Kata: Moving From Form To Freedom

By Matthew Hubinger
Beikoku Shido-kan Karate-do Association, Member—Hombu dojo

	Shinken-gata, Jissen-gata
	Chaku-gan, Heiho no Metsuke
	Chaku-gan, Heiho no Metsuke
	Jiku
	Kinniku wo nobasu, Kinniku wo yurumeru
	Tanden
	Kime, Chinkuchi
	Tai Sabaki
	Kiai
	Kamae
	Yoi
	Mushin
	Kokyu-ho
	Henka, Garyu
	Shizentai

Kata, along with the makiwara, forms the heart of the most basic and advanced lessons in Iha Sensei's karate. If kata is practiced correctly and continuously, the body will become more fluid, natural and balanced in agility, timing, breathing and outpower. Moreover, because movement is endless, kata's application is endless. As we train together over many years, we will find ourselves experiencing the joy of freedom that comes with spontaneous movement. The following principles are to be applied and understood with deepening clarity as we progress in our training. By labeling specific concepts we are often more able to apply them in our own learning and teaching.

Shinken-gata, Jissen-gata (moments of life and death, real-life applications):

Before it is approached as an art or form of exercise, kata must be understood on its own terms as the distillation of physical and mental "moments" that have a martial end in mind. While enlightened introspection is one of the main aims of karate in general, self-defense and one's own survival are the specific goals of kata before anything else. Each movement is a reaction to a physical or mental aggression on the part of one or more opponents. Shinken-gata implies an encounter with live blades when the risk of death is very real, and it is used as a way of speaking about the seriousness with which we are to approach kata. Jissen-gata concerns the real-life applications of kata with the physical and spiritual consequences associated with taking such encounters seriously. This idea of "one encounter, one chance" (ichi-go, ichi-e) is what separates all budô (martial ways) from sports or mere exercise.

Chaku-gan, Heiho no Metsuke (the strategy of eye-control):

While some people have a naturally strong gaze that can be used to their advantage, we generally do not try to stare our opponent down by glaring into his eyes. Even if we do look at a particular point such as the left eye or forehead, it is easy to get distracted by our opponent's own projected intention unless we have a trained mindset. When we set our gaze in kata, we do not project an image of fear or anxiety, much less anger or passion. The eyes reflect the inner clam of being fully in the present moment (zanshin) with an immovable heart (fudôshin). Thus, when something dangerous or unexpected occurs we do not become erratic in our actions or mind, but remain centered and prepared to respond spontaneously in just the right measure. This concept reflects the idea of mushin, namely that the mind does not attach itself to any single thing. When the eyes focus upon one point, the mind follows and thus mushin can be lost. Rather, using our 180 degree vision we "look at a faint star" (bonyari shita hoshi wo miru) or "gaze at a far mountain"(enzan o metsuke), taking in the whole of the space around us in total awareness.

Jiku (pivot, point of rotation):

At any one moment, there are multiple rotations occurring during the execution of movement. Nearly all techniques involve the moving of our hips (koshi) from our center of gravity and power (tanden) with a specific timing, with specific parts of the body being coordinated together: hands with feet, elbows with knees, and shoulders with hips. Each of these usually follow the head and direction towards which the nose points. The most common examples of jiku based upon the use of tanden, besides punching and blocking, are the points behind the middle toe and the tip of the big toe during steps and turns as well as the shoulder, elbow and wrist during techniques that end in upper body movement. The first move of kihon kata dai shi illustrates all of these jiku. Moreover, analysis of individual sections of kata (bunkai) leads us to understand that correct kata practice involves the interconnection of our own center of gravity with that of one or more opponents. Wherever this connection occurs jiku is at play in a slightly different way, since the point of contact with our partner usually establishes a new and floating center of rotation. This informs our approach to rotation and pivoting in kata and leads to natural, balanced turning (enten jizui).

