What's Wrong with Kata?
Jul, 2007 | Category: Permalink
According to most traditional karate
practitioners, kata is a major conerstone of karate training. Along
with kihon (basics) and kumite (sparring), many
instructors make a point of including kata practice in
almost every training session they lead.
Kata can be a good workout, expand on our basics and offer some training useful in developing kumite strategy. But what in kata cannot be found elsewhere? Why not just practice longer and more intricate sequences in basics and add more realistic self-defense scenarios in kumite?
Although you will see by the end of this article that I am not really against the practice of kata, let's look at several arguments that question the value of kata practice.
"It’s Just More Basics"
Most traditional karateka spend much time on training in kihon, the fundamental techniques and movements we call “basics.” While kata may focus on techniques and movements not often practiced during the kihon section of our training, what is stopping us from expanding on our basics to integrate that which is found in kata? Is it simply that instructors are too lazy to come up with such complicated combinations? Why not just add a hammerfist strike and move to different angles in kihon, for example? The rest of Heian Shodan is already practiced often in our kihon training…
"We Mess Up Kihon When We Do Kata"
Overemphasis on kata could thwart our efforts in developing proper form in our basics. Many instructors insist on students returning to the starting mark when performing kata, for example. This sometimes results in deviation from basic form as students alter stepping and angles to accommodate. People also often rush through kata and rise in their stances as a result. In these ways, basic form can be negatively affected by our kata practice.
"Not Good Self-Defense Training"
Some people argue that kata is our chance to practice self-defense otherwise not included in basics and kumite. Basics usually focus on long-range techniques/movements that are not very practically performed as-is in a real encounter on the street. For safety reasons, many dangerous techniques are not allowed in kumite practice. Yes, kata lets us train these. But why not simply create more realistic self-defense training? Is it again that instructors are too lazy? We can tack on all sorts of possible application interpretations to kata sequences. But how effective are these as done in the kata? To make these techniques work, we sometimes need to significantly alter our performance. So why not scrap kata completely and start from scratch to create reality-based training if self-defense is our goal?
"Too Many Kata"
Depending on whom you ask, Shotokan has 15 to 30+ kata. Other karate styles may have as few as 8 or as many as 50+. In many organizations, students are expected to learn a new kata at a rate of approximately one every three months for at least the first few years. That is a lot. Wouldn’t we be better off devising more sets of basic sequences to study? Don’t we risk unnecessary confusion by piling on so much kata?
So Why Do Kata?
So do I advocate discarding kata altogether? Not at all. While I believe in creativity in structuring training to include more than just the standard “3 K’s” (kihon, kata, kumite) as well as varied training within these.
Integrating Kata with the Rest of Your Training
Most instructors would agree that kihon, kata and kumite should all go hand-in-hand, the practice of one helping the others. But as these different training categories are trained in many dojo, they share little more than a superficial relationship. Students jump around during kumite and rush their kata without understanding application, treating basics as no more than a necessary and boring set of exercises.
Of course this is not the case in YOUR dojo… But the point is that the integration of these training categories is often not meeting the claims of the instructors. Kata is a series of basic techniques/movements, with each having various potential applications in kumite. Training in each of the "3 K’s" should help progress in the others. And each helps complement the others as there are certain components in each not found or emphasized in the others. For example, we may sometimes in kihon practice stepping to the side in side-stance, delivering a side-kick. This is not seen in standard JKA kata, for example. Nor are round-house or back-kicks. In kumite, we are allowed more flexibility in where we move and what techniques we employ, exploring variations in timing and distance, as another example. In kata, we have some techniques not allowed in kumite and we can easily imagine we are using our skills against multiple assailants.
Something for Everyone
Whenever people challenge Shotokan’s effectiveness against Jujutsu in UFC or actual combat-effectiveness on the street, I like to respond that self-defense is but one of very many possible benefits of training. And since we do not have self-defense as our only goal, others SHOULD be expected to do it better. Some people may also point out that there are better ways to get a workout. Sure there are. But again the workout is just one of many components to the practice of karate.
Depending on who is doing it and why, kata can be so many things.
Kata can be a good workout, expand on our basics and offer some training useful in developing kumite strategy. But what in kata cannot be found elsewhere? Why not just practice longer and more intricate sequences in basics and add more realistic self-defense scenarios in kumite?
Although you will see by the end of this article that I am not really against the practice of kata, let's look at several arguments that question the value of kata practice.
