The masters of our art created the Katas in order to give us the techniques and skills needed to protect ourselves from violent assault. 

Kata does bring the Karateka many other benefits besides effective fighting skills; these benefits include such things as improved health, greater mental & physical control, a greater understanding of self, enhanced self-confidence, discipline etc. but these benefits, worthwhile though they may be, are not the kata’s primary purpose. 

The primary purpose of kata is to enable us to inflict pain upon our aggressors in response to unprovoked acts of violence. 

Some people do not care for this view and talk of how the performance of a perfect kata can be an end in itself. A Rolls Royce that does not start up may look beautiful, but it could not be described as perfect because it can not perform the task it was designed to do. 

Likewise the Katas were designed for use in combat and hence I fail to see how a kata that can not be used in combat can ever be described as ‘perfect,’ regardless of how visually pleasing it may be.

Gichin Funakoshi in his book ‘Karate-Do Kyohan’ states, “Once a form has been learned, it must be practised repeatedly until it can be applied in an emergency, for knowledge of just the sequence of a form in karate is useless.” 

If a Karateka is unable to use the kata effectively then in my opinion what they are practising is not fit to be called kata. Everything that is needed to survive a violent assault should be rehearsed and refined during kata practice, this includes not only the techniques themselves but also the correct metal attitudes. 

All too often we see great emphasis being placed on ensuring that limbs etc. are in the correct positions whilst none is placed upon what the student should be thinking and feeling. This type of practice leads to Katas that are hollow and this must be avoided at all costs. 

The Katas should be complete mental and physical exercises that will enhance the student’s fighting ability every time they are practised. 

For clarity we shall discuss the physical and mental aspects of the Katas separately, but it is vital to understand that both aspects are dependent upon one another and can not be separated in practice.

Kata is something that must be learnt from a qualified and knowledgeable teacher. 

Although books and videos can enhance understanding and aid memory, they are no substitute for proper instruction. Your choice of instructor will be the most important decision you make with regards to your karate, do not make it lightly or base your decision on such superficial things as the distance from your home or cost. 

The important thing is how good the instructor can make you, as opposed to how good they are. You require a Sensei, not a bodyguard. Visit a number of dojo’s and look at the standard of the students, the way they are dressed, their attitudes to one another as well as to the instructor, what qualifications does the instructor have, are there separate classes for beginners, intermediates and advanced, are there adequate first aid facilities etc. 

The Sensei / student relationship is a special one. If you find a Sensei with a deep understanding of karate & a genuine love of the art and if you are prepared to study hard with dedication, openness & honesty then you are sure to make good progress in all aspects of karate.

How you are taught the Katas will be a matter for your teacher. 

It is common for the kata to be taught in stages, for example, the first few moves will be taught, then when the student has a reasonable grasp of them, they will be shown the next couple, and so on until the whole sequence is remembered. 

The techniques will then be further refined as the emphasis shifts to timing, rhythm, correct use of strength etc. 
As the student progresses the corrections will become more and more finite as they strive for the unattainable goal of perfection. 

Once the form is of a satisfactory standard the student should begin to receive instruction in the applications of the movements. Understanding the applications will improve the student’s performance of the kata. 

As the student’s performance of the kata improves so will their ability to apply the techniques. This spiraling effect should be at the heart of kata practice. When the Sensei is happy with the student’s kata they will then be allowed to move on to study the next one. 

It is far better to have a good understating of one kata than a superficial understanding of many. Do not rush when learning the Katas, or be in a hurry to move on to the next one, take your time and always emphasise quality over quantity.

One of the accusations commonly directed at kata practice is that is “boring.” 

Part of the problem is that few people understand kata and as a result students fail to see any value in its practice. The other part of the problem is the constant repetition that is required for competence to be achieved.

I am sure that the world’s best sprinters have, at some point in their career, got bored running up and down the track. Top golfers probably get bored practising their putting and Olympic weight lifters get bored of lifting weights, yet these people possess the necessary mental strength to continue to practice. 

Long after others have got ‘bored’ and stopped practising they can be found still working away, and that is why they are at the top of their field. Everyone wants to be good and yet only a few are prepared to put in the work that is required to achieve high skill levels. 

Get a good teacher, gain a good understanding of the Katas, take on board any criticisms and practice relentlessly if you wish for your Katas, and indeed all aspects of your karate, to be of a high standard.

The exact ways in which the Katas are performed varies from style to style and even from instructor to instructor. 

Variations due to forgetfulness, insufficient study, poor technique, laziness etc. are obviously undesirable but this does not mean that all variations are unacceptable. 

Every one of us is different and hence it is impossible for everybody to perform the Katas in exactly the same way. A short and stocky person’s kata will be different to a tall and thin persons, not better or worse, just different. 

That said, it is up to the individual to try to adapt themselves to the kata and not the other way around. An over weight person should lose weight, a stiff person should increase their flexibility, a weak person should make themselves stronger etc. rather than use their current condition as an excuse for poor performance. 

Making excuses requires no effort, making progress requires plenty and that is why most people opt for the former. We are all individuals with differing attributes so some variation is inevitable, so long as these variations do not erode the underlying principles of the kata and occur through Shuhari they can be looked upon as acceptable, perhaps even desirable. 

