PostScript: After all, how might a technique from a kata be used to conclude an attack?

 

Now after all these years I have a few following thoughts on this.

 

First every instructor and friend who shared with me had an influence on what I eventually saw. My students through their efforts made contributions. Even my son when a young student saw how I was conducting my study of one movement and he worked up another answer. In that sense all were contributors.

 

Of course some more than others, though I cannot easily distinguish who shared more.

 

After years of study in my own Isshinryu and with others in divers arts, back around 1988 I began my own studies on how things worked.. A part of this came from how I structures my research on one technique from Seisan kata. In time that grew to over 100 potential uses that I worked out.

 

Then the time I was able to spend with Sheman Harrill made a gigantic influence on me. Not that I would teach all of the 800 Isshinryu applications I saw from him (and more from his student John Kerker), more that that further inspired me to continue to do my own studies.

 

While I did originally work out 50 ways Seisan’s opening might be used, my studies did not progress technique by technique through my kata, from that point.

 

Rather it was rhapsodic continually shifting around the kata. And some of those studies were made on a few of the other kata I studied. For the most part they were used for the attacks they offered to work against. Keeping me working on so much more than the initial stepping grab/strike, though that always remained necessary as every study has to start somewere.

 

At times my work also included my Yang t’ai chi chaun study. My original purpose was just to learn t’ai chi, not to use it. But the mind does not turn off and at times I discovered how powerful those gentle flowing movement could be. Also in time I came to see how my t’ai chi had a feathers touch on each of my karate’s techniques. But I kept that understanding just for me.

 

Coming from an Isshinryu paradigm that did not much discuss kata applications, at times some movements were explained a bit to me to help me understand why a move was done that way.

 

Decades later I found those initial explanations would inhibit me from futher research on those movements. After I knew what the move was used for. And once I discovered that was occurring it always meant more work was necessary.

 

Now I had worked out all that was really necessary was to fully understand what one movement could do and train to be able to insert into any attack. Then job done.

 

So I asked as that was the case why did we need more than one kata or even one move.

 

To me it was not so select the correct move for a specific attack.

It was to work to become unpredictable and make any movement you chose do the job.

 

Life is continual change, movement and stillness until the ultimate stillness. We need to continually push our self to keep our mind fresh.

There really is no limit to how many forms one can learn, Nor is their a limit as to how many movements we can study to eliminate an attack.

 

As we understand the principles that make any technique work, in time with effort we learn how to take any technique from any kata and make that work. Continually keeping our potential response fresh and alive.

 

At that point we are no longer dependent on any specific kata. In fact any movement or stillness can be employed.

 

So you reach the form of no form.

 

To date no one has really responded to what I have done with and to my students. Of course they will make their own choice how they will proceed.

 

It seems my vision is just that my vision, but it is how I have lived my life.

After all, how might a technique from a kata be used to conclude an attack?

 

When I began I was shown Seisan kata first and that is where the idea that kata technique had a use began. And back then I was not really taught that most kata technique had a specific use, I guess I just worked out possible uses for myself. Perhaps that was paradigm(0) for me, The karate I learnt under Tom Lewis was a very effective use of that paradigm. And of course at that time I had no knowledge of other potentials which were there.

 

Then I started training with many others. Many of them also taught the use of the first movement of Seisan in their system the same way I was taught.

 

But some of those who shared with me had other ideas. For example I did not study karate with Ernest Rothrock, rather Chinese forms. But during a throwaway discussion the topic came up of practices in his Pai Lum art which were shown to his black belts for their training. He described as Jing Do or Chinese Short Range striking, He even gave me his students black belt manual were one page was devoted to the concepts of his Jing Do. Reading that many times over the years I came to see how they could become other uses within Seisan katas opening by using them.

 

Decades later I taught those drills to my black belt students as they could enhance every basic block in Isshinryu, turning those blocks into strikes, a different way of using the idea of blocking.

