KATA ORIGINS & BACKGROUND A SYNOPSIS By Dr …docshare01.docshare.tips/files/31189/311892250.pdfThe Chidokan System of Shotokan Karate-Do ... Various katas can be traced from these

KATA ORIGINS & BACKGROUNDA SYNOPSIS

By Dr Ed Hudson 6th dan

ata, or formal exercise is the Japanese pronunciation of the Chinese "hsing" or"quanfa" of "gongfu" (kung fu). It is a ritualistic method that has enabled theChinese and to a certain extent, Okinawans, to pass on their secrets of self

defence. Kata addresses a range of self defence responses to identified common formsof personal attack.

These defensive applications (kata) were originally developed to restrain, maim,incapacitate, or kill if absolutely necessary.

A common held belief is that Japanese Karate-Do originated from the martial artspractised by the monks in the Shaolin Temple in Henan Province in China (NorthernShaolin Temple). It is reported that the monks at the Shaolin Temple practised WhiteCrane and Eighteen Monk Fist Boxing1. The monk Feng Zhonggong travelled toFuchou in Fujian province where he trained at the Southern Shaolin Temple on Julienmountain. This temple was built in the reign of the T'ang Emporer Zhen Guan (627-649 AD). It was last destroyed in the 1800s during the Boxer Rebellion.

View of Julien Mountain over Fuchou Entrance to Temple Temple grounds Julien Mt Fuchou City skyline (1985) mountain pathway

Temple Monk Monk caligraphy on boulders in Temple Grounds. (Renshi Hudson)

1 Bubushi, The Bible of Karate Patrick McCarthy Charles E Tuttle Company 1996 p30

K

The Chidokan System of Shotokan Karate-Do

© Edward Hudson 2

The above photos are of a temple, which currently exists on Julien Mountain. It is notthe original Southern Shaolin Temple that existed in Fuchou. That temple wasdestroyed in 1673.

Article 1 of the Bubishi states that in spite of Feng's fighting skills in Monk FistBoxing, he sustains injuries in a fight, which ultimately lead to his death.

His daughter Feng Qiniang, resolves to avenge her father's death and in the process oftraining for this eventuality develops White Crane Boxing2 which was and still isprevalent in Fuchou.

Fuchou became recognised for its martial arts traditions, which were practised by anumber of its famous residents. Okinawa has had strong relationships with Fujianprovince in China for years and over time influenced Okinawan martial art systemsthrough individual contacts.

Many great Okinawan martial artists visited and trained in Fuchou, such as KanryoHigaonna3, Chojun Miyagi4, Kusankun5, Sakugawa6, Takahara, Higa7, BushiMatsumura8, just to name a few.

Higaonna's style became known as Nahate, which subsequently became known as theShorei School. Bushi Matsumura's style, who studied under Kusankun and Sakugawa,became known as Shurite which subsequently became known as Shorin school.Tomari te was popularised by Matsumora and Oyadomari9.

Various katas can be traced from these particular styles and theiroriginators. Funakoshi refers to various katas as either comingfrom the Shorin (Shaolin) or Shorie schools10

The first recorded evidence of karate, known originally as "tode",is generally accepted to be 1761 when Kusanku demonstratedChinese boxing in Okinawa11

Tode (te in Japanese) which literally means Chinese Hands,was introduced to Okinawa between 1850 - 1950 even thoughprior to 1850 the martial arts in Okinawa had been reserved solelyfor the upper class and was practised in secret12. There appears tobe no historical evidence that karate or tode was developed by Map of the Okinawan Region

2 IBID Bubishi pp62-643 The History of Karate, Morio Higaonna Dragon Books 1996 p94 IBID p535 Bubishi, IBID p346 Bubishi IBID p347 The Okinawan Shorin Legacy. The Matsumura Seito Society Glen Premru8 The Kinawan Shorin Legacy9 Classical Kata of Okinawan Karate Patrick McCarthy Ohara Publications1987 p1810 Karate-Do Kyohan The Master Text, Gichin Funakoshi Kodansha International 1974 p9 Also referto To-Te Jitsu, Gichin Funakoshi Masters Publication 199411 Okinawan Karate, Teachers Styles & Techniques Mark Bishop A&C Black London1995 p1012 IBID p10


© Edward Hudson 3

Okinawan peasants as a fighting system as a means to overthrow the Satsuma warlords (Japanese) who invaded Okinawa in 160913. It is difficult nowadays to maintainthe classification of kata into the geographical names given by local Okinawan's asNahate, Tomarite and Shurite.

THE PURPOSE OF KATA

The only reason we have karate today is because we have kata. Various katas havesurvived until today from various styles, which have been passed down from studentto student. Without this historic practice there would be no need to karate as we knowit today. It would have vanished long ago. Kata is the essence of karate and its reasonfor existence today.

