Consideration of Kata

It appears that the understanding of kata in modern karate is that it consists of basic techniques strung together. According to bunkai kumite, which has been passed down b a master, one can see that techniques consist of various complex movements. A movement that is called a block is not necessarily expressed as a block. Therefore even if one can perform the basic techniques such as punches, kicks, and blocks separately, a kata is not just made up of those individual techniques. "A whole is not a gathering of its arts, rather it is a union of its parts." For instance let's take a jigsaw puzzle. At first, all of the pieces are in a box or a can. At that point, all of the pieces are separate, and one cannot see the picture or photograph. They are only physically together in one place. That is the condition that the pieces are simply "gathered" together. In order to complete the photograph or picture, the pieces must be put together in their correct positions. By doing so, the picture or photograph is completed. This is the condition where the parts are "united" to form a whole. Accordingly, if one just removes individual techniques from a kata, such as punches, kicks, and blocks, they alone will not be able to express the original intended meaning. It is through the learning of how to put the techniques together that one can understand the application and recreate the original meaning of that kata. So we can see that no matter how much one practices the basic techniques, they will not be able to grasp the essence of the kata.

Katas were created to record techniques. In the case of martial arts, each technique is recorded as a kata. There are written records of the steps and explanations for these katas. Okinawan karate was influenced by Chinese martial arts and employed as a means of training the practice of arranging numerous techniques in one kata. A close friend told me an interesting example relating to this. He said that it is easier to learn individual vocabulary when learning them with a melody, as in a song. If one learns katas by actually performing them, there will be no need for texts.

The purpose of katas is to transmit the knowledge to the next generation. To learn a kata is to learn that kata's techniques, so the idea that one knows the kata but not its application is, to the rational mind, impossible. Accordingly, if one learns a kata, but hasn't been taught the application of the techniques, then one cannot say that they have learned the kata. The masters who created the katas of course knew the meaning of the techniques and left a tool by means, which future generations could recreate, the moves of the kata. That tool is the oral instruction of bunkai. Master Anko Itosu, in his "Ten Principles", said that "one must understand the meaning before practicing. Also, the real usage is often explained orally." As Master Itosu wrote, katas have been handed down together with an oral explanation of the bunkai, and the reason this has not been passed down is that many instructors themselves have not been taught.

Through the practice of katas and their bunkai, one can learn the dynamics of proper body mechanics in the process of perfecting these techniques. As this knowledge, then, is passed down through several generations, a certain amount of techniques are amassed and the terms "tips" and "points" undergo a linguistic transformation, and individual techniques become and independent technique. Understanding these various techniques is useful in hastening ones advancement in karate. Therefore, without the knowledge of bunkai, it is very difficult to understand proper body mechanics as it relates to karate.

Moreover, once can imagine that the reason one should begin practicing simple katas like Naihanchi and Seishan for three years, is because the simpler the kata, the easier it is to master the techniques. Another way to look at it is that the purpose of practicing these katas is to create correct body mechanics for the practice of karate. This information, as with the bunkai and kata, has been passed down orally.

Today, kata and kumite are two separate entities in competition. Originally, though, the purpose of kumite must have been to be able to use katas. The key to that was the application of the katas, or bunkai kumite. Unfortunately, though, much of that has not been handed down or lost. The proper order to practice was to first understand the bunkai kumite, then after one has thoroughly practiced a kata individually, begin to practice kumite with a partner. In this progression the practice of kumite enables the use of katas.

In "Okinawan Karate Gai Setsu", Master Kentsu Yabu states that Master Sokon Matsumura practiced kumite with a partner. Today, however, much of the bunkai kumite that one sees is for beginners, and as similar to the kirikaeshi in kendo, and it is not the real bunkai for katas. Regarding the assertion that, "If one practices a kata for many years, they will be able to understand it by themselves." It may be true in some instances, but the odds of that are slim, and there is the danger of losing many techniques to future generations. More than anything, though, if one were generally able to learn by one self, then they would not require teachers. Furthermore, if, for example, one were supposed to learn independently, then all of the practitioners of karate from its introduction about 100 years ago to the present should be able use katas. The bunkai of kata is fundamentally meant to be learned along with the oral tradition from one's teacher. No matter how genius one is, katas, which are the accumulation of the wisdom of generations of the masters, are not that simple as to be solved through only on lifetime of practice. I believe that the biggest challenge facing us is to begin to organically connect katas with kumite through the understanding of bunkai.

