Kata Unlimited

Volume 1, Issue 5

Kata Unlimited

September 2003

What’s it All About Anyway?

This month sees a slight departure from the karate heavy previous issues, so I hope all you karateka don’t lose interest. We’ve got the concluding part of Bernard Downey’s article on Jitte and more offer- Inside this issue: ings from Simon Keegan to keep you going. As you will have seen from last month’s issue, Japanese sword arts were featured and this month sees a return to that particular field, looking at art of Tenshin Shoden Katori Shinto Ryu. This ancient art is regarded as the oldest Japanese Sword school and has only An interview 5 a very few active members world-wide. How surprised was I to find out that it was practiced at the dojo with Bill I go to for my Iai?! Burgar I said last month we’d be visiting Amanda Winstanley of Goju Ryu, but unfortunately we couldn’t ar- range a mutual date for a photo session, so maybe we can come back to that later on. The Samurai 7 School of One of the wonderful things about training in the martial arts I find, is the wonderful feeling that comes Battlefield at those times when a learning occurs. I’m not talking about the sort of learning where your teacher Arts - By shows you the maegeri for the first time particularly, but more the kind of “light bulb” experience that happens when mentally, someone just opened a door in your mind, that you didn’t even know was there! Steve Chris- After many years, I’m pleased to say that this keeps on happening. Its perhaps worth remembering this cole kind of experience for those times when you might ask yourself, “What on earth am I going training for? I’m going to sweat a great deal, it will be hard. I sometimes pull muscles and get injuries.” The learning The Kata 15 that comes, as something slips into place in your head; this technique, that idea, this feels right. These Heretic - By are the things which happen over a period of years. Simon Keegan A number of things I’ve read or heard people say this month, have provoked me to wonder about why on earth we do this. Looking from an outsiders point of view, each training session looks like a group of Kata - Form 17 sweaty people, seemingly bent on trying to kill one another for the whole session. In this day-and-age, & Function - by Bernard Downey

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what earthly purpose does it all serve? The answer to this is mat- not straightforward and I would guess that there would be ter how old the art) for the sake of learning the skill and all as many answers as there are readers. So I only have my the learning that comes with it (as we discussed before). own answer, which I hope we can agree, is neither right nor The sports person is interested in gaining title, standing or wrong; it is merely my own answer. I believe the first con- some form of financial reward for their efforts. Those inter- sideration is the motive for training in the first place. What ested in personal development, self knowledge and mental thoughts and feelings brought you to the dojo door for the clarity will pursue a Zen based art, perhaps Kyudo or the first time? For me, it was the belief that with karate skills I like. But even this view is not straightforward, as there are would be able to stop feeling that I was a punch bag for crossovers in the motives for training in each “camp”. The everyone else's frustrations and anger. I wanted to feel traditionalist may train primarily for self defence, but em- equal to others, instead of inferior all the time. The next braces aspects of Zen and even some sport; and so on. consideration is perhaps, what do I feel like now? I think that I’ve largely overcome those feelings I had as a youth Another confusing factor is that many arts (karate, Iai, ai- and yet I continue to train as hard as ever (well as much as kido etc) have mixed in with them, the elements of a Zen my age allows anyway!). So what motivates me now? Is it religious belief structure, which the practitioner is not made that I enjoy the sweat, bruises and fatigue? Well, no not aware of when he or she joins and becomes indoctrinated really. Is it the fancy premises we train in with all the plush with ideology. Unless the new student is already familiar accessories. Er, most definitely not! So what is the point? with the concepts of Zen, they will continue on in their For me it has become part of my life, just as much as own- learning, along a path which is partly hidden. The revela- ing a car or going to the office. It partially defines some- tion comes, perhaps only several years down the road. This thing about me as a person. What was once a need has seems unhealthy to me, and is the reason why I decided not gradually changed to become a want. It has become in- to continue with a particular school of aikido. grained in me and I couldn’t imagine me not practicing my chosen arts. I have a thirst for learning and these activities So this latter comment is a warning (probably to the already constantly teach me. I am able to learn something new wise) that sometimes martial arts are not always what they every time I train. Sometimes it is just a small thing, less seem. To highlight the point, I bought a book some time often it’s the revelation! ago from Amazon (off the internet). I read the reviews and all the comments online about the book, and it looked for The point is that I have found an activity which feeds and all its worth, like an interesting book on bojutsu, called nourishes me in many ways both physically, psychologi- “Total Stick Fighting—Shintaido Bojutsu”. Never having cally and emotionally. It gives me purpose and direction as heard of the style before, I was none the wiser, until, that is, I constantly try to learn more. Yet I’m training and condi- I got the book in the post. I was dismayed to find that the tioning myself in fighting arts, which seems somewhat art is in fact a lightly disguised cult like art, which uses paradoxical to the notion of living a peaceful existence. I bojutsu and other arts as a means of studying Zen Buddism. don’t have room here to go into that one. I think you just I have nothing against Zen Buddism, before I get com- need to train for about ten years and you should have an ments, but I wanted to have a book about bojutsu, not Zen! idea by then as to how to approach that particular dilemma. Price $27, almost a total waste of my money.

What other activities can give you all this? I’m sure that The martial arts “Way” is long, arduous and sometimes there can’t be many. But surely, the serious martial artist with forks in the path that lead to places you may never (and by “serious” I mean someone who dedicates them- have wished to go, had you known where they were leading selves to learning, as opposed to “gaining” or “acquiring”) in the first place. A waste of effort and leads to disappoint- will have at their disposal a good deal of personal development and frustration, not to mention the possibility of being ment. How much depends on many things. Master Funako- deceived. I’m glad to say that having taken one or two of shi is noted as championing the idea that karate is not just those paths myself, I feel a little wiser for the excursion. practiced in the dojo, but in every area of ones life. This idea follows the principle of the much misunderstood con- With all that going on, what about the original question, cept of “Dou” or “way of life”. Those of you who’ve read “Why on earth do we do this?” Here I ’ve just explored my Donn Draeger’s Budo & Bujutsu trilogy of books will be own thoughts about this and offer them, not as “the an- aware of his way of defining “jutsu” & “Dou”. Basically swer” but some possibilities. You might recognise some, any art created after the disbanding of the samurai class in you might not. But one thing’s for sure, we each have our 1876 is regarded as “Dou”, as there was no longer any need own journey. for individuals to learn arts for the purpose of war. But if you’ve trained in a fighting art for many years, even several hundered years ago, surely it becomes just as much

part of one’s life then as it does today? After all , people As you get older, your muscles weaken, and you can no longer are people and we humans haven’t evolved one little bit in lift and pull. In the end there’s a limit to physical strength, no a couple of hundred years. So what does that do to the matter how you build it up. That’s why Ueshiba Sensei says that unlimited strength comes from breath power. In effect, it “jutsu vs. dou” argument? I think that today there’s no such is based on natural principles. If the other person comes thing. The distinction is probably a three way bout between powerfully against you, and you respond by simply taking his “traditional vs. sport vs. Zen”. Of course there’s various power into yourself, There is no need for any effort. understandings in all three areas. My understanding is that the traditionalist wishes to learn an art (of their choice, no Shioda Gozo Volume 1, Issue 5 Page 3

Courses & More

6th International Aiki Seminar Weekend Seminar In:

The 6th International Aiki Seminar will take place over the weekend of October 18 & Kaze Arashi Ryu 19 in Padiham, near Burnley, Lancashire. From 10.00am to 4.00pm each day there Aiki Jujutsu, Ken jutsu & Jo jutsu with will be instruction in the empty hand and weapons arts of Traditional Aikido, Katori Kirby Watson Sensei—Chief Instructor, United Shinto Ryu and Kaze Arashi Ryu. Kingdom Kaze Arashi Ryu

Instructors will be Shane Riley of the White Rose Aikikai, Claudio Regoli of the At Padiham Kara Jutsu Dojo, Ribble St (over Padiham Glass), Padiham, Near Burnley, Lan- Italian Katori Shinto Ryu Association and Kirby Watson of the United Kingdom cashire Kaze Arashi Ryu. Saturday 6th September 10.00am—1.00pm Fee Seminar fees will be £15 per day or £25 for both days. Students and instructors of all £10*.Sunday 7th September 10.00am—4.00pm martial arts are welcome to take part and should bring a Bokken, Jo and Tanto if pos- Fee £15* sible. * Fee for both days together £20 (payable on Saturday) Further details are available from Kirby Watson on 01706 219747 or at Further details from Kirby Watson on 01706 219747 or [email protected] [email protected]

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Letters

I have to say, I don’t intentionally set out to be contro- day. It has always been a sport as has every Euro- versial, but it would seem that my views must seem pean and other Asian martial art that was practiced that way to others. outside of real combat.

