As
kata are commonly being practiced (within many systems), the motions
are considered to be (stagnant) individual techniques that are strung
together like some marionette
show.
Kata
are intended
to aid the student in researching and practicing the individual
techniques
that are represented within the motions of those kata. It is those
motions, that are utilized in various combinations
to create the individual techniques that are taught/practiced in the
system.
Every
system interprets those motions differently. Oyata spend numerous
years studying those kata motions, using the methodology's taught to
him by his two instructor's (Uhugushugu,
and Wakinaguri).
Every
technique and motion that is taught in our classes, began as an
interpretation developed by Oyata, and was drawn from the instructed
kata that are learned during the kyu rank levels of a student's instruction.
What
is commonly being called the "basic" form of the kata, is (only)
the initially
taught manor of how to perform the kata. Every kata is (eventually
in one's training career) performed with individual nuance's
that identify the particular system/practitioner's preferences.
Though
numerous systems will often teach the "same" (or at least
similar)
kata, their interpretations
of
the techniques contained within the kata motions will often vary (sometimes
greatly)
as well. This can often account for the differences made in the
performance of the kata motions as well.
Regardless
of the individual motions that are performed, or which
of the interpreted technique(s) (Bunkai)
are shown/taught, the “kata” are a designed to be utilized as a lifetime
training/learning exercise.
As
my associate has often noted ,when a student begins their study with
us, they are taught the kata motions in a sequential manor. Each of
those stages illustrates and includes more
(definition/details of) motions that should be performed in every
kata that the student learns. By the time the student has been shown their 4th
kata (or so), those motions are often being included during the
students initial
instruction of any newly shown kata.
Student's
will assume that every kata is taught in those same "stages"
(this would not be correct). Many kata contain similar
motions/movements, when those motions are taught to the student, it
should be already understood/recognized that they are usually the same
motion (learned previously), and therefore, are performed the same. If/when there are differences, they are defined for the student.
There
are no “wrong” ways to perform the kata (within reason, LOL), just a number of
different
ways to perform them. The kata motions are all subject to individual
interpretation. It has been proposed that this is how/why different
“systems” came to be. The different instructor's (associated with
each
of those individual manor's of performance) all had their own
way/manner of performing certain techniques. Yes, there is only one
“Te” on Okinawa, but just like a guitar,
there's a lot of different
ways for it to be played.
There
are numerous ways that the instructed kata can be utilized by the
students. Initially they function mostly to aid the student in
learning to control their own body motions. As they progress, they
are shown how to utilize the kata motion as techniques that are used
in their defensive practices.
Bunkai,
is the Japanese word for “Breaking-Down”. In this instance it
represents the task of interpreting
the motions of the kata. What is often seen among the Japanese
systems, are examples of motions that are related to “sparring”
(competition). This was the emphasis of those Japanese systems (in
the early years of it's development in Japan).
Te
had originally been taught and utilized for the Life
Protection of the
practitioner. Because of that, it's motions were commonly kept secret
among only the student(s) of the individual instructor (whom was very
often another family member). This “secrecy” would provide the
student with a (possible) tactical
advantage if the student was forced to utilize that training to
protect their lives.
Those
motions had to remain “hidden” (to the casual observer) while one
was practicing the motions of the kata. Depending on how one was
instructed, student's would practice the kata motions in secret
(away from observation),
or in plain sight (knowing that the casual observer (without proper
instruction) couldn't interpret the practiced motions (correctly).
Depending
on the individual instructor, the interpretations of those kata
motions could (and did)
vary greatly
between instructor's. This could be attributed to different
body-types,
or simply what different instructor's felt should be emphasized
(by/for the individual student).
The
original developer's of those traditional kata died long ago (along
with their original
interpretations). What was shown/taught to Oyata by his instructor's,
was the methodology of kata motion interpretation. It was not
uncommon for past masters to only teach 1 or 2 kata. They would focus
their instruction on the motions contained within those kata. For
that reason, a student would often study with several instructors to
obtain the knowledge that they were seeking.
During
the Second World War, many of the older masters died, either through
direct
or indirect
involvement in the war, or through their advanced years. In any
event, many of them that may
have had direct
knowledge of the kata motions (Bunkai), died
during that time period.
Oyata's
instructor's were both bushi
from the era that this type of training was considered crucial
to one's ability to defend themselves. Much
of Oyata's early training was in regards to
understanding/interpreting the motions contained within the kata that
were commonly being taught. Oyata's
instructor's had never had any other
student's (claiming that none had proven worthy, or trustful enough
to impart their knowledge to them). By the time Oyata met them
(1946-47?), the war had ended, they were near the end of their own
lives, and with the availability of the firearm (pistols), anyone
could defeat a “master”
(therefor, there was no reason
to conceal that knowledge any longer). When
Oyata approached them about becoming a student, his attitude, his
timing (as well as his family lineage) was enough to convince them to
accept him as a student.
Much
of his early instruction was in understanding/interpreting the
motions performed within the kata (that were being commonly taught on
Okinawa). They only taught Oyata 2 kata, both were their
family-taught
kata. The other kata that were later included into his own
instructed methodology, were learned from Nakamura
Sensei (and are what is
being taught as the 12 kyu-level
kata within this
system).
As
the student in our classes is shown the various kata (throughout
their instruction), they will continually be shown refinements and
corrections that are intended to be included within each
of the taught kata (unless specifically told otherwise). This
often means that a kata “known” to the student, will be further
refined as they learn to include those “refinements/details” that
are shown to them as they progress in their studies.
What
is often difficult to understand (as a “new” student), is that
there is
no “Basic”, “Intermediate” and/or “Advanced” (versions)
of the taught kata. We attempt to avoid those descriptions so as to
avoid misinterpretations of the kata motions. Each
kata is a continually evolving
process. That process will develop differently for every student.
Oyata always stated that each student will associate themselves with
a particular kata, that kata will become their
kata.
As
the student progresses through these various “stages” of learning
the kata motions, they will be shown various “bunkai” for those
motions. They will often recognize their own
bunkai as well. They will additionally see that there are numerous
interpretations for the performed motions (depending on which
level/stage of performance is being done).
There
are numerous guidelines that we were told to consider when attempting
to interpret the motions of the kata. First,
a “fist” can represent (either) a strike,
or a grab.
Any hand motion can represent the tori's or
the uke's hand. Steps
and/or kicks can represent forward or
rearward motion, all kata motion should be considered to be either
forward or
rearward in the motions actual
application.
Every
motion, should be considered to be an application. Kata bunkai can
tend to adhere to a “theme” (applications to the front of the
tori, or behind them). It should be remembered that instructor's
often only taught a few kata, so repeated motions (techniques) are
not uncommon (among the different kata).
It
should also be remembered to not ignore the obvious
(interpretation), though probably not the most technical of
interpretations, those simplistic
techniques are just as
important to beginning students as they are to the experienced
practitioner.
Oyata
had always taught that the kata motions were akin to the "Alphabet".
Each
motion had an interpretation (if not several),
and those motions could be combined in numerous ways to form "words"
(techniques) and eventually "sentences" (applications).
We
were taught that rarely (if ever)
would those "letters" (motions) be performed within the
kata in the manner that they would actually be utilized. Once a
student learned to recognize the "letters", they could then
form "words" and eventually create their own "sentences" of
defensive techniques (through the varied combinations of those motions). As the students study progresses, the
“alphabet” that they used (for interpretations) would change as
well. This in turn presented (further) possibility's for additional
interpretations of the kata motions (basically, an unending cycle of
study).
Using
this methodology, there are an endless
number of possible combinations of techniques and applications
available to those who earnestly study
the kata.