The concept of ‘Shuhari’ is best explained by splitting the word up into its component parts. ‘Shu’ means to copy the techniques and teachings of the instructor as closely as possible. Great attention should be placed on even the smallest of details so that good form is developed. ‘Ha’ refers to the freedom permitted for subtle changes that will inevitably occur due variations in physiques combined with the student’s own experiences and understanding of karate. ‘Ri’ is when the Karateka has mastered the techniques to the point were they are no longer ‘techniques’ as such, but rather part of their being. 

The Karateka will adapt and change their actions to perfectly match the circumstances. It is at this point that a new style could easily develop. Shuhari is the vehicle for karate’s evolution, and hence its survival.

As previously explained, the ways in which the Katas are performed vary from style to style. However, all karate styles adhere to a common set of principals. These principles are mealy good physics and as such must not be deviated from if effectiveness is to be attained.

There are no superfluous movements in kata, nor should any be added. 

Be sure that all techniques are performed with the minimum amount of movement e.g. do not let the elbows flap when the fists are held on the hip, do not hunch the shoulders when punching, do not rock forwards and backwards when moving from stance to stance etc. 

Assume all stances smoothly and be sure to maintain good balance at all times. 

It is especially important not to bob up and down when taking up stances. It is said that when performing kata the ‘hara’ must be kept weighted down. The hara is traditionally thought to be the point from which the ‘Ki’ or life force originates. 

This point is located approximately four centimetres below the navel, half way between the belly and the spinal column. It is up to the individual to decide if they to subscribe to a belief in Ki, personally I do not. The hara does have a vital role to play in the performance of kata, however, due to the fact that its location is the centre of gravity for the human body. 

It is important to keep the hara in mind when practising the kata so that body weight is transferred efficiently. All movements should originate from the hara, this is nothing mystical but mealy the sound application of the laws of physics.

When assuming a stance be sure to achieve the correct weight distribution. 

Although the stances vary slightly from style to style, the correct distribution of body weight is vital in order to facilitate the application of the techniques. Make sure that the feet are correctly positioned; in particular be sure that the edges of the feet are firmly on the floor when in deep stances. 

The stances are a vital part of the techniques and great attention must be given to them.

All techniques should be applied using the entire body. A punch that relies solely on the muscles of the arms will have a minimal effect. 

It is the body movement that generates the power; the limbs are simply used to transfer that power into the opponent. All parts of the body must be co-ordinated and come together at the correct moment if the blow is to be effective. 

This convergence of forces is referred to as ‘kime’ or focus.

Be sure that the techniques are executed with accuracy. 
If a punch is meant to be delivered at solar plexus height then it must be exactly that, not even so much as an inch either way. A strike to a weak point on the opponent’s body will have a far greater effect than one that hits a stronger area. 

Practising the Katas in an exact fashion will enhance muscle control, accuracy and ensure that the techniques are as effective as possible.

The muscles should tense briefly at the end of each technique. The reason for this momentary tension is to protect the joints. For a blow to have the greatest possible effect it must hit the target at maximum speed. 

If the limb was to carry on moving at high speed then injuries such as hyper-extended elbows etc. could occur. Just before the limb is fully extended the muscles contract to that the limb decelerates in as short a time as possible. Without this type muscular contraction the limb would have to start to slow down sooner (if damaged joints are to be avoided) and this would seriously reduce the effect of the blow. 

A common mistake is for the limb to contract harder and for longer than is actually required. This unnecessary muscular contraction will result is premature fatigue and can slow the delivery of the techniques. 

Once a technique has been executed the muscles must relax instantly so that the limb is ready to move again. It is important to remember that in kata, as in fighting, there are times to be hard and times to be soft. 

Using muscular strength indiscriminately is the sign of an inexperienced Karateka.

Just as the indiscriminate use of strength is to be avoided so is the indiscriminate use of speed. 

In a fight there are times when you should charge at the opponent with a barrage of strikes and there are times to hold back. Moving quickly is no guarantee of victory, you should do whatever is necessary to win in the circumstances; this is reflected in the Katas. 

Some kata movements are performed quickly, others slowly. Be sure to move quickly when required to, rather that quickly all the time. Obviously techniques such as punches or kicks should be delivered with speed in order to increase their chances of success and their effect. 

When performing quick movements in the Katas be sure to move as fast as possible in order to further develop speed. To develop strength you would lift slightly more weight than you can comfortably lift at present. In order to develop fast techniques you should try to move slightly quicker than you can presently, merely plodding through the movements will do little to increase your speed. 

Be sure not to rush the kata and make sure that every movement is fully completed before moving onto the next one. Each kata has its own distinct rhythm, the pauses between some movements are long and others are short. 

In music it is not only important to play the right notes but they must also be played at the right time. Do not perform the kata at a steady pace but vary the tempo as appropriate.

Breathing is another important part of kata practice. 

Air should be exhaled as the techniques are executed. This exhalation should come from the diaphragm and not be excessively noisy as in a grunt or a snort. The breathing must be synchronised with the techniques, otherwise they will become weak and you will tire quickly. 

In the second part of this article we shall look at the vitally important and often overlooked mental aspect of the karate Katas.

“Iain brings Karate back into the real arena with his pioneering concepts of Kata Bunkai” - Geoff Thompson. Iain Abernethy can be contacted on 01900-829406 or e-mailed at “i.abernethy@btinternet.com”

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