There is a Buddhist saying that, like so many Buddhist sayings, is ostensibly self-contraditory, but for the karate-ka it lends special meaning to his technical practice.   Translated, the saying is, “Movement is nonmovement, nonmovement is movement.”   This is a thesis that, even in contemporary Japan, is accepted by educationalists, and due to its familiarity the saying may even be shortened and used adjectivally in our language.

A Japanese activity seeking self-enlightenment will say that he is “training his stomach” (hara no neru).    Although the expression has wide implications, its origin lies in the obvious necessity to harden the muscles of the stomach, a prerequisite for the practice of karate, which is, after all, a combat technique.   By bringing the stomach muscles to a state of perfection, a karateka is able to control not only the movements of his hands and feet but also his breathing.

1. A Few Initial Observations On Kata

The prearranged sets of movements often referred to as “kata” (Japanese) or “Hyung” (Korean) have wide and varied (and often anecdotal) explanations of their history and meaning.    For some, the hard and soft style forms practiced today are but fragments of a larger and longer “ur” (or primitive) form originating in ancient China.    Others explain that kata became the “dances” of martial movement hidden in cultural masking when a conquering nation outlawed defensive weaponry and self-protective practices in countries or regions overrun in conquest.

Whether the history of kata origin and development can be accurately documented is beyond the scope of this article.   For now however, our own forms in the AKS find some link to forms practiced for decades in Japanese, Okinawan, and Korean arts, particularly in the general use of Pinan/ Heian forms.    See the chart below for a rough comparison:

These particular sets of movements increase in difficulty as one moves through kata 1-5. Employing new movements, angles, timing, breathing techniques, and the like, challenge students to acquire additional tools for self defense, sport karate, or if need be, actual combat.    [This is not to suggest that bowing to an aggressor and performing a pretty form exactly as learned in the dojo will automatically guarantee success! The history of combat quickly reveals that opponents do not conform to the expectations of prearranged moves.]    As such, if kata has a contribution to make to one’s martial prowess, it’s value lies beyond merely memorizing 20+ movements.

The concept of Shu Hah Rae may intersect at some point.    This philosophical perspective suggests that a martial art has tradition, it modifies its tradition, and it breaks from traditional restraints.    If this crude articulation makes sense, one might translate this in our contemporary understanding as: our foundations, our efforts at tailoring movement for practical use, and finally, an element of  “ownership”  or self actualization where the technique becomes the finger print (trademark) of a given fighter’s style.

Each class when kata is practiced, or when a testing occurs, kata fulfills at least the functions of:    (1) grounding students in practices and techniques that are faithful to a heri-tage (tradition of style or art);    (2) developing students with new and increasing complex material; and   (3) offering a basis for strategic and tactical theory to be put to practical use in sparring and self defense.

2. Kata As A Vital Ingredient In A Martial Artist’s Development

Many martial artists practice kata rather rhythmically.  Like the steady cadence of a metronome, movement after movement is performed. Honest evaluation however reveals that no one fights like that.  Why then is kata so regularly performed in such a mundane manner?

Posing increasing challenges for students is a required ingredient for growth and success in training and personal development.  The practice of kata demonstrates this theory.  For AKS Black Belts, consider the example of Niko Cho Dan, better known as Cat 1.  Developed by M. Sullenger, this kata is unparalleled in other arts and is among the most demanding forms of the American Karate System.  When performed properly, the complexity of Cat 1 alone requires mastery of the Tiger forms, adequate physical endurance, balanced execution of hand and leg techniques, timing, and commitment to the action-reaction concept of physical movement.  Further, the form emphasizes a linear fighting pattern differing slightly from the basic “H” or “I” pattern of the Tiger forms.

As a student develops physical stamina, execution of technique, confidence, etc, he or she develops in his or her fighting ability.  Kata affords new thought and possibilities in terms of angles, attacks, defenses, combinations, and the like for the maturing martial artist.  The regimen of kata a student undertakes links to a heritage of martial practice where, when coupled with serious reflection, one discovers new possibilities for progress and success.

