked into certain ideas when it comes to practice. Our only
concern should be improvement and getting better, and this involves
acknowledging when we've made a mistake or a wrong turn. Does this
mean don't think or have ideas? Not at all. The whole point of this
mode of practice is training our brains as much as our bodies. It is
important to have as many ideas and theories as possible, but it also
means not getting attached to them. We want to put all of these ideas
to the test, and this requires sacrificing our ego. We need to allow
ourselves the room and opportunity to grow and this means allowing
ourselves to be wrong. A single kata practice is not about your ego.
It's not about your ideas. It's about getting better. Getting better
means growth and growth can't be done in the dark.
The Confirmation Bias
The confirmation
bias is our tendency to test and interpret things in such a way to
prove our preconceived ideas about a subject. This means that we
ignore proofs or signs that point in the opposite direction. This is
an easy trap to fall into as a martial artist because we are mostly
concerned with what “works.” We want to prove that our thoughts
on application are correct, or prove that our chosen martial art is
effective, so we look for all the instances where our ideas are shown
to be correct, while ignoring any evidence, which might prove it to
be false.
This is an easy
trap to fall into when one starts to apply their kata movements. We
look for applications that work and we find them, but we find too
many applications that work. This is like having a math problem where
you find five answers when you were supposed to find one. These
confirmatory results soon become noise.
Negative Results
In scientific
research, one designs an experiment in such a way that it will prove
the hypothesis wrong. This is the same type of thinking that we need
to adopt when examining and studying each aspect of our kata, from
movement to strategy. There are no definite right and wrong answers
when it comes to kata, there are only what works and what doesn't
work. There are so many ways that a kata movement can be applied that
it does us more good to discover how a movement consistently
doesn't work. This usually has to do with the function of body
mechanics and force vectors rather than specific contextual
scenarios. An example is that certain movements will work if they
follow a certain force vector, but will fall apart along any other
force vector. For ease of the example imagine a compass. North,
south, east and west. A particular kata movement may work wonderfully
for all applications in the northern direction, but will fall apart
in any other direction. This is an important result, because knowing
how not to use a movement is a shorter list than all the ways a
movement can work. Another example would be if we were testing the
penetrating power of a bullet. If we only test a bullet's performance
by shooting through different types of tissue paper than it will
appear that the bullet can go through anything. Conversely if we only
shoot at thick plates of tempered steel than it might not penetrate
at all and we'd have learned just as little. We want to find the very
edge of its capabilities, so we should fire through an ever
increasing range of materials from tissue paper to steel to find that
edge. Kata movements are the same. A movement may have a million
different successful applications in one avenue, but fail in all
others. The function of the movement will be that avenue, not the
millions of applications. Search for the negative results. There is a
strength and weakness to everything in kata. Find the edges.
Attention to Detail
This is a critical
skill, but the details you will attend to across your lifetime of
practice will change. This is a continual mental examination of
everything you are doing during practice. At the beginning this is
body mechanics, how you are moving. At the end you will be examining
strategy and everything else will be automatic. This is a continual
process without any set destination.
Delayed Gratification
This type of
training requires an ability to delay gratification. You will “not
get it” until you “get it.” It's a yes or no question until you
reach the higher concepts of technique, tactics, and strategy. This
is very, very similar to the process in which you learned to read and
write. You can either read or you can't. You can sometimes get by
with guessing, where you have the outer appearance of reading, but
looking at squiggles and guessing correctly that it represents a word
is very different from looking at a group of letters and reading
them. Even someone who technically can read, who can't put it into
practice in the different contexts in which we encounter them on a
day to day basis is considered illiterate. Reading is not merely
recognizing a list of words. It is receiving a transmission of ideas.
A single kata practice involves applying principles in a dynamic
situation. It is not regurgitating memorized scenarios.
Direct Action
This is an
important concept for a single kata practice and for life. It is the
idea or strategy of only looking for how we can directly effect a
situation or environment. In the case of karate, we will develop our
skills in such a way that they do not require a specific response
from the opponent. What they want shouldn't factor into the equation,
they're the bad guy. They don't get what they want. They definitely
don't get a “turn.”
Environment for
Creative Play
Repetitive drills
are boring. Drilling for the sake of drilling is not only a waste of
time, but it puts practice in the wrong context. Training should be
fun. All aspects of training should be fun. There is a certain amount
of training that needs to be done to internalize the pattern of a
kata, to free up the mental working space to move on to other aspects
of the kata, but this is a very small part of your lifetime of study.