Kata is basically a compilation of techniques that represent seizing, attacking vitalpoints, grappling, throwing techniques, dislocation of joints, strangulation andstriking. All of these anatomical actions were designed for the sole purpose of self-defence. These actions result in providing the defender with the ability to principallyrestrain maim, incapacitate, or kill if absolutely necessary. Because human beings,regardless of race or origin have the same anatomical structure, these techniques workuniversally.

In addition to our complex network of nerves, the human body consists of organs,bone, tendons, arteries and veins. A person's movement can be impaired if bones ortendons have been seriously injured. One can lose consciousness if blood or airflowhas been impaired or if one is in great pain. Techniques that cut off the flow of bloodand/or air or shock organs or rupture veins or arteries obviously achieve its purpose14.Funakoshi has a whole chapter on striking vital points, which have been copied,straight from the Bubishi15.

Attacking vital points16 are not the only techniques compiled in kata. Techniquesinclude hitting, thrusting, kicking and throwing and pressure against joints17. Thesetechniques should be practised against a wide range of possible forms of attack suchas attacks by sword, dagger, stick18, grasping of the wrists, clothing, neck or otherparts of the body19.

Kata was developed as individual forms of effective self defense strung together in setroutines so they could be practiced and not forgotten. Many of these katas (hsing)were simply represented by the number of techniques included in the kata for example13 Seisan (Hangetsu), 24 Neiseishi (Nijushiho), 54 Useishi (Gojushiho)20.

13 IBID p1114 Kata Patrick McCarthy International Ryukyu Karate Research Society Published Paper 1994 p515 Karate-Do Kyohan The Master Text, Gichin Funakoshi Kodansha International 1974 pp239 - 24416 IBID p23417 IBID p22718 IBID p23319 IBID p23520 Kata Patrick McCarthy International Ryukyu Karate Research Society 1994 p8


© Edward Hudson 4

An Application from Bassai Dai:

Alternative Applications:

KATA PRACTICE

Ask 10 karate students how or why they practice kata you will probably get 10different answers. As detailed earlier, the principle reason of kata is to provide thestudent with techniques that seize, hold, grab, throw, lock joints, dislocate joints,


© Edward Hudson 5

strangle and traumatise anatomically vulnerable locations. Other principles containedin kata are21;

• Mental preparation (yoi no kishin)• Yin & Yang (inyo)• Defence and Offence (Go no sen)• Defensive initiative (sen no sen)• Distance (maai)• Foot work and Body shifting (ashi sabaki and tai sabaki)• Expanding and contracting (tai no shinshuku)• Total joint forces (chikara no kyuojaku)• Power (kiai jutsu)• Spirit (qi)• Speed & rhythm (waza no kankyu)• Resilence (ju no ri)• Zanshin (mental alertness)

To fully understand and truly appreciate the above requires tremendous dedicationand training which is why in previous days students only mastered one or two katas.

An Application from Bassai Dai:

KATA IN THE MODERN ERA

Up until the end of the nineteenth century most students studied and practiced one ortwo katas only. This was due to the fact that those who new the secrets would onlyteach these to a select few, usually the eldest son of the family22.

In the early 1900s Itosu, one of the great karate masters, was one of the maininstigators for establishing karate as part of the physical education curriculum inOkinawa's school system23.

21 Karate-Do Development, Essence And Aims Lecture Notes, Patrick McCarthy International RyukyuKarate Society Europe 1995 p1822 Okinawan Kempo Choki Motobu Masters Publication 1995 p 14


© Edward Hudson 6

The emphasis was on the physical fitness attributesaccruing from karate training. The focus was on thephysical, while rejecting the age honoured practiceof focusing on the spiritual and self defence applications (bunkai) associated with kata practice.

Ankor ItosuThis change in emphasis and mental attitude grew out of necessity as the old trainingpractice of one on one changed to group training. Kata practice became basically anexercise for health and fitness, which it is, at the expense of kata's original purpose.The Okinawan's found they had something uniquely Okinawan to give to the worldafter years of being regarded as second class citizens by the Japanese.

This led to a period where the true understanding of kata applications (oyo) was lost.With two world wars thrown in for good measure, including the occupation of Japanand Okinawa by allied forces, the practice of martial arts was banned and onlypracticed by the dedicated in private behind closed doors. Many senior students alsolost their lives during the Second World War taking with them the knowledge of the"old ways".