A friend pointed me towards some interesting info The kata were central China for defining a style, but I about kata in karate at a website called “Shotokan don't think they were all that critical. They certainly Planet”. I spent the best part of 2 hours reading their aren't "ancient", considering the oldest cannot be stuff, which seemed very interesting, but more to the traced before 1800 even in China. point, relevant to our publication here at Kata Unlim- ited. On this basis, I sent Rob Redmond, the editor of Chinese arts change so fast that I'm surprised they the site an e-mail requesting a reciprocal link, and as don't travel backward in time. Even the styles we re- you will see below, the response to my e-mail was covered kata from have dropped those kata and the surprising, to say the least! next 7 after them and lost them and are now doing something else.

Hi Rob, I'm not convinced what you wish to preserve is there Very impressed with the site. I was wondering if you would be to preserve as it is a creation of your and other imagi- interested in a mutual link with my site, www.kata-unlimited.com nations. I’ll not go on about the site too much, as the site explains it well enough. Suffice it to say I offer a paper & electronic newsletter/ But I will do the link exchange. That's irrelevant to any magazine for those interested in kata from any style of martial arts disagreement. I just thought I would share with you of the Okinawan or Jananese heretige. The mainstay of the content since you shared with me. is karate, although I have some Iai, jujutsu & aikijutsu leanings. -Rob You will see from the first edition (available free to download) that the idea is to put kata back into the driving seat, by looking at the kata and getting some ideas of the applications. My intention is to If there is a moral within the above dialogue, it could be learn along with everyone else. I don’t regard myself as an expert this:- (far from it) merely a keen practitioner who wants to do something to try & help karate especially, to regain its ancient direction. “Don’t judge a book by its cover”. If you have the internet, then have a look at the site for yourself. I’m sure you Sport is for athletes and those who wish to gain title, importance will find it very informative. But what the above shows and qdos. Karate is for self defence. I do not believe that there is me is that as informative as it is, I have to wonder at the any connection between the two. I want to learn what used to be level of integrity (the foundation stone of martial arts called Toudi-jutsu or Te, in the old days in Japan. What I’ve been teaching) of an editor whose beliefs are hidden and some- duped into learning all these years is karate for 13 year olds. what incongruous with what he publishes. I hope you like what you see. I look forward to hearing from you. Needless to say, I will not be placing a link for “Shotokan Regards, Steve Chriscole (editor, Kata Unlimited) Planet” on the web site for Kata Unlimited. (Ed.)

On Thu, 7 Aug 2003 21:09:58 +0100, you wrote: My thanks to Mick Farrow for his kind words about Kata Unlimited on the web-site Guest Book (new feature on the “Sport is for athletes and those who wish to gain site). I can assure you that the quality of this publication title, importance and qdos. Karate is for self de- will remain as good as I can possibly make it with the fence. I do not believe that there is any connection resources I have at my disposal. between the two. I want to learn what used to be Lets not forget that if it wasn’t for the wonderful support called Toudi-jutsu or Te, in the old days in Japan. of the various contributors, this magazine would still be What I've been duped into learning all these years very good, but mostly as kindling for the fire! is karate for 13 year olds.” Cheers Mick. (Ed) Our views could not be more polarized. Karate is a sport. It was a sport on Okinawa, it is a sport to- Volume 1, Issue 5 Page 5

An Interview With Bill Burgar by Steven Webster (July 2003)

SW: Bill - though we will ask you to describe your back- period of 18 months and finally decided to try to get him ground in Karate, perhaps we can pre-empt by stating that over here for some hands on time. Little did I know it but it is very much an "ordinary" background. You have the only real cross-road of my karate career was just over clearly been a competent and diligent Karate-ka as a stu- the horizon. dent, as an instructor, and in a competitive background, before your period of self-study. Perhaps you can give us In '94 all the arrangements were complete. I'd arranged a some insight as to the crossroads in your training career schedule of about 8 venues all over the country for Rick to that have taken you to where you are now? visit, which would finance his trip over. I met Rick off the plane at Heathrow and it was pretty weird. Although we BB: To be honest there haven't been any crossroads. It’s had never met face to face we felt like old friends due to been a series of subtle bends and curves and the occasional the amount of on-line contact we had had. It was a hell of fork. The ones that were probably most important for me a two-week period. Rick seemed to take great delight in were going to university (I'd been a shodan for about a year keeping me in almost constant pain - just to make sure that by then) and starting a karate club and teaching. That was I understood where the points were and how to use them! from '84 through to about 1990. Any instructors reading Each day I would drive Rick out the seminars, get mashed this will probably agree that teaching is hugely helpful to on more vital points than I care to think about, drive home you in clarifying exactly how to do things. again, eat, and then get mashed on more vital points until about 3am and then do it again the next day. I was a wreck My instructor at that time (Malcolm Phipps) and I were by the end of the tour but I learned a huge amount very publishing a small circulation karate magazine (called Dojo quickly. Magazine). As a result of that I got invited to do inter- views with various instructors and train on a large number The major crossroad came a short while after the tour. My of courses with other karate groups. That experience really karate goals had been drifting away from standard Shoto- broadened my horizons and from training around like that I kan for sometime and this was putting some distance be- learned to look at what people were doing, to see the com- tween my instructor and me. Finally, the straw that broke monality, to observe and understand the differences and to the camel's back came and I decided that my position in steal the good stuff and incorporate it into what I was doing that group was untenable and I resigned followed a few myself. months later by many more in the group. That was a pretty tough decision to make because it meant stepping outside Another thread of influence started in the early 90's. I've my comfort zone. I think it was a pretty tough time for always worked with computers and was one of the first everyone involved but from what I can tell things have people in the on-line community on the internet (before the worked out okay for most. That left me in a bit of a vac- world wide web). I started to make contacts with people in uum but I looked at it as an opportunity. One of the things Rick is big on is identifying weaknesses and getting you to go and find solutions. He had told me that my grappling skills were pitiful (actually he wasn't quite as tactful about it as that!). So I went to a good aikido dojo over the next 18 months and started to acquire some basic grappling skills.

Another minor crossroad came when, due to pressure of work (I run my own business), I just couldn't get to the dojo any earlier than 10 minutes before the end of the lessons. So I started training on my own at home late at night - something that various styles and groups and continued my process of I've continued to do over the last six years. I decided that I learning and generally building my personal knowledge would study a single kata for a year, really break it apart base. Also at about that time Fighting Arts Magazine was and get a feel for how the Okinawans trained with just one publishing articles about George Dillman and vital point kata over a prolonged period. Now six years later I'm still karate. There was quite a controversy going on. Vince training in the same kata. Morris set up a seminar at his dojo in Nottingham with George Dillman and Wally Jay and I was very curious so I SW: That was a nice way to do the "when and where did went along. I have to say I was pretty impressed by what I you start training" question. saw and felt. The one aspect that I was most keen on exploring was using the vital point ideas to look at the katas Many of those who are currently advocating "realistic Ka- in more depth. Shortly after that I came into contact with rate" are aligning themselves with Bodyguards, Security Rick Clark from Indiana, USA. He is highly ranked in a Personnel, Law Enforcement and other "front-line" groups, number of grappling and striking arts and had worked with to try and gain some stamp of approval to their training. George Dillman a number of years previously and had You on the other hand, show no desire to gain any such started teaching seminars all over America. I barraged him approval for your methods? Do you consider your research with questions, discussed the answers with him over a to be appropriate to these groups, or do you believe that Kata Unlimited Page 6

your study has given you a system that is more appropriate down to being ready for different ideas at different stages for you? in our development as karate-ka.

