Continuing Steps in Karate

This post is related to, but is not a direct follow-on from the previous post on the original kata. In my school, and within its parent tradition, many of the kata have different variations.  For instance, in the kata Saifa, there are two different starts, two different ways to do the first section and two variants on the turn/sweep/hammerfist that are not only different from each other, but from other traditions as well.  Similar (accepted and taught) alternate variations exist in sanseru, shisochin, suparinpei, kururunfa, sepai, and seienchin.  Some of these kata have only one or two minor alternatives, others have more, with varying degrees of difference. Why? And what does it mean for understanding the origins and purpose of kata? There are obvious advantages pedagogically for teaching only one version of a kata, particularly to large groups of individuals.  Having a standard approach for everyone and every time makes it easier for the instructor to not onl...

Every so often I tape myself doing kata so I can review if what I think I'm doing is what I'm actually doing. Here's one I did a couple of weeks ag, and as usual, there were a few things I thought I was doing and wasn't, as well as a couple of things I didn't think I was doing, but was. But, since that was the point of the video, that's ok. One interesting point about this run-through was the difference in being able to freely move between stances on the soft, springy grass compared to the dojo floor - an excellent reminder to me to keep practising on different surfaces and with different footwear, as aspects of my normal footwork needed to be adapted for the grass. It is well worth making semi-regular videos to review progress and form; not to mention it makes for interesting and educational viewing when there are multiple years of videos to look back over. I have, for instance, videos of myself doing sanseru kata from 2010, 2015 and 2020, and whi...

This is now a multi-part series.  You can find Part 1 Part 2 Part 3 here The final movement in each shikodachi step is a two-handed, open-handed soto uke followed by a slow retraction with the lead hand to the hip that is paired with a palm-up nukite to the front (not across the body as is done in a number of other schools). I have been shown two basic interpretations for the technique.  The first is an interception-catch-armbar of an incoming attack or grab attempt and is to the outside of the opponent and the second is similar in that it clears a grabbing arm/attack (to the outside as well) and then strikes into the exposed ribcage. The armbar technique is essentially a chin-na technique that extends and locks out the elbow, with the rear hand intercepting the attack, the lead hand coming through to clear and extend the arm, and the rear hand then applying outwards and upwards pressure (the "nukite") to the triceps tendon and providing a fulcrum for the lead...

This is now a multi-part series.  You can find Part 1 Part 2 Part 4  here Continuing on from Seienchin Part 2 , where I had only made it part-way through the first three arm movements in the first step of the kata. I originally learned as an application for this second movement of Section A, to deflect, grab and throw an incoming kick.  It is a good technique, but to my mind is definitely a more "henka" interpretation.  I must admit, I struggle to see this sweep down then up as a stand-alone technique divorced from the movements before and after it.  While it is done with both hands, it is a very similar feel to one of the basic wrist-escapes I learned years ago in aikiki aikido where the wrist is turned over and out, at the same time as the body turns and moves 180deg.  This is the same feeling that completing an elbow-press or elbow-wrap gives, and for me, this is currently the primary application I ascribe to that movement. Having said...

This is now a multi-part series.  You can find Part 1 Part 3 Part 4  here So, finally, I have found some time to think some more about seienchin. As usual, my reason for doing these posts is to help myself make sense of what is happening in the kata and to explore different possibilities.  I am expecting to make mistakes and to pursue leads which go nowhere, but that's what happens when we learn. I took a video of myself doing the kata, and have attached it here.  As is usual, I have noticed quite a few things wrong with it and have fixed them up somewhat as a result (after all, isn't that the whole point of video-taping yourself?), but haven't had a chance to tape myself again.  Some things to note are that my arms are pushing too far forward in the double triangle "block" in Section A, and my hands are meant to be sweeping across high and low, not along a single mid-line in the two backward steps in shikodachi at the start of Section C. ...

This is now a multi-part series.  You can find Part 2 Part 3 Part 4 here I have been doing a lot of seienchin (seiyunchin) lately - it's my kata of the month, and one that I've identified as needing a bit of work on anyway. This is the first in a series of posts on how I view seienchin; the principles it contains, the applications that can be associated with/extracted from it (both those I have been taught, and those I can find); the mechanics of performing it and how it compares with other kata. The aim behind these is for me to explore and learn a bit more through the writing of these posts, so take them for what you will - my musings on and exploration of something I don't know much about (yet). So… Seienchin, as I understand it, is unique amongst the non-tensho/sanchin goju kata because it doesn't have any kicks in it.  Like sepai, sanseru and shisochin, it does not finish with mawashi-uke/tora-guchi; but it does finish in neko-ashi dachi, the...

More and more, I see (or have pointed out to me) similar techniques across different kata.  They are not all identical, but have the same intention or principles behind them. Some of the ones I have encountered recently are: Head/neck grab and crank: saifa, sepai, seisan, sanseru (seienchin as well, but not in the tradition I am training in) standing arm bar: seienchin, saifa, shisochin different standing arm bar (I've forgotten its name): kururunfa, sepai escape from rear bear hug: shisochin, seienchin, seisan guardian opens and closes the gate: saifa, seienchin, seisan, kururunfa, shisochin, hakkucho escape from front bear hug: kururunfa, happoren, shisochin leg takedown: sanseru, kururunfa, tensho (with interpretation) shoulder wheel throw (kata garuma): kururunfa, shisochin front strangle escape: seienchin, shisochin, happoren There are plenty of others, too.  It raises the question: Why have so many kata, if there is so much overlap?  But that's a questi...