After the war a concerted effort was made to revitalise karate-do.The occupation forces withdrew their ban on the practice ofmartial arts. The war and the eventual occupation brought withit a positive aspect for karate-do. Funakoshi states that before thewar, very few Japanese knew anything about karate-do. However,after the war he had many requests from US service men to trainin karate-do. This eventually led to a three-month tourdemonstrating karate-do to American airman. Funakoshi wasassisted by (he was already in his eighties) Obata, Kamata andNakayama24. Gichin Funakoshi

However, the karate-do taught was not that which was taught originally in Okinawa.Funakoshi stated that since karate is ever advancing, it is no longer possible to speakof karate of today (1943) and the karate of a decade ago (1933) in the same breath.Accordingly, even fewer realise that karate in Tokyo today (1943) is almostcompletely different in form from what was earlier practiced in Okinawa25.Further more he stated that Karate is a Japanese martial Art26, clearly differentiatingkarate at that time (1956) from karate in Okinawa.

This change in focus of karate-do as practiced in the twentieth century has alsohighlighted that during the past 20 years a new activity has been explored and iscoming to the fore, this is sports karate27. Nakayama states that in 1948 students fromKeio, Waseda and Takushoku universities met with Funakoshi to standardise the katawhich had some variations depending on who was teaching the kata28.

23 Okinawan Karate Teachers, Styles & Secret Techniques, Mark Bishop A&C Black London 1995pp102-10324 Karate-do My Way of Life, Gichin Funakoshi Kodansha International 1981 Paperback Edition p12625 Karate-Do Nyumon, Gichin Funakoshi Kodansha International 1987 p1126 Karate-Do Kyohan The Master Text, Gichin Funakoshi Kodansha International 1974 p3527 Best Karate Series, m. Nakayama Kodansha International 1990 p1028 Best Karate Series, M. Nakayama Kodansha International 1990 p14


© Edward Hudson 7

Apparently the claim is that due to the war and individualinterpretations, the various shotokan kata were being practiceddifferently by different students/teachers.The implication here is that what Nakayama was teaching wastherefore the correct versions of shotokan kata as ratified in 1948by Gichin Funakoshi himself.

Isao Obata (1904 -1976)

This change or development experienced in kata was not a new experience in karate-do. The kata we have today is different to that originally taught in Fuchou, inOkinawa, in Japan and now throughout the world. This can only be expected asstudents/teachers forget the original kata and make up their own movements ormistake their instructor's personal habits and idiosyncrasies as part of the kata29.

These changes should not be seen as a material divergence from the originalprinciples that underlie the foundation upon which a specific kata rests.

All that is required is that the student knows and understands the underlying principlesto be able to interpret a kata (bunkai) and effectively execute its application (oyo).

Once a student knows one kata he knows them all - Okinawan proverb.

An Application from Jion:

THE STUDY & PRACTICE OF KATA

Kata of the modern era can be directly attributed to Itosu in terms of its"standardisation" of performance and practice. The principle purpose of kata haschanged to where the performance of kata focuses on athleticism & aesthetics thatplease an audience. Kata (karate) today is a sport and therefore is performed as such.

As we already know, kata preserves the classical responses to the 36 acts of physicalviolence and the 72 variations, which represent 108 defensive themes and 29 Karate-Do Nyumon Gichin Funakoshi Kodansha International 1994 p28


© Edward Hudson 8

applications30. The original Chinese architects of kata based their defensiveapplications on their knowledge of the human body and traditional medicalknowledge referred today as Traditional Chinese Medicine (TCM).

The Chinese originators of kata used this knowledge which determinedtheir unique defensive forms which incorporated ways of impacting,seizing and traumatising opponents. Patrick McCarthy states that"This phenomenon provides the very premise upon which the defensiveart called karate was originally developed with kata as the conduitthrough which it was perpetuated"31. Patrick McCarthy 7Th Dan

Understanding the above background is absolutely vital if one is tounderstand the principles (bunkai) and applications (oyo) inherit in kata. The following was taken directly from an article "Putting the Fight into Kata" byPatrick McCarthy32 a well regarded karate researcher and historian.

The Tools of KataKata brings togther 5 fundemental sets of tools;• Punches• Kicks• Stances• Strikes• Blocks

Training MethodsClassically, six sets of associated exercises facilitate the development of these toolsand include;• Ways of punching• Kicking techniques, leg manoeuvres and corresponding techniques• Posturing• The use of the open hand• Associated methods of impact• Checking, trapping and blocking

Historically speaking, delivery systems reflect an individual's interpretation of thesetools which in turn represent individual teaching "styles".

