| How often do you perform a kata movement | | | | nidan. How many options are covered within the |
| and think, 'What on Earth could this be about?" | | | | three basics movements (raise arms, pull inwards, |
| Times change and so does the nature of karate. | | | | shooting outwards). Look at the whole body |
| We are better off working with kata movements | | | | movement including the stance. Do not be locked |
| in a modern context than trying to guess the | | | | into the arm actions alone. |
| original intention of the technique. So why not do | | | | Allow your training partner to make his attack |
| a little research and experimentation of our own? | | | | slowly. Start by performing the kata movement |
| The term bunkai means to break down and | | | | as you might see it when training solo. Does that |
| study. Anyone with a little imagination and | | | | help? How can you make the movement more |
| common sense can contribute to this area of | | | | effective without losing the essence of it? How |
| karate as long as you understand the basic | | | | does changing the angle and line of attack affect |
| principles that hold kata together. You can begin | | | | the application? |
| by learning the interpretations created by other | | | | You'll probably find that transition and "in-between" |
| people, or better still, discover how they added | | | | movements in the technique will stop, redirect or |
| meaning to the techniques. | | | | off-balance your partner and the end movement |
| We can start with a simple example. One principle | | | | represents your counter blow, tie-up or throw. |
| of bunkai relates to the angle of your movement. | | | | What further options are available afterwards? |
| The opponent is not necessarily coming from that | | | | Work with a number of alternatives and see |
| angle (although he could do), but the pattern | | | | which is best. Then swap roles so that you are |
| shows you the best angle to stand in relation to | | | | now the attacker and your partner must find a |
| him. More often than not the best angle allows | | | | suitable response. When you are both satisfied |
| you maximum effect while reducing the | | | | test out your applications by showing them to |
| opponent's options. A good strategy involves | | | | someone else. Can they make them work too? |
| turning the opponent's centre line away from your | | | | Incorporate the application into your combat drills, |
| own while you maintain an advantageous position. | | | | flow drills and progressive sparring. If it still holds |
| From there you can bring all your weapons into | | | | out as you pile on the pressure there is every |
| play while he is restricted to perhaps just one | | | | chance you have found a winner. Train as close |
| side. | | | | to reality as possible with a partner you don't |
| Armed with this knowledge and a few examples | | | | normally work with. Be sure to train under |
| you can now have a go at creating some | | | | as-near-to-live conditions as you can. It's better to |
| interesting applications. Think about the following | | | | find a flaw in the application now than outside in |
| alternatives. | | | | the street. |
| First, define what your opponent does. You could | | | | As a final check ask yourself if the application fits |
| decide upon a common type of attack, perhaps a | | | | in with the essence of the kata or your system |
| lapel grab and punch. | | | | and if all the basic principles are adhered to. Is the |
| Secondly you could work the technique from your | | | | technique easy to perform? Does it put you at a |
| end. Ask yourself "Are there any significant clues | | | | position of advantage? Is there a back-up in case |
| in the movement?" - look out for mechanical | | | | it goes wrong? Can it be used against variations |
| efficiency, grabs, turns and twists or body | | | | of the basic attack? |
| movements to amplify the effects of a strike. | | | | Fun and play are an important part of the learning |
| You don't have to take the entire kata | | | | process. So play with your kata! Training in this |
| movement and use it literally. Get the feel for the | | | | way helps you uncover the principles and perhaps |
| movement, the idea behind it or take a small | | | | remember the form better. And of course there's |
| segment. Another good example would be the | | | | the satisfaction of creating something for yourself |
| first set of techniques from pinan shodan/heian | | | | and your colleagues. |