| KATA (SET FORM)
INTRODUCTION
BASIC KATAS Literally speaking, Kata is the "Form" of Karatedo. From the many blocking and attacking techniques, our ancestors extracted the essences of them; then they further refined and compiled them into sequences of prescribed and stylish art forms. These katas are heritage passed on us from our ancestors. Hence, we should practise katas in the spirit of respect and commemoration of our Karatedo ancestors. Kata makes up a significant part of Karatedo training. In learning katas, students should pay particular attention to the following: correct postures and forms of individual moves and stances, sequence of these moves, transition from one technique to the next, and the way of power delivery - all these elements are vital to the performance of kata. After understanding these basics of the kata, students should comprehend the meaning of each individual moves of it. To polish the performance of a kata, one should also master the correct way of breathing and apply appropriate rhythm to the kata. In this way, performer can vividly bring out the "life" of the kata. To further perfect the performance of kata, students have to repeatedly practise the kata, even up to a thousand times. Only through this long, continuous and arduous practice that students can rectify and refine their forms and movements. To elevate and streamline the performing quality of a kata, excessive strength and unnecessary movements should never be applied to any part of the kata. The movement of the body should follow the correct prescribed path for the kata. In this manner, instant delivery of phenomenal power can be achieved. In addition, impressive performance should be supported by ample spiritual strength; by imagining an opponent fighting with you, you should perform the kata with combative and aggressive look in your eyes, as if you could pierce through your opponent with your sharp look. With such spiritual condition and thunderous force, you could achieve the technique of "Kill in one strike". Only with this practice manner that one can strengthen our "spirit", "skill" and "body" through kata training. Kata can be divided into two main streams: Shuri-te and Naha-te. Shuri-te inherited the kung-fu style from the northern region of China, which is characterized by quick, swift and long-distance linear movements. Moreover, kicking and jumping movements are frequently found in Shuri-te katas. In this way, Shuri-te style is more suitable for long-distance combat. As for Naha-te style, it is a continuation of kung-fu style from the southern region of China. The basic traits of Naha-te style are: firmness, steeliness and forcefulness in strength delivered in circular movements. Moreover, it puts great emphasis on the way of breathing. As such, slow, steady and forceful movements are frequently found in katas under this style. This techniques employed are more useful for short-distance combat. The leading master of Shuri-te Karate is Sensei Ankoh Itosu (1830-1914); while his counterpart of Naha-te is Sensei Kanryo Higaonna (1852-1915).
.: PIC”G HEIAN SHODAN | HEIAN NIDAN | HEIAN SANDAN | HEIAN YONDAN | HEIAN GODAN .: Bunkai”G HEIAN SHODAN | HEIAN NIDAN | HEIAN SANDAN | HEIAN YONDAN | HEIAN GODAN Heian Kata, composed by Sensei Ankoh Itosu in 1905, consists of five katas - from Heian Shodan, Heian Nidan, Heian Sandan, Heian Yondan to Heian Godan. At that time, it was widely practiced as martial arts by middle-school students in their sports lessons. In general practice, a blocking technique is always adopted as the first move in katas. The main reason, or message, behind this practice is: the basic function and value of Karatedo is for self-defence, not for aggression. This is a lesson from our ancestors that we shall never forget. As a matter of fact, the word "Heian" embraces the meaning closely associated to the notions of "endure the peace, repel aggression". Basic attacking and sparring techniques constitute the skeleton of Heian katas. Based on these techniques, modification and refinement were further adopted, then the full forms of these katas were resulted. Nowadays, Heian katas are commonly practiced among students of white-belts, yellow-belts and green-belts, as these katas are ideal for beginners to understand the practice and notion of "Form" in Karatedo.