You should strive to create a training environment for yourself that
encourages experimentation, creativity and play. This is an internal
process as much as an external one and we are not playing a matching
game. This is not a memory game, paint by numbers or Rock Paper
Scissors. This is art, and your art, so there needs to be a fair
degree of freedom involved in the practice. Your kata should
fundamentally stay the same, but how you choose to practice and the
ways in which you study it can vary greatly. The kata is only worth
as much as your understanding of its application, so anything that
has the potential to increase this understanding and doesn't damage
you or others is beneficial. Even if you just learn that certain
exercises or training routines are wastes of time. Part of this
involves “increasing exposure to opportunity.” The individual
nature of karate kata means that I can't hand you a list to check off
and by the end you will understand your kata. It doesn't work that
way. Every aspect of our entire lives has changed our judgment and
perceptions. What's clear to me may not be clear to you, so it's
important that you experiment, play and study as much as possible to
form your own ideas. You never know what will make things
click in your head. Carpentry, personal finance and a love of letters
has probably done more to influence my understanding of my own kata
than anything else. Don't limit yourself.
Philosophy of
Training
Practicing a single
kata is not like practicing at a conventional dojo. In the
traditional dojo, one is not expected to start examining the nature
of their karate until after decades of dedicated study. This process
starts immediately after memorizing the pattern with a single kata
practice. There is no destination with a single kata practice. There
is only the process of study. No belts, no ranks, no hierarchy, no
ultimate techniques, no seminars. It is almost a purely internal
journey with none of the external markers, which we associate with a
successful martial arts practice. Your kata will look wonderful, but
it will hide a dense network of conditioning, knowledge and applied
principles, which cannot be seen. While this type of study is
directed toward the practical application of skill, it will have more
in common with zazen, or sitting meditation. It will be Zen in motion
first, not because this is the goal, but because they share a common
practice. Constant wholehearted attention to the present moment.
There is no halfway in this type of karate practice. You are focused
and training, or you are daydreaming and dancing. This doesn't mean
that you are being serious, rigid and/ or strict. It only means that
your brain is where it should be. It shouldn't be checking the clock,
thinking about dinner, or wondering what new shows are on Netflix.
This is not training. The process of study is the point and this
process is never ending. It is a lifelong practice. This changes the
tone of training. It is mushotoku, practice without the thought of
gain or profit. If you are thinking about what you will get from
practice, the perks, the techniques, the skill than you are not
focused on your training. You are focused on illusions. The external
and superficial aspects of training.
“You can eat
whatever you want because you're healthy.”
“No, I'm healthy
because I don't eat whatever I want.”
The same is true of
our karate practice.
A Note on Kata
A single kata practice is the application of principles. It is
building a tool out of our bodies and then studying the application
of this tool. It is not a list, a scenario and it is not predictive.
It is a preparative model of training meaning that we will not assume
to predict what a living breathing and thinking person might do, so
we will train ourselves to act accordingly to a situation by learning
to read the situation and developing appropriate and adaptable tools.
Kata cannot predict what a person will do. It makes a nice little
story to demonstrate to people, but this is impossible. We are not
automatons. Stating that a kata plans for the failure of your
technique and responds to a specific counter attack of the opponent
is putting forth the idea that a fixed set of movements can
accurately and consistently predict what a thinking human being will
do. It also means that a mindless pattern will be thinking for you. A
kata does not have a brain. It's what you're there for, your brain.
It's your most powerful weapon. Use it.
Kata is very
much like a stone, which we cut and polish, until it becomes a
beautiful jewel. The jewel however is only the outward and
superficial representation of the skill, which produced it. What is
important is the skill we learn along the way, not the rock.
Beginning and End
There is a
dichotomy in the practice of a single kata in that it can represent
both the beginning and the end of training, the purpose and the goal.
Karate is for physical violence, a set of brutally efficient body
mechanics for defense of one's person. Building this skill is the
purpose of training, but it does not mean it will be used in this
fashion. The best case scenario is you'll never have to defend
yourself in a serious conflict. What we are then left with is
practice, and it is a continual practice without destination. The
thought of mastery is an absurd notion. Not because we cannot master
kata, but because doing so is a meaningless goal. It is like
mastering how to breath. Will you stop breathing because you have
mastered it? Kata is a continual process of study, practice and
refinement of skill. It is the beginning and the end.
To paraphrase
Taisen Deshimaru:
For how many years
must one practice kata?
Until you die.
What is
Movement?
