Varities in Kata Training

A few of the group kata practices I taught.

 

Kata Sho

          Kata Sho as a group drill.

          Kata Sho as a close order drill. Everyone shoulder to shoulder, or back to frong. Packed together tightly. Then the group performs the kata with the smallest possible techniques they can manage. *This helps them to learn to function as a team.

          Kata Sho with multiple striking. Replace strikes with 3 count multiple strikes. (Punch, Backfist the head, descending palm strike)

          Kata Sho with multiple striking, Replace strikes with 5 count multiple strikes (Punch, Backfist the head, descending palm strike, ascending Forearm strike to the head, Rolling snake strike to the eyes)

          Kata Sho with advanced timing and breathing. Multiple techniques on one breath. There are many versions possible, but we focus on one.

          Kata Sho as a 2 person form. Begin with the individuals two right shoulders facing each other about a foot apart. Performing the kata, they pass each other very closely, even banging arms with the low block. Then they pass near each other at the end when they close.

 

Kata Annaku

          Kata Annaku with Jing Do striking

 

Kata Seisan

          Kata Seisan as a two person drill

 

Kata Seiuchin

          Kata Seiunchin as a group drill.

 

Kata Wansu

          Kata Wansu as a 2 person close order drill, Done tightly together. You begin facing each other.

Kata Chinto

          Kata Chinto as a dueling drill, both parties performing the kata in different directions at the same time.

 

Group kata drills

           At their most basic level, they teach the basic rhythm of the kata and its basic breathing patterns. The also teach one to incorporate their senses, hearing and vision into the training. To be able to see what others are doing so everyone can coordinate their actions. This becomes most useful in self defense.

          At more advanced levels group kata becomes an individual challenge to become able to react to others intentional changes, and to try to trip others up when you make those unplanned changes. It is at this level it become a most important training tool. One that keeps giving.

On the teaching of Kata Sho

When I was a new black belt I began teaching through the Scranton Boys Club (I taught young men, and also young women. The first program to bring young women into the Boy’s Club at that time.) I taught Isshinryu exactly as I learned it, and those students learned it well.

 

But as the years passed I began to wonder if there  was a stronger way to prepare the young. Then when I had to move for a new position, and had occasion to begin again at the Greater Derry Boy’s and Girl’s Club, I put many things I had also learned into practice.

 

Simply put, I wanted to slow the pace of learning, yet keep the classes engaging to allow the students to better develop. I had no reason to rush the process, my only concern was to produce better Isshinryu.

 

 

Over the proceeding 6 years I had learned many things, learned and personally worked on them. I had great faith in the power of kata, and that was where I began.

 

I had learned several systems approaches to beginning kata. I no longer remember where I saw it, but was more impressed with Fukyugata Ichi

 as a beginning kata. I had conducted some experiments sharing it with my previous students, and the first thing I realized was to change the name (kids would change the name into a terrible pun the F*** You kata) and I could not allow that.

 

So it became Kata Sho to me. Then I adjusted the technique and stances into Isshinryu technique and stances.

[ As an aside, what I was doing was using Kata Sho and Kata Anaku (also Isshinryuized, as subsidiary precursors for eventual Seisan kata instruction. Allowing the time to create stronger student technique before beginning Seisan.]

 

But what began as a beginning kata became much more to me over time.

 

First, because of it’s shorter length student’s would understand the concept of kata more readily. Simply because they could do one. That made teaching subsequent kata easier.

 

Then I found another use. It became a binding group kata for everyone. By using it as a group kata, it allowed everyone to work more closely together. Binding the newer students to the same performance of the older students. Making a stronger group identity possible.

 

Next I began to find more possibilities.

 

As a group kata, the first performance at class beginning was often less dynamic that when done as the final class group exercise. They were of course more into the kata grove by class end.

 

So to show everyone their efforts could produce more on their own effort.

I first just had them do Sho, at their beginning performance. Then I had the group do it again with 25% more power. Then another time at   50% more power. Now I had them do the kata again, with the absolute maximum power they could put into every technique. Then again down to 50% power, then again down to 25% power, finally finishing a their regular performance.

 

Then I would explain that they were the ones that did it. They always had that power, just did not choose to use it. A very powerful lesson to build on.

