Part 1: "Kata is a waste of time"

Traveling around various dojos, teaching and training, plus reading in magazines, such as SKM, I have often heard the argument that kata is a waste of time, meaningless and at very best, just a way to pass kyu and dan tests. The critics then usually continue with an attack on kata bunkai, claiming it's contrived and impractical. However, on the opposite side of the spectrum I have also heard the arguments that kata is the true root of karate and that kata bunkai holds its true meaning.

Well I thought I would jump head first into the old debate and give my opinion (for what it's worth). Personally I think kata has one overwhelming use, and that is to teach one how to use one's body. Kata bunkai on the other hand has other benefits, which will be discussed later. However, for now let us just concentrate on kata, as a set of movements.

The people that complain about the impracticality of kata, and claim that the best way to become a strong fighter, in whatever context, is to practice fighting (kumite), always remind me of those naughty kids at the back of the class who say "hey sir, why do we have to learn algebra? I'll never use this stuff when I leave school!" (I used to be a teacher).

Part 2: Better equipped

The thing is, those types of students are completely missing the point. Algebra provides a framework of thinking for the brain that allows it to work out problems logically. Therefore, when the child grows up and leaves school, it is much better equipped to deal with daily anxieties, such as tax returns, budgeting and alimony payments, than a person who can't approach things in a logical manner. Now I'm sure there are those people who say "I went to the University of Life, and it never did me any harm", which may be quite true, but the point is this, the better equipped you are for life, the better chance you have to succeed.

Part 3: A logical framework

So what's this got to do with karate? Well in the same way algebra provides a logical framework of thinking for our minds, kata provides us with a logical framework of thinking for our bodies. Going from Heian Shodan to Unsu, kata provides us with a step-by-step method of learning how to use the body to its maximum efficiency. By practicing the same movements repeatedly, we can learn the limitations, distancing, and mechanics of our body, resulting in greater efficiency.

With this in mind, I feel that the purpose behind kata is the development of one's understanding of one's body. Many people claim that kata is contrived, especially the Heian katas, with their blocks moving forward into the attack and having no immediate counter-attack. But in many ways algebra is contrived too, but what it is doing is starting from a basic point, giving the student a foundation to build on, and then progressing onto advanced mechanics. Kata is the same, starting with easily understandable techniques, then progressing onto advanced body mechanics.

Part 4: Good foundations

Critics then go on to say that kata training will never be as effective as kumite training, but again, I feel they are missing the point. Referring back to our algebra metaphor, people claim that the school of "rough knocks" can't be beaten, and that there is nothing wrong with learning the "hard way". But how can we expect the majority of children to survive this? Some will, but most won't. The same is true with karate-ka. To increase their odds of success we must start with a good foundation and then give them an opportunity to build on it. That foundation is kata. They can learn body mechanics, body-timing, and kime, in conjunction with basic kumite, and then when they have a fair understanding of it, they can apply it for "real" in jiyu-kumite.

So if we look at kata in this way, arguments such as what is the true application of the first gedan bari in Heian Shodan become moot, as the true meaning is to teach the student vital body mechanics. Such as how to drop one's weight, pivot on the heel, use the back leg to thrust the body forward, time the hips to land in hanme with one's stance, and ultimately how to execute a decent gedan bari!

However, I am not saying that kata bunkai is pointless, far from it. Before I go any further, I feel it's important to point out that as it stands now it is probably impossible to determine the original meaning of every move of every kata. Since Funikoshi sensei brought the katas to mainland Japan, karate has changed considerably. Consequently, although some moves remain the same, some moves have changed beyond recognition. I want to tell a story that will demonstrate this point perfectly (and before anybody starts to denounce me as a heretic, I got this information directly from Asai sensei!)

Part 5: "Looking Cool"

A very long time ago the kata Nijushiho was practiced with two furi-komi geri (in kiba dachi, tsukame-uke, furi-komi, gyaku tsuki to the side). However, about 40 years or so ago this was changed to the now common practise of using yoko-geri kekomi. Why? And, by whom? Well about that time Asai sensei and Okazaki sensei entered the instructors course. During training they thought it would be a good idea to introduce kekomi into the kata because they were young, supply, could easily do it and (I quote directly) "it looked cool". A couple of years later Asai sensei was the first person to do this new version in a competition. No one seemed to complain, in fact the opposite is true. People were very impressed, he won the competition and the kata was changed forever.

So what does this show us? Well, firstly this is one example of karate kata being changed drastically from the original. Therefore, the original bunkai was lost. We really have no idea how many other examples of this type we could find. Secondly, changes were made for reasons that don't exactly fit the image of "past karate masters passing down their legacy through the practice of kata". In truth, kata in Japan has always been seen as a way to teach us how to maximize the efficiency of our body. Before Asai sensei introduced the kekomi into Nijushiho, no such kick was practiced in Shotokan kata. Therefore, once Asai sensei did it, it was widely accepted. If this addition merely had the benefit of "looking cool", I'm sure it wouldn't have gained such acceptance. So when a student asks "what is the application of kekomi in Nijushiho?" You should answer "the application is to develop strong hip, leading to a strong yoko-geri kekomi."

Part 6: What the poetry means

However, as I mentioned before, I do feel kata bunkai has an important place in karate. Let's use the analogy of poetry! If one reads a poem, sometimes the meaning are obvious, sometimes more obscure. One can academicism it by claiming the author, when writing the poem, meant this, that or the other with a particular construction of words. However, in truth, one can only claim to understand what that particular poem means to oneself, no-one else. Of course one can go to university, study with great professors, who give us a foundation of knowledge and insight, but ultimately, after all one's studies, one must decide what the poetry means to oneself.

The same is true with kata. As demonstrated earlier, kata has changed, karate has developed and so it is often impossible to understand the original meaning of every move of every kata. And to claim so is only to academicise it. However, what one can do is teach, demonstrate and practice what the kata means to oneself (obviously only after many years of training and building a solid foundation).

Let's take the first move of the first kata as an example. Gedan bari to the left in Heian Shodan is usually described as blocking an opponent who is executing a mae geri from one's left hand side. This interpretation is fine, although it does have a few problems regarding distancing (i.e. why does one step into the attack, rather than back). However, there are other interpretations (taught both on the JKS instructors course in Japan, and in the UK by instructors such as Kato Sensei). For example, from shizentai, one must drop one's weight, turn the hips towards the target and prepare for gedan bari by bringing the left hand to the side of the right ear and the right hand out as the guide arm.

But with a little imagination (no more than is needed for the standard mea geri interpretation) let's imagine our opponent attacking with a right hand jodan gyaku tsuki.As the opponent comes in, one drops one's weight, and uses the left (preparation) hand to block, with nagashi uke, the punch. We can also use the power of the hip preparation (twist) to deliver a chudan gyaku tsuki to the attacker (all from shizentai). From this position we can then step forward and use the gedan bari, not as a block, but as an attack to the groin (gedan bari uchi). (Please see photographs). So with this simple example it is possible to see that with even the simplest of techniques, kata bunkai can be experimented with and adapted, allowing one's karate to evolve and grow.

So what is my point? Well my point is this: like everything, karate (and kata) has many levels. If we return to algebra, the problems we learn at school are very basic, the foundations. However, talk to a professor of maths, and they will talk about patterns, the beauty, infact the poetry of maths. Karate is the same. The practice of kata and kata bunkai are intrinsically joined, but it's important not to over academicise kata. A gedan bari is a gedan bari. One practices it in kata to get good at doing gedan bari. Only when this is understood and mastered we can move onto the next level, finding the poetry that is at the heart of every kata.

This article © Scott Langley 2002

Select another article