12 Golden Rules E-book

8/13/2019 12 Golden Rules E-book

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Twelve Golden Rules for Practical Kata

ApplicationHello and thanks for signing up to my mailing list, where every so often Ill be

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Membership to my newsletter is completely voluntary and if at any time you

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To begin with and as promised, here is your free e-book that features my

twelve golden rules for practical kata application. For more information

about the content detailed here and to learn more about how these rules can

be implemented into your current practice, then please check out my

website, blog and video tutorial downloads for some great information that

you can start incorporating into your current training regime today!

http://www.chrisdenwood.com

If like me you are fascinated by the functional application of traditional

karate, then I think youll really benefit from reading the following report. Ive

put the 'twelve golden rules' together based on my own experience, in order

to provide a fundamental basis for all karate practitioners (regardless of

style), so that they may begin to explore the combative applications of their

own specific kata.

Of course, theres no substitute for direct training under a suitably qualified

and experienced bunkai teacher, but for those who have to take the journey

alone then this will be an excellent place to start!
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Due to the limitations of this report, I cannot go into too much detail, so what

you'll read below is merely scratching the surface of what is a huge and

enjoyable subject of study. Nevertheless, the information contained here will

still provide you with plenty of food for thought and hopefully, ignite a spark

for you to begin looking at your kata differently.

After many years of research, Ive often found that the answers to my

questions were always present in the kata - just waiting patiently for me to

find them. No matter what you may have been led to believe, there are NO

secrets in karate - it is simply a matter of patience, hard work and consistency

until one's level of experience can come to uncover a deeper level of

understanding. I hope that this e-book will help you on your path.

So please dont waste any time in starting to implement these rules into your

training and dont feel frustrated if you struggle a little at first. Remember

that the traditional forms handed down to us were originally created to

record key combative strategies and methodologies for self-protection and

once you are able to align your level of thinking to suit this context, the

applications will instantly start to reveal themselves. All the substance is

there - all it requires is the openness to expand and an extra large portion of

tenacity!

Sometimes, it is difficult to build up a level of confidence to support whether

or not the applications youve uncovered have any historical connection to

the original intention of the techniques. however, kata has a much deeper

purpose than to simply record a collection of 'combative tricks and since the

study of karate does not come with a hearty supply of surviving historical

evidence, then any work we do (so long as it is undertaken with honesty and

the original aims of the art in mind) will in my opinion, be at the very least, astep in the right direction.

So I hope you enjoy reading this e-book. Please feel free to send me your

comments or questions - it will be nice to hear from you!


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Rule 1: Analyse all movements in context with a

civilian self-protection model.

Regardless of the numerous drivers and benefits associated with taking up

the study of karate, one cannot forget the fact that the art was originally

designed to solve the significant problems associated with facing a physical

threat in those times when (1) violence was commonplace, (2) protection of

your family was a personal task and (3) effective self-defence was a very

desirable goal indeed.

The traditional forms found in karate have been passed on through

generations from the early days of the art's development and so it stands to

reason that to come to a proper understanding as to what the movementsactually mean we must ensure that through our study and analysis (bunkai),

we always equate to their original intent.

Ask yourself the simple question: would I use this application to help assure

my safety from a violent threat? If you have any significant doubts about

saying YES then this can indicate that your analysis may be a little off the

mark - providing of course that your knowledge and experience of self-

protection is accurate!

Rule 2: Always equate the movements of kata to close

combative ranges.

The modern day sporting approach to karate (albeit in many ways a very

praiseworthy aspect of the art) is heavily based on exaggerated fighting

ranges, skilled versus skilled types of engagement and often limited to non-

attached combat strategies.

It is important to remember that the traditional forms do not contain such

approaches as they were designed to transmit practical lessons associated

with developing skills for civilian self-protection. This means that all


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applications should be considered at distances of and inside of arms length

(i.e. typical conversation range), as well as tactics for reducing the risk

associated with actively engaging so close to the opponent.

Quite often, a simple re-adjustment of range in your mind can open up the

kata for a more functional and pragmatic analysis.

One thing I also recommend you to consider is the skill versus skill type of

pre-arranged sparring (Yakusoku Gumite), as commonly performed in many

styles. Look at what you currently practice and then simply close the distance

to a more realistic range. You may be quite surprised with what you find and

because of this, see these drills in a completely different light!

Rule 3: Consider the possibility of both pre-emptive and

reactive strategies.