SW: As well as a strong martial artist, you are a strong thinker; you can be credited with looking at everything from left of the centre, or "out of the box" as some instructors would say. Which people have influenced your study over the past 5 years - martial artists and otherwise?

BB: I have a growing number of influences but the mainstay ones have been Rick Clark, Patrick McCarthy and Vince Morris. I've also been strongly influ- BB: It depends which way round you want to look at enced by the work of Geoff Thompson and Peter Conster- things. I've drawn heavily from those fields for solid infor- dine. You, Steven, have made a bigger contribution than mation on the way things happen in those environments. you realise, as has Gerry O'Dea. And in the last year plus Then after examining what they are doing and with what my training partner, David Margree, has made a big impact goal, I take what is useful to me in the environments and on my training. scenarios I am training for. The "rules" in the various environments are different and so the strategies and tactics Rick was really good for me because he has a wide skill required to optimally reach the goals set for those differing base and can advise on cross training issues. He also binds roles will be different. For example, security personnel everything he does together with the common theme of can't give as much ground as I may choose to do in a self- vital points which helps show the commonality between the defence situation because their end goal for the negotiation various arts. is different to mine. Their rules are proscribed by their employer and the law. The rules for self-defence are pre- Patrick has had a major influence on my thinking. In par- scribed by the individual and by the law. So just as I've ticular his ideas about kata being the culmination of learn- imported information from the fields you mentioned I've ing rather than the start and also the concept of habitual also imported other material from other areas, which they acts of physical violence. may find useful. So in short they would probably find parts I like the work that Vince Morris has been doing over the useful. In terms of gaining approval; my view is that I'm last 10 years. I like his direct thinking - its unstoppable doing this for me; it's my karate. It's always really good to common sense! get approval from those whose work or views you respect. If others have criticisms then I try to listen to them and try I've found the ideas and concepts from the work of Geoff to take their side in the debate, then I'm guaranteed to either Thompson and Peter Consterdine extremely useful not just learn something or be able to fully justify what I'm doing. for the pragmatism of technique but also in the area of What I would say is that I've found that returning after applied combat psychology. several years gap to something I've previously rejected often allows me to see it in a new light because of what I've I should also mention Steve Hyland (although he doesn't fit learned in that time. I'd encourage others to keep review- in to the time frame of the 5 years in your question). He ing ideas too. For example I did this with NLP. Gerry was doing this sort of thing back in the eighties and I've O'Dea told me I should look at it about 3 or so years ago. I drawn heavily on what he was teaching then. At the time, I took a brief look and thought it was of little use. Then was too immature to really take on board what he was say- subsequently (at your prompting, Steven) I looked again ing - I was really more interested in standard Shotokan, and this time found a treasure trove of good information competition, and my comfort zone in the group that I was which is very applicable to the martial arts - that comes in. Like I said earlier it's often worth going back and look- Volume 1, Issue 5 Page 7

ing at things from a fresh perspective. how people change on the scale of shu-ha-ri. Talking about style for people who are in the shu stage is valid. It You, Steven, and Gerry O'Dea have been a great constant is where they are developing their core skills and in order over the last 6 years. I've certainly had more feedback from to do that you need clear guidelines and black and white both of you on what I'm doing than from anyone else. It's answers. Anyone who talks about their style being best is been really helpful to have the constructive criticism. In probably still in the shu stage regardless of their numerical this last year I've been lucky to find a really good training grade. If you are predominantly in the ha stage then you partner. David has lots of good experience from law en- will be learning from a variety of sources and the concerns forcement and has been instrumental in helping me make a about this or that style become less important. I imagine transition from almost exclusive solo practice to mixed solo that at the ri stage you just do what you do. So as you go and partner practice. through those stages what you learn is that the black and white answers you had before are actually the two extreme Finally, I should mention Terry Pratchett - he is the king of ends of a spectrum and that in-between there is a hell of a out of the box thinking. Even if you can't always climb out lot of grey. So what have I learned about style? Well, I of the box, it's always worth looking at things from a new would say that I've learned that it is important to start with angle. and it decreases in its importance as the martial artist ma- tures. SW: You have stuck strongly to your Shotokan base, and cross-trained to fill in the "gaps in your knowledge". Per- SW: Many of the other martial artists who seek to better haps you can describe some of the cross-training you felt understand kata, elect to do so from an anthropological or necessary to supplement your Shotokan training? What historical perspective - through research; they try to un- cross-training would you like to do in the future, and why? cover the original applications to kata sequences. What is your take on this? BB: Wherever you want to get to you always start from where you already are. There is no point throwing away BB: Well, people who try to get an understanding of kata at everything and going in a totally different direction when it any more than a superficial performance level will need to is easier to modify what you have, putting aside the things bring any resources they have to bear to gain deeper in- you no longer need and bringing in new knowledge and sight. Whatever you do to understand it better you are skills. When Rick told me my grappling skills needed bound to succeed in one sense or another. Most people work I went and started training in an art that is more hands who study a kata try to work out what the applications of on than Shotokan. I now realise that starting from the be- that kata may be. That is where I started with Gojushiho. ginning in another art is not really cross training - it's paral- Usually they will work out some applications for the more lel training. Cross training is really about looking at other obvious movements and then when they are stuck on the arts, absorbing what you need and incorporating it into less obvious movements they will look to how other styles what you do. I'm pretty comfortable right now with the do that movement or they will try to uncover an ancestor path I'm on i.e. I see karate as primarily striking and kick- movement in an older version of the kata. There is nothing ing with associated skills that get you in a position to do wrong with doing these things - it's down to personal that striking and kicking. So for example there are methods choice. The thing that we should all recognise, though, is that allow escapes from common grips, grabs and pins; that it is impossible to know for sure exactly what the origi- there are trips, sweeps and throws to put the opponent in a nal application for any kata movement was. You then have position where you can strike him, and so on. Primarily, to ask "Why does it matter?". Now if you are a karate his- what marks karate out from other arts is this strategy of torian then clearly your objective is to reconstruct as best manipulating the opponent in order to strike him and finish you can a picture of the past; so clearly it matters to histori- the confrontation quickly. Given that that is the strategy it ans. However, if you are training for self-defence then makes identifying cross training requirements quite simple. what someone did in the past is of little relevance to your I need to identify skills that support that strategy, find peo- immediate goal. Studying the katas is an avenue to finding ple that can teach it and then incorporate those skills into good techniques and combat principles but we shouldn't be what I do. Shotokan is a good base to build upon if you so blinkered that we think it's the only or best way. Person- follow this "strategy of karate". It has at its core simple ally I've looked at many areas: anthropology, primatology, striking and kicking skills and within the kata there are all psychology, combat strategy, physiology (eastern and west- of the other skills. The trouble is that if you try to reverse ern), and so on. Provided you can find ways to apply the engineer out of the kata you are simply self-teaching the knowledge it is all useful. other skills. It seems more sensible to me to identify your aims and then go to someone who can help you achieve SW: Did you ever feel the need, or see the benefit, in trying them. One of the areas that I'll be working on in the future to discover older, or more authentic versions of Gojushiho is my ground escapes which are only slightly above the kata, to help in your study, or did you find no need to do pitiful level! this?