There is one common point shared among the five Heian katas: all start by opening to the left in Nekoashi Dachi as defence, then followed by other different displays of techniques. In learning Heian katas, students should pay special attention to the three major elements regarding performance of kata as follows:
.: PIC”G SEIENCHIN "Seienchin", also named as "Chai-yen-chin", one of the katas from the Naha-te, which is a style of Karatedo created by Master Kanryo Higaona. In Seienchin, apart from certain basic attacking and blocking techniques, some difficult and complicated techniques are arranged in different consecutive combinations. It is important that students should equip themselves with strong foundation of basic attacking and blocking techniques, as well as a good understanding of the subject matter of Kata-performance, before learning this kata. Hence, in general, only Karatedo practitioners who have achieved brown-belt level would be eligible to learn Seienchin. As one of the eight Shitei (compulsory) Katas selected by the World Karate Federation, Seienchin of Shitoryu is strictly standardized in terms of its postures, movements, power, tempo and rhythm. In addition, Seienchin is also listed in the Shitoryu Karatedo syllabi of black-belt upgrading examinations. In view of its high status in Shitoryu Karatedo, when learning Seienchin, Karatedo practitioners should pay great attention to the details of this kata. In Seienchin, the combinations of different movements are designed in symmetrical patterns; contrasting and well-defined tempos can also be found. Seienchin is characterized by its frequent adoptions of Shiko-Dachi - a stance of strong essence in its stableness: when Shiko-Dachi is interpreted as a slow movement, it is used to complement the massiveness and weightiness discharged by other techniques applied; when apprehended as a fast action, it is used to eject an explosion of instant power-release and vitality. In any case, these are all skilful masteries of Shiko-Dachi. Apart from these intrinsic forces delivered by Shiko-Dachi, appropriate breathing rhythm should also be incorporated to achieve a natural demonstration of combating gallantry and vigorous spirit. As a matter of fact, the very essence and spirit of Naha-te katas can be most vividly manifested in Seienchin. As such, Seienchin is an ideal kata for kata competition.
Apart from certain basic attacking and blocking techniques, Bassai-Dai is composed by some difficult and complicated techniques arranged in different consecutive combinations. It is important that Karatedo practitioners should equip themselves with strong foundation of basic attacking and blocking techniques, as well as a good understanding of the subject matter of kata-performance, before learning this kata. Hence, in general, only students who have achieved brown-belt level would be eligible to learn Bassai-Dai. As one of the eight Shitei (compulsory) Katas selected by the World Karate Federation, Bassai-Dai of Shitoryu is strictly standardized in terms of its postures, movements, power, tempo and rhythm. In addition, Bassai-Dai is also listed in the Shitoryu Karatedo syllabi of black-belt upgrading examinations. In view of its high status in Shitoryu Karatedo, when learning Bassai-Dai, Karatedo practitioners should pay great attention to the details of this kata. In Bassai-Dai, transitions of movements are well-defined and distinct, movements of stances are swift and rapid, sense of rhythm is strong and explicit. Naturally, instances of spontaneous dynamic power-explosion, avalanche of spirit are frequently demonstrated in this kata. Moreover, a variety of prescribed movement-combinations are closely linked in this kata, giving it an extra value of continuity and the sense of one-flow. As a matter of fact, this is an essential quality of Shuri-te; and this makes Bassai-Dai an ideal kata for competition.