Movement is not the wiggling of our toe, or the minute details of how
you hold your fingers. Movements are the larger pattern sequences of
the kata, which are either divided into repetitive sets, or divided
into longer chained sequences. For example, Naihanchi is a chained
sequence. Movements are demonstrated in reference to how they relate
to each other, but not themselves. My own kata Seisan has repetitive
sets, which demonstrates how a movement relates to itself, but not
the other movements. A movement is not the complete set, but the
individual pattern of motion, which is repeated. From here on out,
when I use the word movement, this is what I mean.
Foundation
The movements in kata are our foundation. They will comprise the very
basis for everything that will come after. The kata is our primer for
physical conflict. Each movement is not a technique, it is a means to
apply a technique. They represent how to efficiently produce kinetic
energy using body mechanics. It is an expression of human capability.
This gives us a greater tool than just specific technique. It gives
us the fundamental basics for fighting without the need for
memorizing specific scenario based techniques, variations, or
specific responses of the opponent. It allows a way to make fighting
as quick, intuitive and instinctual as speaking or writing. Remember
writing is an effective and efficient means for delivering ideas and
it all comes from 26 letters. Because of this we need a very firm and
intimate knowledge of our kata. How familiar we are with it will
effect our ability to apply kata, learn new techniques, internalize
principles, and all other aspects of our practice.
Learn to Move
In a very simple
sense, we are merely learning how to move when we practice kata. In
the beginning, we conform ourselves to the kata. The kata is this
thing. Awkward shapes and steps. Strange seemingly convoluted limb
movements and confusion. It feels as if we are shaping the kata,
perfecting the kata, but we are not, we are shaping ourselves. We
tell our body and brain this is important by giving our full
attention to the process. Our muscles and tendons adapt to the
movement and our brain encodes the pattern. We practice the kata to
ingrain the kata, but after a certain point we are no longer
practicing a form, we are practicing something else. The kata is at
first a script, then a model for action, and finally merely movement.
The first step in
study is to become as familiar with your kata as possible. This means
practicing outside the pattern of performance. Life does not happen
according to a script. The kata is not a script. It is linear only
because time moves forward. One movement must come after the other.
Application will not follow this pattern. The pattern is only a means
for transmission. Only practicing the pattern of kata will mean you
only know the kata as a fixed list. You must move beyond this to
build the required fundamental skills.
Recognition and
speed of transition between movements are the key skills that need to
be developed to successfully apply the movements. This is not speed
of limb, but speed of cognition. Knowing the position of your body
and what weapons you can immediately use from that position is the
goal. This means knowing each movement and how to transition between
any of the movements, fast, efficiently and without mental effort. It
also means becoming continually aware of your entire body. It's very
easy to recognize how adjacent sections relate to one another, but
it's much harder to perceive how one movement at the beginning of the
kata can relate to a movement at the end of a kata. The brief span of
time between the two movements acts as a barrier to studying their
relationship. Too much happens in between for our mind to make the
connection. Studying the kata in this manner makes us aware of how
different movements can work together or in conjunction with each
other to the benefit of the whole.
Intimate knowledge of each movement will also be crucial in
recognizing possible applications later on in our study.
This means
practice. Weapon arts teach a person to become familiar with their
tools. The weapon must be a part of themselves. In the unarmed
fighting arts, our body is our weapon, built from kata. We move every
day. We use our body casually for the mundane and the stressful
alike, and we have learned not to attend to it. We must relearn how
to attend to it. Learning to become familiar with our kata means
learning to become familiar with ourselves.
Practice
What follows is a
guideline for your kata practice. We have spoken about why it is
important, but this is how you go about practicing to get results. It
is not fixed or concrete, and one is allowed to be creative and add
any exercise or practice that they feel is beneficial.
Kata is Yes or
No
The meaning of a
movement is abstract. It does not exist in physical form. It is an
idea. A principle for application. The movements on the other hand
are concrete. They are not conceptual, and they are either known or
they are not. The ability to apply the movements in the kata rests
firmly on the ability to execute any kata movement in any order at
will without conscious thought. The body mechanics must be the most
fiercely absorbed aspect of your karate. This is something you can
do, or you cannot do. Kind of, sort of, when no one is looking, know
the kata is not acceptable. It is about as useful as kind of, sort
of, when no one is looking, knowing the alphabet. It is the same
principle. If you do not know the movements down to your bones than
the rest of the process will be a confusing guessing game, which you
will not win. Luckily, the practice of one kata gives us a
limited number of highly versatile and functional actions, which we
can concentrate on.