Historically speaking with regard to karate, the common explanation is that long ago the individual practice of kata was the principle method of practice, and that kumite was not practiced, rather the practice of challenge matches akin to fights was common. Is that really true? Could martial arts training really have been complete with just the practice of kata? Did they just suddenly go from kata and use the techniques in real combat situations? Were all karate practitioners a bunch of thugs who roamed the streets looking for fights anytime they saw someone who looked strong?

The first person to introduce kumite to the mainland was Master Choki Motobu, in his book entitled My Okinawan Karate there is a section called "kumite". The gist of that book was that in Okinawan karate, both basics (kata) and kumite existed. In that book, however, it did not specify how to do it, but it could be practiced after learning basic kata, as a kind of "uke hazushi" (blocking and countering). So it was something like bunkai kumite, or ippon kumite. Also, there that is evidence that the term "kumite" existed apart from teachings from individual teachers.

Currently he is teaching at the Instructors School. He has also spent some ten years in America giving lectures on Okinawa Kempo at various seminars throughout the United States, as well as taking challenge matches to show karate's true power. His serious efforts undoubtedly gave birth to many American karate students. He has not only been a close friend, but he has trained for many years with sensei Choki Motobu, but his main objective has been actual fighting. In his youth, he frequently fought matches and challenged other dojos on occasion. He said that his method of training is to engage in serious practice sparring matches with Master Matsumura (Yabu's instructor) after practicing kata 3 or 4 times, without the use of protective gear. I was able to gain valuable insight into his method of offense and defense.

Master Kentsu Yabe is known as a student of Master Anko Itosu, but he was originally a student of master Sokon Matsumura and apparently he was a fellow student of Master Itosu. From the above article, we see that master Yabu, a student of Master Itosu, spent more time on practicing with a partner than individual kata work. By the way, there is a photograph of Master Yabu engaging in kumite with Mr. Miki, who is wearing protective gear. (Picture 21)

It is said that Master Anko Itosu (1830 - 1915), the father of the revival of Shuri Te, introduced the Heian katas and used them as a part of the curriculum in schools in 1904. The popular belief is that master Itosu used an existing kata, removed the dangerous moves and created a new set of katas for the purpose of teaching karate in physical education courses in public schools. Recently they have become widely used as beginning katas, and often used only for promotion test, but they are rarely used after one puts on a black belt. I would like to take a look at the Heian katas in the following manner.

I found a website which investigates the opinions on the mainland concerning the movement to introduce martial arts into the educational curriculum in the Meiji period. This is comparable to the period when Master Anko Itosu introduced karate into the school education in Okinawa. The following is an excerpt from the Kenshido website, which I have permission to quote. (http://www.namiashi.com/Kenshido)

Also, in the case of Kendo, which had fallen into decline after the Meiji Restoration, there was a heightened movement to start kendo in the public schools around the early 1880's. The Ministry of Education began an investigation into whether martial arts were appropriate for introduction in to public schools, in response to petitions to do so from the civilian sector. In 1883 the Ministry of Education charged the National Gymnastics Institute with carrying out the investigation. While recognizing its physical and mental merits, it was deemed inappropriate because it would be difficult to teach as a regular course due its dangerous and violent nature, and its insanitariness.

In 1896 the Ministry the same Institute to investigate the merits of including kendo and judo in the public schools. They gave the same answer as before, that martial arts were inappropriate as a regular subject. In 1904 the Committee for Gymnastics and Recreation was established. After meeting 37 times, it too, concluded in a report that mainly from the standpoint of its growth and development, and the fact that was inadequate research into its method of instruction, it should be denied introduction as a regular subject.

After that the movement to allow kendo to be introduced as a regular course continued to be taken up in committee, and the "Proposal for Physical Education" was submitted and approved. Even then, though, the Ministry did not move on it, and finally the proposal was recognized but martial arts did not become a regular course, rather in fact a mere elective.

So, we see that it took over 30 years for a martial art, which began in the early 1880's to bear fruit. I can cite various reasons for this, including the lack of equipment, the lack of facilities, and the dearth of qualified instructors, but perhaps the biggest reason was the fact that thee was no clear method of instruction.

In 1908 the final proposal to introduce martial arts as a regular course was approved in the Diet. After that there were changes in the regulations of the Ministry of Education, and in 1911 the "Ordinances and Regulations For Normal and Junior High Schools" was made public. At that time kendo developed as a regular course in physical education.