YI, QI, JIN The performance of Sanchin and Tenshow is not a mere set of passive manoeuvre of body parts; it has to be directed by two key elements: the Yi and the Qi. As some masters said, "Where the Yi goes, the Qi goes; and where the Qi goes, the Jin follows." It goes without saying that Yi, Qi and Jin are closely interrelated”K”K WAY OF BREATHING We breath with the abdomen for Sanchin and Tenshow. In the abdominal breathing, the diaphragm rises and lowers deliberately to a greater extent, so that the vital capacity of the breathing taken will increase correspondingly. The correct way of breathing has to be coordinated with the pace and rhythm of body movements. As some masters said, "Exhaling is substantial, inhaling is insubstantial." The effects of substantiality and insubstantiality are the natural feelings of our bodies and they are the outcomes of breathing governed by our mind. The basic principles of applications are: inhaling when reserving energy, exhaling when discharging energy”K”K STANCE AND MOVEMENTS Sanchin Dachi is the main stance applied in Sanchin and Tenshow. When moving with Sanchin Dachi, the movement should be agile and stable, while the head should be kept moving along a level plane”K”K POSTURE AND TECHNIQUE OF UPPER BODY We should keep our heads straight, and relax our shoulders and elbows. With the aid of concentration of Yi and flowing of Qi, we should be able to coordinate precisely our body movements with abdominal. We should purposefully control the muscles of our arms and hands, and let them move gently and smoothly along the correct paths. Never exert undue strain to our muscles to generate excessive body power as this will result in undesirable body shaking. In addition, all movements should begin and end gradually, the speed of movements should be uniform, and the line of movements should be smooth”K”K KEYS OF PRACTICE Sanchin and Tenshow are easy to learn but hard to, yet the practice of these katas in the correct way is extremely helpful in building the foundation of attacking and blocking techniques in Karatedo, and is of great benefit to the constitution of the practitioners. Therefore after learning the basic movements and breathing method of Sanchin and Tenshow, we have to practise the katas unremittingly in order to achieve these ultimate goals”K”K HEALTH PRESERVATION AND SPIRIT REFINEMENT Dan-tian is a small area of the human body just below the navel. It generates and reserves vital energy that is considered to be the root of human life. The coordinated action of mind, breathing and movements in the practice of Sanchin and Tenshow will activate the Dan-tian; thus revitalizes the body strength and spiritual strength, and fortify the ability to cure diseases and maintain good health”K”K SANCHIN Sanchin, also known as "San-shin", means the movements begin and progress with advancing three steps forward. Since Sanchin Dachi is the main stance adopted for the kata, so the kata is also called "Sanchin", and "Sanchin" is widely-received as the title of this kata nowadays. The basic constituent attacking and blocking techniques adopted in Sanchin are Chudan Tsuki and Yoko Uke. Apart from these, Wa Uka and Mawashi Uke are also included in the kata. The purpose of incorporating these techniques in the kata is to enable practitioners to apprehend the theory of "Yi generates Qi which in turn strengthens body movements" more easily through constant practice of the simplest and basic techniques of Karatedo. It may sound easy to understand. However, only through correct and unremitting practice that the practitioners can be benefited both mentally and physically. Apart from the mental and physical benefits mentioned above, practicing Sanchin also functions to elevate the speed of delivering Tsuki and Uke and enhance our power. This is because in the practice of Sanchin, we always make use of mind concentration and abdominal breathing in kata movements. By this method of exercise, we will naturally relax our shoulders and elbows so as to reserve our internal energy in a calm and flexible manner. This helps us to increase the speed of delivering the techniques. When Qi is activated through the application of Yi, Jin will be generated. The correct combination of Jin and body power will produce substantial, penetrating and even destructive power.
Tenshow was initially referred to as "Liu-qi-show". As the progression of the kata mainly comprises forms and movements of open-hand and rotation of palms, it was gradually titled as Tenshow, which means, "rotating palms". The major techniques contained in Tenshow include Shoutei Tsuki, Shoutei Uke, Soto Kakete, Uchi Kakete, Yoko Uke, Ko Uke, Sukui Uke, Wa Uke and Mawashi Uke. In the kata, various forms of open-hand techniques for attacking and blocking will be performed using skillful and precise bending and rotation of the wrists and palms. The training will improve the movements of the open-hand techniques; thus enhance the suppleness of the wrists and arms. After constant practice of Tenshow, Jin could be effectively generated along the correct paths of movements in the applications of open-hand techniques. The practice of Tenshow not only benefits our body health, but also enhances the instant power produced by the movements of open-hand techniques. This is because the bending and rotating of the wrists will help practitioners to generate powerful and speedy swirling force. The combination of this swirling force and Jin will produce enormous power even within short driving distance of movement. Moreover, by bending and rotating the wrists swiftly in a set of movements, individual movements will be coordinated and their continuity will be improved; thus their application time will be shortened.
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