In any close range altercation, action will always beat reaction. There is no

way to escape this fact and for us to consider kata application in a practical

way, we must appreciate that in addition to (flinch) reactive strategies, pre-

emption is a vital component for civilian self-protection. In fact, a thoroughstudy of the movements within kata reveals that many of the reactive

applications are actually based on contingency situations whereby the

opponent has managed to check your initial pre-emptive attack!

In my opinion, the famous karate ni sente nashi (there is no first attack in

karate) maxim, made famous by the legendary Gichin Funakoshi does not

mean that we should never strike first, but instead eludes more to never

being the instigator of violence.

Waiting for an attack to be unleashed before being able to react (i.e.

essentially becoming a 'sitting duck'), would be an extremely foolish strategy

and indicates a deluded approach to the arts original objectives.


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Rule 4: Use angles from the embusen to bring the

opponent alive.

The embusen (lines of performance) of kata plays a crucial role in being able

to understand the combative lessons that the movements are trying to

impart. The spatial and angular relationship between combatants is just as

important (if not more so) than the techniques themselves and can make all

the difference between success and failure.

Since the repetition of kata is at its core a solo training method, then the

relationship between you and the opponent can only be accurately recorded

and passed on through the associated embusen.

Here's some advice - unless you regularly compete in kata competitions then

you should forget about the typical karate master surrounded by a group of

enemies type of bunkai. The embusen is not about turning to face the

opponent, but instead, a record of the most optimum angles used to

accentuate the effectiveness of the application. It is the angle you should

strive for in relation to the opponent, in order to make the very best use of

the movements.

Rule 5: All applications must as a minimum, create an

unquestionable advantage.

In contrast to what some may believe, all applications are not required (and

were never intended) to end the fight there and then. Nevertheless, they

should all as a minimum, provide an unquestionable advantage over the

opponent so that you are able to continue exploiting the initiative in order to

secure your safety.

If an application sees you with the opponent off balance with both their arms

trapped and unable to defend, then this should in my mind be considered

effective. If you are unable to make full use of this clear advantage, then it is

no fault of the kata and I would thoroughly recommend that you begin to


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question your fundamental competence of basic training! On the other hand,

if after you have performed an application your partner can still continue to

fighting back with significant force, then there obviously lies a fundamental

flaw in your analysis. Go back to the drawing board and start over.

Here's some more advice - stop looking for five finger death moves and

instead search for realistic methods of turning the tables quickly so that the

deck can be firmly stacked in your favour.

Rule 6: Always try to make use of the non-striking

limb.

Coping with the chaos of live combat is difficult enough with two hands, let

alone with one. So why on earth would any person ever consider pulling a

hand back to the waist (with nothing in it) and place dependence entirely on

a single striking limb? Of course, this strategy would be foolhardy to say the

least and even a rudimentary understanding of kata will reveal that both

hands are always live used together to create advantages and opportunities

for effective control of the situation.

In fact, the only time it may be worth holding a limb back would be to affect a

passive guard. However this by definition means that you are in a reactive

state (something that you should always try to avoid) and in reality, any form

of reactive blocking simply does not work in such close range environments.

Instead, the non-striking limb would be much better used to actively work in

order to control the opponent. The best method of defence is always to apply

pressure and dominate the situation swiftly, such that it becomes an

impossible task for the opponent to attack back and for this, youll certainlyrequire both hands!

In kata, the non-striking limb can be used to control, disrupt balance,

enhance the effects of strikes or set up potential follow up applications based

on a predictive response. Consider also that the non-striking limb is not


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always held at the waist. Think about other techniques where it may be

positioned elsewhere and question the significance of this.

Rule 7: Equate to principles and motion, rather

conforming simply to technique.

Many modern day practitioner of karate would define kata as being a bunch

of techniques stuck together that aim to simulate specific defences against

specific attacks. However, this I believe to be only a very superficial way of

thinking and although I agree that the movements do detail particular

applications, they also represent far more for the karate-ka who is willing to

be more open-minded and scratch below the surface.

Kata is really a record of combative principles, strategies, tactics and themes

that provide practitioners with essential skills for self-protection. Of course,

the principles themselves have no form (theyre just principles) and since the

best way to teach combat is through physical motion, the most appropriate

way to express these principles in karate would be to use specific techniques,

hence the generation of 'form'. In other words, the techniques themselves

are only examples (i.e. a starter for ten) and we must transcend thesemovements so that we can uncover a more holistic view of the lessons held

within and the wider teachings they may offer.