The Pattern
Learning the
initial pattern sequence of the kata is one of the only things you
will do by rote memorization. The rest of this book promotes active,
associative and meaningful learning. One cannot study a kata if they
don't at least know the pattern of a kata. It will be boring. This
cannot really be avoided. There's not much fun in trying to memorize
convoluted and confusing limb movements, which are coordinated with
parts of the body you didn't realize could move together. One must be
diligent and practice. Once you have become comfortable with the
pattern and can perform it on command, without pausing to think about
what will come next, the real practice begins.
Slow is Smooth,
Smooth is Fast
During the initial
practice and beyond, it is important to go slow. As slow as you can
without tensing or losing your balance. You must stay relaxed and
move slowly coordinating action with breath. Breath normally and move
to the rhythm of your respirations. You will speed up in time as you
become more comfortable with your karate and speed can have pitfalls.
Speed makes you sloppy, makes it hard to pay attention and gives a
false sense of strength. We want to move correctly and moving
correctly means moving deliberately. Become aware of how your feet,
knees, hips, torso, shoulders, arms and hands work together and work
in concert to facilitate a movement. Focus on each tiny aspect of a
movement at a time and strive for slow steady perfection. The more
work we spend on this portion the better we will know our kata, the
better we will know ourselves. Like any learned skill, we will
eventually not need to think about the moves, we will just move.
Familiarity
The goal at this
level is to become as comfortable and acquainted with all the
movements in all their configurations as possible. The pattern by
itself is mostly worthless. This is not exercise where one can
mindlessly churn out push ups and see results. It is having
confidence in your body and attention to detail. Any type of practice
that isn't destructive to yourself or others that helps you toward
this goal is good practice. Be creative. Practice needs to be fun. If
it isn't fun, you won't do it. Every master of anything has been a
master because they enjoyed the activity. It was fun.
Practice the kata
in as many places as you can. In your kitchen, in your bathroom, in
your hallway, outside, on hills, on uneven terrain, in the dark. This
will change your stances, but the function of stances is not always
in their exact depth or width. There is room for adaptability.
Practice your kata
stationary. Shifting your weight back and forth changing your
orientation with each movement can allow you to do this. Practice it
in zigzags, or while negotiating furniture.
It is important
that we know each movement outside of the pattern of the kata. Time
must be taken during each practice session to spend a little time
honing each movement. When we practice a kata in its entirety we only
spend a few moments performing each movement and then we are onto the
next and our attention shifts. This is not enough time to really know
a movement. We keep our attention to detail, and our slow, smooth,
steady movement, but the repetition will allow us to disassociate
from the process a little bit if we concentrate. This will allow us
to focus on the larger mechanics of the movement as we become
comfortable with the finer details. The larger mechanics are more
important. Where our weight is going, where our center of gravity is
during any moment, how to shift slightly as we move over uneven
ground or terrain and how our body works together.
Transitions
Learning to shift
between each movement at will is something else we must practice. It
can help to pick two or three movements to link, which are not
adjacent to each other in the pattern. It may not follow the same
lines of performance as the kata, but we will need to learn to move
with the winds of change and adapt. We will move how we need to move,
so we must learn how each movement can feed into the another.
Practice moving between two movements. Keep the same pace. Go slow,
stay smooth, pay attention. Do not reset, prepare or get ready. You
must know how to move
immediately and efficiently from one movement to the other. Practice
how you can achieve this.
Basics?
You may notice that basics or kihon is not included. This is because
with the practice of a single kata they are not needed. There can be
benefit in practicing the individual stances in a static fashion to
increase your comfort with them, but this is of limited value.
Application involves movement, continually shifting from one position
of strength to another and this doesn't involve taking a stance and
sitting in it for an extended period of time. Your stances will get
better as you practice the kata.
Play
Studying the kata is really about playing with the kata. One needs to
experiment with it creatively and discover.
Spontaneous
Movement
Fighting is about making decisions. Some of these should be below the
conscious level and others should not. How you need to move should be
below the conscious level. Knowing how to do this still takes active
thought in the beginning, but it needs to be quick and get quicker
with time. Pick a movement to work on and then transition to another
when it seems appropriate then switch back to the first then switch
to another, and keep moving. Change direction, change orientation and
move freely through each part of the kata at random and repeat
portions at random. Transition to the first movement that pops into
your head. Move as quickly as feels natural, but don't get sloppy.
Your actions must be deliberate if not precise. Music can help. This
seems to be taboo in the traditional karate world, and it can be
distracting, but it can also be distracting just enough to keep you
from thinking about what's for dinner, work, or what's on television
and keep you focused on practice.