Defensive ThemesThe 12 fundamental defensive themes intertwined within kata include;• Seizing nerves• Attacking blood passages• Twisting bones• Attacking tendons• Manipulating joints• Take downs• Throws• Grappling

30 The Facts of Kata Patrick McCarthy International Ryukyu Karate Research Society31 Kata, The Time Capsule of Karate, Patrick McCarthy International Ryukyu Karate Research Society32 "Putting the Fight into Kata" by Patrick McCarthy32. Australian Blitz magazine pp45 - 50.


© Edward Hudson 9

• Groundwork• Counter attacks• Impacting anatomically vulnerable areas• Digging into body cavities unprotected by the skeletal structure

Categories of ApplicationBecause spiritual recluses vowed never to take a human life, defensive applicationsfell into 4 separate categories;• Techniques of restraint• Neurological shut-down• Attacking the respiratory system• Methods of stunning

When studying a kata it is imperative that the student understands what a particularkata is emphasising in terms of the themes described above. Since modern kata havebeen configured in different geometric sequences and focus more on thecompetitive/sport aspect rather than the original defensive themes and applications, itcan be difficult understanding what a particular kata represents.

To be able to decipher a kata one must be able to understand what various defensivemoves contained in a kata represent.

An Application from Jion:

PRINCIPLES OF KATA INTERPRETATION (BUNKAI)

Much of the kata taught today, from the five principle styles of karate, originated fromChinese quan fa (kata) predominantly from the southern shaolin temple in Fuchou inFujian province. In 1392, 36 families emigrated from China to Okinawa settling inKume village33.

Research by Patrick McCarthy has shown that these quan fa have come from MonkFist and White Crane gung fu as practiced in Fuchou. In fact the Bubishi is to have

33 Classical Kata of Okinawan Karate Patrick McCarthy Ohara 1987 p 16


© Edward Hudson 10

supposedly come from Fuchou in China34. History records some of the greatOkinawan martial artists having travelled and studies in Fuchou bringing back withthem newly acquired quan fa. They have included Matsumura, Higaonna, Miyagi,Aragaki, just to name a few.

Funakoshi was reported to either not know the applications of the kata or wasreluctant to teach them to his students. Motobu accused him for not understanding thetrue purpose and applications of the kata that he was teaching35.

Pat Zalewski states that many of the traditional JKA bunkai actually was introducedas late as the early 1950s when Nakayama became chief instructor of the JKA, a lot ofit coming via a panel36. It was and still is widely acknowledged that most seniorinstructors (and masters) were not taught the accompanying applications (oyo) whenthey were taught the kata. It is well documented that both Funakoshi and Mabuni didnot bother teaching oyo to their students.

Recent old (1950's) video footage of Funakoshi and senior shotokan instructorsperforming kata and various applications attest to this lack of knowledge.

Many modern day senior karate ka have began to be critical of this very issue andduring the 1990's began to study and research this very issue. This movement wasstarted by George Dillman, Vince Morris, Patrick McCarthy, Rick Clark and otherswho have greatly influenced how kata is now being taught.

It is of some concern that there still remains a large portion of shotokan karate ka whohave chosen to reject the fact that this missing dimension is anything but an attemptby certain elements to discredit them.

The recent publication of the Bubishi by Patrick McCarthy has now authenticated thismissing dimension as fact. The Bubishi describes in great detail the oyo of quan faincorporating many of the principles being taught by modern day senior instructors.

Documented evidence now exists, through the Bubishi, proving that the missingdimension in kata has not been taught for decades and wasn't taught principallybecause those senior students at the time were not instructed in the applications bytheir teachers.

VITAL POINTS

In recent years a lot has been said about vital points. Some informative and others not.Unfortunately there are those few who have sensationalised and commercialised thisknowledge to the extent that many karate ka have consciously decided that thisknowledge is mere hocus pocus.

The knowledge of vital points has its roots in antiquity. Chinese historical records statethat the Emperor Ren Zong commissioned Wang Wei in 1026 to cast two bronze

34 The Bible of Karate Bubishi Patrick McCarthy Charles E Tuttlr 1995 p2435 Okinawan Kempo Choki Motobu Masters Publication 1995 p1736 Traditional Okinawan Kata at a Glance Pat Zalewski unpublished paper p11


© Edward Hudson 11

models of men (The Bronze Man Statutes) which accurately disclose the location ofvital points in three dimensional space37.

Funakoshi states that it is advantages to those who know karate-do to know the vitalpoints of the human body. He proceeds to admonish karate ka by giving the examplethat simply being punched in the face is dramatically different to being struck on a vitalpoint on the face38. Funakoshi dedicates a whole chapter on the vital points of thehuman body, describing their location, their effect when struck and their importance tothe karate ka. This section in Funakoshi's book has been taken directly from TheBubishi39. It was well known that knowledge of the vital points gave the karate ka adistinct advantage.