 

Another use was to take a beginner who barely knew the kata. On their own they would freeze when others watched them and be unable to complete it.

But when placed between two black belts, or brown belts, they would stay with them even to black belt speed and power of execution. They knew it better than they realized. Everyone learned they could do the kata as a black belt, and it was them that was holding back. This was a lesson everyone learned.

 

Other variations. Took the students it three row, shoulder touching shoulder. 2^nd and 3^rd row students chest against the students before them back. Simply a very tight formation. Then I had them do so with the teeniest possible techniques, their smallest possible motions. The smallest steps. And to stay together. The first time they fall over as a unit, until they understand they really have to stay together to do it. Another group binding exercise, not for martial purpose, rather understanding they have to use their senses to hear, and trust each other. Sense training of Sight, Hearing and Touch.

 

There was always time in classes over the years to use it in different ways.

 

One thing that happens is students get to used to doing any kata always facing the same direction. If you have them face a different way, their performance often suffers. They got used to the same visual cues from repeated performance. So I hit on a different use.

 

 

I had two students perform Sho both of them facing opposite directions. The kata didn’t change but they had to deal with their partner working the opposite direction. And they were to keep their kata timing the same.

 

Then I built on that. The two students now beginning with their right shoulder facing their partner’s right shoulder had to bow, step open and do the opposing kata as a close order drill, in fact the first time they passed each other, their low blocks would be don’t as strikes to each others arms (shades of Kokite). On the return pass they had to avoid locking arms with their rising blocks. A very precise performance the goal.

 

Something I had learned from Tristan Sutrisno was a black belt exercise in multiple striking, each strike becoming a 5 count strike, each strike flowing into another strike. I would use this drill the same way as a supplementary black belt exercise. But I would also apply as an advancing kyu exercise. In this case each punch in Sho would become a 3 count strike, repeated in place os each punch in the form.

 

Students would eventually learn an advanced timing version of the form. Instead of technique then technique. They would begin to down block then step and punch, or where 3 punches were in a row, the 2^nd and 3^rd strike done on a one count. Beginning of the possibility that kata could be done different ways with different results.

 

This is not everything I saw or used.

 

I think by now you get the idea that I could use that very simple kata for many different learning experiences. All of them supporting drills. Not all of them at one time. Secondary support for the students primary training and other kata.

 

Then after dan, there were other advanced uses for Kata Sho. It became a test bed to use for so many different things. Everyone knew the kata so well, it could be used for studies in breathing, studies in what definition of a technique could be, studies in advanced multiple striking ( the 5 count) and so much more.

 

This would be different in work on application studies the form presented.

 

 

Of course this does not define everything I did. Just uses for one minor form.

There are no such things as a minor form. There are the infinite potential of all karate.

 

 http://isshin-concentration.blogspot.com/2018/05/the-beginnning-with-some-views-of-kata.html

 

 

 

Beginning Group Kata Study

I found that group kata performance is a powerful way to indoctrinate students into the study of their karate.

 

Long ago I decided to start with a number of simpler classic kata from a variety of systems as a way to prepare my students for the study of Seisan kata. I was in no rush to teach them and wanted to use the time involved to better prepare them for Seisan, which I consider the core of their eventual black belt examination.

 

While as beginners I exposed them to a different number of very short mini-kata, from 4 to 8 movements long, to get them to understand what kata were. That always proved successful. Then they all began with my Isshinryu-ized version of Fyugata Sho (which I called Kata Sho not to give them a chance to play on the name.

 

Within a few short weeks they would learn the basic movement required for the form.

 

They when the entire class performed the form together (a regular practice) the benefited working with the others, as they felt anyone watching would not have their eyes on them.

Another benefit was they were then able to do the kata with all the others, realizing everyone had started in the same place, and if the others could learn, in turn they could learn. When performing the kata with more advanced students, their own performance would grow ever stronger, as if they were able to absorb the technique from the more advanced students.

 

We frequently opened class with kata sho and then closed the class with kata sho. Every time by the end of class they were stronger in their performance.

 

Then there were the other uses I put my Kata Sho too.

 

1.      Among them a close order drill with everyone attempting the kata with the smallest techniques they could do. All shoulder touching shoulder, Chest touching back ahead of them. The purpose was to have everyone perform the smallest technique execution while staying together.