 

When I trained with Tristan Sutrisno I was taught was his bunkai meant, and along the way he showed me the first level bunkai for the opening of his Hangetsu kata (his Shotokan version). There were a whole series of additional techniques added to that first move, ones you could not intuit (know) from viewing his Hangetsu kata. That was the secret of his dan bunkai studies, no one else knew they were there, hence they could not be anticipated, and they were delivered with precise speed.

 

 

It was about that time I began to work out my own answers, a logical analysis of how a technique from kata could be used. The deeper I looked at the first technique in Seisan kata, I found more and more uses, ones that previously had not expected were there. In 1989 I filmed some of those possible uses.

 

In time I began to hear about Oyata Sensei and that he was showing a different paradigm for the bunkai of kata too. As years passed I saw some of his YouTube videos and they were a different use of bunkai as I came to observe some of what he did. I never had occasion to study with him.

 

Then came the decade I was able to have ongoing studies with Sherman Harrill as to the uses of Isshinryu were from his studies for over 40 years of work. Those studies presented a very different dimension on how kata technique could be used. In that time I leared 800 applications for the 8 Isshinryu kata as well as the principles behind those applications as well as a whole lot more.

 

After his death I was able to learn more from very brief visits with John Kerker, Sherman’s senior student. He demonstrated many things, ones Sherman always said his clinics never had time to explore because there was never enough time. Of course I did my best to learn.

 

Not take all of that and overlay those different practices with what I had begun to explore the wide ranges of what one technique from my kata Seisan might be used for.

 

This provides some context for what I see.

  

Most importantly it is you who define what the move is.

 

1,for example the use of the stepping of the technique.

2,the use of the crossing of the arms.

3.the use of the arm that blocks

4.the use of the arm that chambers as the other arm blocks.

5.the use of the right strike.

6.the use of the step following that strike.

7.the use of the strike accompanying that step.

8.the use of the following step and strike.

 

Each one of them can be considered a technique, or the accumulation of them following one another as you chose could be considered one technique and of course all 8 movements can be considered one technique.

 

Now it begin to get more interesting.

 

First let us begin with that first move.

 

As I was taught you step out executing a left side block as your right hand returns to chamber alongside your waist. As you finish moving forward and your block is complete then your right hand strikes out in an Isshinryu punch. Pretty simple right.

 

 

First consider what the first technique is.

 

1 .it might be the effective use of a fractal of that movement.

2. it might be defined as the use of the entire movement.

3. it might be defined as the use of the stepping right foot as a sweep along with the rest of the movement.

4. I might be defined as what is thought of as the movement and also include the two additional steps and strikes. A much longer definition of what the first movement is.

 

The manner of utilization of the lower body must be considered.

 

1. the stepping left foot might be an attack atop their stepping right foot.

2..the stepping left foot might be an inner reap to their stepping right foot.

3. the utilization of replacement stepping that begins the standard step and then concludes with the other foot stepping back resulting with the same concluding stance from the kata, but your retreat also shifts you  center away from the original centerline.

 

Some basic fractals of the motion can be considered.

 

1. the crossing of the arms prior to the block might be used for striking.

2. the crossing of the arms prior to the block might be used as an initial parry before all the rest.

 

Utilization of shifting the response to the attack must be considered

 

1, shifting the entire body to enter the attack from the right on 20 degrees

2. shifting the entire body to enter the attach from the left on 20 degrees

 

Consider what you want that initial block to accomplish

 

1.a hard block to deflect the right strike away

2.a softer block to deflect them but keep their arm closer to you

3.the use of the blocking motion to the incoming strike to drive them down to the ground.

4.the use of the blocking motion to draw them forward for your response

5.the use of the block as a strike to their shoulder

6.the use of the block as a strike to their incoming arm 6” before their armpit.

7.the use of the block as a strike to their face

 

Then you must consider which line of defense you are to use

 

1.the use of the motion (as you define it) on the interior line of defense.