Well what are vital points? Vital points are simply weak points on the human body.Most people know these or have had a personal experience with them for example thesolar plexus, the eyes, the groin, throat, kidneys, the middle of the outside of the thighetc. Vital points are simply those points, which are more vulnerable than other areas onthe human body when they are struck.

Pressure Points are a sub-set of vital points. Some people erroneously refer to vitalpoints as pressure points. Pressure points are those points that relate to TCM(Traditional Chinese Medicine) and can include meridians as in TCM, nerve plexus,tendon joints where they connect to bone, body cavities, where major organs are locatedand any combination of these.

Linkage Between Vital Points and Kata

It is known from historical records that most masters of old knew only a few katas, oneor two at the most. Most guarded their knowledge jealously and would practice in secretplaces and only teach these katas to their eldest son so it remained within the family40. Itwas unusual for someone to know 3 or more katas. Clearly kata must therefore containthe complete set of techniques for a range self defence applications, against commonforms of physical violence, otherwise there would be the need to have a large number ofkatas.

Choki Motobu believed that if a person knew one kata then he knew them all. He in turnonly learned, practiced and taught only two katas, Naihanchi (Tekki) and Passai (BassaiDai)41. He was at odds with Funakoshi over this and continually criticised Funakoshi forthe number of kata he knew, practiced and taught believing that to know a few kataswell and their practical application was all that was necessary.

However, Funakoshi makes it quite clear that the karate ka must, when practicing kata,visualise his/her opponents, imagine various situations, practice these techniques againstpunches and grabs from various directions and multiple attackers42.

37 Bubishi ,The Bible of Karate Patrick McCarthy Charles E Tuttle Co. 1996 p10738 Karate-Do Kyohan Gichin Funakoshi Kodansha International Ltd 1974 p23939 Bubishi ,The Bible of Karate Patrick McCarthy Charles E Tuttle Co. 1996 p2340 Okinawan Kenpo Choki Motobu Masters Publication 1995 p8 & p1441 Okinawan Karate Mark Bishop A&C Black 1995 p7842 Karate-Do Kyohan Gichin Funakoshi Kodansha International 1974 p235


© Edward Hudson 12

It is clear from the historical records of the great masters of old that kata practice is anexercise in visualisation. It's second function is to teach the karate ka the location ofvital points that are to be struck when executing various techniques. This is the truepurpose of kata. When the karate ka practices his/her kata in this way there is therealisation that the timing of the kata that we are familiar with needs to be altered tocoincide with its practical applications.

Today kata is performed almost at twice the speed that it was practiced at in the 1920s.Videos are now available of students practicing kata in the 1940s and 1950s which alsoshow a slower performance.

The third function of kata is that it allows the karate ka to practice and perfect his/herself defence skills without having to practice the vital point strikes on a partner. Manyof the kata techniques are very dangerous and do not lend themselves to being practicedat full speed with a partner.

One of the most misunderstood movements in karate is the application of thewithdrawing hand (hikite). Mr Nakayama taught that the withdrawing hand wasessential to generate appropriate power in the thrusting punch being executed by theother hand. The reality of this move is quite different and supported in its properapplication by photographs on Funakoshi demonstrating this very technique. Thewithdrawing hand is executed as a sharp tug or yank and not a gradual pull.

This technique is employed by a range of martial arts including Tai Chi and Ju Jitsu justto name two quite separate martial arts to karate.

An Application from Hangetsu:


© Edward Hudson 13


KATA, KIHON & KUMITE

Kata resides at the centre of karate-do. It is the foundation upon which modern karatehas been based. Kata contains all that a karate ka ever needs to know about self defence.Individual karate techniques are taken from kata and are practiced as separate individualtechniques and practiced alone in the form of Kihon.

These same kata techniques can be practiced with a partner in the form of tegumikumite (two man drills) and as self defence routines against a range of various attacksincluding punches, grabs and strikes.

When training this way it is important to follow the following rules43;

Change the Range: The preoccupation with sports karate (tournament style karate) haslead to the dojo practice being at a range that is both unrealistic and devoid of accuratetiming associated with close quarter self defence. Adopting this change in rangeimmediately identifies the practical applications associated with many shotokantechniques that just don't make sense when practiced at jiyu kumite range. 43 An Introduction to Vital Points - Part 4 Bill Burgar unpublished article on www.burgar.demon.co.uk


© Edward Hudson 14

Use Pre-emptive strikes: Many karate ka find this to be philosophically unacceptableusually quoting Funakoshi's "there is no first strike in karate". To strike first has manyadvantages and is also legal. The point Funakoshi was making was that we should notbe the initiators of any form of physical violence (refer to dojo kun).

