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Q: Sensei, I have been training atthe Academy for two years now,having trained in Shotokan Karate for agood many years. Indeed, after a non-karate injury I never thought I wouldtrain again, another testimony to theindividualised teaching of theAcademy. I know we both started in1970, under strong traditional JKA-style instruction in the early years ofthe KUGB. I know also you followedyour good friend (and mentor) SenseiSteve Cattle, when he formed theEnglish Shotokan Academy, under theauspices of Sensei Kase’s WorldShotokan Academy. You are now 6thDan and Chairman of the E.S.A.technical committee. Can I start byasking about the Ten no Kata, I had tolook it up in Sensei Funakoshi’s“Karate do Kyohan,” the only place Icould find it. Can you explain theimportance of this kata, apparently sorarely practiced elsewhere?

SW: ‘Karate Do Nyumon’ which isascribed to Master Gichin Funakoshi wasactually written by his son Yoshitaka in1943. Yoshitaka developed the innerstrength of his body; he believed that ifyou developed big techniques themuscles in one area would assist themuscles in another. So we have theShotokan basics very big. Very deepstances, apparently Fudo Dachi was hisfavourite stance. Although relativelysimple compared to other kata, a highpsychological and physical concentrationis required when performing this kata. Ithelps focus the mind on correct breathingand the performance of individualtechniques, in a structured form.

SHOTOKAN KARATE MAGAZINE

SLATER WILLIAMS – Ten No Kata. Interview By Graham Knight.

3. Chudan gyaku-zuki from yoi; slowly step forward make chudan kamae in fudo dachi, make aright reverse punch. Return to yoi. Repeat on other side.

2. Jodan oi-zuki from yoi; slowly make jodan kamae step forward into right fudo dachi stancewith right upper level front punch. Return to yoi. Repeat on other side.

TEN NO KATA OMOTE – 1. Chudan oi-zuki from yoi; slowly make chudan kamae with controlled breathing (inhale) step forward into right fudodachi stance with right front punch (exhale). Return to yoi by withdrawing right foot. Repeat on other side.

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It also enables us to introduce fudo-dachi into the kyu grade syllabus; thiswill enable students to have anunderstanding of the stance, for futurereference, although fudo-dachi is notrecommended outside of kata until atleast second Dan, and as for Children,they are encouraged to make zenkutsu-dachi. The formal Ten no Kata isperhaps not that common amongShotokan groups, but the principles canbe seen in any Shotokan class duringbasic training,

Q: The fundamental stance in thekata is fudo-dachi. This is a stancewhich is solid and stable to defendfrom, yet students find it difficult togenerate speed and to do theconventional hip twist when attacking.Can you help to explain the emphasison fudo-dachi?

SW: This is one of the reasons Idiscourage the exclusive use of fudo-dachi in the early stages of training. Bysecond Dan you should be capable ofutilising the principles of karate and nolonger relying on just hip twisting togenerate power, the tanden in fudo-dachimust move towards the ground as hiprotation is limited in this stance.

Q: Two technical points in the kata:there is no mention of soto-ude-uke,instead uchikomi for a jodan block isused. Did soto uke as a term onlyappear later? Also, the Academyteaching is very practical yet the nukitein Ten no Kata is done chudan. Youare not a great advocate of heavymakiwara practice, yet chudan nukitewithout some conditioning seemsimpractical?

SW: The nukite position is correct, inthe formal kata the opposing hand isdrawn back to the hip, this is for form.However, I agree without some serioushand conditioning, chudan nukite is aproblem, therefore in kumite (Ten No kataUra) the hikite action is used to pull theattacker down, making nukite to thethroat possible. As to the term soto-ude-uke, the simple answer is I don’t know,Karate-do Kyohan refers to the block as“iron hammer block”, and as you knowShotokan use this term, other stylesreverse the soto and uchi names.

Q: When we are taught to defend byblocking, you often teach us to moveat an angle, particularly to give roomfor an effective counter. Yet the movesin defence in Ten no Kata are straightback. Is this element of the katadifficult to reconcile with the verypractical way you teach?