Kinniku wo nobasu, Kinniku wo yurumeru (muscle tension, muscle relaxation):

What is tense and what is relaxed in kata? This is a critical question and marks a point of departure for Shorin-ryu from many other Okinawan systems. In our style of natural movement and breathing, tension and relaxation are interdependent and continually interacting. Tension is dynamic in that it is continually adjusting to the required technique. Generally speaking, when doing Shorin-ryu kata one's toes always grip the floor positioned beneath the knees, one's fists are moderately tight, and one's stomach is pushed gently against the belt. Of course, other tensions depend upon specific movements. On a micro level the tension in the specific tendons of the wrist and hand differ according to technique, for example.

Other parts of the body are not so tense. The neck is never tight and the shoulders are always relaxed. The spine is supple enough to connect the power of the hips into the torso and arms. The knees are not locked, but springy in their power and positioning (zenkutsu dachi being one exception in that the rear knee often does spring into a locked position at the last moment).

When executing a movement, the body whips from a state of relaxation to sudden tension, and then returns to a relaxed state. This makes use of the body's ability to create whipping outpower (enshin ryoku) by having a balanced center, owing to a strong tanden, and loose limbs until the last moment when contact is made, which is why Iha Sensei always reminds us to have a loose arm and shoulder with a tight fist when striking or a loose knee and hips with tight toes when kicking. You should look like a rag doll that has its elbows tied to the ribs with the rest of the arms loosely dangling as the hips are twisted. When the elbow is touching the body, the power of the hips flows directly into the arm, which can then be sent from the body with power What is important is that an observer would not perceive that the body is any more or less taut throughout the kata. The tension is subtle without facial contortions or erratic breathing. Difficult as it is, it helps explain why those who are proficient in kata do not look exhausted, tense, or stiff when they move. Their movements are light and agile.

Tanden (center of power in the lower abdomen):

A subcategory of tension is tanden. Iha Sensei calls tanden the body's power distributor. Located several inches below your belly button is your center of gravity. By gently pushing your center out against your belt and by bringing a small amount of breath into the lower abdomen, you increase the body's ability to move as a connected whole from the hips (koshi). The pressure is not tense and should never lead to exhaustion. Remember, you are not flexing our abdominal muscles. You are making a little belly (which you can rub for good luck). This means that for most people there will not be any space to slide the fingers between the belt and the stomach. A slack belt is not a good sign and is usually accompanied by sloppy, top-heavy movement. Koshi ga takai-mono is how the Japanese describe such movement ("Things with high hips."). Over time you will experience an increase in power, relaxation and "connectedness" in movement, especially if you keep your elbows close to the trunk when moving (as when generally punching the makiwara or doing the first move of kihon kata dai shi). At the same time, you increase the body's ability to take strikes as a protective shield of muscle and breath-control develops. As these phenomena begin to occur, you are beginning to use your tanden.
One method of getting this feeling of moving from the hips is to have a partner pull you by the belt in the direction of your movement. Likewise, move in the opposite direction of the pull from various angles. Or you can move with a short staff placed in your knots between you and your partner. Try to move synchronistically, keeping the same distance. Don't let the stick fall. This will give the feeling of moving from the tanden. The latter technique is also useful to develop distancing (maai).

Kime, Chinkuchi (focus, instantaneous and relaxed outpower):

Each movement must be applied with proper kime if it is to be successful. Most movements use very fast and explosive focus at the end. Some techniques, however, require a subtle kime. Where and how to apply the proper type of kime is a matter of repetition and imitation under the guidance of an experienced teacher who can demonstrate why certain applications require the different feelings of concentrated power. Remember, movement that fails to connect the whole body together usually lacks chinkuchi. Yet connected power is how one punch or one kick can down an opponent. Your tanden is directly related to chinkuchi.
Hyoshi (timing, rhythm): Like kime, each movement within the kata has its own cadence and rhythm. Kata "by the count" is good for correction at a very basic level, but it hinders the development of the hidden hand behind the personality of the movements at the intermediate and higher levels. We do not practice kata as if to a metronome, but at different tempos while combining movements that would be otherwise divided "by the count". Remember, the count is imposed upon the kata as a teaching aid and unless the teacher understands how to count and where to place the emphasis, the cadence may be very distorted. Sometimes in class kata is done without a count. The point of this is to have the junior students follow the rhythm of the senior students. Even so, it is not necessarily the case that any two students will have the same timing even if trained by the same teacher. Ultimately, there is no other way to enter into the kata then by private repetition under experienced guidance. By continual correct repetition, the timing of the movements will reveal themselves along with the natural applications of the techniques, which is the point of kata. Again, we need to imitate Iha Sensei to understand the proper flow of kata.