We are Independent Thinkers: We all need an instructor/coach to teach us things we donot know ie master student relationship. This is well understood. However, all karate kamust make their karate theirs. This is important as the individual student is responsiblefor their own actions and behaviour including self defence. What works for someoneelse may not be appropriate for another.

The bunkai/oyo illustrated in this publication and others should be practiced by thestudent to the extent that deeper applications can be explored. This is not an end initself, it is important to ensure that any personal bunkai/oyo development fits the theoryand more importantly is effective in a range of self defence situations (punches, grabs,shoves etc).

Funakoshi admonishes the student to practice techniques (tegumi kumite) against"grasping the wrists, clothing, neck or other parts of the body and one must escape fromand immediately deliver a counterattack"44. He continues, "when sufficient skill hasbeen acquired through practice, a sword, dagger, stick and so on should actually be usedin practice to learn the techniques against these weapons and to prepare oneselfmentally against them"45.

Other techniques the student should practice from the katas besides vital points are46;

• Throwing techniques• Joint pressure techniques• Body shifting (tai sabaki)

Women should practice being fast in their execution of techniques and accurate instriking vital points to overcome their comparative physical weakness compared to aman47.

It is therefore essential that the karate ka pays particular attention to the techniquescontained in kata and practice them at close range with a partner. Your partner shouldvary the form of attack (striking, grabbing, holding etc) and the direction of attack. Thisis what makes training in kata truly exciting and fun while at the same time, beingpractical.

Why Are There So Many Katas?This is a good question. Do we need to know all of them to be competent at selfdefence? If we don't know them all, are we unskilled and therefore a low grade?

44 Karate-Do Kyohan Gichin Funakoshi Kodansha International 1974 p 23545 IBID p23346 IBID p227 & p23347 IBID p234


© Edward Hudson 15

As many of you who have trained for some time will realise that a block, punch or kickin one kata cannot be anything else but a block, punch and kick in another kata. There isno logical reason to suggest otherwise.

In the old days the majority of karate ka new at most about three katas. It was unheardof for someone to know twenty or thirty katas. However, know days we need to know(ie do the movements in the right sequence) a number of pre-determined katas if we areto progress with our gradings.

There are those who believe that there is no real purpose in knowing any kata, but thereis a purpose to kata. Another problem with knowing too many katas is that the karate kais confused with knowing so many different techniques to use in a particular selfdefence situation that he/she probably will end up doing nothing. This is a very realpossibility. The end result being that kata works against you rather than for you.

The Chidokan student should be able to recognise that there is a common theme thatruns through Chidokan's training syllabus which reinforces the practice of specific katatechniques in self defence exercises. A number of these have already been dealt with inother publications.

There is however, an important issue that all students must bear in mind and that is thatonce you know one kata you should be able to understand all of them. This can onlyoccur if the student is privy to the underlying tenants or theory that underpin the conceptof kata.

It appears that Funakoshi himself was aware of this very important point. He states,"Karate-do consists of a great number of kata and basic skills and techniques that nohuman being is capable of assimilating in a short period of time". Further, unlessyou understand the meaning of each technique and kata, you will never be able toremember, no matter how much you practice, all the various skills and techniques"48.

Funakoshi continues, "Once you have completely mastered one technique, you willrealise its close relation to other techniques. You will, in other words, come to

understand that all of the more than twenty kata may be distilled into only a fewbasic ones.

If therefore you become a master of one kata, you will soon gain an understanding ofall the others merely by watching them being performed or by being taughtthem......"49.

There are many shotokan organisations that claim to be the legitimate successor toFunikoshi's karate-do, but very few actually acknowledge or teach these fundamentalprinciples to their students.

Funakoshi states elsewhere "Looking over thirty-odd kata, he (the student) should beable to see that they are essentially variations on just a handful. If you truly

48 Karate-Do My Way of Life Gichin Funakoshi Kodansha International 1981 p10749 IBID p107


© Edward Hudson 16

understand a single technique, you will need only observe the forms and be told theessential points of the others"50.

These are reassuring words but they are also admonishments that far too few take heedof. If we are going to practice shotokan karate-do in its true form then we must followthese precepts otherwise we are empty vessels and our karate lacks truth and we deceiveourselves.

This is probably best said by Choki Motobu when he stated that "Nothing is moreharmful to the world than martial arts which are not helpful in actual fighting (selfdefence)"51.

Niju Kun - Funakoshi's Twenty PreceptsWhy re-invent the wheel. We should be grateful that all we need to do is follow theteachings of the old masters who dedicated their lives to the study of karate-do.

The student should study the following precepts and in doing so should recognise anumber of precepts already discussed in this and other publications, and compare it toChidokan's Dojo Kun.