"It’s Just More Basics"
Most traditional karateka spend much time on training in kihon, the fundamental techniques and movements we call “basics.” While kata may focus on techniques and movements not often practiced during the kihon section of our training, what is stopping us from expanding on our basics to integrate that which is found in kata? Is it simply that instructors are too lazy to come up with such complicated combinations? Why not just add a hammerfist strike and move to different angles in kihon, for example? The rest of Heian Shodan is already practiced often in our kihon training…
"We Mess Up Kihon When We Do Kata"
Overemphasis on kata could thwart our efforts in developing proper form in our basics. Many instructors insist on students returning to the starting mark when performing kata, for example. This sometimes results in deviation from basic form as students alter stepping and angles to accommodate. People also often rush through kata and rise in their stances as a result. In these ways, basic form can be negatively affected by our kata practice.
"Not Good Self-Defense Training"
Some people argue that kata is our chance to practice self-defense otherwise not included in basics and kumite. Basics usually focus on long-range techniques/movements that are not very practically performed as-is in a real encounter on the street. For safety reasons, many dangerous techniques are not allowed in kumite practice. Yes, kata lets us train these. But why not simply create more realistic self-defense training? Is it again that instructors are too lazy? We can tack on all sorts of possible application interpretations to kata sequences. But how effective are these as done in the kata? To make these techniques work, we sometimes need to significantly alter our performance. So why not scrap kata completely and start from scratch to create reality-based training if self-defense is our goal?
"Too Many Kata"
Depending on whom you ask, Shotokan has 15 to 30+ kata. Other karate styles may have as few as 8 or as many as 50+. In many organizations, students are expected to learn a new kata at a rate of approximately one every three months for at least the first few years. That is a lot. Wouldn’t we be better off devising more sets of basic sequences to study? Don’t we risk unnecessary confusion by piling on so much kata?
So Why Do Kata?
So do I advocate discarding kata altogether? Not at all. While I believe in creativity in structuring training to include more than just the standard “3 K’s” (kihon, kata, kumite) as well as varied training within these.
Integrating Kata with the Rest of Your Training
Most instructors would agree that kihon, kata and kumite should all go hand-in-hand, the practice of one helping the others. But as these different training categories are trained in many dojo, they share little more than a superficial relationship. Students jump around during kumite and rush their kata without understanding application, treating basics as no more than a necessary and boring set of exercises.
Of course this is not the case in YOUR dojo… But the point is that the integration of these training categories is often not meeting the claims of the instructors. Kata is a series of basic techniques/movements, with each having various potential applications in kumite. Training in each of the "3 K’s" should help progress in the others. And each helps complement the others as there are certain components in each not found or emphasized in the others. For example, we may sometimes in kihon practice stepping to the side in side-stance, delivering a side-kick. This is not seen in standard JKA kata, for example. Nor are round-house or back-kicks. In kumite, we are allowed more flexibility in where we move and what techniques we employ, exploring variations in timing and distance, as another example. In kata, we have some techniques not allowed in kumite and we can easily imagine we are using our skills against multiple assailants.
Something for Everyone
Whenever people challenge Shotokan’s effectiveness against Jujutsu in UFC or actual combat-effectiveness on the street, I like to respond that self-defense is but one of very many possible benefits of training. And since we do not have self-defense as our only goal, others SHOULD be expected to do it better. Some people may also point out that there are better ways to get a workout. Sure there are. But again the workout is just one of many components to the practice of karate.
Depending on who is doing it and why, kata can be so many things.
- Exercise
- Training in the basics
- Training of strategy and footwork to use in kumite
- Self-defense preparation
- As an art form, as almost a form of dance
- As part of a personal journey and self-reflection
Think Outside the Box
Nov, 2006 | Category: Permalink
(This article originally appeared
in the October 2006 issue of Shoto-Mag.)
Over the past several years, many Shotokan enthusiasts have discovered the joy of analyzing kata application possibilities. For me, this journey began in 1984, as I experimented with non-standard applications by myself between classes at the dojo. At the time, I did not know of anyone else who was doing this type of study and it took many years before I found anyone else who spent much time on it. Now, it seems like just about everyone is talking about it and I am glad to know that many people have become quite proficient at dissecting kata techniques similarly to the way that I have been doing it for 20+ years.