2.the use of the motion (as you define it) on the exterior line of defense

 

Or the use of the side block in many different ways

 

1.slashing the face and then continuing the motion to block the incoming punch

2.use of the block to become a slashing strike across the incoming arm

 

Another option is how you use the crossing arms after they cross

 

1.after the arms cross and the left blocks (whatever) the chambering motion of the right arm becomes a viscous slashing strike to the ribs as it goes back to chamber.

2 after the arms cross and the left blocks (whatever) the chambering motion of the right arm becomes a viscous slashing strike to the side of the face as it goes back to chamber

3 after the arms cross and the left blocks (whatever) the chambering motion of the right arm becomes a viscous slashing strike into the opponents 2^nd strike with their left arm as your right returns to chamber

4.after the arm cross and the left blocks (whatever) the chambering motion of the right arm becomes a viscous rearward elbow strike to a 2^nd opponent from the rear.

 

The manner of breathing must also be considered

 

1.should the entire technique be done with inhalation and exhalation on each technique.

2.should the entire technique (as you define the technique) be done with one continuous exhale to then rapidly exhale before the next technique.

3.should the entire technique (as you define the technique) be done with one continuous inhale to then rapidly inhale before the next technique.

4. should the entire technique be done with no respiration.

 

The type of attack must be considered

 

1.a simple grab or punch while they are stepping forward with the right foot.

2.a simple grab or punch while they are stepping forward with the left foot.

3.a rushing grabbing attack.

4.a boxing type of attack.

5.a front kick attack.

 

Then it gets hinky

 

1.extra movements such as Ernest Rothrocks jing do can be added increasing the ability of the block to become additional striking to the opponent.

2, Or the veering of Sutrisno Sensei where the stepping side block then reverse punch becomes 1 stepping side block with the left 2 followed by a rising right wrist strike to the opponents jaw then 3 the right reverse punch followed by 4 a right descending back fist strike into the opponents chest and more.

 

 

 

I believe you begin to get what I am talking about and this is not a complete list of choices. Of course this is NOT a complete list….

 

 

Each of these technique possibilities can end an attack once you understand the application potential for that attack and you have trained to application realization against that attack.

 

You want to work for the maximum unpredictability in your response, so whatever they use against you, you take charge by your response.

 

 

I do not find anyone approach to the use of kata technique without value. It is after all each instructor to develop the students capabilities within the frame work of their training.

 

This video is where I was in 1990, 5 years before I met Sherman Harrill and had my mind blown. Sherman often did that to me.

It just seems to me that I often see more than others speak about.

 

 

Body, Mind and Spirit

Studies on the Martial Arts can be marvelous to ponder.

 

But you discover that what is incontrovertible truth for one art that produces marvelous people, in not necessarily true for another art that also produces marvelous people.

 

It is a wide world after all, and there are many truths that still work, even which hold to divergent principles.

 

I would like to discuss one concept, that of Bunkai, from my experience.

  

When I began there was no talk about bunkai in my instructors curricula. He followed a different powerful paradigm for what he taught. Then when I went out to train with many other friends the concept ‘bunkai’ was never mentioned or taught when I was there. This was rouhgly between 1979 to the mid 1980s.

 

I am not saying that it was not there, but I heard nothing about that ever.

 

 

The one exception was when I began training with Tristan Sutrisno. Bunkai was not a practice for kyu study, ever. Eventually he explained what it was, how it worked from his father in Indonesia, and explained why it was a dan study.

 

Let me make it clear I am not an adept of his system. He showed me some of his students shodan bunkai studies. Explained in detail what the dan study of bunkai entailed. How a different structure was used at each of the 5 dan levels, and did explain a bit of the 3^rd and 4^th level bunkai were, and one time he demonstrated a bit of what I surmise the 5^th level was.