1. Karate-do begins with courtesy and ends in courtesy

2. There is no first attack in karate-do

3. Karate-do is a great auxiliary to justice

4. Know yourself first, and then others

5. Spirit first; techniques second

6. Always be ready to release your mind

7. Accidents always occur out of idleness

8. Do not think that karate-do training is only in the dojo

9. It will take your entire life to learn karate-do; there is no limit

10. Put your everyday living into karate and you will find enlightenment

11. Karate-do is like hot water; if you do not keep it on heat, it will soon become cold

12. Do not think that you have to win. Rather, think you do not have to lose

13. Victory depends on your ability to distinguish vulnerable points from invulnerablepoints

50 Karate-Do Nyumon Gichin Funakoshi Kodansha International 1994 p4451 Karate-Do, 10 Game Matches - Yasuhiro Konishi Karate & His Life Trans by Patrick McCarthy p14


© Edward Hudson 17

14. The battle is according to how you manoeuvre guarded and unguarded

15. Think of the hands and feet as swords

16. When you leave home, think that you have numerous opponents waiting for you. Itis your behaviour that invites trouble from them.

17. Beginners must master low stances and posture; natural body position for advanced

18. Practising a kata is one thing, and engaging in a real fight is another

19. Never forget the strength and weakness of power, the stretching and contraction ofthe body and the slowness and speed of techniques

20. Always think and devise ways to live the precepts every day

An application from Hangetsu:

THE TRUE CONTENTS OF KATA

A number of noted karate and martial arts historians believe that without kata karate, aswe know it, would not exist in modern times. It is only through kata that various selfdefence paradigms have been maintained and exist for us today.

Kata is a ritualistic physical performance that encapsulates what these defenceparadigms contain. It is a mechanism that can be used to pass down the knowledge fromone generation to the next.

Probably the first form of self defence devised was Chin Na, meaning "to seize andcontrol"52. Self defence does not just include striking, kicking and punching, but thefull range of techniques available to us humans.

52 Analysis of Shaolin Chin Na Dr Yang Jwing-Ming YMMA Publications 1991 p1


© Edward Hudson 18

These include53;

• Grabbing• Striking• Controlling• Holding

Due to the practicality of the techniques contained in Chin Na, it is claimed that "almostevery martial style has Chni Na mixed in with its other techniques"54. Since karate washeavily influenced by the Chinese martial arts55, it is clear that Chin Na techniquesappear in various martial arts to a greater or lesser degree.

Modern karate, which has been in existance for only some 50 years, has excluded thesefundamental techniques with its concentration on "sports orientated" techniques andobjectives. This in turn has resulted in true self defence knowledge being lost eventhough the katas still exist today. It has been said by some that if it were not for katakarate would not exist today.

The Chin Na techniques specifically address the following56;

• Dividing the muscle• Separating tendons from bones• Sealing the breath• Blocking blood gates• Attacks to body cavities• Striking pressure points• Manipulating joints

These have been tried and proven over centuries by various martial art masters andpassed down today in various forms contained in kata. Kata helps us remember whattechniques to apply and when. Clearly then, kata contains a myriad of self defencetechniques which include57;

• Seizing & holding• Grappling• Throwing techniques• Joint locks• Dislocations• Strangling techniques• Striking vulnerable areas

Katas contain defensive routines developed by the old masters to combat commonforms of physical violence that one human being would likely use against another.

53 Ibid p154 Ibid p255 Kata Karate's Paragon of Mystery Patrick McCarthy IRKRS 199456 Analysis of Shaolin Chin Na Dr Yang Jwing-Ming YMMA Publications 1991 p1

57 Lecture Notes - European Lecture Patrick McCarthy p18


© Edward Hudson 19

The obvious question one should ask is "what are these common forms of physicalviolence"?


HABITUAL ACTS OF PHYSICAL OF VIOLENCE

The most common form is when someone grabs a hold of you. Hence the developmentof the ancient art of Chin Na and it being the predecessor for most Chinese martial arts.

Chin Na's (seizing & controlling) major objective is subdue or control your opponent bydoing it in a merciful way. It is far more effective to strike your opponent than to controlhim58. That is why kata contain not only striking techniques (kick, punch, strike) butalso controlling techniques (locks, joint manipulation, tendon and muscle dividing).

What are the common acts of physical acts of violence? This would depend uponwhether the attacker was directing the attack against a man or a woman.The International Rykyu Karate Research Institute (Patrick McCarthy) has identifiedwhat they believe to be 36 habitual acts of physical violence that are frequently

58 Analysis of Shaolin Chin Na Dr Yang Jwing-Ming YMMA Publications 1991 p3


© Edward Hudson 20

addressed in various kata. These exclude those associated with other categories ofphysical violence such as seizing & struggling, grappling and mutual confrontation.