Many of us have come up with the same ideas, independently. Some have spent a lot of time trying to discover what the original intended application of kata techniques may have been. Some people are convinced that “blocks” are never really intended to be blocks at all. Some people try to come up with as many possible interpretations for each move as possible.
For those who have spent years creatively interpreting kata applications, this article may provide little new. But for those who are just discovering kata application study, or for those who have been limiting their application theory to within a very defined “box,” this may be of some help.
In most Shotokan dojo, application practice has typically involved very basic, long-distance attacks, with basic block/punch/kick/strike applications. Recently, more instructors have been working with shorter distances and some less orthodox attacks, including realistic grabs. I am in favor of studying various possibilities. My main point in this article is that we should not always assume the angle of attack or defense is in the direction we are facing in the kata performance.
When we perform kata, most instructors are very particular about the placement of the feet as we step, as well as the direction we look. It is generally considered to be very important that we all perform as closely as we can to a certain standard, a standard which includes very precise stepping and implications that we are facing opponents head-on and countering them directly from the front in the imagined applications.
Kata embusen refers to the “performance line” of the prearranged movements. While I believe there is nothing wrong with concentrating on the standard direction of movement, we should be open to the idea that the attack may not always be coming from the exact direction we are facing/stepping. We should consider that attackers do not always come at us in such an organized fashion in reality and we should be able to move in a direction other than normally performed in the standardized kata. We should consider that things may work well – sometimes even better – when we move “outside the box.”
Example 1
In Tekki Shodan, we have a cross-over step performed to the side while maintaining a hook-punch (kagi-zuki) position with the arms. The inside-block following that step may seem improbable as directly applied as a block. Why would someone be punching where we are going and then we continue to move in the directly of the punch? I think it makes more sense to imagine the attacker coming in from an angle. What could make even more sense is if we consider that the stepping may imply a turn as opposed to an actual step (as most cross-over steps in kata do). By turning, we are no longer stepping into the punch but actually avoiding it and setting up ourselves more strategically for a logical counter-attack position. (See video clip 1.)
Video Clip 1
Example 2
In the opening moves to Kanku Dai, the technique may be more effective if we move to an angle as the hands come down toward each other. In the move just after that, we may want to step to a different angle as an alternative in order to make this a counter-attack aimed at the original attacker. (See video clips 2 & 3.)
Video Clip 2
Video Clip 3
Example 3
As with the opening move of Kanku Dai, in the opening move of Bassai Sho, the technique may have increased effectiveness if we step at an angle. Remember that, as with Example 1, above, from Tekki Shodan, the crossover step should imply we can turn in application. (See video clip 4.)
Video clip 4
There are many more examples in kata where we may be able to employ more effective strategy by moving to an angle other than how we perform the standardized kata form. I am by no means advocating we give up the standard form. But I would like to suggest that everyone consider attack and defense angles that may not at first seem obvious. There is nothing wrong with performing kata within a very structured set of parameters. But just because we perform it within this “box” does not mean that we cannot think outside the box...
Over the past several years, many Shotokan enthusiasts have discovered the joy of analyzing kata application possibilities. For me, this journey began in 1984, as I experimented with non-standard applications by myself between classes at the dojo. At the time, I did not know of anyone else who was doing this type of study and it took many years before I found anyone else who spent much time on it. Now, it seems like just about everyone is talking about it and I am glad to know that many people have become quite proficient at dissecting kata techniques similarly to the way that I have been doing it for 20+ years.
Many of us have come up with the same ideas, independently. Some have spent a lot of time trying to discover what the original intended application of kata techniques may have been. Some people are convinced that “blocks” are never really intended to be blocks at all. Some people try to come up with as many possible interpretations for each move as possible.
For those who have spent years creatively interpreting kata applications, this article may provide little new. But for those who are just discovering kata application study, or for those who have been limiting their application theory to within a very defined “box,” this may be of some help.
In most Shotokan dojo, application practice has typically involved very basic, long-distance attacks, with basic block/punch/kick/strike applications. Recently, more instructors have been working with shorter distances and some less orthodox attacks, including realistic grabs. I am in favor of studying various possibilities. My main point in this article is that we should not always assume the angle of attack or defense is in the direction we are facing in the kata performance.
When we perform kata, most instructors are very particular about the placement of the feet as we step, as well as the direction we look. It is generally considered to be very important that we all perform as closely as we can to a certain standard, a standard which includes very precise stepping and implications that we are facing opponents head-on and countering them directly from the front in the imagined applications.