Let's take a look a Master Itosu's activity around that same time. In 1901 he taught karate at Shuri Elementary School. In 1904 he introduced the Heian katas. 1905 he taught at the Dai Ichi Jr. high School and normal School. In 1908 He submitted the "10 Principles" for the practice of karate to the Prefecture Office. When he submitted his "10 Principles" it was during the above historical background as a reply to the investigation of the Prefecture Office. Of course, the Okinawan Prefecture office was aware of the activities of the Ministry of Education, as well as the rise in popularity of Kodokan judo, and kendo.

When the "10 Principles" was written, Japan had just ended the Japan-China War 1888 - 1895) and the Russo-Japan War (1904 - 1905), and the trend toward creating a prosperous and militaristic country was growing daily. Also, when Master Itosu submitted his petition to have karate introduced into the public schools, the governor of Okinawa was reported to have said that "if the training in karate is so effective for the realizing the confidence of body and mind of soldiers, we should recognize its value, and for the encouragement of the youth of the prefecture, it should be adopted as a part of the physical education program immediately." Master Itosu, who submitted the proposal, and the Governor, who approved it, both recognized the value of a militaristic education.

The characteristics were, as Master Itosu wrote, "They were designed so that one could advance through them in a short time. And they can be used for a quick attack, and the application must be transmitted orally." As we saw earlier, in order to successfully introduce karate into the public schools, it was essential to establish a method of instruction. Until that time the most common way to learn karate was to learn Naihanchi from such and such an instructor, then learn Passai from another instructor, and so on, learning from various instructors. It is believed that Master Itosu created the Heian katas because he felt it was necessary educate instructors, and create a system to facilitate the spread of karate. The terms " shodan" and "nidan" are the same used in the Jigen style of swordsmanship to denote the order of steps. Thus they were created with the idea of advancing step by step. He said that if one were to train 2 to 3 hours per day for 3 to 4 years, one would possibly be able to understand the hidden parts of the katas. It is also believed that the Heian katas were made with a great deal of consideration to the effectiveness as an immediate means of self-defense, without lowering the traditional technical level. Also, since in olden times it was common for karate practitioners to know only 2 to 3 different katas, he believed it necessary to use the technical framework from many different katas order not lower the overall technical level. Therefore it can be said that the Heian katas embody the essence of Shuri Te

The common notion is that Master Itosu removed the dangerous techniques to make the Heian katas appropriate for the public school education in physical education. Is this really true, though? In his "10 principles" he wrote that "It (karate) is extremely appropriate for soldiers." And that "Some students will be able to learn the inner secrets in 3 to 4 years." In other words he was training the ability to respond immediately in a combat situation. For example, if one were to create a new kata, would one create something that was unusable as a sport like version that his students would unable to use? I think one would create a kata which is easier to learn, and is more effective. In Itosu's "10 principles" he wrote that "There are many oral teachings concerning the application." This indicates that there were oral teachings concerning the Heian katas. Thus there is the possibility that the Heian katas were created in such a way that they were not effective without the oral teachings that were meant to accompany them. In reality the oral teachings, which I learned from Sensei Kubota about the Heian katas' bunkai are simple, but are amply effective, and they included dangerous techniques.

But, were those techniques really removed from karate and the Heian katas? If we look at the writings of masters Funakoshi and Mabuni, we see that they included groin kicks, and nukite. In "Kempo Karate" published in the year 1933, the explanation for a front kick is that it is a groin kick. Additionally in the book "Karatedo Taikan" (Genwa Nakasone), which was written to introduce karate to elementary school students, groin kicks are included. So, from these examples, one can conclude that the idea that dangerous techniques were excluded is impossible. There exists the explanation that groin kicks were changed to front kicks. Anyone, however, can change a front kick to a groin kick. Also, there is also groin kick where you kick up with the instep. So, I think the basis for that explanation is weak. It has also said that the face punch was changed to a body punch. But if you pull in the opponent's hand they will lose their balance and their head will be at body level so a mid level punch becomes an upper level punch. The same is true for eye gouges; they have not been removed from karate texts.

Even though karate was prohibited by governmental policies, and was for forced to be taught in secret, not in public schools, it was still able to survive and be passed down generation after generation. It is a well known fact that, while judo removed the dangerous techniques from randori practice, they still remain in katas. Other disciplines such as traditional jujutsu, and kenjutsu have maintained their dangerous techniques, and yet managed to survive. Moreover in the age of a militaristic society, at that time, there was ample room for the existence of martial arts.