1. Swinging punches2. Straight punches3. Downward strikes4. Upward strikes5. Swinging kicks6. Straight kicks & knee strikes7. Head butts8. Biting9. Testicle squeeze10. Augmented foot/leg trips11. Single/double hand hair pull (front & back)12. Single/double hand choke (front & back)13. Neck choke from rear14. Classical head lock15. Bent over, augmented choke16. Half/full nelson17. Rear over arm bear hug18. Rear under arm bear hug19. Front over arm bear hug20. Front under arm bear hug21. Front/rear tackle22. One handed wrist grab (cross over and same side)23. Two handed wrist grab24. Both wrists seized from front/rear25. Both arms seized from front/rear26. Single/double handed shoulder grab front/rear27. Arm lock behind back28. Front arm bar29. Side arm bar30. Single/double lapel grab31. Single/double hand shove/push

32. Garment pulled over head33. Seized & impact34. Single/double leg/ankle grab from front/side/rear35. Ground straddle36. Attacked while down

A more recent survey conducted in the UK by security service firms monitoring closecircuit TV monitors identified the following common assaults committed by male onmale59;

1. Pushing in the chest, followed by punch to head2. Swinging punch to head3. Front clothing grab followed by punch to head4. Front clothing grab with two hands followed by head butt

59 E-mail response from Jeff Nash


© Edward Hudson 21

5. Front clothing grab with two hands followed by knee to groin6. Hit on head with bottle,glass,ashtray7. Swinging kick to groin/lower legs8. Broken bottle/glass jabbed in face9. Slash with knife (3" - 4' blade most common used)10. Grappling style head lock11. Grappling head & waist ending on floor

Most common forms of aggression for male on female;

1. Grab on right upper arm by attacker's left hand with right hand hiding a weapon2. Rushing approach from rear for rear neck/head lock3. Rear waist grab4. Pin to wall by throat with left hand, threatened with weapon in right hand5. Hair grab from front/side/rear6. Right wrist grab with left hand7. Grab upper left arm and right wrist8. Double wrist grab9. Double upper arm grab10. Grab left forearm and right wrist

It has been found that victims deal better with the after shock of being attacked if theyresist. Very few that do resist get badly battered or cut. Research has concluded that ifan attacker premeditates to batter or stab he/she will do so whether the victim resists ornot.

CHIDOKAN'S APPROACH TO BUNKAI/OYO IN KATA

Research has shown that the human body naturally makes large body movementswhen under stress and when it perceives a life threatening situation.

One of the principles in understanding how the movements contained in kata, can beapplied against habitual acts of physical violence (HAPV) is to understand andmemorise the theory that underpins these movements.

This theory can be summarised as follows;

1. Defend against the initial attack (block/body shift/address the attack)2. Unbalance the attacker3. Control the attacker so that an effective counter can be delivered4. Counter attack to discourage further assault5. Combinations of the above

If the student thoroughly understands the above principles it is relatively easy todecipher the applications associated with particular movements contained in katas.

An Application from Empi:


© Edward Hudson 22


© Edward Hudson 23

The Common Link Between Kata Movements and Their Practical Application

Many instructors and students alike have attempted to develop practical applicationsfor various techniques/movements that are contained in various shotokan katas. Theseattempts have varied between highly practical and effective to down right dangerousand ineffective.

Once of the principle cause for this lack of practical understanding is because moststudents (and instructors) have not been adequately taught kata applications. In manyinstances, this lack of education has occurred because their instructors were not taughtthese principles.

A second reason for this lack of knowledge/understanding is that the original creatorsof various katas are long gone and in many cases the original intention has been lostin time. Therefore, any application developed for a particular move in a kata is at bestsomeone’s personal interpretation and not necessarily the original application asenvisaged by the kata’s creator.

However, all is not lost. Many of the old karate masters gave some compelling adviceon how one might train and practice the effective self defence aspects of kata moves.Gichin Funakoshi’s various writings are full of examples and detailed explanations onhow one can ascertain effective practical applications as they relate to self defence.The problem is that most shotokan instructors are not taught or refuse to researchFunakoshi’s written works.

The key to understanding practical applications for various kata moves is tai sabaki(body shifting exercises) and ashi sabaki (foot shifting exercises). A more detailedaccount of how tai sabaki links kata movements to their effective application can befound in a separate publication entitled “Tai Sabaki and its Practical Applications”.

Documents

KATA ORIGINS & BACKGROUND A SYNOPSIS By Dr …docshare01.docshare.tips/files/31189/311892250.pdfThe Chidokan System of Shotokan Karate-Do ... Various katas can be traced from these