Kata embusen refers to the “performance line” of the prearranged movements. While I believe there is nothing wrong with concentrating on the standard direction of movement, we should be open to the idea that the attack may not always be coming from the exact direction we are facing/stepping. We should consider that attackers do not always come at us in such an organized fashion in reality and we should be able to move in a direction other than normally performed in the standardized kata. We should consider that things may work well – sometimes even better – when we move “outside the box.”
Example 1
In Tekki Shodan, we have a cross-over step performed to the side while maintaining a hook-punch (kagi-zuki) position with the arms. The inside-block following that step may seem improbable as directly applied as a block. Why would someone be punching where we are going and then we continue to move in the directly of the punch? I think it makes more sense to imagine the attacker coming in from an angle. What could make even more sense is if we consider that the stepping may imply a turn as opposed to an actual step (as most cross-over steps in kata do). By turning, we are no longer stepping into the punch but actually avoiding it and setting up ourselves more strategically for a logical counter-attack position. (See video clip 1.)
Video Clip 1
Example 2
In the opening moves to Kanku Dai, the technique may be more effective if we move to an angle as the hands come down toward each other. In the move just after that, we may want to step to a different angle as an alternative in order to make this a counter-attack aimed at the original attacker. (See video clips 2 & 3.)
Video Clip 2
Video Clip 3
Example 3
As with the opening move of Kanku Dai, in the opening move of Bassai Sho, the technique may have increased effectiveness if we step at an angle. Remember that, as with Example 1, above, from Tekki Shodan, the crossover step should imply we can turn in application. (See video clip 4.)
Video clip 4
There are many more examples in kata where we may be able to employ more effective strategy by moving to an angle other than how we perform the standardized kata form. I am by no means advocating we give up the standard form. But I would like to suggest that everyone consider attack and defense angles that may not at first seem obvious. There is nothing wrong with performing kata within a very structured set of parameters. But just because we perform it within this “box” does not mean that we cannot think outside the box...
"Look and Feel" in Karate Training -
Part 2
Aug, 2005 | Category: Permalink
Kata (Forms)
As noted in my July 2005 article, techniques and movements can be improved by watching and also by “feeling” the position or movement. In kata, the ideas of looking and feeling can be practiced at yet another level.
In the past few years, it seems as though discussions and arguments have been heating up regarding the way kata is practiced. Should it be a technical study of movement - primarily an exhibition of physical fitness - or should we study the applications in depth. This issue of form vs. function has been a source of debate with some great points on each side.
In most karate tests and tournaments, kata performace is judged only on form, which involves proper execution of techniques, timing, displays of intensity and more. There are many people whose primary emphasis in their daily kata practice is form with no regard for function. There are others who scoff at the traditional form, claiming that a disregard for application (function) is pointless. But often these people also just work on the outward appearance of application and couldn’t actually apply some of these methods and tactics in a realistic encounter (self-defense). Making some intentional contact with a partner and receiving physical and verbal feedback in such practice is very valuable. Thus “feeling” in kata application practice can be a very useful part of training.
Some people do their kata without much regard to how it looks (form) or what the applications might involve (function). Some of these people concentrate on the physical fitness aspects of the training, treating it as an exercise. Some treat it as a very personal time, whether it be as an expression of art or an outwards demonstration of personality, like a dance. For these people, they may “feel” the kata in a different way. Kata practice can make one happy or satisfied with oneself.
Joggers refer to a "runner's high" and many athletes talk about being "in the zone" when they are not only performing well outwardly but also feeling good about their performance inwardly. During individual kata practice, in addition to physical fitness, self-defence and other possible benefits, some people just "feel good doing it" and need nothing more.
The feelings that are experienced during kata practice are worth exploring as part of one’s personal karate journey.
As you can see, the “look and feel” of kata can be explored from many angles. With this in mind, kata practice can always be interesting and and various educational opportunities are there for the taking.
What do you feel when practicing kata? Please write to me and let me know. Maybe I can add some short quotes to this article in the future...
Copyright © 2005, Jon Keeling
Embusen - The Demonstration
Line
May, 2001 | Category: Permalink
An embu (sometimes written
enbu) is a "demonstration". Sen means "line(s)".
Embusen, therefore, refers to the line(s) that is followed
during a demonstration of movements, such as in
kata.