SW: Not at all; moving off line is veryimportant and a major element in ourprogramme. However the Ten no Kata, is

a basic practice template for developingstrong and focused blocks and attacks, ifyou move off line too early in your trainingyou lose the opportunity to develop theblocks, I often add combinations andkicks into the routine, also the timing is

not set in stone, e.g. the first movementor kamae, can be preformed slowly orfast. The Ten No Kata is the first stage,after this the HACHI HO KUMITE (eightblocks) is introduced, moving off the line,and disengaging etc.

SHOTOKAN KARATE MAGAZINE

4. Jodan gyaku-zuki from yoi; step forward with left leg into fudo-dachi with left jodan kamae,then right upper level reverse punch. Return to yoi. Repeat on other side.

5. Gedan-barai, chudan gyaku-zuki from yoi; step back with right leg into the immovablestance (fudo dachi) with left downward block. Strike with right middle level reverse punch.

Return to yoi. Repeat on the other side.

6. Chudan uchi-uke, chudan gyaku-zuki from yoi; step back with right leg into the immovablestance, with left inside to outside block. Strike with right middle level reverse punch.

Return to yoi. Repeat on other side.

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Q: On other areas, it seems to methat people training with you have toTHINK. They don’t just do a kata alongthe traditional embusen; they areencouraged to work through it to makeit practical. If that means deviatingfrom the embusen, so be it. Yet ofcourse, they still perform ittraditionally. You demonstrated this bydemonstrating Tekki 1, 2 and 3together, but not in a traditionalstraight line, rather by moving off lineby rotating away from or towards yourattacker. Could you expand on this forus?

SW: The embusen is not soimportant; symmetry is important but notto the extent that changes are made tothe kata. Moving away entirely from theembusen is only done so in performingkata bunkai. The problem is perhaps onlya Shotokan one, without going to deeplyinto the history of Shotokan, you have toaccept that the kata adapted forShotokan is an ongoing process, youonly have to look at JKA changes overrecent years. Shotokan has always beenconcerned with the physical developmentof the practitioners. Many of the budoelements having been omitted, and amore aesthetic gymnastic form hasdeveloped.

This is not a criticism, moreover thisapproach is perfectly compatible withKarate–do. Sensei Kase was teaching areturn to Budo; we have to maintain theArt not simply replacing karate-do with acrude and heavy handed form of self-defence. Shotokan Kata has all of theelements, you just have to be a little moreflexible and imaginative in your thinkingwhen creating bunkai, nevertheless theformal presentation of kata has notchanged.

Q: The syllabus also makes anemphasis on doing kata both ways.Years ago, I recall many Japanesesenseis on courses making us do theHeian kata both left and right, toremind us not to favour one side, andby doing so, to really get to know ourkata. But in the Academy, you teach usnot only both sides, but very practicalversions (omote, ura and go) steppingback on the blocks and forward on theattacks, constantly searching for apractical route through the kata. Couldyou expand on this for us?

SW: Yes, the Go forms are simply amethod of introducing the principles oftai-sabaki (body control) kawasaki(avoiding) nogare (escaping), although iffilmed, and viewed frame by frame, thekata would appear unchanged.

Q: I have seen you demonstrate the‘relaxed’ principle of punching, strikingand blocking to great effect,

SHOTOKAN KARATE MAGAZINE

7. Chudan shuto-uke, chudan nukite from yoi; step back with right leg into the back stance,(kokutsu dachi) with left sword hand block. Shift from back stance to immovable stance and strike

with right middle level spear hand attack. Return to yoi. Repeat on other side.

8. Jodan shuto-barai (sword hand block), jodan gyaku-zuki from yoi; step back with right leginto the immovable stance, block with a sword hand at jodan level. Strike with right jodan level

reverse punch. Return to yoi. Repeat on other side.

