The list of books written about the history and traditions of the Martial Arts and in particular Karate, is almost endless. It is not my intention therefore to delve into backgrounds that may prove to be laborious to both writer and reader. However, a short history of Karate development is necessary for general clarification. Whether a particular individual had the inspiration for developing the first Kata is not known, but what is certain is that the origins of Karate were restricted to schools which awarded the practice of Kata with much importance. It is believed that Katas from Japanese Karate stemmed from the islands of OKINAWA and were later refined and developed by Masters of different KAI (schools) and RYU (styles).
Throughout the east there were, and are, enormous numbers of people studying and practising the Martial Arts. In China especially, millions of people studied the arts for defence and survival in the past now study the same arts for fitness and health. The forms of Martial Arts are so varied and numerous that one must pay tribute to their value and authenticity as representative of an art that is loved and practised by millions of people of all ages throughout the world.
Katas are the story of Karate. The strikes, blocks and kicks are the words, the movements, changes of speed; breathing and co-ordination are the sentences. The knowledge of Form and the search for perfection in movement are the paragraphs, and the different Katas are the chapters which complete the book.
BUJINKAI KATAS - A SHORT RESUME
TAIKYOKU Is a short series of movements developed into a pattern, which represents and envelops the major principles of karate kata. The round parrying movement and trapping of the attacking hand plus the transfer of body weight into the counter attack are the essential elements of this form.
PINAN ICHI A progressive version of Taikyoku with emphasis placed on combination kicking and punching, weight distribution, and the thrusting punching movements as applied in basic training. The introduction of knife hand blocking is also an important aspect of this form.
PINAN NI Incorporating a mixture of self-defence, sweeping, leg blocking, and pushing manoeuvres. More advanced kicking movements are also introduced into the form. The movements are more complex and therefore greater flexibility is required to develop the correct form.
PINAN SAN Probably the most difficult of the pinan katas to perform. Requires balance, agility and sound awareness of hand foot co-ordination. The flow of movement should be of priority throughout the kata, excessive force is not desirable.
PINAN YON This kata is essentially based on withdrawing movements allied to strategic counter attacks with classical postures and the smooth execution of technique. The turning movements, especially when accompanied with side kicks should be given a great deal of attention. Hip flexibility is important for the development of good form in these movements.
PINAN GO Incorporates a variety of important karate principles. Fast combination moves, weight transfers, agility in jumping, wrist and arm locks, and close quarter elbow and hammerfist strikes. Co-ordinated breathing and the differences of speed in movement are both part of correct understanding.
SHI-N-HO (MIND WAY) Essentially SHIN HO is concerned with leg development and hip flexibility, hence the many low stances; KIBADACHI and KO-KUTSU. The early blocking countering moves and double kicking techniques assist in achieving greater hip mobility.
BUJIN-SHO (THE FIRST) This kata is strongly influenced by the praying mantis style of Chinese boxing. The practitioner will notice that many of the movements are concerned with straight leg kicking, jumping and some defence work from the floor. Great emphasis should be placed on the smooth transition from one movement to the next. Undue force, which may incur loss of balance, is unnecessary.
KINTARO (GOD OF STRENGTH) In accordance with its name KINTARO is based on the acquisition of strength, power and stability. The early movements should be carried out with maximum effort allied to properly co-ordinated breathing. Sharply focused striking and firm heavy punching is of the utmost importance.
SOME DO'S AND DON'TS FOR KATA PRACTICE
Do not learn Kata on a shallow level. A little knowledge can be dangerous. When practising something you are not absolutely sure of it is easy to compound errors. Kata is an art and therefore, the highest degree of human skill is sought. Do not accept second degree teachers who cannot fulfil your demands in the search for perfec- tion. Once you have learned the technique and Form of the Kata, do not leave your study of it at that level. The deeper meanings are to study and interpret the technique in the Kata into practical and effective fighting movements. Knowledge of your art, its history and traditions, the philosophical principles all form part of the deeper meaning. Make them part of your understanding. Your goal in Kata is perfection of movement within the framework of the knowledge you have gained. Kata must contain the aesthetic appeal of the 'art' of the Martial Art.