When we perform kata in a test or tournament, as well as during regular class training, most of us invariably step (or try to step) in the same direction each time we perform each particular movement. Why is this? While it may, for example, make sense to concentrate on stepping forward during most attacking techniques, many of the stepping patterns do not seem to make much sense at all, when we consider the intended self-defense application.
For example, in the first move of Heian Shodan, why would we step forward (actually, turning to the left and then stepping forward), and not back, if the intended application is as a block? Why do we not step back on all the blocks? One possible answer is that these simply look like blocks, but are actually strikes or grappling techniques (see March 1999 article for more on this subject). While this may make some sense, it would also make sense to be able to perform the technique, no matter what the intended application, to various directions, stepping forward, back or to the side(s).
"Expect the unexpected." If someone practices only one method of execution for a technique or combination, how would that person expect to be able to apply the technique or combination in other than the ideal situation (as performed in the kata)? To be able to perform a technique or movement to various directions should increase the chances of being able to use the technique or movement in a more spontaneous encounter.
Returning to the starting mark
Some instructors/examiners/judges make a big deal about kata performance finishing at the same spot as starting. While some may claim this is extreme perfectionism, I would say it is far from it. In fact, to make it back to exactly the same spot as one started the kata actually requires imperfection.
Let me explain. If one performs all the basic stances and steps/shifts between these stances according to standard Shotokan form (see stance articles for more detail), one rarely ends at the starting mark in kata. I have reviewed all 27 kata in the current JKA curriculum in this manner and have found that the majority should finish at least one foot from the starting mark, if all the component parts are performed according to proper basic criteria.
So why such emphasis on returning to the starting mark in kata? While I cannot say definitively, I believe the original idea of encouraging performers to work towards returning to the starting mark was primarily an effort to create a minimum standard. The JKA is famous (notorious?) for creating and enforcing standards. I doubt the original idea was to deduct points anytime one finished only a minimal distance from the starting mark. If this was the idea, I believe the point was overdone. Many today seem to think that this is the way to judge kata, deducting points indiscriminately based on how far from the starting mark one finishes a kata (for example: 1/10 point for every 6" from the mark).
For example, when I am judging a performance of the kata Heian Yondan in a JKA-style tournament, I would favor the performer (all else being equal) who finished exactly on the starting mark over the one who ended ten feet behind it. I would, however, favor the one who finished two feet behind the mark over the one who finished exactly on it. If all the stances and movements are performed according to JKA standards, someone doing Heian Yondan should finish about two feet behind where he started.
While there is something to be said for striving toward a goal, finishing kata at the starting point is an artificial goal. As long as its impracticality and distortion of basic form is understood, I see no problem with this kind of kata performance being a variation practiced. But it should be understood that this is a deviation from the basic form upon which JKA-style Shotokan is based.
Demonstrating, in contrast to realistic practice
Much of how we normally practice kata is somewhat artificial. Kata tempo, stepping direction/type, application and other factors have been artificially standardized to ensure a minimum level of performance.
To make kata practice more realistic, we should be doing all the moves at full speed, using smaller blocking movements and less "ballistic" attacks, among other things. Actually, to make kata performance even more realistic, we should be practicing with multiple partners at full speed and power, without holding back. Obviously, this could involve unnecessary injury and an inefficient use of time for those not performing the kata. Furthermore "realistic" practice is not everyone's purpose for training.
To perform kata according to the standards set by organizations such as the JKA and its affiliates is not without its worth. The parameters according to which we set our performance standards assure a level of minimum ability of members of the organization. All the students moving the same way makes the instructor's job more efficient. But to limit our performance to those parameters only is a way of limiting our study. After a certain level of experience is attained, variations from the standard formats should be explored. But only after a reasonably thorough understanding of the standard methods has been attained.
I regularly encourage the practice of non-standard kata performance in my classes. Whether practicing kata for self-defense, physical fitness or as an art form, varying stepping directions and stepping/shifting patterns makes sense.
In the end, the embusen is simply the "demonstration line." Adherence to kata performance standards is largely a formality and a way to ensure minimum standards are met.
Copyright © 2001, Jon Keeling
When we perform kata in a test or tournament, as well as during regular class training, most of us invariably step (or try to step) in the same direction each time we perform each particular movement. Why is this? While it may, for example, make sense to concentrate on stepping forward during most attacking techniques, many of the stepping patterns do not seem to make much sense at all, when we consider the intended self-defense application.