9. Jodan age-uke, chudan gyaku-zuki from yoi; step back with right leg into the immovablestance, while raising left arm in an upper level rising block. Strike with right middle level reverse

punch, kiai. Return to yoi by bringing right foot forward. Repeat on other side.

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demonstrating that a punch, strike orblock without tension can be greatlyeffective, more effective in fact than apunch or strike with ‘everything behindit’. Does this negate the seeminglylong standing principle that all thepower in Karate should be at the pointof focus of the punch or strike?

SW: R elaxation is very important, I tryto think of a wave-like function linkingand coordinating, in order to gain moreenergy we have three poss ibilities opento us : P otential energy (to use differencein height). K inetic energy (to increase thevelocity). R otational energy (to use theangle velocity). The body generates forceby muscles ; the trick is to use as manymuscles as poss ible, especially the hips ,if you are tensed, acceleration is notposs ible, kime is the point when all thesefactors come together. This is animportant factor in karate us ing this veryexplos ive energy, the kime in karatediffers to the C hinese systems whichseem more subtle but are equallyeffective. One of the best examples offlowing mature S hotokan karate is S enseiS hirai. His movements are graceful andnone of the effectiveness has been lost.The disagreement is frequently aboutoutward appearance and not technique;good form and good technique are notnecessarily the same.

Q: The Academy does not seem tohave a great deal of emphasis ontournament or competition karate. Yetthe essence of Academy karate is verymuch based on practical karate: “Isthis or that technique truly effective;will this or that technique actually workin a real situation?” Is it hard toreconcile these two almost opposingstandpoints?

SW: Y ou use the words “practical andeffective”; this is only one aspect ratherthan the main objective, K arate-do and

K arate-budo, are compatible. Like it ornot, S hotokan is by definition a sport andthe early manifestation of this gave rise tosome of the greatest karateka in thesecond half of the 20th century.However, what is often presented assports karate nowadays , falls so short ofwhat I cons ider K arate. It is becomingincreas ingly more difficult to reconcile thetwo.

Q: You have oftenquoted examplesfrom Shito-ryu orGoju-ryu to illustratehow things work inthe Academy. Doesthat mean youbelieve that Academykarate is more akin tothose styles than toShotokan? (I think Iknow from yourexplanations, but itmay help others).

SW: The s impleanswer is no. If youaccept that no systemis infallible and no onemartial arts s tyle hasall the answers , anddisregarding doctrine,ideology and politics , itis almost imposs iblenot to appreciate goodK arate when you seeit. Mixing styles is nota good idea in theearly s tages of trainingas it can be technicallyconfus ing, but at asenior level you shouldbroaden your outlook.

It is essential I feelthat senior instructorsstudy the history ofkarate; understanding

the past helps make sense of thepresent; it is therefore inescapable thatyou learn to appreciate other systems.This knowledge I think also helps whenpracticing Ko-Waza (short distancetechnique). Hente is directly related to theKo-Waza practice. This is one reasonwhy I find the S hito-ryu systemfascinating. What I teach is S hotokan.However, after thirty-five years your ownphys ique and personality is bound uptightly, it’s imposs ible to separate thetwo. When karate was taught in secretand to very few, this pressure to conformwas not present, my personal s tudy hasto follow a different path, that is not tosay I am no longer S hotokan.

Finally, may I say that I expect mybody to ache at the end of a karatelesson, but in your lessons, I feel thatmy brain has been exercised just asmuch! I am sure that Sensei Kase andyour good friend, Sensei Steve Cattle,would both be very happy that whatthey began is being carried on andfurthered by you in such an effectiveway. Sensei, thank you.

SW: Thank you.

(Slater Williams can be contacted forcourses at: slater@jkiengland.comwww.jkiengland.com)

SH O T O K A N K A R A T E M A G A Z I N E

10. Jodan soto-uke (uchikomi), chudan gyaku-zuki from yoi; step back with right leg into fudo-dachi stance, while performing soto-ude-uke, block with left hand. Strike with right chudan level

reverse punch, kiai. Return to yoi. Repeat on other side.

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