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Kata Unlimited

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Kata Unlimited Volume 1, Issue 1 Kata Unlimited May 2003 Warm Welcome from the Editor Inside this issue: Welcome to the inaugural issue of Kata Unlimited, the monthly newsletter created with the traditionally oriented martial artist in mind. Kata Pinan 3 Nidan - Iain This is a really exciting new venture, covering an area of martial arts which has had little exposure, yet a Abernethy growing interest. Going With 7 So, you might be wondering, 'What on earth is this all about?' Well, firstly and foremostly, its about The Flow - providing relevant and practical information that I hope will inform our practice. That information will by Simon come from the study of kata, by examining what's contained within them. Over the coming months, Keegan we'll be discussing basic and advanced kata alike, from many styles of martial arts. The possibilities are endless, and this newsletter is a forum to discuss, analyse and learn. The contents of Kata Unlimited will An Interview 8 with Kirby Watson Kata Heian 13 Shodan - Steve Lowe Hanshi No 18 Iinki Seminar 2003 Special points of interest: • Kirby Watson shares his views about the nature and purpose of kata. • Shotokan’s first kata verses Wado ryu’s Iain Abernethy performing an applica- largely be from you, the reader. There will be in depth second - perspec- tion from Pinan Nidan Kata articles from both prominent writers and those who tives. haven't written publicly before (possibly you!). Step by step coverage and exposition of kata in photos, with explanations from the featured practitioners, which • The beginning of the resource directory. could also be you. • Introducing Simon You will find a growing directory of places to train around the UK, which is a port of call for those Keegan, with the looking to train in more traditional or practical ways. Included is a letters page, for you to have your say first of many arti- about anything of relevance to kata, or articles in the newsletter. cles. Kata Unlimited Page 2 Warm Welcome From the Editor (Continued from Page 1) What you won't find will be any reference to sport oriented martial arts, and before I get a shed full of letters, I will say this now. This newsletter has no interest in competitions in martial arts. This is not a prejudiced stance, rather the attitude is taken that sport based martial arts has at its base, a fundamentally different approach to its training and application than does the traditional and classical arts. As editor, I will not promote criticism of it, or anything else. (Constructive criticism however, is a different matter). In order for this publication to succeed, we need your help. Whether you are a senior representative of your art, a student, or someone with a general interest, we would like to hear from you. Your comments, letters and articles would be very welcome. If you know of a club or organisation that trains with kata as its fundamental base, then please contact the editor. If you are a senior practitioner and you feel that you would like to contribute an article, interview or photo session, then again, please contact the editor. Finally, a note about one purpose of this publication. I (Ed.) state my own belief that there is a continued "westernisation" of the martial arts, which has both benefits and detriments. I believe that one of those detriments is to ignore, or place lesser emphasis on kata within martial arts training. The absence of this form of training serves to dilute the core of the arts. If this continues, there is a grave possibility that in another 50 to 100 years, many of the classical arts will die out (as many already have) and the more widespread arts like karate and jujutsu could change beyond all recognition. This would be a huge loss, as the Chinese and Japanese have spent many hundreds of years perfecting fighting arts. It would be a huge loss if we in the west, (and it has to be said, some in the east as well) in our rush to learn to fight, ignore the collective wisdom of our teachers and fore-fathers. Kata Unlimited has a commitment to raising the profile and general understanding of the use of kata in training, (as already described) in an attempt to provide some balance to information that is available in the magazine/newsletter format. Ok, that's the speech over with. I hope you enjoy the newsletter. I welcome suggestions and comments, and I look forward to hear- ing from you all. Letters Ok, I could invent lots of letters, but then I’d be telling porkies would- n’t I? As this is the inaugural issue of Kata Unlimited, there are no letters. (Let’s make that “yet” shall we?) This page is to allow you the reader, to have your say. So long as the content has to do with martial arts and you think what you have to say might be of interest to others, or maybe you have a comment to make about something in the newsletter, then please send it in. E-mail is preferable, as this is a computer based project, cutting & pasting is so much easier. It takes much less effort all round. If you don’t want to use the internet, then please feel free to send your com- ments by post, and providing you’re happy with answering machines, you could even use the telephone! (44) 01942 205619 (Tel/Fax) The Editor, Kata - Unlimited, Simco Publishing, 27 Ash Grove, Orrell, Wigan, Lancashire. WN5 8NG. [email protected] Volume 1, Issue 1 Page 3 Pinan Nidan of Wado Ryu (Part 1) Our first contribution is from Iain Abernethy (4th Dan) of British Karate-do Chojinkai. Iain’s chosen style of Karate is Wado-ryu, in which he has been studying and training for 21 years. Over many years, Iain has had a great interest in kata and is a big believer that there is a great deal more to it than meets the eye. Let’s look then at the second kata that a Wado-ryu student will learn, Pinan Nidan and some of its applications. Kata Pinan Nidan - The Opening Move A B C In this opening sequence, Iain moves from the ready position (yoi) performing tetsui (hammer fist) to the left, in cat stance. A small but important note to make here is that the traditional bow (norai) has been omitted in the sequence merely to save space on the page. Ordinarily, this salutation is an important part of this (or any) kata. D Applications - The Opening Move 1a(1) 1a(2) 1b(1) 1b(2) 1b(3) 1b(4) There are two variations to the opening move. Both begin with a bear hug from the rear. In the first, [1a] the opponents arms are seen coming around and the arms are raised (as per kata) and the left hand pushes the arm away, stepping off the centre line. This pushes the arms apart to ensure he cannot secure a grip, moving into neko ashi-dachi (cat stance), and this stepping allows the rearward movement of the right arm in hikite (pulling hand) to become empi (elbow strike) to the rear, aimed at the mid section, just below solar plexus, or lower, dependant on height of both you and your attacker. In the second variation, [1b] the attacker has secured his grip with his left hand on top. Defender gains a grip on one finger of his hand, then raising the arms, while simultaneously dropping the weight and pulling his finger awkwardly backwards, with obvious consequences. The finish strike is empi, as before. Kata Unlimited Page 4 Kata Pinan Nidan - Oi-tsuki & Gedan Barai E F G The centre picture in the sequence on the right is shown mainly to depict direction of movement, but also some sense of the nature of the movement as a whole. Oi-tsuki & Gedan Barai - Applications 2(c) 2(a) 2(b) The movements in the kata are depicted as stepping forward, front punch and turning through 180 degrees (to the right) while performing lower parry. For this application, Iain explains that the opponents left hand has been checked and grabbed. For the purposes of this application, the defender is then on the opponents’ “outside”, and performs a strong punch to the torso. In this position, there are a number of vulnerable points available to strike, but the main target would probably be the rib cage. This would have the effect of dropping the opponent’s body bringing his head closer to the defender. 2(d) Using the hand just used for the strike, reach around the back of the opponents head, grabbing hair, or hooking middle finger in his mouth (yuk! Ed.). The next movement is the 180 degree turn on the spot, in conjunction with the pulling/sweeping action of the right arm. This causes the already out of balance attacker, to be flung on his back and is definitely out of commission. Kata Pinan Nidan - Tetsui & Gedan Barai G H I J K L Volume 1, Issue 1 Page 5 Now Iain continues with the next part of the kata. Please note that photo [G] is duplicated here to aid in the visual continuity of the kata. He steps back from position in [G] to perform tetsui (hammer fist) in photo [I]. Then stepping through with left leg, into zenkutsudachi (front leaning stance, performing oi-tsuki. Finally, turning through 90 degrees to perform gedan barai (lower parry) to his left. Completing this sequence, Iain demonstrates another use of the gedan barai, in this case 90 degrees to the left.
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