SW: Many of the "realistic self-defence" advocates have BB: I've taken a pragmatic view. First off, I can't drop abandoned the notion of style...did you ever consider doing everything here and go off to Okinawa to do the first hand that, or has your study caused you to better understand the research. Actually I could but I choose not to: I put my benefits of having a particular style behind you. Have you family and business first. So if I want to do the research learned anything about the importance or non-importance I'm going to be limited in what I can find out (if the infor- of "style" in the arts? mation exists at all) and most information is going to come in second hand. Second, I could collect many contemporary BB: Well I think you have to be careful with talking about versions of Gojushiho but you have to ask, "What will it style in one dimension. I think it is important to consider achieve?" I would just get some different performance Kata Unlimited Page 8

parameters, and even if some of those versions were closer of mental rehearsal techniques, i.e. a subtle combination of to "the original", would it be helpful to me? What I chose imagery and real movement. So basically, the more I in- to do instead was to work with what I had (i.e. the Shoto- vent the more I realise it has been there in the kata all kan version) accepting that it had certainly changed from along. the original and I took an interest in other versions as I came across them. As time went on and I learned more SW: Gedan Barai against Mae Geri. You still do it. Why? about the mnemonic properties of kata and how best to exploit that I became less concerned about keeping the BB: Well, even though I left mainstream Shotokan about 8 original form and more interested in understanding the years ago, the 15 years before that ingrained the habit. I've intrinsic value of the kata. been trying to unlearn it but it's the one I'm having least success at. Actually, this brings up a point about habits and SW: So the realists may criticise you for keeping kata at instinct that I cover at length in my book. Basically, it is an the centre of your study, while the historians may criticise instinctive reaction to put out your hand to prevent an in- you for not using the kata in it's original context. Are they coming technique from hitting you - a simple flinch re- both wrong? sponse. If you then build on top of that habit and in align- ment with it you can more easily get the technique to the BB: As far as I am concerned Kata is simply a training stage of "unconscious competence" as they call it in NLP. tool and as such is neither good nor bad in its own right. This means that you do it without conscious thought. Now, Whether or not kata is at the centre of the training regime if you take a technique that is contrary to your instinct then or not is irrelevant. The real question is "Is the training it will be relatively more difficult to move to the uncon- regime any good?" i.e. does it help you prepare to meet scious competence stage and indeed it may be doomed to your objectives. The fact that I use kata as a mnemonic remain at the conscious competence stage, which means and mental rehearsal tool to facilitate a comprehensive you have to think to apply it. There is no time to think in a training regime is what is important. I'm happy to have fight so we all need to get the techniques we will use into people criticise but they had better do it from an informed the uncon- standpoint. If they make an assumption that I just repeat scious com- the performance of the kata over and over again hoping that petence I'll become an accomplished fighter, they have made an category. incorrect assumption because that is not what I do. Can I Conversely, plug the book at this point? Read the book first then I'll if you have happily accept any criticism anyone wants to throw my something way. With regard to criticism from karate historians I'm that is un- happy for them to examine my work on how kata was used consciously originally; I think it stacks up pretty well and if anyone can competent help me refine it, even if they do it by harsh criticism, I'm then you happy to listen. have to work quite SW: You held onto kata originally as a mnemonic for your hard to personal self-defence system. As you tried to better under- bring it stand mnemonic learning, you have branched into many back from areas concerning the psychology of learning and recalling there and information and movements, particularly under stress. As replace it I've observed you over the last 6 years, working with Goju- with some- shiho kata, just as you've thought you've squeezed the kata thing else. dry of it's usefulness, you always manage to uncover an My stop- area of research for which you seem to recognise that kata ping kicks is a powerful nucleus [I'm thinking of your stuff on NLP, by sticking mnemonic learning, etc.]. Do you think this is testimony to my arm down in front of them is in that category. This one your inventiveness, or do you think it is testimony as to technique is so deeply ingrained that I'm now researching why kata can offer a powerful core to an individual study optimal methods for moving techniques both in and out of of self-defence? the unconscious competence stage. This is taking me into areas that are much more "right brain" than I've done be- BB: Probably a bit of both. I've often considered the more fore. I've always been a "left brain" logical thinker. This radical idea (at least to a traditionalist) of dropping kata comes back to what I was saying earlier about returning to altogether and replacing it with another methodology. ideas that you've rejected earlier and re-examining them. However, the more I've researched, particularly in the areas There are loads of right brain intuitive areas that I've ig- of mnemonic methods and mental rehearsal, I've come to nored and that I now realise will be rich hunting grounds realise that kata is an excellent tool for self defence train- for me. ing. I'm not talking about the repeated practice of the performance of the kata here. You see, when most people say SW: People talk about the concepts of Shuhari, and of they practice kata what they really mean (if they were to Mastery, and of one day becoming spontaneous in their state it more precisely) is that they practice the perform- actions, as if they are states achievable by the few. You ance of the kata. There are some benefits to doing that but are perhaps unique in your outspokenness, that such con- that is only scratching the surface. Kata is simply a tool cepts are within the grasp of the many, rather than the grasp that facilitates "anytime/anywhere" practice of responses to of the few. Can you describe Shuhari, and Mastery, as you habitual acts of violence, pre-emptive actions, mid and end understand them, and tell us how you believe we can strive fight tactics and techniques. It also combines the very best Volume 1, Issue 5 Page 9

to achieve them? been writing. The kata is still recognisable as a Shotokan and similar styles' kata and I wanted the book to be accessi- BB: If you have nebulous goals then you are unlikely to ble to the mainstream karate audience. So, after the publi- achieve them. One aspect of setting goals (which I go into cation I'll be accelerating my research in the area of new detail about in the book) is setting proper time frames to kata and training regime development. The reason I wrote achieve them in. Your goal might be to be able to act en- the book was that lots of people have taken an interest in tirely spontaneously in a fight some time later in life be- what I've done because it's unusual, and also because most cause as we all know karate "takes a lifetime to master". people who have read anything about karate history know Well, in my view it doesn't have to take a lifetime - I don't that they used to practice just one or two kata in a lifetime. want it to take a lifetime I might be dead by then! If you Most modern karate-ka find that incomprehensible, so decide that it will take you a lifetime to master it then it when someone actually goes and does it they are curious probably will. Mastery is made up of a skill set that has about the result. The best way for me to communicate my been made unconsciously competent. That is within the findings is in print because it allows me to structure the grasp of everybody. Which brings us nicely to Shu Ha Ri message properly and also it can reach more people. or the three stages of learning. Most people use black and white thinking with shuhari. They believe that you are Five Years, One Kata by Bill Burgar. Available from San- either in shu or ha or ri. But life is never black and white, bushi and all good bookshops both on and off line. ISBN its always grey, a spectrum between the two extremes. 0954446607 You will have some skills that you have entirely mastered and others that you are unconsciously incompetent at, i.e. Web orders at www.sanbushi.co.uk/martialartspublishing. you really stink and you don't even know you stink! For By phone on 0870 92 205 92 (please leave your name as it those two you are at opposite ends of the shuhari spectrum appears on the credit card, delivery address (must be the so you see you can't be in just one stage. You could take a same as the card address), phone number, credit card type, skill, a well-defined and bounded skill, and become a mas- number and expiry date. Or by post, cheques to ter of that skill quickly, then you attack the next skill and “Sanbushi”, send with your name and address to Sanbushi, incorporate that, too. Total mastery is just the combination 44 Spylaw Street, Edinburgh, EH13 0JT. Most orders filled of mastery of its components. So the way I approach this is within 10 days. When paying by cheque please allow 28 that I'll set small easily attainable goals, work to reach the days for delivery. UK price via Sanbushi including P&P, goal, then put that skill on a maintenance regime and move £26.99. Postage to other countries varies please ask for onto the next goal. In order to be a master in someone's details. Also widely available to order in all good book eyes you just need to be sufficiently better than them that stores. they can't understand why. Of course it's the same with BS! That's why some people's masters are just BS mer- Go to www.martialartspublishing.co.uk for more details. chants to other people.

SW: You taught Karate, successfully, for a large number of years, before this period of introspective study. Were you to go back to teaching now, in a classroom setting, how do you think you would restructure the learning to best impart the lessons you now believe should be taught?