 

There was a reason it was not a kyu study. Not that his students studies were incapable of doing the job. Rather the kyu more importantly was working on power, technique, flow and speed firstmost. It was more important to prepare that first.

 

Then at dan began a lifetime of study; No student ever worked out how a technique would be used. But each of the dan studies were explosive to eliminate a threat if used. The driving force was not the kata technique, rather there were movement points within the kata execution where each was a unique series of responses flowed from the kata, Each unique and unknowable by anyone viewing the kata. Then there was a 1^st level bunkai version of the kata, and other versions for each subsequent dan study.

 

For me, his definition was the only definition I ever really accepted for ‘bunkai.’

 

About the mid 1980s the concept of bunkai began to be written about in the magazines. This was a bit before the Oyhata and Dillman stuff.

 

However what was being shown as the bunkai was nothing like I had seen in the Sutrisno system. In fact when YouTube began to show the entire world using bunkai, I began an exhaustive review of almost everything I could find. To date I have found no one in the world uses the same definition I had learned.

 

 

Now I gathered many different ways karate technique could be used, then I began my own study on how a technique could be used. Among the first studies was 50 different way the first technique from my Seisan kata could be used (with variable definition as to what that technique was… a move, a series of moves, etc). As I went I focused on the underlying principles behind those applications.

 

As my studies continued I also studied with Sherman Harrill for about a decade of clinics. On his death I pulled my notes together and discovered he showed me 800 application possibilities for Isshinryu’s 8 kata. And  that was only a part of his studies over 40 years.

 

However, while I taught some of them, they gave me further impetus for my own studies.  Now I have no idea if they were things he worked on, they were new to me.

 

I also spent time with his senior student John Kerker, learning more what was behind what Sherman taught.

 

Personally for me the word ‘bunkai’ is the definition Tristan Sutrisno taught me. From learned friends I got a number of different ways ‘bunkai’ could be used. But I am not a Japanese scholar, and all those who shared with me did so in English, so I developed my own terminology for the concept ‘bunkai.

 

As I saw it there is movement and stillness forming kata. Those portions of movement and stillness can be used to insert same into an attack (any attack). Then there is the study as to how that movement fo stillness from any kata can be used. To me that study is Application Analysis. Then I realized in time that study of Application Analysis is only part of the study. For then the larger study take hold, how to use that Application Analysis to reach Application Realization.

 

This was a continual sharing with my adult students, over decades of work. These experiences are what I bequeathed to them. Then my disabilities caused me to move 2000 miles away from them. I continued to share my thoughts, etc. on my blog and through continuing private memos.

 

Then last week a discussion with Steve Williams made me think about so many hings, and once I begin I rarely set that process aside.

 

So with that introduction let me begin. And this is what I have written about before, perhaps in a newer context.

 

 

As I an now seeing what I was working toward was in fact a literal interpretation of development of the Body, the Mind and the Spirit of my students.

 

The Body

 

Partially based on the practice of kyu development found in Sutrisno Shotokan training, my focus for the kyu was always on the development of technique, timing, shifting then power and alignment. There were focused drills which could be used for self defense, but they were supplemental to kata study. Correct kata study is of course correct execution of the basics of the style.  Without development of correct technique the student had far less to work with in understanding how kata technique could be used.  Nothing was hidden from students as to what karate would be used for, but that was clearly a focus of Dan training. The kata of Isshinryu as well as supplemental kata from various systems added to the students challenge. The supplemental drills taught were all for preparation for the black belt initiation, working to develop skills useful in later dan studies.

 

The Mind

 

The study of the uses of kata technique or their use from Application Analysis began after shodan. I thought it best to begin looking at 50 or so applications to the first movement (s) of kata Seisan. The number was not the thing. It was to realize that every possible application could enter any attack and conclude that attack.. Along with the study the dan begins to experience the underlying principles that make any application work.

Once the dan completes that initial study then they experience how I randomly shared such studies across the kata we worked with. This is an openended study that continues for life.

