TAISABAKI NO KATA
The Body Movements of Form
by Dr. William Durbin
From Inside Karate, August 1996 , Page NA
Courtesy of CFW Group
It has been acknowledged by most authorities,
at least those who actually train in traditional martial arts,
that Kata is the most important form of training that exists. While
some people get confused about what constitutes Kata, the truth
is some of the people who deride it as impractical, actually practice
it themselves. One very public figure used to talk about how Kata
was not a good form of training for actual fighting, yet in preparation
for fighting competition, the person spent many hours 'shadow boxing',
which is actually just a spontaneous method of practicing Kata.
In all truth, there was a time in martial arts history when all
Kata, in all countries, were only extemporaneous, for it was found
that freestyle practice developed the freedom of movement and the
unrestricted mind necessary for excellence in combat.
Yet Kata, whether freestyle or prearranged, has been very misunderstood and
the actual method of teaching and training in it, has been misrepresented.
One teacher, after having taught his student a particular Kata, and a specific
Oyo, application of the form, told his student that the methods of use he gave
to her, were the only applications possible of each move.
This teacher was either very inexperienced or purposely concealing the truth.
It is time for the 'secrets' of the martial arts and especially those related
to Kata, to be revealed to the public, pure and clean, so that practitioners
can begin to reap the proper benefits of traditional martial arts, which have
been enjoyed by Oriental masters for literally hundreds of years.
First of all it is important to declare what do not constitute true Kata. Forms
that contain moves which do not have combat significant, especially those which
are full of superfluous moves and most especially acrobatics, are not true
Kata. Kata translates form, shape, model, pattern, or more simply style. But
this does not give a complete picture of what the ancients meant by Kata, in
that now a days, people think of the form or pattern, as prearranged.
In ancient times, according to James Masayoshi Mitose, the term that was actually
used in regard to the division of form training in the martial arts was Keiho.
From this term comes the complete understanding of proper Kata training. Kei
is the formal pronunciation of the Kanji normally called Kata, while Ho is
the term for law, principle, or way. Thus Keiho means the law of form, the
principle of style, or the way of pattern. But this still leaves us with a
1ess than complete understanding.
First what we really need is the complete definition of Ho, which is properly
defined as 'water go', in that the root radical is Mizu or Sui, which means
'water', while the right part of the word is Kyo or Ko, meaning 'move', 'leave',
or 'go'. Ho gives the meaning that we should be following the law of nature,
which in life is best symbolized by flow. The elements of nature; wind, water,
and fire, all flow. None of those elements have a set form, but rather are
formless. While air and water, along with earth, can accept the shape of any
container, they are all basically formless until called upon to accept a form.
Thus when you look at Keiho it literally means 'the form of flow' or better
yet, 'the form of formlessness'.
For some of the practitioners of the oldest systems in extant, this means a
form of Kata where moves learned in the manner of Kihon, basics, are put together
spontaneously. The practitioner creates the form by visualizing attackers and
moving extemporaneously to counter each one. This type of battle in the mind
helps the practitioner to develop a great deal of sophistication, through the
study of martial arts techniques and applications. It is possible to see this
type of Kata training in the old Japanese system of Tenshin Shoden Katori Shinto
Ryu and the Okinawan system of Motobu Ryu.
Even with the more modern type of training which uses the prearranged Kata,
there is a formlessness when it is understood that there is no single set of
applications to the moves. Regardless of the type of Kata trained in, it is
possible to interpret the moves in at least five different ways. According
to the system these are expressed with various terminologies. Given in this
article are terms used in both Japanese and Okinawan systems.
The first division is referred to as Omote Waza or Honte Waza, the front or
regular techniques. These are the obvious interpretations, where a punch or
kick is done forthright. The second division, is the Ura Waza or Gyakute Waza,
meaning the rear or reverse techniques. According to how this is interpreted,
that can mean simply alternative techniques, or literally the reverse movement
forming new interpretations by doing the movements directly in reverse and
seeing how they can be applied to actual combat.
Third are Kakushi Waza, which literally translates concealed techniques. Hidden
in many movements, that seems like preliminary moves or intermediate moves,
are actual strikirlg and throwing skills. Too many people in their so called
quest for more efficiency, are what they ca}l, streamlining the moves of the
past, making them, according to these innovators, better. But what they are
actually doing is throwing away one fifth of the martial arts techniques because
of an ignorance of Kakushi Waza. Some of the most effective techniques in the
martial arts are those that are 'concealed.'
Next are Henka Waza, simply variation techniques, are the many modifications
which can be performed using any of the basic moves. These are still straightforward
applications, but more importantly, they show that to truly master any art,
a person needs to have a three dimensional perspective of their moves and the
principles by which they are governed. Too many martial artist think that a
throw can only be used against one attack or one type of attack. Yet the truth
is, that once you understand the principles upon which the technique is based,
and have a full understanding of combat rhythm, then the particular move can
be applied against many different attacks.