Imaginary
Fighting
We've not gone over any type of application, technique, tactics or
strategy, but you should take a little bit of time out during each
practice session to fight an imaginary opponent. You are close enough
to hug, chest to chest. You can smell what they had for lunch and you
need to take them out. Move like a whirlwind. Your arms, legs, feet
and hands are swords, lasers, hammers, destroying anything they
touch. Don't worry about precision, don't worry about perfection,
don't worry about strict adherence to the movements. Move, fight,
play. What you do and how you think of fighting, application and
technique will probably be wrong, very wrong, but this is okay. This
is to work the cognitive part of your brain that will apply the kata.
Similar to inventive spelling in elementary school. Sure, the words
are spelled wrong, but that's not the point. The point is to start
drawing your attention to the movements and what they might be able
to do. Put yourself in bad situations where you are losing. Fight
your way out, escape. Have fun.
Note on safety
Practice should have a positive influence on your life. Too many
times have I seen or heard someone brag of their intense and harsh
training only to see another person lament the destruction of their
body through same said training. Practice should never be detrimental
to your health. There's not much point trying to learn a martial art
if you're going to destroy your body on your own. Keep in mind that
many training practices of the traditional martial arts were created
when we did not have as much intimate and detailed knowledge of human
anatomy and physiology. Shortened life expectancy may have also
hidden any crippling effects of harsh training. People may just not
have lived long enough to see the harmful consequences. Train
diligently, but be safe, smart and cautious.
Zen
Kata practice
becomes a zen exercise before it becomes a vehicle for fighting
skill. It is a side effect of training. Kata is meant to ingrain in
you and then preserve the fundamental mechanics of a fighting art. If
it were strictly for Zen, we could as easily practice zazen, or
seated meditation and save ourselves the sweating. It however has the
same flavor as zazen, because it is a simple repetitive act, which
requires our full and undivided attention. This starts when we learn
the pattern and continues on through practice. Seated meditation is
merely giving your full attention to your breathing and your posture.
With kata, we must give our full attention to it in the same way from
the first practice to the last practice. Posture, movement,
breathing, flow and balance. The kata is the moon eternal casting its
reflection on the water of a river. We, in the present practicing,
are the reflection on the water. The water, time, slipping by moment
by moment. Different water, different time, different understanding,
but the kata remains the same.
Overview
Ease of
recognition and transition between movements is the goal of early
training. We must recognize a movement by feel as well as sight, and
we must know how to move freely between all parts of the kata. This
is our foundation, but all parts of the process are important. They
are not exclusive from one another. They must be studied
independently and together, because each level effects all the other
levels.
Concrete and Abstract
This is the first
abstract and the last completely concrete level of practice. The
other levels are completely dynamic and based on the context of the
situation. This level has a definite concrete aspect to it because it
is about examining the strengths and weaknesses of our movements, but
it is a very abstract idea because it is not how we are used to
thinking of kata movements. We are used to thinking of them as being
responses and actions to deal with specific attacks. In a single kata
as stated before, we cannot conform or reasonably use this type of
limited thinking. A kata movement is a tool from the start to the
very end. A fluid weapon made from our body. Just as arbitrary
letters embody a sound, a kata movement embodies a principle of
movement, which is only defined by what it can and can't do, not what
it is supposed to do. We must divorce ourselves from the thinking
that any movement is more or less than what it is. It is movement.
There are no attached definitions to it. There is only the skill of
application, which is divorced from function. Each movement is meant
to achieve an end, that end is the application of kinetic energy.
Your position, the other person's position and the environment will
dictate how you use a movement more than anything you memorize. The
application is continually dynamic and changing from moment to
moment. The actual movement or the principle of the movement does not
change. A simple example: punching someone in the stomach, and
punching someone in the kidney from behind. The movement is exactly
the same. It is only the context, which is different. Knowing that
you can punch someone and where is a better tool than memorizing a
scenario of when to punch someone. It is applied movement, not
memorized script. We must think of each isolated kata movement as a
tool, a part of a greater weapon for hand to hand fighting.
There are no fixed applications in a
single kata practice. One uses their creativity, their brain and
their study to apply the kata. It is merely a tool we make with our
bodies. Art is made with simple brushes and paints. Beautiful
furniture made by simple hammers, saws and skill. It is the hand that
wields them that makes the difference not the tools themselves.
Function is the tool use of each movement and every good craftsman
and artist knows their tools as well as they know their own art.
Practicing and studying the function is building, shaping and
sharpening those tools and getting to know them intimately, so one
may apply them with merely the will of spirit.