BB: That is really hard to say because I've not had to spend any time thinking about it. It's complicated by many fac- tors but I would currently favour the Okinawan "back yard" method. i.e. small groups practicing kata, partner drills, and strengthening and impact practice. I understand the need for a more organised approach for larger classes and the need for class discipline to ensure health and safety issues. Of course there are commercial issues to look at too. It takes a good number of people to fund a club and for the instructor to earn sufficient to make a living. So if I were to teach for the love of it I'd go for the Okinawan approach and if I were to do it professionally I'd go for high numbers, good merchandising and so on. To be commercial you have to have kids classes which fills me with horror! That's not a career choice I'd like to make. Fortunately I make my living in another field and I can choose how to spend my time in karate. An interesting point that I've noted is that instructors often confuse the practice of karate with the teaching of karate.

SW: What does the publication of this book represent to you? What was your motivation for authoring this book, given you are not one to self-promote themselves typically?

BB: Well, it's an ending and a new beginning for me because I've held up technical changes to the kata while I've Kata Unlimited Page 10

The Samurai School of Battlefield Arts by Steve Chriscole

something of you, or heard that you It may be that the majority of read- performed well in the last skirmish. ers are involved in Karate in one He wants to give you the tools to form or another and so may become a good soldier. After all, its “switch off” as you turn the page in his own best interests. So you find to see Japanese sword arts. I’m not yourself being sent quietly off to the noted for giving advice, but just nearest Katori school. You’ve been for once I’d like to give a little, used up to now to your own local “Don’t!” training regime, perhaps you have your own sensei employed by your I don’t think it matters at all which Lord. You would have trained there of the martial arts you study, there when your duties allowed. Now you is a great deal to be learned from are off to train full time in a school attempting to immerse oneself th highly regarded as being the oldest, (temporarily) in the world of 14 and most respected school of the century Japan. In doing so, so day. much gradually reveals itself, Above - Katori Shrine, Chiba, Japan which greatly adds to martial arts Below - Katori Shrine, main gate Your arrival would be expected as practice in the here and now. It word was sent ahead weeks before. opens the eyes to so much, to be You settle into the fairly austere able to have an insight into just quarters. Don’t forget, that now you how the arts developed, what they are in a training school, and there is were actually used for and how little room for comforts. You will they were implemented. It is with have basic facilities, probably shar- these thoughts in mind, that I pre- ing a room with other students. The sent a small study of the oldest and usual washing and bathing facilities most complete school of martial are available, and there are servants arts that survive today… Tenshin to help with food preparation and so Shoden Katori Shinto Ryu. on. After you have settled in, perhaps next day, the headmaster of the I won’t bore you with the history. school summons you to his “office”. This article is not about history, When you arrive, you hand your per se, but more about putting long-sword to the orderly outside, yourself in the sandals of a soldier th th who places it in a nearby rack and in the 14 or 15 century as the various clans fought then shows you in. You then introduce yourself, bowing against each other, for control of land and power. But even deeply and you notice scrolls on the low lying table in front then, I can’t take you there. You must use your imagina- of him. There is a small tanto (dagger) and writing materi- tion. But imagination on its own is useless. You need als scattered on the table, and you wonder what this is all something authentic that feeds that imagination, if your for. You are about to find out. The headmaster welcomes picture of that world is to be anywhere near accurate. So you and asks you to sit opposite him. He goes on to explain then I give you a real, live piece of Japanese history. So what he expects from you as a student, something of the much so that the Japanese government has declared Ten- regime and finally, before you are allowed to begin your shin Shoden Katori Shinto Ryu as a National Treasure, and studies, he requires you to repeat the oath of the school, as such is regarded as living history. which is written on a scroll on the table. The oath is one of swearing utmost secrecy of the techniques to be learned. To get you going, let me do a quick sketch in your mind. That done he takes the dagger, hands it to you and instructs Imagine if you will, that you are employed in the service of you to cut a finger and mark the scroll with your blood. your Lord (Daimyo) and you can trace your lineage to one of the two Samurai families. Therefore, you are Samurai. Now you are enrolled into the school of Tenshin Shoden Unlike the basic foot-soldier, you live in reasonable quar- Katori Shinto Ryu. Training begins immediately, as you ters, perhaps in a castle or local village. Your wife and made sure you were wearing your training attire, the harder family may live with you and so this is your home. You wearing hakama and gi, anticipating that the training would have certain duties to perform for your Lord, which could be long and hard. You were right. Training is intensive. be one of many things from guard to body-guard, teacher The school already expect you to be a reasonable swords- (of fighting arts) to one of a section of yari (spears) or yumi man at the very least. The senior student goes through the (archers). It largely depends on your rank. The lowest first kata with you, using bokken (wooden sword) you be- samurai would be little better off that the foot soldier, but gin to see immediately that there’s something different with time and proficiency in battle to prove your worth, about this school. The kata are long and involved, with cuts you may rise through the ranks…if you live. to familiar places (you recognise the weak points of samurai armour already). The movements vary from parries and To stay alive means to train. Training is offered at any broad strokes to slight movements. number of schools, some good, some not so good. Your Daimyo is sensible and knows the good schools. He is While you are training, you notice a group of students com- prepared to send you to train there. Maybe he has seen Volume 1, Issue 5 Page 11

Tenshin Shoden Katori Shinto Ryu

ing back to the dojo. You wonder where they’ve been. good measure, on a few occasions, you had to practice Later, at the first meal break, you get talking with other these forms wearing your full armour! Its hard enough to students, and you find out that they are senior students practice (as you have done regularly) wearing armour for who’ve been to a local wooded area for some “special some of the weapons training. You must be able to move in training” but nothing more is said. The looks you are given the same way wearing the armour as you do without it. Not say it all, “Don’t ask”. After the break, it’s back to the only that, the wooden weapons you use can deliver the same kata, which seems so long, you wonder how you’re blows to the body with a little force. You’re protected for ever going to remember it. By the end of the first day, sure, but that naginata has a habit of bouncing off your you’ve got the rudiments of that first kata down and you’re front plate and giving you a good bash in the face! You get exhausted, but feeling pretty pleased with your first day’s used to the knocks and bruises, and how useful is it that at training. Very little was said during the training periods. the same time, the school teaches the use of remedies and You were shown the techniques and expected to copy them medicinal techniques. as best you can. The end of the day and you find yourself being approached by the other students and welcomed. By the end of six months at the school, you have covered a They have been watching you during the day, but not let- great deal. Now its time for you to go home. Your first visit ting on. They have been looking to see how you move, how to the school is at an end. Your Daimyo wants you back. much effort you put in to your work and how quickly you There’s work for you to do and a campaign is in the offing learn. against a local clan who have been sending spies and assas- sinating members of your Daimyo’s staff. The senior students have been doing the same, and un- known to you, they report back to the headmaster, who you You will very soon have an opportunity to use your newly haven’t seen since your meeting in the morning. The next acquired skills for real. If you survive, then you will return day comes and the work from the previous day is repeated. to the school for more training. Next time it will be more As the days wear on, if you’ve put in consistent effort, you than the basic techniques you covered the first time. More will be progressed through all the basic section of sword involved work with the same weapons. You will have seen versus sword. Before long your training partner is given the how the techniques you know have worked in battle. You naginata, a long handled staff with a curved section at one can trust them. You have growing confidence now, and end, which represents where the razor sharp blade would be your skills begin to sharpen. As this happens, your poise on the real thing. You now go through more two man kata changes and your speed and accuracy increases. There is

practice, this time the techniques are different, as your still much to learn, and it could take as much as 3 or 4 opponent handles the naginata with great speed. You real- years before you will gain the necessary ability in the ise that the techniques for fighting against the naginata are school. fundamentally different. Your opponent advances largely using swinging, upward slicing motions, and attempts to You’ve picked up snippets about the “special” training, but use the butt end almost as much as the blade. This is very nothing specific. You’ve trained outdoors many times on hard. You’ve got to make much bigger movements to keep different surfaces, so it means nothing to be outdoors. This out of the way. Slowly, you learn these new techniques, as time is different. A small group of you head off to a place well as swapping weapons and learning to use the naginata you’ve never been before. A small forest a good half a days yourself. ride away (oh, I forgot to mention that equestrian skills are important too!). After arrival, you find that the training Its been a couple of weeks by now and little do you realise involves moving through the undergrowth, learning how to it, but your training has hardly begun. Before you finish move quietly, how to blend in to the scenery and many your first visit to the school, you will be expected to be other techniques with one thing in mind, avoiding detec- proficient in all the major weapons and their various attack tion. You are learning the skills of ninjutsu, the skills of the and defence scenarios: odachi (longs-word); kodachi (short assassin. The Ninja were despised by the ruling classes, but sword); ryoto or ni-to (two sword fighting); naginata they did have their uses, as they spent their lives perfecting (halberd); yari (spear). Besides the weapons training, you the arts we’ve just mentioned. The problem was, they were have been also learning the old jujutsu forms, and just for merely hired mercenaries, and as such couldn’t be trusted. Kata Unlimited Page 12

The Samurai School of Battlefield Arts

him regarding his experiences of the school.