Stories of yester year record how ancient fighters employed martial abilities beyond that of the norm.  I contend that one method of passing on the “secrets” or emphases of their abilities was via the means of kata.  Locked away in these forms are numerous nerve strikes, arm bars, etc.  These theories and combinations offer opportunity to assess our kata and ask if performance resembles effective fighting theory.

To develop one’s abilities, tailoring the kata where it resembles a fight gets at the point of how kata helps develop strategy and tactics of defense: there are fast movements and there are slower moments; there are kicks, there are punches.  As a litmus test for self-defense, ask yourself, if you performed a technique in a kata as though it were the only one you would land on an aggressor, would it get the job done?

This asks directly if a practitioner of the martial arts understands the validity, function, and purpose of a sound technique, and if the movement performed in the kata is executed as an effective technique, employing proper body movement and intent.  These elements instruct students in the economy of motion, potentially facilitating effective fighting capabilities.  Further, I am obliquely hinting here at inclusion of “spirit.”  Mr. Lieb offered each of us an important commentary at this year’s Summer camp – in terms of self defense, there must be a demonstrated attitude of commitment to one’s technique, or it appears useless.

If I may put this idea another way for reinforcement,  PRACTICE THE WAY YOU EXPECT TO PERFORM!  This applies to kata as it contributes to the development of fighting skill.

3. Relating Kata and Fighting Concepts: Concluding Reflections

Over 25 years (and pounds ago!), I read an article on the early history of Wing Chun fighters as among the most renowned technicians of their time.  Then, and now, I take a cue from this informative article and ask: if we have inherited such a great history, why is it that the highest majority of contemporary fighters are seemingly ineffective in the execution of their fighting and self-defense techniques?  We make claims about the effectiveness of kicking, blocking, punching, strategy, nerve and pressure locks, etc, while boxers and street fighters basically punch yet do a great job at knocking others around.  Has a break down occurred for us as martial artists in our training?

In some small way, I suggest that the failure to explore kata at its combat levels has in part diminished our tactical abilities.  I am not suggesting that kata is a cure all.  Rather, there are some important concepts locked away in the kata we practice; yet they go un-noticed as many practitioners only burn calories in their routine performance of kata.

Consider H Form (also referred to in other arts as Tykyo Ko, Tae Guk Il Chong, Gi Cho Hyung Il Bu, etc).  The first movements of this introductory kata are left turn 90 degrees left low block, move forward right middle punch.   Ask for an explanation of what is happening here, and we often get the idea an attacker approaches from the left side and the student is blocking a kick and countering with a punch to the attacker’s mid section.  Would it work?   Maybe.  But the practice is somewhat inconsistent with emphases of the total training regimen, and the explanation borders on the illogical.

For example, in sparring practice, instructors emphasize to students, “do not drop your hands or you will get hit.”  I agree with that basic concept, and most of you will too.  If the explanation of H Form however is: “drop your hands in a low block,” a subtle inconsistency is communicated to students.  While there are hundreds of interpretations of the kata, I am calling for a look beyond the “block and punch” and ask: does the kata intend teach something else that is of sound fighting theory?

Further, each of the kyu-ranking forms begins with a movement to the left side.  If the idea is an attack from the side, why does every kata begin this way?  Yet, when we train one-steps, three steps, self-defense, and sparring, the opponent is not at the side.  While one must learn to defend from all angles, the primary training emphasis is most often a frontal attack.  Thus, the opening moves of H Form must point to something else.

I have a few suggested ideas for these questions, but it would defeat the purpose of this article to merely state them.  The point of this article is to challenge readers to think again about the value of the kata they practice.  So I end this brief discussion by inviting readers to ask themselves: just what are you doing with kata that helps make you a better fighter?!

• Mr. Dave Thomas 6th Dan & Asst. Chief Instructor
• Mr. Karl Krautheim 3rd Dan
• Mr. Raymond Sinclair 2nd Dan
• Mr. Ed Baessler 2nd Dan
• Mr. Greg Nash 1st Grade Brown
• Mr. Mitch Dennison 1st Grade Brown
• Mr. Danny Goetsch 7th Grade Yellow
• Mr. John McCleve 7th Grade Yellow

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