 

There supplemental studies that also continue for life. Some supplemental kata studies, our kobudo studies which are another force enhancer that allowing decades for work contribute to the effectiveness of the empty hand technique.

 

The goal is not necessarily to understand the use of each movement of our kata. In time that becomes possible as they learn more and more about the underlying principles behind those applications. Until they eventually are capable of their own Application Analysis of any technique.

 

The study is unending once you truly understand every technique can conclude every attack if you understand how it may be applied. The continuing never ending study of kata, kobudo and applications is also a major component at keeping one’s mind fresh and aware. By continually keeping learning you are in fact keeping your focus ever growing, alert and retouching the beginners mind. Another useful component for the long term martial artist.

 

For you have also realized that Application Analysis is but a very small part of the real challenge.

 

The Spirit

 

Understanding even one potential use of a movement or stillness is only the first step. The next step is working toward Application Realization. Where the initial stage of study is against standard attacks at relatively slow speeds. Necessary because every learning begins somewhere. Then you have to work against ever faster and stronger attacks, over and over. To get to the point you fully trust that technique to make it work. It is only then that your spirit drives you ability to fully utilize the technique. And that is a much more difficult task to accomplish. Having knowledge that a thing is possible is not enough. You have to be skilled in actually trusting your technique, or you will instantly abandon it for something you feel more comfortable with. While a reasonable choice under stress to be able to succeed. You only really reach being unpredictable by being able to drive your spirit behind whatever technique you choose to use.

 

Conclusion

 

Only when you are able to fully unite the Body, the Mind and the Spirit can you reach towards full effectiveness. Making your response working and unpredictable.  Flowing with the attack and ending it without thought, without worry about what technique to use.

 

 

I make no claim that I have accomplished all of this, but I have made some small steps toward this. I hope my students take it further.

  

 

Lessons from listening to stories

A very long time ago when I was training with Tristan Sutrisno and learning a bit about his arts Sutrisno family Shotokan, Aikido, Tjimande and Kobudo, he used to spend much time with telling stories about his father.

   

His father was an Indonesian doctor and back in the mid 1930 when Indonesia was under Japanese control, he was drafted to serve as a doctor in the Japaese navy. That meant he had to attend the Japanese Naval War College and while studying there he studied Shotokan under Funakoshi and Aikido under one of Usheiba[‘s students. He had also studied his family version of Tjimande as well as a variety of Kobudo.

  

His father  began his training when he was age 4 with Tjimande basics. However his father did not directly train him in Shotokan, rather it was his father’s senior students who did that, working to do so out of respect for his father.

 

He told me many stories about his father.

 

1, One of them was that his father was often invited to give clinics for a variety of other schools. Everyone always wanted the best stuff and his father always gave that to those in attendance. But his style of teaching the was ‘the technique of no technique’ He showed them one move after another, over and over and over. They were shown material so quickly the average person could not retain what was shown. In realiy he was giving nothing away.

 

 Years after I had begun training with Tristan, he came up to Derry and gave a clinic for my students and friends in the area. The Club had just purchased a video tape for us to use, and I recorded that clinic and captured an example of the technique of no technique.

 

Tris had decided to share some examples of his 3^rd and 4^th level bunkai from several of the Heian kata. Those bunkai were throwing and takedown techniques. What he did was he would demonstrate a technique only once. Then go around watching what everyone was doing. Most times they were doing something different from what he had shown.. Then he would work to correct whatever they were doing. After that on to the text technique and again and again.

 

What he was really doing was teaching me for he knew I would remember them. What he worked at was what the students there actually worked on.

 

That was the only time he employed the technique of no technique for my students. He worked with them at times for years after that.