KU: Could you give us some idea of how the style came into the UK?

FB: I’d bought Otake sensei’s books on Katori, looked at them and couldn’t understand them. The sequences were too spaced out, and so made no attempt to try and learn it. But then I met Sugino sensei on a course in Scarborough back in 1983 just by chance. So far as I know, he was the first senior member to bring Kartori to England. I had two days training with him, which gave me an inkling of what the books meant. From there, I followed the books until I met Eric Louw (Menkyo Chuden) from Holland, who is the senior grade in Europe. I realised that he had much more Your training in these techniques made you versatile, but knowledge than I did, and I decided to go over to Holland more importantly, you had allegiance to your Daimyo, and to train with him, and I’ve been going over there now for as such he could trust you far more than the scum Ninja! approximately 8 years. Eric’s sensei is Hatakeyama sensei from Kamakura in Japan. And he’s Menkyo Kaiden There’s still much to learn, as the art of soldiery in these (“Licenced - Everything passed” Ed.). He comes over from times is involved and complex. The training isn’t all about Japan & holds courses. So I get the opportunity twice a the battlefield either. As swords are worn all the time, there year to train with Sensei over here, and other times when is great need to be able to draw the sword very quickly, he comes cover to Holland. perhaps in response to a surprise attack in any number of different circumstances. For these times, the sword drawing KU: I wanted to ask you about the range of arts within the art of Iai is needed. The school teach quite a range of solo style. There are quite a number of sections which seem to kata for the purpose of learning this art, in its own unique cover what would be the full Samurai arsenal. What can way. you tell us generally, something about them?

For some time now you’ve also been learning Shuriken- jutsu at the school, a welcome change from the cut and thrust of sword and naginata. These 4 inch, pointed metal spikes are placed in pouches of 5 or 10 in various places about the body. Hidden from view, but easily accessible, they are thrown with the sole purpose of attacking the weak points in armour (again). The idea is not to kill, but merely to cause distraction and injury, slowing down the opponent, thus making your job of killing him that much easier.

After several years of training, and probably several battles (assuming you have lived to return to the school) your Dai- myo would by now have promoted you to some level of authority. Your training at the Katori school would have for some time now, included the principles of battlefield strategy and how to build emplacements, fortresses and de- fences. You have become a formidable opponent, having killed many on the battlefield and success in various skir- mishes. Its not surprising, because you were trained at the Tenshin Shoden Katori Shinto school of battlefield arts.

If we can return back to the 21st century, I want to make sure that you realise that although what you have just read FB: Well, what you have to realise is that the Samurai is my imagination running riot, it is not a flight of total didn’t come out of the womb fighting! He’d have to be fantasy. Every aspect of the training is included in the trained, just like if you joined the army today, you’d have school, even today, although as you will see below, there’s to be trained. This is a school that trained Samurai, one of only so much time in person’s modern life to study these many back in the 14 & 15 hundreds. Their job was to train things. The blood oath is real, as is the ninjutsu training. the samurai to fight with the various weapons on the battle- These men were exceptionally highly trained, perhaps more field, just as you would learn to shoot etc. in the modern so even than the special forces in our modern armies. army. What you have to remember is that the Japanese I visited one of the very few schools which exist outside were at war with each other for 200 years, and the school Japan and spoke to the teacher there, one Frank Browns- itself didn’t get involved with any one faction particularly. word. He very kindly consented to allow me to interview As far as our own training goes, we train in as many areas Volume 1, Issue 5 Page 13

as we can. But there are limits because the style has so We’re learning it, but are not required to give up our lives, much in it. There are some areas that are so advanced, but but we’ve got try and practice as hard as we can and as more like Sensei always says, its more like you just don’t well as we can, because people died for it. People died to get around to them very often. We learn bokken, Bo, Nagi- carry this on in Japan. They went out on the battlefield and nata, Iai, Ni-to (long & short sword). It almost takes a life- they either lived or died. Those whose schools were infe- time to learn those. There are other areas like Yari (Sojutsu rior, their people died, and so would the school eventually, – spear Ed), Jujutsu & Shurikenjutsu. I’d like to be able to never to be heard of again. The good school would still lose get around to them, but life’s too short! If I was 20 I might people, but a lot would survive. So for a school to survive stand a chance! from the 14th century until now, must have something good going for it. KU: I am led to believe that in Japan, koryu (classical) fighting arts are gradually dying out. Is this true of Katori Another thought I have is, “Why let something die after as well? 600 years?” As you said before, a lot of arts are taught more outside of Japan. Katori might eventually become one FB: There’s never been a mass number, even in Japan. of those. People I know who’ve gone to Japan to train say that 10 to 15 people in the dojo at any one school, is quite a good KU: One way or other it sounds like keeping a tradition school. Over there Katori is stabilised. There are more alive? people training here now than before. There are no medals or trophies to be won like in Kendo and even the Japanese FB: Well, for me not so much trying to keep a tradition are minded in this way, dragged into the western way of alive, but because I enjoy it so much! Sensei says, “When looking at things. Those that do a style like Katori are do- do you finish?” The answer? When you don’t enjoy doing ing it for the love of it. it anymore.

KU: That neatly brings me to my next question which is; KU: There’s an enormous amount of kata work involved in what draws you to train in an ancient classical martial art? Katori Shinto Ryu. What relevance is the kata. In other words, what is its purpose to the art itself. FB: That’s a good question, I wish I knew the answer! No, it’s one of those things, having been attracted to it so long FB: To attack and defend, you must have a set pattern for ago, you kind of get attached to it. My thought is, I try to the moment. You can’t learn Katori without some pre- visualise what it was like back in the 14th century for the conceived ideas. Eventually, when you’re on the battle- person trying to think when he was learning it then, be- field, all your kata will be thrown away. When the conflict cause he was learning it because he had to give up his life. starts, you’ve got to be able to take whatever bit of kata from wherever it is to be able to deal with whatever is com- Kata Unlimited Page 14

The Samurai School of Battlefield Arts

ing at you. You have to be able to learn how to deal with FB: No. Its very rarely done these days. Hatakeyama sen- each situation in advance, and that’s what the kata does. In sei, although he is a jujutsu master, says that there’s enough training you are taught in a set order, but in the heat of jujutsu clubs about nowadays. Its dying in Katori. Although battle, you have to grab whatever bit of knowledge you I think the old men in Japan do it, but they don’t bring it have to deal with the situation and set order goes out of the outside. It will be a very old form. window. But obviously, if you haven’t been given that knowledge in some shape or form, then you can’t use it. Jujutsu was in every school at one time. At that time, the

For example, if you were to pick up a Naginata, well it’s a idea of “dou” hadn’t been invented and 14th century Samu- tremendous weapon. The kata gives the opportunity to rai didn’t have the word for “dou”. All arts were learn to attack and defend with it, but in stages, as the kata “jutsu”…battle field arts. You weren’t there to take care of become more involved as you go along. Attacking to the the person, you were there to kill him! body at various points, not the other person’s weapon. All the two man kata build up in this way in complexity. Some KU: From my research, I came across an aspect of the are very close up, where you’re hitting them in the face school which I found fascinating, that being battlefield with the bokken, some are further away. You are learning strategy and tactics. to cut your opponent in certain ways because he would be wearing armour. Then you would learn how to defend FB: Yes, they taught you how build castles and where to against attacks to those points. The key is to try to allow build them. How to build ditches. I mean, you were in the the opponent to commit to an attack, and not move too “army” and that’s it. Of course, we don’t need to know soon, and then move. He has to be convinced he’s got you, these things today as our lives are very different to those and then you react, waiting until the very last moment, and days. We come home from work and maybe go to the dojo. then you’re not there. In those days you were there 24 hours a day.