In conclusion, what was important for making karate acceptable for public school education was not to remove dangerous techniques, but to establish a methodological teaching system. The Characteristics of the newly created Heian katas is that they progress in difficulty from Shodan to Godan. In addition to that master Kentsu Yabu created the etiquette, and the warm up exercises under the influence of military training.

Currently there are numerous versions depending on the style. Why do they exist, and which ones were newly created in the Meiji years? The photograph entitled "Kata practiced at an Okinawan elementary school" shows the students doing a zenkutsu dachi (front stance) and a gedan barai (down block). In Shotokan they are performing Heian Shodan. It is often said that master Funakoshi changed the kata, but photograph of master Funakoshi teaching Heian katas on the mainland is approximately the same as the photograph of the Okinawan elementary school. On the other hand, it is different from Shito Ryu's neko ashi dachi (cat stance), tettui uke (hammer fist block), and motodachi (basic stance). According to Sensei Hiroshi Kinjo the karate that Master Itosu taught could be divided into "the karate, which he taught at his home" and "that which he taught at schools". It may be that the photograph shows the "karate, which he taught at the schools." Sensei Kinjo also wrote in his book "Karatedo Taikan" that Master Itosu altered the traditional katas, so even among his own students there was a differences among his students before they were changed and those who studied with him after the changes.

Master Mabuni, in his book, Kobo Kempo Karate do Nyumon, wrote that the original name for the Heian katas was Channan. Thus, indicating that the katas were not named Heian when they were created. In the same work he wrote that there were differences in the katas known as Channan and Heian. It appears that there was a divide in the transmission of the kata in Okinawa, even before it was taught on the mainland. Also, according to "Karate Kenkyu (YoujuShorin) master Choki Motobu was reported to have learned Cannan from master Anko Itosu. It makes reference to the fact that Heian and Channan were different. Sensei Motobu was from 17 to 25 years old during that period. So, since he was born in 1870 that would have been 1887-1895. Since the Heian katas were officially introduced in 1904, we can imagine that the Channan, which is considered the original existed for quite some time before that. From these facts we can guess that various versions of Heian katas existed even in their creator, master's lifetime.

So, it is generally believed that Shotokan katas have been altered, but in exactly where and in what way manner have they been altered? Here, I would like to do a comparative examination of the katas in Karate Kempo. Karate Kempo was written by Mr. Mizuho Mutsu in 1933 he studied under Master Gichin Funakoshi, but wasn't satisfied, so he went to Okinawa with Mr. Jisaburo Miki around 1928 to study under sensei's Kentsu Yabu, Chomo Hanashiro, Chodo Oshiro and Chotoku Kiyan, who were considered to be the leading students of Master Itosu at the time. These sensei'ｓ were co-disciples under Itosu. Mr. Mizuho Miki also co-wrote Gaisetsu of Okinawan Kempo, which contains interviews with Mr. Jisaburo Miki in 1930, and he also was an instructor at the Tokyo University karate club from 1933 - 1936.

In the table of contents of that book, in section 2, there is a portion of bunkai, under the heading "The Meaning of Individual Postures". Then, after that there are some illustrations of katas explaining the "Method of Katas". In that book 20 Shuri katas; Heian, Naihanchi, Passai Dai, KushankuDai, Jitte, Seishan, Wanshu, Jion, Chinto, Passai Sho, KushankuSho, Niseshi, Chinte, and Gojushiho.

Basically, the katas, which Master Anko Itosu taught, did not contain side kicks. It is said that Master Gichin Funakoshi altered Master Itosu's katas. One of the things, which he changed, was the side kick. This side kick is Shotokan's signature technique, and it is a major characteristic of its katas. When Master Gichin Funakoshi came to the mainland, the Sidekick was already in the kata. Master Funakoshi was born in 1868, and was in his fifties when he came to the mainland. It is pretty hard to believe that he changed a leg technique from that time. It is believed that he practiced and used the side kick from when he was younger. Let's look at where the side kick came from. It is said that master Funakoshi was taught it by his first teacher, Sensei Anko Asato (1827 -1903). Sensei Asato was one of Master Sokon Matsumura's early top students. If we look at traditional oral lore, Master Funakoshi is his only student ever listed. In 1902 in the Ryukyu Shimpo Newspaper there was an article dictated by Sensei Asato, and written by Master Funakoshi entitled "Okinawan Combat Techniques". In that article, there is a reference to a leg technique that attacks from "below the field of vision". "I believe that there are many who value hand techniques over secret leg techniques, but sometimes leg techniques can be more valuable. In actual fighting, one must not forget that when in hand to hand combat, it is always the leg." From this article one can surmise that Sensei Asato was very good at leg techniques.