2.      Kata Sho with basic multiple striking.

 

a.     

3.      Kata Sho done with an opposing partner.

 

a.     

 

What this did was to force the students to get more familiar with the kata, and of course engage their other senses. The multiple striking practice was to set the stage to have them proficient by black belt, in that it is never to early to begin something.

 

And of  course I have written about such things before. Here are some of my posts from my blog.

 

https://isshin-concentration.blogspot.com/search?q=group+kata

http://isshin-concentration.blogspot.com/2018/05/the-beginnning-with-some-views-of-kata.html

https://isshin-concentration.blogspot.com/2018/02/paired-kata-what-i-learned.html

https://isshin-concentration.blogspot.com/2015/12/varaties-in-kata-training.html

 

Analysis of Kata Starting and Ending Points

 

I found this diagram on the internet, it is not intended to be exactly what I taught.

All the recent discussion on the potential of kata starting and stopping on the same spot gives me pause to consider how and why I teach.

 

In all of my studies none of my instructors ever really discussed that as an important focus of training. I have read about such in some systems, but until I found similar claims made about the Isshinryu kata several years ago I never took the time to consider it an aspect of kata training.

 

[ Disclaimer 1 - As an aside, I have no problem with anyone maintaining their instructors traditions about this, either way. But as the Isshinryu black belt manual I received when I received my sho-dan has absolutely no rules about how to conduct myself over the decades, I’m choosing to consider what I feel is the best practice for my students and the instructors I train.  And of course the same hand book has no rules about anything, or even any pages. In that I guess I’m firmly rooted in the older Okinawan traditions, even though I’ve only practiced in the States.] Just a joke of course for I never received such a manual.

 

My look at Isshinryu’s kata, except for our Naihanchi (Nihanchi/Naifhanchi), all of the rest conclude rather close to the starting point. One could categorize it as being the same point.  Of course there are those kata which don’t stop there. Foremost in my mind is the Tomari Rohai Kata, shared by a friend quite a while ago, as the kata continually moves forward, there is no opportunity to end up in the same place. And with all of the discussion about the ending of Goju kata, not being a Goju expert by far, I just finished watching some Goju championship kata from the 2003 championships in Japan, and for Seisan, Kurunfua and Supreinpe there were considerable differences from the champions ending points to their starting points.  Of course that isn’t proof of the real intent of those kata, but seeing a thing helps answer some questions, IMO>

 

I think the larger issue isn’t whether an instructor taught one to stop at a certain point or not. Lets make the issue neutral, instead of stopping at the same point, let’s just say the issue is whether one should teach kata to stop at a specified point, exactly, in order to determine the quality of the performance. Thus whichever means one performs a kata isn’t bound by one rule, rather just define your system’s specific stopping point in relation to the starting point.

 

So is this a good standard to teach to?

 

Should the student feel the reward for stopping on the correct spot?  Does making a final adjustment step to end there count, or does only perfect performance of every movement be the goal? Does missing that point mean the practice is useless, or lessened from one hitting that point?

 

Those are good questions to consider.

 

I believe my instructors never discussed the stopping point because almost all of the training was individual, or in very small groups. They worked on awareness of each individual technique, and if each technique was right, you’ll get to the correct ending, so why worry about the spot.

 

In fact that is my own approach. I’m most interested in correcting a mistake or error immediately (regardless of the student’s length of training), not waiting till they’ve finished and then working backwards to discover why.  The goal is to develop their continual awareness of their performance, so they are in command throughout kata performance. If they keep their awareness alive, and their technique execution in total control, their ending will be correct.

 

[ Disclaimer 2 – Of course correct kata practice is only one aspect of long term training in my book. At some point one would begin changing the length of various movements, learning how that effects performance, and working on the application potential such changes represent.  Working on fitting these techniques (large scale and micro) into various attacking patterns suggests these alternate performances. Then working on meta study, how to set an attacker up so their attack is ready for the kata application, is yet another layer of study, and so on.]

 

On the other hand, as karate became a large group activity, I can see how use of a closing point could make it easier on the instructor to see if the group gets there or not.

 

I have problems with large group study, however.  It is too easy for members to look like they’re working within the group, and coast instead of explode.  Often too easy to make a mistake and see where the group is and then correct to get back into line. It may serve group order, but I don’t believe that serves the students development.