Function is the heart of kata. It is
what kata is all about. Teaching and training your body and your mind
to be aware of itself and its functional capacity. Kata cannot teach
you tactics, strategy or technique. These are things, which we learn
from other sources. It's why I believe books like the Bubishi were
cherished by many because it was a tactical and strategical manual
for applying kata. Kata is just movement and movement does not have a
brain. How we apply our kata will be different for everyone based on
our size, temperament, our opponent and the environment. For lack of
a better word, function is the next level of thinking in kata
practice. It is the last concrete level, which is not contextual.
Your body has fixed strengths and weaknesses. There are the vital
points, which we all hear so much about, but there are strengths and
weaknesses to every movement and every action inside the kata. The
strength of one movement is the weakness of another and these overlap
and compliment each other so they become strengths only. Function
therefore is being aware of these strengths and weaknesses.
The body has a set amount of capacity.
We have our mass and we have our skeletal structure and these two
things are our two biggest weapons when it comes to functional
movement. Our mass no matter how small we are is a reservoir for
potential energy. It is weight we can put into motion to do damage.
Imagine a bowling ball. In respect to a human body, it is very light,
but dropping it on someone's foot would be very painful if not
damaging. Our bodies are much heavier than a bowling ball. Force is
created by the acceleration of mass. The smaller the mass the more
you need to accelerate it to do the same amount of force as something
larger. We can move our bodies much slower, because of our mass and
achieve the same damage as dropping a bowling ball on someone. We use
gravity and our body mechanics to increase the acceleration and
deliver as much force into a person as possible. We use this force or
kinetic energy to do work. This is moving a body, striking, locking,
gouging, throwing and all the other applications of kinetic energy,
which are used to power technique.
The efficiency of this energy is very
much dependent on our structure, which is also a fixed amount. Our
skeletal system is our structure. Like a suspension bridge, we must
use our skeleton correctly to absorb, redirect or transmit as much
energy as possible. Suspension bridges work through geometry and
triangulation to focus the mass to its strongest points. Kata
movement works along the same lines. Poor structure means weak energy
transfer, which means weak technique.
This is something wholly apart from
muscle or chemical energy. Muscles don't hurt, they can lend mass,
which we can use, but relying on muscle means that anyone stronger
than you will have the advantage. This means if you rely on muscle
you are planning on only applying your karate to people who are
weaker than yourself. Chances are if someone wants to attack you they
are already stronger than you otherwise, they'd probably leave you
alone.
Each movement in a kata has strong and
weak points because our bodies only work in a few limited ways. The
joints only bend certain ways. Bones align in certain ways to take or
give force and we only have so much mass to our disposal. We need a
variety of ways to use our mass and structure, which is why there are
a variety, but fixed set of movements in each kata. In a simple kata,
let's say that we have a forward function, a turning function, a left
function and a right function. This means we have ways to generate
force in these four avenues. These work as a set. The strength of one
is the weakness of another. By knowing the strength and weakness of
each function we know when we can or can't use it. It is like a set
of hand tools. The hammer can't cut. The saw is used to cut, but it
can't hammer. You need a saw and a hammer to build things. You need
both and you must know the strengths and weaknesses of each to apply
them effectively. The functional aspects of movement in kata are the
same.
Force Vectors
The force vector
is the direction, which a group of forces head. The nature of many
kata movements means that their force is all generated in a similar
way, but the way the limbs are used, the path they take and the shape
they make cause different directions of force. The limbs transfer the
energy. The force vector will the be the place where energy is
applied the easiest and this can be anywhere in your sphere of
influence. It's why it's important to experiment to find such avenues
for each movement.
Natural Movement
The strengths in kata are natural. The
movements seem awkward and unnatural at the beginning only because we
have not practiced them, but the strengths of the movements are
strengths that we encounter every day in our waking world. We have
learned not to attend to them, or they are so natural to us that we
just don't think about them. We have no real need to examine them,
but they are there. When we were small we ran, jumped and climbed on
playgrounds. We scrambled up these metal structures in ways that they
were not designed by using the natural strong points of our anatomy
and physiology. Whatever was the easiest way to get up the slide was
how we got up the slide. We do the same thing as adults when we move
furniture, walk or negotiate a parking lot full of puddles. We don't
move, so that it's hard, we move in a way that's easy.
As adults we have somewhat trained
ourselves to move badly through exercise. Many types of exercise
especially for aesthetics teaches us how to stress our muscles
effectively, but is poor movement. It is the poorest application of
strength on purpose to stress our muscles. Look at how a power lifter
lifts and a bodybuilder. The strength, which we want to apply with
our kata is easy. It will feel easy almost as if we are cheating,
because we are taught with exercise that if it feels easy we aren't
doing the exercise properly or we need to go harder. This is not the
type of strength we are trying to apply. We are making our structure
and mass work for us, so we do not need to apply muscle, or very
little of it. Proper function of a movement will feel easy.