This kata was originally called Naihanchi or Naihanchi. In Shotokan master Funakoshi changed the names of katas from their Chinese pronunciation to Japanese pronunciation. At first it was changed to Kiba Dachi and then to Tekki. In Shuri Te, karate, before the creation of the Heian katas, it was the first basic kata which one learned, and it was said that students were made to practice this kata for 3 years. It is believed that it look its present form when master Itosu improved upon kata called Channan. Itosu further broke down the one kata into its Nidan and Sandan forms. In the dialogue "Speaking About the History of Modern Karate" (Shinkin Gima, Ryozo Fujiwara) the following conversation is introduced concerning the ------- in Okinawa around the time the " Bubishi" was introduced. I would like to take an excerpt from it.

Fujiwara- This is a story, which I heard from when I visited Okinawa about 10 years ago. Around the end of the Edo period, there were some Chinese drifters who came to Tomari who were quite skilled at martial arts. They built a log hut near the Tomari cemetery, where they lived. It is said that Masters Sokon Matsumura and Kizo Teruya paid a certain amount of money for tuition and took lessons in Chinese martial arts from them. When the Chinese were going to return home, they asked for some paper and a brush. In a few days they handed a scroll to Master Sokon Matsumura."

Fujiwara- "Yes, that is the kata Naihanchi, which Master Kenwa Mabuni learned in his youth. In other words, Master Mabuni learned the kata Naihanchi from the pupil of Sokon Matsumura, Sensei Morihiro Matakichi. Years later, when he performed that kata in front of Master Anko Itosu, he was told by Itosu that "That is the original form of the kata which he had learned from the Chinese drifters. The current kata is one, which I have altered after careful study. So stop practicing the old form, and practice the new form." There are conjectures about the identity of Channan; that he was a Zen priest, that he was a spy, or that he was a pirate, but it is certain that he was a practioner of martial arts. It is also true that Master Anko Itosu learned the kata Naihanchi from him."

This kata is representative of those katas, which are difficult to explain. There many interesting explanations for the embusen (line of performance), which is in a straight line horizontally. Some say that it is for fighting with one's back to a wall, or that it is for fighting on a bridge, or for fighting in a narrow space like a hallway. I think these explanations came about because few people actually know the actual application. It is said that Master Choki Motobu, a master of actual combat, knew only this one kata. (This, in fact, is a misconception because it was only transmitted to a few disciples.) It is a mysterious kata, though, which is effective for fighting, but the application is practically unknown. Currently, the application of this kata is probably one of the biggest mysteries of the karate world.

In an interview with Choki Motobu, in "Karate Kenkyu" (Genwa Nakasone) he states that Master Matsumura and Master Itosu's Naihanchi were different. Master Matsumura performed the hook punch diagonally in the front, and Master Itosu performed the hook punch with a bent elbow. Master Matsumura performed the nami gaishi by putting his foot down quietly, while Master Itosu stomped his foot fiercely.

In Hiroshi Kinjo's Karate Taikan, he wrote that in generations before his time (1919) the double handed hook punch was performed open handed, and the hand that supported the uraken (back fist) was a nihon nukite (two finger thrust). Currently, those are the changes that are believed to have been made. If the bunkai had been passed down with the kata these would not pose a problem. If Master Itosu did make major changes in the movements, it would be radically different from the Naihanchi of other styles, but even if we compare it to the Tomari Naihanchi, except for the direction of the moves at the beginning of the kata, there is not a recognizable difference.

One can learn basic posture from standing in a kiba dachi (horse stance). Master Choki Motobu said that "The posture of the legs and hips in Naihanchi is the basic posture for karate." Also, "Whichever direction one turns, to the left or to right, they will be in a correct fighting position, and all of the hidden movements (meaning) are included." The width of the stance is the length of the shin plus two fists. One should stand on the ball of the foot. At that width, if one turns their body diagonally to the front and places their weight to the front, it becomes a zenkutsu dachi (front stance). And if they adjust their weight to the rear, it becomes a kokutsu dachi (back stance). In this sense, it is a basic stance. Also, through the repetition of the basic movements, it effectively trains the body.

Contrary to the stereotypical notion that Shuri Te style karate is for fighting at a distance, the application for Naihanchi, the first kata taught, is for close in fighting. It is a good text for learning to immobilize one's opponent before striking, which a basic principle of combat. If one were to describe this kata in one word, I believe it would be that it is surprisingly complete.