 

There are times and places for group practice, but I believe it should be very controlled when it is used. But as karate moved from its small group origins, other tools were developed.

 

So perhaps the point of where to close a kata may have been highlighted, for convenience.

 

In my book precise kata performance is an extremely useful energy development tool at all stages of karate study. That the tool has other potentials does not diminish ones need to work on perfect practice either. It just suggests how much depth there may be in our training.

-----------------------------------------------------------------------------------

Personal note - I once worked out that as I practiced and taught my kata in Isshinryu for the most part the kata started and stopped in the same place. But I never taught that.

One time I noticed my senior students were stopping Wansu at a place well before they began. First they were doing very good kata performances, their techniques would work... but it still was not how I taught them  I should explain that at the decreases progress with them I more just did the kata with them, not so much giving corrections.

So I wanted to point out what I was seeing.

1. First I did the kata in front of them, on a wrestling mat in the club (from the wrestling use) and I did the kata starting in the spot marked with two lines on the floor. I believe the kata in question was Wansu.  And as I performed Wansu I started and stopped on the same spot. Then I challenged them to do the same.

2. As it turned out, while performing very good kata, their execution ended up well in front of where they started.

Then I explained the difference.

When I did my kicks I chambered my leg (knee up first ) then delivered my kick returning to the kick chamber position. Finally I put my foot down exactly one step before my original position each time I kicked.

Ont the other hand when they kicked they just dropped their kick to the floor, several steps before when they began. While a very effective kick it was not what they were originally taught. So a different result.

Of course the fault of the kata creep was I, for I had not paid attention to their changes.

But it makes a point how even slight changes changes kata performance, and offers different use of the technique.

Analysis of Kata Starting and Ending Points

 

I found this diagram on the internet, it is not intended to be exactly what I taught.

All the recent discussion on the potential of kata starting and stopping on the same spot gives me pause to consider how and why I teach.

 

In all of my studies none of my instructors ever really discussed that as an important focus of training. I have read about such in some systems, but until I found similar claims made about the Isshinryu kata several years ago I never took the time to consider it an aspect of kata training.

 

[ Disclaimer 1 - As an aside, I have no problem with anyone maintaining their instructors traditions about this, either way. But as the Isshinryu black belt manual I received when I received my sho-dan has absolutely no rules about how to conduct myself over the decades, I’m choosing to consider what I feel is the best practice for my students and the instructors I train.  And of course the same hand book has no rules about anything, or even any pages. In that I guess I’m firmly rooted in the older Okinawan traditions, even though I’ve only practiced in the States.] Just a joke of course for I never received such a manual.

 

My look at Isshinryu’s kata, except for our Naihanchi (Nihanchi/Naifhanchi), all of the rest conclude rather close to the starting point. One could categorize it as being the same point.  Of course there are those kata which don’t stop there. Foremost in my mind is the Tomari Rohai Kata, shared by a friend quite a while ago, as the kata continually moves forward, there is no opportunity to end up in the same place. And with all of the discussion about the ending of Goju kata, not being a Goju expert by far, I just finished watching some Goju championship kata from the 2003 championships in Japan, and for Seisan, Kurunfua and Supreinpe there were considerable differences from the champions ending points to their starting points.  Of course that isn’t proof of the real intent of those kata, but seeing a thing helps answer some questions, IMO>

 

I think the larger issue isn’t whether an instructor taught one to stop at a certain point or not. Lets make the issue neutral, instead of stopping at the same point, let’s just say the issue is whether one should teach kata to stop at a specified point, exactly, in order to determine the quality of the performance. Thus whichever means one performs a kata isn’t bound by one rule, rather just define your system’s specific stopping point in relation to the starting point.

 

So is this a good standard to teach to?

 

Should the student feel the reward for stopping on the correct spot?  Does making a final adjustment step to end there count, or does only perfect performance of every movement be the goal? Does missing that point mean the practice is useless, or lessened from one hitting that point?

 

Those are good questions to consider.

 

I believe my instructors never discussed the stopping point because almost all of the training was individual, or in very small groups. They worked on awareness of each individual technique, and if each technique was right, you’ll get to the correct ending, so why worry about the spot.