Tai Sabaki (trained body movement):

Not all movement is sabaki. Unnatural motion is ugoki; our usual state of affairs when we do kata! Sabaki involves the deliberate movement of our bodies so that they become fluid and graceful. A novice and an advanced student can do the same technique in kata, but only the advanced practitioner has sabaki. Recall that kata is not about end points, but about transitions, movement between points in space (kûkan no sabaki). It is dynamic. We all pass through various stages of sabaki and ugoki as we train. Our goal is to not return to old ugoki by losing the hard-earned sabaki. "Keep the water hot" by constant and correct practice.

Kiai (intention, volition):

Most kata have one or more places for a shout. Starting from the depth of the gut, the yell is timed to the technique to give a certain added degree of focus. This is, however, only one, verbalized, aspect of kiai. Our whole kata should embody kiai. This is closely tied to the notion of zanshin, which describes the mental state of volitional action that is also paradoxically natural and spontaneous. The kiai side of zanshin can be seen in the way the eyes and chin remain still and purposeful while the shoulders, hips and feet move together. If movement is sloppy, the kiai is lacking.

Kamae (positioning, stance):

It is often thought that the karate-ka who ends up in the correct position, with the correct foot and arm out in the right stance facing the right direction is doing the kata correctly. This is a grave misconception. It is critical to remember that the transition of balance between two or more points with the proper power and rhythm is the heart of kata. If this is correct, the ending will take care of itself. Kamae are merely points between transitions. They are not static, statuesque forms. They are notes in a song. Held too long and they die. Keep the kata dynamic by learning how to pass through kamae in your bunkai by practicing without a count.

On a deeper level, it means that we should not get trapped in the technique, but rather in the feeling and essence of the technique. Survival depends upon instinctual movement, not techniques. That said, this should not be understood as a carte blanche for sloppy and speedy movement. This would be a relapse to ugoki. Moving through kamae has nothing to do with speed or a break in form, but rather with the feeling of entering into the mood of the kata. A rushed or slow kata is not kata. Kata exists in the deliberate balance and timing of transitions. Otherwise we could learn it from the photos of a book! As the pianist Artur Schnabel remarks, "The notes I handle no better than many pianists. But the pauses between the notes - ah, that is where the art resides!"

Yoi (preparedness):

All kata begin and end in the hallmark of the best kamae- a position of balance from which nearly all possible attacks can be thwarted. When we move in kata we almost always "pass through yoi". This means that our weight shifts to a point of balance from which we can move in many directions with optimal power and timing. We don't shortcut our moves when we make transitions. By practice them at varying speeds we see how critical moving through our center point of balance is to transitions and the proper physics behind outpower. This "returning to the center" should be a distinguishing characteristic of our kata. Note also the position of the elbow when we stand in shizentai at the beginning and end of each kata. Pass through this point to tie the arms to the hips for maximum power. You can practice this by binding your arms at the biceps to your torso with your belt. Let your arms swing freely as you maintain a strong tanden. You should feel like the little Okinawan drum that beats by rotating its center. Okinawan dancing is a beautiful example of such movement, but at a much slower and noticeable pace. The feet always come close together, hold for a moment, and then the hips and trunk turn in a new direction from this point of balance. Gojushiho also demonstrates this type of centering explicitly in the opening moves.