Edges
Finding the function of each movement
is about finding the edges. It is a sliding scale between optimal and
worthless. There are sweet spots in any movement where there is some
play or wiggle room in how strong or weak it is. This goes for
stances, the path of your limbs and the position of your limbs. To
find the edges you need to stress your movements and postures in some
way. Put weights in your hands and feel where you can rest in your
posture while holding them. Use elastic bands or a post or wall to
test your structure. Use someone else and try and move each other
around a room to test your movements, but use your movements, use
your patterns.
Tying it together
It's very easy once you begin to start
playing around with the functional bits of kata to forget about the
kata itself to forget about the movements. One needs to experiment
with the movements and try and use them. They might fail or they
might succeed, but one needs to use them to find out how this
happens. This means active examination and analysis just like the
previous level. We are still staying mindful of the movement, but we
are not being mindful of the performance, so much as we are being
mindful of where we feel strong or compromised, where our center of
balance lies.
Pattern and Function
One must have
internalized the pattern and the shape of the kata to enough of a
degree that they have freed up enough brain space to be able to
examine how your body is moving. This is not the how to move your
body to conform to the kata, but examining what you are doing. It is
difficult if not impossible to both examine how to use a movement and
focus on how to perform each movement.
Function vs. Application
Function is not application. This is
the difference between how you use a tool and what the tool is
itself. This is where the fundamental difference between a single
kata and a mulitple kata practice happens. Knowing and internalizing
the functional use of body mechanics allows you to apply that
movement in any way you chose. The use of movement is only limited by
your imagination. There is no right or wrong there is only what works
and what doesn't work. There is no wrong way to use a kata movement
if it is effective. There can be a million and one different
applications for a single kata movement, but that movement doesn't
change. It stays the same. The ability for the movement to become so
many different applications and techniques resides with its
structural strengths. These applications succeed as opposed to those
that fail, because the strength of the movement resides in this
avenue of application. I wish there were simpler terms to put this
in, but there are so many different kata movements and kata that one
cannot list them all in any reasonable manner. Let's use a straight
punch for example. The strength of it lies in the alignment of the
arm bones, horizontal to the body. Its weakness is perpendicular to
this alignment. Try holding a weight by extending your arm straight
out from you. The natural strength of the arm does not come into
play. The only thing keeping the weight up are your back muscles. Now
hold the weight straight above your head. The alignment of your arm,
your skeleton bears the brunt of the downward force and you use very
little muscle. Your skeleton does the work. All kata movements have
this same basic set up. A strength and a weakness.
Function and application cannot be
completely divorced from one another. Application is all of the
defensive, offensive, techniques, multiple level attacks and
ballistic grinders that the movements can be, but these are only
possible because of the structural and shape aspects of each of the
movements. The original meaning or purpose of the kata movements if
there ever was one becomes inconsequential because if you understand
how you produce kinetic energy and take advantage of your body
mechanics in each movement than you can apply it at will in an ever
expanding variation of techniques and tactics, but because they are
all married to a single movement each repetition of the movement
despite its application burns the movement deeper and creates a
connection in your head to that application. A pathway for accessing
the information. The more you use the movement despite the
application the stronger the connections get until you don't even
have to think about the function of the movement you just see an
opportunity to use the movement, so you move. Application is the
different ways to use the movement and there is a system to this as
well, but this has nothing to do with the function aspects of the
movement. Each movement is a tool and to really know and understand a
tool you need to know how you can abuse it in at least three
different ways. Knowing how to abuse a tool means testing it to the
limits and finding the very borders of its usefulness.
Confirmation Bias and Negative
Results
It's important to test your movements
in as many ways as you possibly can and test to see how they fail.
Only testing in one avenue can leave you susceptible to the
confirmation bias. We are looking for the edges of the structural
integrity of each movement and how you can apply your mass. The
negative results will be more telling than the positive results,
because they will be hard. They will be a bear to try and force and
these are where a movement is weak. In application, we need to know
both the weakness and the strength of a movement in order to know how
we can use it effectively or when it isn't working.
Sweet Spots
The kata
represents a best cased scenario representation of movement. The best
case scenario is something that we will rarely get. Movements have a
range of orientation, which they work best. Stances don't need to be
perfect. Your toes don't have to be just so, and the positions of
your arms can vary. These are sweet spots where a movement can still
work, still do something even if your alignment isn't perfect. They
are adjustable to the situation. Find the sweet spots in your
movements.