For example, in the first move of Heian Shodan, why would we step forward (actually, turning to the left and then stepping forward), and not back, if the intended application is as a block? Why do we not step back on all the blocks? One possible answer is that these simply look like blocks, but are actually strikes or grappling techniques (see March 1999 article for more on this subject). While this may make some sense, it would also make sense to be able to perform the technique, no matter what the intended application, to various directions, stepping forward, back or to the side(s).
"Expect the unexpected." If someone practices only one method of execution for a technique or combination, how would that person expect to be able to apply the technique or combination in other than the ideal situation (as performed in the kata)? To be able to perform a technique or movement to various directions should increase the chances of being able to use the technique or movement in a more spontaneous encounter.
Returning to the starting mark
Some instructors/examiners/judges make a big deal about kata performance finishing at the same spot as starting. While some may claim this is extreme perfectionism, I would say it is far from it. In fact, to make it back to exactly the same spot as one started the kata actually requires imperfection.
Let me explain. If one performs all the basic stances and steps/shifts between these stances according to standard Shotokan form (see stance articles for more detail), one rarely ends at the starting mark in kata. I have reviewed all 27 kata in the current JKA curriculum in this manner and have found that the majority should finish at least one foot from the starting mark, if all the component parts are performed according to proper basic criteria.
So why such emphasis on returning to the starting mark in kata? While I cannot say definitively, I believe the original idea of encouraging performers to work towards returning to the starting mark was primarily an effort to create a minimum standard. The JKA is famous (notorious?) for creating and enforcing standards. I doubt the original idea was to deduct points anytime one finished only a minimal distance from the starting mark. If this was the idea, I believe the point was overdone. Many today seem to think that this is the way to judge kata, deducting points indiscriminately based on how far from the starting mark one finishes a kata (for example: 1/10 point for every 6" from the mark).
For example, when I am judging a performance of the kata Heian Yondan in a JKA-style tournament, I would favor the performer (all else being equal) who finished exactly on the starting mark over the one who ended ten feet behind it. I would, however, favor the one who finished two feet behind the mark over the one who finished exactly on it. If all the stances and movements are performed according to JKA standards, someone doing Heian Yondan should finish about two feet behind where he started.
While there is something to be said for striving toward a goal, finishing kata at the starting point is an artificial goal. As long as its impracticality and distortion of basic form is understood, I see no problem with this kind of kata performance being a variation practiced. But it should be understood that this is a deviation from the basic form upon which JKA-style Shotokan is based.
Demonstrating, in contrast to realistic practice
Much of how we normally practice kata is somewhat artificial. Kata tempo, stepping direction/type, application and other factors have been artificially standardized to ensure a minimum level of performance.
To make kata practice more realistic, we should be doing all the moves at full speed, using smaller blocking movements and less "ballistic" attacks, among other things. Actually, to make kata performance even more realistic, we should be practicing with multiple partners at full speed and power, without holding back. Obviously, this could involve unnecessary injury and an inefficient use of time for those not performing the kata. Furthermore "realistic" practice is not everyone's purpose for training.
To perform kata according to the standards set by organizations such as the JKA and its affiliates is not without its worth. The parameters according to which we set our performance standards assure a level of minimum ability of members of the organization. All the students moving the same way makes the instructor's job more efficient. But to limit our performance to those parameters only is a way of limiting our study. After a certain level of experience is attained, variations from the standard formats should be explored. But only after a reasonably thorough understanding of the standard methods has been attained.
I regularly encourage the practice of non-standard kata performance in my classes. Whether practicing kata for self-defense, physical fitness or as an art form, varying stepping directions and stepping/shifting patterns makes sense.
In the end, the embusen is simply the "demonstration line." Adherence to kata performance standards is largely a formality and a way to ensure minimum standards are met.
Copyright © 2001, Jon Keeling
Tempo in Kata
Mar, 2001 | Category: Permalink
Anyone who has been practicing karate
for long enough to have learned two or three kata knows that not
all techniques in kata should be performed at the same speed. Some
moves are fast, some slow. Some moves are performed quickly, some
slowly. Some are executed with an increasing or decreasing speed.
Furthermore, some combinations of moves are performed in quick
succession, while others are performed with a noticeable pause
between moves. This timing between movements is what I would like
to focus on in this article.
When first learning a new kata, one should strive to maintain the tempo that the instructor indicates. When in doubt, start out slowly and with less power, gradually adding more speed and power as familiarity is gained. Remember that priority in learning and executing techniques should be (a) form (b) speed (c) power (concentration on muscular contraction). If one rushes into (b) and (c) without focusing sufficiently on (a) first, training may be wasted.