So if you bear in mind that all the forms, except Iai, are KU: “Sandhurst” with a twist. Frank, thank you very much designed to be done while wearing armour. So all the for your time. points we attack, the man we would see wearing armour. Kendo would attack full on. We would attack the lacing of You may think all this a far cry from 21st century life and the armour, underarms, inside legs and arms, side of neck, you would be correct. There are however, many lessons to under the helmet. All the attacks have to be precise. It takes be learned from the past (a thing we humans struggle to do) a long time. You have to understand the armour, and its and as martial artists we should be knowledgeable of rele- weaknesses. But the kata themselves do it for you, once vant past and try to recognise that perhaps some of the you understand the forms. First of all I teach where to cut, values from those times need to be preserved. I don’t pre- then eventually because of armour here & there etc. sume to tell you which ones, I’ll leave that up to you.

KU: Then there’s the other side of kata practice – the solo forms could you tell us something about those? References: FB: Yes, this is Iai. Here you only visualise your opponent. www.aikikai.nl/ksr/ksrhisn.htm - short history and curricu- Obviously there is no partner work as we’re using live lum listing. blades. I am doing the techniques for real, but in my mind’s Classical Warrior Traditions of Japan Volume 2 – Sword & eye. Although we do often use someone with a bokken to Spirit – edited by Dianne Skoss play the part of attacker, to help to show why a movement Japanese Swordsmanship – Technique & Practice – by is done in s certain way. Gordon Warner & Donn Draeger

KU: You mentioned earlier on a section of your school For further information about training, contact Frank which practices jujutsu. Is that something that you practice? on 01782 550674. e-mail: [email protected] or see http://www.geocities.com/katori_uk Volume 1, Issue 5 Page 15

The Kata Heretic - by Simon Keegan

Simple sophisticated - but operating on a similar principle - applica- must have evolved from the skateboard. Now as we tion from all know the car and the skateboard were evolved Heian independently of each other to suit a different need, Shodan. but we can see how our hypothetical transport buff No fancy arrived at his conclusion, by using reverse engineer- stuff here! ing and falling way off the mark. And that’s the problem with reverse engineering. Now one of the main theories of the “hidden kata application” is the pressure point theory. The one which states that it’s pos- Health warning: read- sibly in the heat of a fight to strike accurately to a ing the following col- pressure point and fell an opponent. It is in fact possi- umn may cause feel- ble but very unlikely. In a real fight it’s hard enough ings of anger and bit- to land a decent punch on the opponent’s face, never terness. mind gall bladder meridian number GA347. I re- cently ran the pressure point theory by a top class One Sunday night - practitioner of Chinese martial arts, -one who is an in 1995 as I recall - I indoor student to a genuine international grandmaster was practising my and no stranger to street-fights. His reply was this: Heian katas in class. "In a real fight there’s probably six pressure points My instructor at the time wandered over and asked you can hit. But really, groin and throat. Anything me to show him the first few moves of Heian Sho- else is a bonus." Karate Kata contain a wealth of ap- dan. “Do you know what the application is for those plications. There are blocks that can be locks, moves, Mr Keegan?”, he asked. “Oss Sensei! Gedan punches that can be throws, kicks that can be trips Barai parrying a low kick, counter with Oi Tzuki, but let’s not forget, sometimes a punch is just a stepping punch.” “Hmmm,” he replied, “but don’t punch (to the tune of A kiss is just a kiss, altogether only think of your Gedan Barai as a parry, as it can now!). Don’t search too hard for what is not there. As also be an arm lock or throw.” “Hmmm, I see.” I one of my teachers frequently says: "Don’t gild the replied, feigning enlightenment. Up to this point I lily." had thought of my forms as a type of shadow boxing drill for practising striking techniques. I had never thought that they might contain throws and locks. Since then, like most of you reading this publication, I have come to realise that kata are a universal database of multiple applications, from locks to throws to strikes to trips. But I wonder if some of us in our quest to crack the code of kata are trying too hard and landing far off the mark.

Take the theory that the original application for Could this be an application for the opening kata was a two-man flow drill designed to work with a partner, not to defend against an assailant. This moves of Heian Sandan? theory has many arguments in its favour. It is argued that the monks who devised the kata would not want to use violence; it is also argued that this would be the missing “push hands” enjoyed by other originally Chinese styles. With no contemporary records of the true applications, modern scholars have “reverse en- gineered” the forms to find the probable applications. There is however a problem with reverse engineering. Hypothetically let’s say there exists no record or photographs of the 20th and 21st centuries. In a few hundreds years, a student of the transport industry decides to document the history of car engineering. Bushinkai instructor Simon Keegan holds black belt He finds a car and he finds a skateboard and by ex- grades in Shotokan Karate, Kiai Yamabushi Ryu Jujutsu amining both concludes that the car, being far more and freestyle Karate. Kata Unlimited Page 16

Directory This section is intended to enable individuals to find and contact others who practice with the express intention of furthering their understanding of their art through the medium of kata and kata based training (but not exclusively). The people in this directory would be those who devote a significant part of their teaching & training to the exploration of kata and applications which have their root in kata. Karate

Glasgow Karate-do Shoto Association Karate classes held in Glasgow and Milngavie. Style taught is Shotokai Karate augmented by training in other martial arts. Regular cross training courses held with Rick Young in Glasgow by the association. Head coach: Stephen McGlinchey, practicioner of Shotokai Karate for 35 years, awarded Black Belt in Shotokai Karate in 1972 at the age of 17 by Master Harada. Contact address/telephone no/e-mail & association web site address: Glasgow KDSA, 144 Rampart Avenue, Glasgow G13 3HX. 0141-959-8192. [email protected]. Web site www.glasgowkarate.co.uk Shin Do Shotokan Kyogi - Tai No Sen Dojo - Wigan, Lancashire J.K.S. Shotokan Karate. Style is taught traditionally, with emphasis on technique, kata and applications. Dojo run by Steve Lowe (3rd Dan J.K.S.) 20 years (plus) experience. Training held Monday & Wednesday evenings, 7.30 till 9.00pm.Contact 07747 122707

British Karate-do Chojinkai - Cockermouth & Whitehaven, Cumbria Wado Ryu Karate taught by Iain Abernethy (4th Dan). Teaches Wado ryu style with special emphasis on kata, bunkai and other kata based training. 21 years experience. Contact Iain on 01900 829406

Bushinkai - Wigan, Lancashire Kia Yamabushi Ryu Shoshin Ryu, Bugei Remni. Shotokan Karate & Jujutsu taught, as well as various weapons, by Simon Keegan, (2nd Dan Shotokan; 1st Dan Jujutsu). Contact Simon by e-mail: [email protected]; Tel. 07763 150842; Web site www.bushinkai.co.uk

Traditional Karate Club - Cardiff, Wales Bernard Downey (4th Dan) holds training centred on Kata and its application to common attacks. Anyone interested in exploring and understanding their art is welcome. Training on Monday & Wednesday evenings 7.00pm to 8.30, Roath Community Hall, Roath Park, Cardiff

Go Maru Karate Club - Gateshead Tyne & Wear. Teaching Shotokan Karate to both sexes aged 5yrs to 45yrs at present but will take from 4yrs up. Training days and times: Thurs- day 6.30pm till 7.30pm, Sunday 4.00pm till 5.00pm. Contact number: 0191 4206286. Sensei Mick Farrow, St Andrews Church Hall, Whinbrooke Rd, Leam Lane. Website: www.gomarukarate.azn.nu Email:[email protected] our members of the NORTHERN KARATE ASSOCIATION and N.A.K.M.A.S. Iaido