Kinesthetic
Karate is close
range and this type of karate is done by touch rather than sight. It
is one of the reasons why one must pay attention to the feeling of
each movement. Our brain functions have propreoception, the ability
to sense the position of one's own body in a space. Tiny hairs in our
ears sense momentum and direction and our skin is covered in millions
of sense receptors specifically for touch and pressure. We use the
largest sense organ we have to our disposal, which is linked directly
to our brains and more accurate than sight to fight. One may not be
able to see what they're doing. We must be able to rely on touch as
well as sight.
Practice
Stress the Movements
There is right and
wrong way to do this. The whole idea of learning the functionality of
a movement is to find where the natural points of strength and
weakness are and this means stressing the movements. The strong
avenues of use and application are those that feel easy. The weak
avenues are those that feel hard or make you strain. You will feel
pressure and the weight, but you won't have to contract any muscles
that aren't natural stabilizers. Stress the movements to find the
edges. As long as it doesn't damage you it's a good way to test each
movement. The makiwara or other impact training devices can be very
good for this because if you feel yourself collapse into the strike
or push than you know it isn't structurally sound. You should not
flex on impact. Your skeleton bears the brunt of the force. Weights
and elastic bands can help you feel structure. Move between different
actions and movements breaking them down bit by bit and seeing how
you can apply pressure and force continuously. This goes back to
transitions.
Wall Training
This is part of
testing structure and stressing the movements, but it's a more
specific exercise. You are basically leaning against a wall with the
contact points, which you would use to strike or move a person. This
is your hands, feet, elbows, forearms, knees and anything that might
touch a person in the kata. Remember a person will be close enough to
hug. What parts of the kata and at what angles and avenues can you
lean up against a wall without using an abundance of muscular
strength? Bounce against the wall and see where you collapse and
where you're rigid. Collapsing means it will act as a shock absorber
and inhibit the transfer of kinetic energy into someone else. You
should not have to tense, contract or use muscle to hold these
positions. Find this in every little part of your kata. Find where
each little part is strong and where its weak. Play with this.
Feel Your Weight
During kata
practice, break down the kata by movement and examine the path your
limbs take and the direction your weight is going. Feel your inertia
and momentum as you go through each movement. As before it is easier
to examine each movement if you practice them individually. As before
also pracgtice transitioning between movements and engaging in free
play movement where you move between each pattern spontaneously and
creatively keeping in mind to feel where your weight, momentum and
inertia are at any given time. How can you move continuously in ever
changing directions without stopping, resetting or prepping?
Kata as Work
The purpose of kata
movement is to do work. It is the efficient and effective application
of energy. It does not have a preconceived criteria for this. It is
just movement, because it is used for work one should try and use the
kata for work. This doesn't have to be an entire movement, but parts
of a movement. Trying moving groceries, furniture or anything with
different parts of a movement and feel if it makes it easier or
harder.
Attention
The movement of
kata is part of our daily lives. The same strengths we use to move
around during the day are the same we use in the kata, except in the
kata they are put to use for doing damage. Pay attention to how you
are moving throughout the day and try and find similarities between
it and your kata. The same principles of walking, which is a
controlled fall, are the same principles employed in generating power
for many kata movements. Pay attention to all of your movement.
Push Hands
This is the first of the partner practice. It is a free play exercise
where each person slowly and softly tries to move the other person
against their wishes and the other does the same. It is a dynamic way
to experiment with using the kata and structure. Each of you is
trying to find the structural weak points of the other person by
applying your structural strengths and adapting to the others
actions. It is not competitive. The more energy you give the more it
can fly back in your face if you over commit, so go slow and smooth.
The Mindless
Drill
During partner practice pick a movement. Use this movement
repetitively without thought of repetition when you are within
hugging distance and see what happens. Your partner is free to attack
or defend however they like, or they can pick a movement as well. The
point of this drill is to see what the movement can do on its own.
Many times just going through the movement softly, but firmly will
move you to a certain position or orientation naturally. This will
not only give you ideas for use, but will also help to show how
different movements might be applied.
Kata
All the same exercises from the previous section are still important,
but one should also add thinking about the function of each movement.
Kata should be practiced according to the pattern, outside of the
pattern and any way else you may think to practice the kata.
Questions to meditate on while practicing kata.
What am I actually doing?
What is the force vector of my movement?
What feels strong?
What feels weak?
Play
As in the section before play is important. Play is where the
learning really takes place. One must practice the kata enough to be
able to play with it. As before practice fighting imaginary
opponents, practice the kata in unconventional ways and use your
creativity.
Review
Function is the meaning behind the movement.