As you become more familiar with a kata, you may want to vary the timing from that which was originally learned. There is nothing wrong with this, as long as the ramifications of the changes are considered and weighed. For example, there is probably reason that some of the slow moves in kata are performed slowly, while others are not.
Some sequence timings in kata are taught in a given dojo or organization and expected to be followed blindly by all. Some judges/examiners will deduct points if the performer does not do as everyone else, without considering that there may be a reasonable explanation for deviation of tempo. While standardization is good for assuring certain minimum requirements are met, flexibility should occasionally be exercised, at least for the higher dan ranks.
This is not to say that all karate practitioners should alter timing in kata as they see fit. On the contrary; I believe that one should strive to perform in the standard fashion when taking an exam for the first time on a new kata. After gaining a certain amount of experience, however, enough depth of understanding may be reached that different timings may be evaluated. In other words, I think that an instructor should continue teaching standardized timing, but be open to variations.
Why would one vary the tempo in kata? There are several possible reasons. One important consideration regarding kata, whether it is your personal emphasis in training or not, is that the kata were originally meant as a collection of self-defense techniques. When performing a sequence of moves in a kata with a given set of applications in mind, a certain tempo may be more condusive for execution of those techniques. Another application set may be more suited to a different tempo.
In addition to application considerations, an older, smaller individual may focus more on dramatizing slow moves during demonstration, to emphasize control and finesse. A larger, younger person doing the same kata may want to show power and speed and not make as much of a distinction between fast and slow moves.
Ultimately, kata is what you make of it. That means that you have choices regarding not only the tempo of the movements, but the reasons why you do it the way you do. Karate has very much to offer, and kata is one way of really making your karate your karate. This is true whether you do it as an athletic endeavor, for discipline, for artistic expression, in an attempt to perform well in a test or tournament, or to practice self-defense techniques. Learn how others do the kata. Then, make it your kata, whatever that means to you.
Copyright © 2001, Jon Keeling
When first learning a new kata, one should strive to maintain the tempo that the instructor indicates. When in doubt, start out slowly and with less power, gradually adding more speed and power as familiarity is gained. Remember that priority in learning and executing techniques should be (a) form (b) speed (c) power (concentration on muscular contraction). If one rushes into (b) and (c) without focusing sufficiently on (a) first, training may be wasted.
As you become more familiar with a kata, you may want to vary the timing from that which was originally learned. There is nothing wrong with this, as long as the ramifications of the changes are considered and weighed. For example, there is probably reason that some of the slow moves in kata are performed slowly, while others are not.
Some sequence timings in kata are taught in a given dojo or organization and expected to be followed blindly by all. Some judges/examiners will deduct points if the performer does not do as everyone else, without considering that there may be a reasonable explanation for deviation of tempo. While standardization is good for assuring certain minimum requirements are met, flexibility should occasionally be exercised, at least for the higher dan ranks.
This is not to say that all karate practitioners should alter timing in kata as they see fit. On the contrary; I believe that one should strive to perform in the standard fashion when taking an exam for the first time on a new kata. After gaining a certain amount of experience, however, enough depth of understanding may be reached that different timings may be evaluated. In other words, I think that an instructor should continue teaching standardized timing, but be open to variations.
Why would one vary the tempo in kata? There are several possible reasons. One important consideration regarding kata, whether it is your personal emphasis in training or not, is that the kata were originally meant as a collection of self-defense techniques. When performing a sequence of moves in a kata with a given set of applications in mind, a certain tempo may be more condusive for execution of those techniques. Another application set may be more suited to a different tempo.
In addition to application considerations, an older, smaller individual may focus more on dramatizing slow moves during demonstration, to emphasize control and finesse. A larger, younger person doing the same kata may want to show power and speed and not make as much of a distinction between fast and slow moves.
Ultimately, kata is what you make of it. That means that you have choices regarding not only the tempo of the movements, but the reasons why you do it the way you do. Karate has very much to offer, and kata is one way of really making your karate your karate. This is true whether you do it as an athletic endeavor, for discipline, for artistic expression, in an attempt to perform well in a test or tournament, or to practice self-defense techniques. Learn how others do the kata. Then, make it your kata, whatever that means to you.
Copyright © 2001, Jon Keeling