Muso Jikiden Eishin Ryu Iaido - Stoke-on-Trent, Staffordshire International Martial Arts Federation (Senior UK Instructor) John Lovatt (5th Dan (Renshi) Iai; 5th Dan (Renshi) Shotokai Karate; 3rd Dan Kendo, 3rd Dan Nihon Jujutsu, 1st Dan Judo). Teaches classical Iai to high standards. Classes held Saturday 2.00 - 5.00pm at Willfield Community Centre, Lauder Place, Stoke. Contact John on 01782 320473 Aiki-jutsu

Kaze Arashi Ryu - Haslingden, Lancashire Aiki-jutsu, Atemi-jutsu, Jo-jutsu, ken-jutsu. Classical (koryu) art of the Mountain Warrior Monks of Japan. Taught by Kirby Wat- son (Menkyo), senior UK instructor. Contact on 01706 219747. Training also available around the UK - London 020 8404 2404; Liverpool 0151 521 3813; Lancashire 01706 213015; Tayside 01764 652254; Grimsby 01472 594045. Website www.kar.telinco.co.uk Volume 1, Issue 5 Page 17

Kata—Form & Function (Part 3)- by Bernard Downey

Like a number of individuals, Bernard has been researching independently over a good many years to try and fill the void in the karate curriculum. His story is certainly familiar to me, one of initial enthusiasm, then perhaps starting to lose interest, and then, either by chance or design, realising that there is much more to karate than meets the eye.

Bernard has begun to share with us in this series, some of the fruits of his labours. His experience over the years is perhaps an example to us all in that he is one person who has sought deeper and more common sense meaning for his chosen art. He has dis- cerned “wheat from the chaff” and put together ideas and a training regime for himself which goes against the accepted “norm” (if there is such a thing) and yet to my mind maintains the integrity and spirit of a fighting system developed with one thing in mind - personal protection.

Here then, is the final instalment of this article (Ed.)

Let`s take another look at “Jitte” and see how we could possi- Photo Sequence [1] (Above): 5 postures taken from Jitte, bly use the postures adopted within the form in a simple and used to form the basis of flow drills which encourages effective way to counter various attacks . Remember…not greater understanding of stances while providing useful everyone would use them in this way but the aim of this themed practise is to allow the individual to dissect and kata applications. choose what will work for them and if a response is carried out in a positive manner it will have every chance of dealing successfully with the attack and build a firm base of belief in the individual that they can make it all work. New life can be breathed into your Kata practise by using this method and a greater understanding of the “roots” of your chosen art.

Photo sequence [1] above shows the five postures I have chosen from this kata to demonstrate this particular drill. Photo sequence [2] below shows one possibility for the use of those postures. Kata Unlimited Page 18

Kata—Form & Function (Part 3)- continued

Photo Sequence 2 (and on previous page): Demonstrates how the postures can be put together to provide a training tool from kata. It may not have been in the mind of the original creator of the kata. Who knows, and does it matter?

Looking at the above sequence, it begins using the “Yoi” posture and “Migi-Age-Uke”….Lapel grab/ right hand…”Kakushi” Strike into Medial nerve ( Pc .7) Pull attacker`s right hand ( Hikite ) as Age-Uke is applied to neck area…Moving on to the next posture….Control attacker's right arm and turn under it and apply a straight arm bar (using your shoulder as a fulcrum). Snap the arm and then flow into “Manji-Uke” posture to deliver a strike to the GB.20 point on the back of the attacker`s neck.

This sequence utilises five of the postures adopted within the Kata “Jitte”…but not in the order that they appear in the Kata. This would be a way of flowing from one posture to another while still following the basic framework as taught when performing the Kata. The understanding of the “principles” behind the postures allow the practitioner to adapt them to any given situation.

Now lets have a look at the same set of postures (more or less) and we will see that with some thought it is possible to come up with as many variations as you have time to spend! For example, this next set just so happens to end up resembling the “stick fighting sequence” looked at in last months instalment.

Photo Sequence [3]: Variation on a theme - beginning in a bear hug, this sequence is a perhaps a more direct approach than the previous one, and once practiced, leaves itself open to further changes. (This kind of sequence should dis- pel any myths that karate is a long distance fighting system! Ed.)

This sequence assumes a bear hug under the arms from the front….

“Kakushi”…Slap both ears of attacker ( which will cause attacker to pull away from you ).Snake your right arm through and control attacker`s head before pulling down with your right arm and pushing up with your left to position attacker for the final strike… the knee to the face.

This shows a variation of the response shown earlier and is done so to show the “flexibility” of the postures to respond at different ranges.They will not always look exactly like the Kata but remember that the Kata will convey the application in ideal circumstances with everything going your way…the important point to remember is to remain “flexible” and flow with the situation….and at the first opportunity “escape” ….your main objective being to get away with as little injury to yourself as possible.

Volume 1, Issue 5 Page 19

Kata—Form & Function (Part 3)- continued

Photo Se- quence 4: Head lock - you can see the use of just some of the 5 stances shown earlier. (You could easily imagine this as a real life scenario, and the solution to the pre- dicament is ruthless & efficient. Ed)

Bunkai….Against a frontal head lock. The attacker attacks with right (frontal head lock). Use the left arm to cover the attack and punch directly to his groin with your right hand (Kakushi).

As attacker reacts to take control of his right arm, lift it up and stepping through with your rear leg hyper-extend his elbow joint (at the triceps tendon point @ TW11) by locking it across the back of your neck (“Yama-Gamae” posture), while using your right arm to control his left shoulder (Or grab the throat).

As the arm “snaps” from the pressure applied, rotate behind the attacker and apply a rear strangle to render him unconscious (“Manji-Uke” posture). The whole sequence is very rapid and if performed correctly will leave the attacker unable to cause you any more problems.

Of course all of these responses must be practised constantly in order that they will function under stress and one should always remain “flexible” so as to be able to “adapt” to the encounter. Nothing is “set in stone” and as always the “principles” are the key to making it all work.

When you become comfortable in the use of the different postures you can quite easily “mix” them up and practise them in two- man drills. I have found that students will remember the use of the postures through this form of practise. I owe my understanding in this area to Sensei Patrick McCarthy who teaches many principles of combat by this method. Again, the key to this form of training is to emphasise the “ principles” of the combative postures and not to work on “techniques”.

Remember that the aim of practising these drills is to enable you to “flow” into various ranges ( using “Tai-sabaki” and “Ashi- sabaki” ) and respond in a multitude of different ways. There is no “wrong “ or “right” way as long as the “principles” are under-

Kata Unlimited would like to extend sincere thanks to Bernard Downey for this, his first (and not the last) piece of written work. When I first met Bernard, he told me how he had been thinking for many years about the possibility of putting pen to paper to try and express the work he had been doing in the development of his work in karate.

I (Ed.) am very happy to have been able to extend the opportunity to offer Bernard this small opportunity. I hope he continues to develop his written work and would encourage him to perhaps step beyond the Welsh borders!

(44) 01942 205619 (Tel/Fax) The Editor, Kata - Unlimited, Simco Publishing, 27 Ash Grove, Orrell, Wigan, Lancashire. WN5 8NG. [email protected] Simco Publishing • Subscription to the newsletter is for 12 issues, each of which is published in the last week of every month (published a week earlier at Christmas) 27 Ash Grove, Orrell, • Only £29.95 for 12 issues for UK residents Wigan, Lancashire. • Only £39.95 for 12 issues to anywhere overseas WN5 8NG • Either send in this form (post or fax) or subscribe Phone: (44) 01942 205619 using our fully secure online ordering facility on the Fax: (44) 01942 205619 internet. Email: [email protected] www.kata-unlimited.com • Telephone (24 hrs) your details to subscribe straight away.

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