Mushin (refinement, nothing extra):

As we progress, we must always retain the beginner's mind that is never satisfied. We remain in a constant state of "almost, not yet" by being realistic about our own training and motivations. Stripped of ego, we realize that our abilities are akin to a pot of water that remains hot only with the constant presence of fire. Our "fire" must be intentional striving. Once the fundamental techniques are grasped, we refine ourselves by stripping away poor movement until we become "zero" with nothing extra- only natural, unconscious movement. Think about how we walk, shake hands, or reach for a drink. We do not use special "reach for a drink" or "shake the hand" techniques. We simply extend our arm and open our hand. We do not need to premeditate our movement. Our kata should be likewise. The word suigetsu refers to the moon's reflection upon still water. This should be our mental state- calm and reflective. Likewise, our martial training should help us to become true human beings who live naturally without selfishness so that we can be taken as we are, without masks or mixed motives.

Kokyu-ho (Breath control):

Our physical and psychological well-being is dependent upon our breathing. In Shorin-ryu, the breathing follows the body, whereas the systems of Goju-ryu and Uechi-ryu do the reverse. This again reflects the stress upon natural movement and breathing discussed above. Besides the increase of stamina provided by constant rigorous activity, there are a few other pointers concerning breath control and outpower. First, push the tip of your tongue to the front roof of the mouth while your teeth are touching (but not clenched). This opens the back of the throat for the nasal passage (and is also a technique for defense against non-blood chokes). We generally do not take breaths through the mouth in kata. Second, breathe with the lower abdomen (fukushiki kokyu), expanding and lowering your center before your upper chest expands. This helps keep the shoulders relaxed. Stiff shoulders often are a result of breathing with the upper lung first. Always keep a small reserve of air in the lower abdomen. This makes full use of the lungs and is connected to the development of tanden. We never exhale totally in kata. Third, do your best not to make sharp breaths when you do kata (kiai aside). Iha Sensei refers to this method as "no see breathing". The body is more susceptible to damage when attacked on inhalation and so it is important not to project your breathing pattern for your opponent to easily time. Develop a natural rhythm and relax your body. Nakasone Sensei says that when we practice kata on a cold morning, the vapor from your nose should just trickle out slowly. Quick, sharp inhalations and exhalations are useful to absorb or deflect certain strikes to the body, or regain control of our breathing cycle, but they are not generally used in Shorin-ryu kata.

Henka, Garyu (Change, Personal Style):

Can kata change? This is a fundamental question when we learn or teach karate, since it involves a whole theory of the physics and social factors that contributed to the rise of kata. There is a viewpoint that believes kata is exempt from change or variation. For some, it is almost heretical to raise the question in the first place. "It was good enough for past masters, so why change it?" As idealistic as this perspective is, it fails to account for human nature, both physical and psychological, and traditional teaching methods.

Kata emerged as a result of the coalescing of a number of factors such as geography, personal experience, imaginative powers, and intention of techniques (i.e. are they meant to submit or kill or merely avoid opponents?). Moreover, in days past the student/teacher relationship was more personalized. Training was less structured and the number of kata taught was fewer with an emphasis placed upon application and survival. Because of this, the emergence and tradition of transmitting kata from teacher to student naturally involved variability. In an interview with karate historian Ernie Estrada, Iha Sensei related, "Gusukuma changed a number of Itosu's kata and techniques to coincide with his own personal 'enlightenment'. He stated that this is a common practice by all karatemen and that it is merely based on human nature to try and improve what one has learned." And of course one need only look at the photos of Gusukuma and Chibana Sensei to see that Iha Sensei himself has modified and developed the kata to fit his ideas in conformity with his own experience.
But in the modern setting such as we find ourselves with class sizes numbering past twenty and more formal logistical procedures in place (warm up, kata, chart work, bunkai, rank, etc.) where most students learn kata in the class as a group by the count, and not through intensive one on one training, it is understandable that the emphasis will not always be placed upon the individuality of the student, but rather upon the generalities of the kata. Moreover, many teachers do not understand the bunkai of the kata and thus fail to convey the meaning of the movement. While not necessarily a bad thing, it does not afford the same opportunity to tailor the kata to the particular student's body and personality. Even so, a serious student can still learn the heart of the kata through determined homework and in time adapt it to their own body and temperament.