 

In fact that is my own approach. I’m most interested in correcting a mistake or error immediately (regardless of the student’s length of training), not waiting till they’ve finished and then working backwards to discover why.  The goal is to develop their continual awareness of their performance, so they are in command throughout kata performance. If they keep their awareness alive, and their technique execution in total control, their ending will be correct.

 

[ Disclaimer 2 – Of course correct kata practice is only one aspect of long term training in my book. At some point one would begin changing the length of various movements, learning how that effects performance, and working on the application potential such changes represent.  Working on fitting these techniques (large scale and micro) into various attacking patterns suggests these alternate performances. Then working on meta study, how to set an attacker up so their attack is ready for the kata application, is yet another layer of study, and so on.]

 

On the other hand, as karate became a large group activity, I can see how use of a closing point could make it easier on the instructor to see if the group gets there or not.

 

I have problems with large group study, however.  It is too easy for members to look like they’re working within the group, and coast instead of explode.  Often too easy to make a mistake and see where the group is and then correct to get back into line. It may serve group order, but I don’t believe that serves the students development.

 

There are times and places for group practice, but I believe it should be very controlled when it is used. But as karate moved from its small group origins, other tools were developed.

 

So perhaps the point of where to close a kata may have been highlighted, for convenience.

 

In my book precise kata performance is an extremely useful energy development tool at all stages of karate study. That the tool has other potentials does not diminish ones need to work on perfect practice either. It just suggests how much depth there may be in our training.

-----------------------------------------------------------------------------------

Personal note - I once worked out that as I practiced and taught my kata in Isshinryu for the most part the kata started and stopped in the same place. But I never taught that.

One time I noticed my senior students were stopping Wansu at a place well before they began. First they were doing very good kata performances, their techniques would work... but it still was not how I taught them  I should explain that at the decreases progress with them I more just did the kata with them, not so much giving corrections.

So I wanted to point out what I was seeing.

1. First I did the kata in front of them, on a wrestling mat in the club (from the wrestling use) and I did the kata starting in the spot marked with two lines on the floor. I believe the kata in question was Wansu.  And as I performed Wansu I started and stopped on the same spot. Then I challenged them to do the same.

2. As it turned out, while performing very good kata, their execution ended up well in front of where they started.

Then I explained the difference.

When I did my kicks I chambered my leg (knee up first ) then delivered my kick returning to the kick chamber position. Finally I put my foot down exactly one step before my original position each time I kicked.

Ont the other hand when they kicked they just dropped their kick to the floor, several steps before when they began. While a very effective kick it was not what they were originally taught. So a different result.

Of course the fault of the kata creep was I, for I had not paid attention to their changes.

But it makes a point how even slight changes changes kata performance, and offers different use of the technique.

Paired Kata - What I learned.

 In the Code of Karate there are two sayings, which came from the Bubishi.

 

The eye must see on all side.

The ear muse listen in all directions.

 

I wanted to make them ever so much more to my students studies. Not as words to memorize, but as experiences to use and build on.

 

What follows is the journey to do just that, which happed over my decades ass an instructor.

 

This story began when I was a Yellow Belt in Isshinryu and I had just  learned my new kata Seiunchin. At that time I knew nothing of it’s history or why it was included in Isshinryu,  I just knew I had a lot of work to do to get it right (of course what I thought of right was what a yellow belt thought of as right.)

 

At that time Lewis Sensei was preparing for a local demonstration and part of that demonstration was to have a yellow belt team show group performance of Seiunchin kata done to music. (that was a new thing back then).

 

So he took charge of the group preparation and drilled and drilled Seiunchin as he wanted it into up. Over and over, class after class. Eventually we began to move in unison. At that point the music was added, it was a popular tune back in those days. The song was ‘The Hustle’. We did the kata with the music playing, but the kata was not timed to the song either. We just did both together.

 

Then the demonstration came, and it went well and then it was done. Never again did I do the form to music.

 

Training moved on, and I moved on with it. But because of that intensity, the manner in which our performance incorporated Slow intense movements with heavy breathing, and fast quick movements with normal breathing, Hard and Soft at the same time, forever that would remain my Seiunchin performance.