Rule 8: Do not be bounded by form - aim to dissolve

structure and order.

This may sound a little contradictive, but let me tell you - one of the biggest

problems with the traditional kata is the almost obsessive dependency placed

on the structure of the form itself. It is far too common for practitioners to

pay excessive homage to the perfection and aesthetics of the form, without

even considering for a moment what the movements may actually be trying

to teach.


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The solo form only really represents the very first stage in the process of kata

study. It is merely the datum and benchmark from which everything else

grows. It is the blueprint or map that serves to connect us to the very creator

of the form, however its functional potential lies elsewhere. The

responsibility lies with you to analyse, extract and apply the lessons held

within, in the most effective way relevant to you as an individual. In this way,

the study of karate becomes a very personal journey...and so it should.

Even though the solo form is important for its own reasons, it certainly does

not represent the whole puzzle of kata and if you cannot come to terms with

the idea of breaking away from the limitations of such form, then in my view

you will be missing a seriously large jigsaw piece!

Rule 9: Create no waste - try to make use of every

part of every movement.

Although common sense implies that holding onto the idea that every

movement in kata has a multitude of applications would be a little nave, if

we initially study bunkai with this ideal in mind, then we will be able to

perform a much better job in analysing the movements, plus of course,therell be less chance of missing anything of importance.

Therefore, I recommend that you actively study even the most subtle

movements. Look at the significance of preparation motions, salutation

postures, retracting arms, the use of stances, head turns, timing and

combinations, the significance between slow and fast movements, hand

shapes and other unique characteristics no matter how small they may first

appear to be.

This approach will at the very least provide you with a comprehensive

understanding of the kata motions, well over and above what 95% of

practitioners could ever contemplate. Then you will start to see specific

patterns emerging within kata and between kata. In most cases, these

patterns will highlight key combative principles, identifying the places in


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which to focus in more depth. Start by brainstorming all possibilities and then

whittle your findings down based on the context of your analysis and the key

features you find.

The very nature of kata assumes that each form (or series of forms) will have

their own particular themes based on who, where and when it was created.

Therefore, it is important to experience a wide range of skills so that you

stand a much better chance of finding substance within the form. With

modern day technological advances such as the internet, we have a decisive

advantage over our karate predecessors and by using these resources to

expand our studies, then the process of kata investigation can become more

thorough, enjoyable and rewarding.

Rule 10: Combat is never static - apply stances in a

dynamic way.

There is absolutely no potential in stillness. In order to create potential, a

state of imbalance needs to be present. Think about the act of walking and

you will understand that in order to move forwards, we have to be in control

of our fall. The same is true of a pendulum on a large grandfather clock - youneed to first lift it to a point of imbalance before letting go for it to succumb

to the effects of gravity.

All the stances in kata have three fundamental parts. There is the start point

(static), the end point (also static) and for want of a better term, the bit in

the middle (dynamic). It is only really this dynamic transition period that

holds the potential within the posture, so rather than fixating on the visual

snap shot image of the stance itself (i.e. the start or end points), you shouldinstead investigate the functional part in between.

Its also interesting to note that the most common time for a student's

posture to be corrected is at the static end point, because the accurate

performance of this position can provide a degree of confidence (although

not guaranteed) that the transition into it was correct. Thus, when working to


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Rule 12: Embrace the whole process of kata - learn, apply,

expand and then evolve.

As the great karate teacher Chosin Chibana said - like a pond that requires a

fresh supply of running water so that it does not become stagnant, the study

of karate should be a continual process of exploration and development so

that the art may evolve as it has done so continuously since its very

conception.

An interesting definition of the word tradition is "to align to the customs

and beliefs of those who have gone before us". Thus, remaining in the past

does not follow the original ethos of karate and although we should have

deep respect for the history of this wonderful art, we should never becomerestricted because of it.

The people of Okinawa are renowned for their ability to take something and

make it their own and through this amazing adaptability and positive

openness to change, the kata of karate were created, developed and

progressed through the generations.

Although the key principles of kata (i.e. the blueprint) should always remainunchanged, the interpretation of the movements should be 'living' to become

a personal endeavor that lasts a lifetime. As soon as any traditional karate

practitioner steps onto a dojo floor, they instantly become an integral part of

its future development and this responsibility should never be taken lightly.

Having an open, unrestricted and free-flowing view towards the study of

karate will allow it to continue as an evolving art, void of the agonising binds

of stagnancy that it is too often made to suffer from.

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12 Golden Rules E-book

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