So kata can indeed change. But who changes kata? This is another way of asking, "Who can we trust?" On a macro level, those individuals who have dedicated their lives to entering into the meaning and feeling of karate through the kata deserve to stand in a place of preeminence as our guides. We can trust Iha Sensei because he has practiced correctly for over fifty years. His experience and wisdom earns him the right to lead and make systemic changes, adaptations, or evolutions involving the kata. And this makes sense. No one has ever "learned" the kata correctly. That is, kata develops our strongest physics, and our strongest physics are revealed over time through hard practice and many errors. As our errors are whittled away, we enter into natural power and sensitivity.
On the micro level, for each one of us, we must practice and find what works for us. Do we have a bad ankle or a stiff spine? Are we short and stout or tall and thin? If so, our kata must be adapted to our bodies. This is why it is always "my" kata. When you step onto the dojo floor and demonstrate your kata before your sensei, at that moment, it is only "your" kata. Do not do someone else's kata. We must not try to fit circles into squares. If we look at a class of masters doing the same kata, we should not expect cookie-cutter uniformity. No two karate-ka are the same. Each master develops their own accent and personal style (garyu) based upon their teacher's theory and their own experience. Their martial creativity (busan) in applications is an example of their entrance into the kata.

But what must be remembered is that garyu is not achieved by being sought. No one is ever original by trying to be different. Such attempts are only examples of pretentious self-absorption, which miss the point of the martial arts as a way to go out of one's self. When we invent our own style artificially, we are failing to give the past masters a vote. If it is something we impose through imitation or ego, it is a farce. Instead, we must maintain perfect adherence to the tradition, and insofar as we maintain this faithfulness our true garyu will naturally reveal itself. By following this path of conformity, we will discover that it is actually a gateway to true freedom of movement and legitimate development. There is nothing magical about kata. (But the master's results may seem magical to those who do not practice enough kata!) They are only tools to help us evolve into our optimal selves. They are the means and not the end. Just as we pass through kamae, we must pass through kata by entering into it and making it our own. Kata is either something that we should dedicate ourselves to, or leave aside as a waste of time. It is all or nothing if it is to be productive and natural. It is like learning a new language, but with your body. Seek total emersion for fluency.

Shizentai (natural body position):

Finally we come to the goal of kata- natural and spontaneous movement. Many martial traditions use set movements as a gateway to freedom of movement. This is a paradoxical statement, but as we study and practice we discover its truth. Like mastering a musical instrument, true creative spontaneity must be acquired through forms. The universal is grasped through the particular. Shizentai-dachi, or the natural stance that we use in the beginning and end of most kata, kumite and bunkai, is representative of our goal. And this makes sense. What we do in the dojo should not only inform our "real life", but also somehow mirror reality "out there". We do not walk down the street in the kamae of kata. We should do karate as we live, relaxed and naturally. By approaching kata in this manner we will discover the meaning of Iha Sensei's maxim, "At the higher levels of expertise, form is unimportant." Use your kata as this gateway into freedom of movement. Ryusui saki o kisowazu: "Flowing water competes with nothing."

Realize, too, that shizentai is a stance of patience. It is the perfect outward expression of an inward disposition for a martial artist, for a human being. Injuries, misunderstandings, personal obligations and long periods of stagnation are critical to our development. Each struggle refines our character into that of a martial artist. Accept difficulties as normal stepping-stones in your training. All of the great masters have their own shortcomings, even if we cannot perceive them. How they worked through their difficulties is what in part constitutes their martial achievements. Be patient in your practice. "Having patience where patience is intolerable, this is true patience."

—Matthew H. Hubinger, 2007