 

Many years later a friend held a  weekend clinic with Dan Insanto. A continual group of clinics. I choose to attend the one on Saturday afternoon on empty hand defense against a knife. It was interesting, but what he did was employ  the technique of no technique throughout the clinic. Every 3 minutes he did another technique. Over and over again he kept changing techniques. And non of those attending could remember them. The exception was a group of his own students from Princeton, it became an exercise in remembering all of them. I am not a superhuman, but I owned and read his book on the Phillipean Arts. Almost all of what was shown was in there. I did not go back and teach empty hand against the knife. But I acquired much knowledge about who Dan Insanto was.

 

2. Another time Tristan described how his father taught a clinic. He would pick someone he did not know from the audience of attendees. Someone who was large and powerful. Then he would ask that individual to attack him with vigor, and when they did so employ the technique he was teaching and immediately drop them to the floor like a rock. When everyone saw him do that, everyone immediately

 

Again quite a few years later I was again making a friendly visit to a large school just to work out with someone. I was requested to take the class. Now when asked to share at other schools I almost never shared Isshinryu, as my art was too personal as how I would teach it. But I had a large group of techniques from other arts I had studied, Technique I knew everyone would find interesting. So here I was teaching to a large group of black belts I really did not know. But remembering that story I knew what to do.

 

I selected the largest. Strongest student from that group and then asked him to attack me vigorously. He did so and I applied that technique, immediately dropping him like a rock. Everyone having seen me do that, they were very attentive and easy to work with after that.

 

It never hurts to pay attention to when someone tells you stories.

How I dealt with potential students for my adult program when they had previous training.

 

When I began teaching my adult program at the Derry Boys and Girls Club it was just for interested parents of kids in my youth program there. A few of the older teenage members of the youth program also joined with the adults. The program always was for the few and its maximum level perhaps only had 10 or so members.

 

 When I was teaching in Scranton, one evening 3 adults approached me after class telling me they knew I competed with Kobudo (many program did not have Kobudo training at that time).  They informed me that I would teach them a Bo kata.

 

First, not being a Scranton native, I was surprised they knew of me or my youth program. I was caught off guard.

 

I responded, “Guy’s I am not teaching an adult program. However, if that is what you want, I will find a way to instruct you. You must understand that I only teach Isshinryu the right way. And in order to study the Isshinryu Kobudo kata, you first have to learn all he Isshinryu empty hand kata first. Only then would the kobudo kata be taught. If you are ok with that then we can work something out.”

 

Hearing that as a group they turned, not saying a word, and they left.

 

I was always teaching for free, never looking for money.. And I was very fine with that.

 

 

So when I began my adult program, I was just teaching the same program as I taught to the kids. My Bushi No Te Isshinryu program. The only real difference is that the adults mostly learned at a different faster pace because they had made adult choices to train. They were just students I really had no intention of turning them into youth program instructors.

 

And as adults do some stayed with me, some of them moved on in time.

Many of them reach black belt level training with me and then averaged to train further at least 17+ years, my senior students staying 35 + years training.

I did not advertise I was training adults.  Each one of them had to work to find me.  That I had adults to work with was enough for me. And I could focus on their training always learning more and more from teaching. And as time passed they developed skill.

 

 

At times over the years adults with serious prior training approached me, may times having moved into the Derry area and not finding the style they had studied. Some approached me to train. I remember one 6^th dan approached me to help teach.

 

Every time I followed the same pattern.

 

1.    First if they wanted to locate a specific school I would try to my best to help them and then show them where to go.

2.    If that was not possible I informed them I understood their need.

3.    Informing them my program was Isshinryu not the art they came from. I always suggested if their art was their concern I believed they should open their own program to teach it.

4.    I always informed them that to move forward with the discussion they first had to observe a class to see what we did.

a.     My adult classes always were based on my application of the Heisenberg Uncertainty Principle to karate instruction.

b.    When those potential students with prior training were observing the class, I always made sure it was a class that  it was unlikely that they have ever seen. Of course for my students that was nothing different from how they studied with me.

c.     The purpose was I wanted them to viscerally understand it was probably not what they were used to.