The fifth and final division is known as Sutemi Waza, which are sacrifice techniques.
These are techniques to be used when you are in disadvantageous or awkward
positions, as well as those techniques in which you purposefully throw yourself
off balance or in a seemingly inappropriate position, which allows you to counter
attack the assailant by surprise.
A mastery of these five divisions allows a person to have formlessness even
in prearranged forms, and to develop a complete understanding of the potential
of their martial arts in combat. This is the problem of practicing the martial
arts as sports only. Judoka look at the moves of their art for the throwing
and jointlocking applications only, while most Karateka look at their moves
simply as punches and kicks. But the truth of the matter is that essentially
there are only moves, which can be applied as throws, jointlocks, and strikes.
Each move should be looked at for what it can accomplish under any circumstances.
This ability is developed through the practice and understanding of the five
divisions of Waza.
People also have a hard time learning Kata, whether prearranged or freestyle.
Too many people cannot recognize the value of the training or how to properly
develop it. Most of all people do not realize the integrated nature of the
martial arts. Kata is one link in a chain of development, which allows a person
to master their art.
When taught properly the martial arts form a continuous circuit of development,
where one part of the whole allows progress in all aspects of the art. Properly
developed Taisabaki, body movement, is the goal of true martial arts training.
It is accomplished through seven interrelated disciplines. First a person learns
Kihon, the basics, which are individual blocks, punches, kicks, throws, and
other skills practiced all by themselves in order to master the movements.
These may then be expanded into Kihon Ido, or basic movements, in which the
practitioner takes any one movement and practices waLking in a straight line
performing that one move. In this type of training a person may walk forward
throwing ten reverse punches, or ten front kicks, or whatever number may be
accomplished in the length of the Dojo.
Next comes Kata Ido, which are methods of footwork which help the practitioner
move in different directions while performing a Kata. The methods of Kata Ido
can combine not only the footwork but also various blocks, punches, and kicks.
Once all of these methods of practicing in solo forms are mastered, then they
can be put together in actual Kata which means an extended form of movements,
defending against several attackers, using all types of skills, including throws,
chokes, and other grappling techniques.
In order to help the solo practice develop, the practitioner is also involved
in two man training, specifically, to begin with Kihon Kumite, basic sparring,
where the individuals moves learned in the Kihon are put together in self defense
techniques. These are simple moves of generally one block, one strike. This
type of training is used to develop the Lkken, one strike knock out technique,
of the martial arts.
Knowing that there is always the possibility that one strike will not knock
out an attacker, the practitioner then moves on to what is referred to in Qkinawan
martial arts as Renzoku Ken, or in many Jujutsu systems Waza, in which an attack
is countered and the defender uses a combination of moves to take out the assailant.
These can be simple combinations of strikes, as well as including, throws,
jointlocks, chokes, and other techniques.
Finally, the moves are put into two man training patterns, either freestyle
or prearranged, that are called by some styles Embu and in others just Kata.
In this form of training there is a give and take nature in the practice of
attack and defense. In example, one person attacks, the second person blocks
and counterattacks, which the first person then does as well. This keeps on
going back and forth for whatever period of time or the conclusion of the form
Thus it may be seen that Kihon leads to Kihon Ido to Kata Ido to Kata then
Kihon Kumite to Renzoku Ken and to Embu which may be interrelated to all other
aspects. Kihon improves Kihon Kumite, and vice versa. All are interrelated,
each improving the other. This is the web like nature of martial arts training.
All aspects improve with the improvement of each other aspects.
Kata is at the highest level of training, in that it can be performed anywhere,
anytime, and needs no special equipment nor a partner. Kata is the point where
Bunkai, analysis, takes place allowing a practitioner to develop a true understanding
of movement and application. Through an understanding of the five principles
of Waza, as covered earlier, allows a dedicated practitioner to expand upon
his/her skill and understanding. Thus as the person performs a Kata they can
come up with many Oyo, applications, which become spontaneous reactions to
actual danger. It is important that a person test their Bunkai Oyo, analyzed
applications, through practice with a partner in Kihon Kumite and Renzoku Ken.
This helps keep the person honest and not giving into flights of fancy. If
many of the modem tournament practitioners were to ever try their techniques
in honest applications, they would find their applications erroneous and spurious.
Kata truly is the highest form of training. It has physical, mental, combat,
and even spiritual significance. But the training must be honest and not full
of fantasy. There must be a sincerity of purpose, with a desire to develop
true self defense skills, which can work in life and death situations. Once
this is accomplished and by following the seven links in the chain of training,
while developing the ability to Bunkai all movements and develop Oyo that are
based on the five divisions of Waza, a person can grow into a truly competent
and superb martial arts practitioner.
From Inside Karate, August 1996 , Page NA
Courtesy of CFW Group