 

A decade later I was also showing my young students, as they advanced past Seiunchin, to perform the kata also as a team performance. I wanted them to move to a higher level of performance. And to develop the use of their eyes and ears to keep track of what was happening around them, both for performance, and to move toward reaching self defense skills through their training.

 

What I found the group kata practice as students were advancing through the kyu ranks was also a powerful way to teach all of them to use more advanced energy in their practice. Not that was the end goal, just one more step appropriate for where I wanted students to move towards, a foundation for later dan studies.

 

Then slowly, step by step, I worked on other ways to expand the process.

 

I now began students on a supplemental kata, our Sho (which was an Isshinryuized version of Matsubayshi Fyugata Sho

 

One example, new students who knew the form they began with, would often lack the focus to perform their form when standing in front of the class alone.

But if I then placed them in the middle of two brown belts, or two black belts, they would show they could to a much stronger performance. And even look like they knew the form at a black belt level.

 

That showed them they were much better than they imagined they were.

And makes a point how the black belts were also sharing there energy while doing the form. (A thing I learned from that group Seiunchin performance.)

 

I then incorporated another practice. Paired Kata Sho.

 

Where both students stood squarely before each other and 2 people did the kata in opposite directions at the same time. When they got used to it, they did so closely even to having their down block in the kata, striking into each other’s arm at the same time. Again requiring them to use their sight and hearing for that level of performance. Many things happening at the same time. All of them beneficial for developing what I saw student karate to be.

 

One level of paired sho performance

 

 

There were other ways I had the students use Kata Sho, beyond just performing the kata.

Perhaps the most apt inclusion would be that of a very close order drill.

Where students as a group stood shoulder touching shoulder of those beside them. And with other rows having students behind having their chest against the back of the row in front of them. The students would then try to do the kata Sho with the smallest, tinyist movements they could possibly make, and to stay together as a group. It was for fun, but also made them more aware that to attempt to do it, they had to remain aware of what was happening around them. Always a lesson.

 

Then when students had learned Seiunchin, some time later they were added to the kyu Seiunchin team practice. Then the drilled the kata, as I had learn it, over and over. Working to get to the flow and energy release I was looking for. Not for public performance, just to move them to a higher level of performance.

 

One year I had one of my friends in for a private clinic, Other friends were also there to participate, My friend showed so much I decided to give him a break from his demonstration. So I had the different instructors demonstrate their own kata, I decided to do Seiunchin kata, and grabbed my son to help me. While I was his instructor, we did not train together. What follows is just us doing the form, his timing and flow just what I had the team do in class. Of course it was exactly as I had been shown.

 

 

 

Other times I would have 6 students stand as if on a circle, as 2, 3, 6, 8, 10 and 12 o’clock. Their backs to the inside of the circle. Then they would do Seiunchin kata, attempting to keep in unison during the performance. Further challenging their use is sight and hearing to accomplish this.

 

 

Much later after a student was well past learning Wansu kata, came another drill. They would stand before an other student, the tip of their right shoulders aligned and then perform kata Wansu in opposite directions staying in close order. Having to not become entangled with each other during the ‘fireman’s throw’ section. A much more advanced exercise in awareness, pushing sight and hearing to higher levels of awareness.

 

 

One of the things I insisted it that all brown belts  work on Chinto kata, learned at green belt, to work toward perfection. Tirelessly I drilled on this. In the days we used tournaments as an occasional practice, Chinto becamd the mandatory brown belt kata.

 

It was at this level another paired practice began, that of 2 brown belts performing the kata in opposite directions, maintaining there staying in unison. A much more difficult practice. When Mike Cassidy and Young Lee were brown belts that was one of their practices. Even 30 years later, no longer drilling together, they retained the ability they acquired to remain in unison.

 

Chinto Chinto

 

 

Even at black belt there were partner practices. This time using Naifanchi kata. And this time done in a stack formation.

 

Naifanchi as a Row drill

 

 

Long ago I read in some magazine that Seniors on Okinawa would perform group kata from time to time. The goal to remain together. And when doing so one might change the pace unexpectedly to see if the others would match it. Then another might do the same. A sort of polite Masters Duel. Seeing is they still used their eyes and ears.

 

Of course this is just what I have done. Now for my students, now instructors to choose to follow what they experienced for their own students.

 

How you train does determine what you are!

 

The eye must see on all side.

The ear muse listen in all directions.