5.    Only after all that would I ever discuss the idea of their joining further.

6.    Then I informed that I only taught one way, they would be expected to learn what I taught from the beginning.

7.    I expected them to keep up their prior study, never to lose it, but it would be on their own to do it. For I only taught my art.

8.    Then should they join, I would tell them the first night in a year’s time they would begin to recognize the structure to these classes based on my interpretation of uncertainty.

9.    I also informed them out of respect for the rank they held previously I expected them to wear that obi, but until they progressed in my program past that rank, they would not receive further rank from me. The real purpose of my program was to train no rank acquisition.

10.                       Each time those who joined after a year I would ask them if they agreed I told them the truth from the beginning. Every one of them agreed I was telling them as it was.

 

 

Some stayed to join, some did not. I even had a very good student who moved in from another Isshinryu background, he followed the same path as all my students.

 

 

I did not treat them any differently from my other students.

 

 

Later I would develop my program instructor standards. The first requirement was they have 15 continuous years training with me before being a candidate for the 5 year mentorship for the instructor.

 

Each of my students were special to me, even when adult decisions made moving on necessary for them. Those that stayed became even more special

 

  

This is how I approached potential students with prior training.

 

What Karate came to mean to me

Discussion makes a point and draws a line in the sand to attempt to control the discussion. That is how so many discussions start however I would like to start someplace else, using a study I discovered in my study of Linguistic philosophy, that of General  Semantics 3 premises.

 

1.    The word is not the thing. Or the use of  the word karate itself does not really describe the reality which is referred to as karate.

2.    The word does not describe the whole thing.  Trying to describe what karate represents never really encompasses everything that is there.

3.    Words, by their nature are self-reflexive. The use of the word then itself becomes another reality a step beyond reality.

 

In simpler terms a discussion becomes a thing on its own.

 

When I began karate my only reason was to study karate. I was not looking for self defense training, I was not looking for physical exercise (at the time I was a construction laborer) and I was not looking for a sport to compete in. My instructors never referred to the training in such a way. It was just the study of Isshinryu.

 

In time I  saw such descriptions, Ad nauseum, in karate magazines. Frequently as a way to advertise commercial programs to attract specific groulps of students. All those descriptions can be found in a karate program but they definitely are not the whole

 

The best personal definition I found describing what Karate is came  from an article Patrick McCarthy wrote in a British Martial Arts Magazine, that “ Karate could be translated as Empty (or infinite as in space) Hand. Thus the Infinite Hand. I don’t want to argue the semantics of translation, but I have found that definition works best for me.

 

Of course attempting to describe infinity to a beginner or a student with a single focus does not work. So temporary simpler definitions are used until their  training matures till they can understand what is there.

 

There is but single movement in motion or in stillness, then the ability to insert it into an attacking situation to conclude the opponent. In reality all yon need is one. But to acquire skill many kata are studied. In essence they do not change that reality that all you need is one.

 

It helps to work to understand the infinite number of ways that technique can appropriately be inserted into any attack. It also helps is you maximum unpredictability as how that technique can be used.

 

But we really can’t deal with an infinity of answers.

 

Instead the long study of kata works to keep our minds open, to realize newer ways those techniques can be inserted into an attack.

 

There is a place for sport to work on developing how to insert those techniques used into an attack. But the reality is that karate is much more than mere sport.

 

All sport  had rules which must be followed. Life however really has no rules as to how you might respond. Yes there are legal consequences but you can choose to factor those into your response or not.

 

An Olympic swimming champion is attempting to swim faster and faster. But the reality of swimming is to get from point A to point B.

 

Likewise all forms of athletic are based on following strict rules. For how long would any football game (of any sort) last if rules were not enforced.

 

Comparing the artificial rules of sport (karate, MMA, judo or wrestling)

Are never the range of what karate might employ.