Kaishugata and Timing Part 3: Go-rei and Flow of the Kata

How many times have you caught yourself just practicing the steps to a certain kata?  Have you ever wondered why certain senseis count rhythmically during kata step practice, or does your sensei just count out the steps in monotone while you practice the steps in the dojo?  If you have ever wondered this, you are not alone.

In Part 1 and 2 we talked a lot of about the differences (mainly for Goju... but may pertain to your style of Karate) of Heishugata and Kaishugata.  In Goju Ryu, we always start with Sanchin, which is one of our main Heishugatas and close with Tensho, Sanchin's counterpart of the pair of Heishugatas.  In between we have 10 Kaishugatas which may or may not be familar to you or your style of study. Here, in this article, I'd like to discuss, regardless of which Kaishugata you study, that there is an important factor in regards to the Kata's Go-rei... or step counting is crucial to help your students understand the flow of a kata.

You may be already thinking... why would step counting be crucial to the flow of a Kata?  I'll be honest, I didn't pick up on this technique until I was in my advanced ranks.  This is probably because while you are still a novice, you are earnestly trying to focus just on the patterns of techniques and not so much the Bunkai or the application. 

Just a side note... if you are trying to figure out the Bunkai before you have learned the steps (trust me... this shows your enthusiasm but there is a gradual progression you should follow)... take a step back.  Learn the steps first then have a senpai or a Sensei gradually help you with the application... trust me... it makes a big difference.  First you learn to crawl, then to walk, and finally to run.  Natural progression.

However, Bunkai is the key.  If you do not understand the application of the Kata, then you will also have issues with the flow of the Kata.  Those who have a certain mastery over a certain Kata, understand that executing the Kata is not just on a set of monotone counts.  There is a living energy to the Kata... sometimes enough that you will have to focus on playing or executing the "pauses" or the non-active parts of the Kata so that the Kata flows the way it should be.

Many of you may know the Kata, Seienchin... this Kata is the 2nd Dan required Kata along with Sanchin and Tensho for JKF testing (Japan Karatedo Federation Goju-kai).  This Kata has a lot of changes in sequence combined with change in 4 corner (NW, NE, SW, SE) enbusen.  These transitions can easily be rushed through and the practitioner can move on to the next sequence without properly finishing the series of techniques.  I see this flaw in tournament quite a bit.  While this Kata is beautiful with its large flowing upper body techniques, for someone who understands the Bunkai or application of this Kata can easily see, feel, and anticipate the movements even just by watching someone else execute the Kata.  In Kata, Seienchin, playing the "pauses" are as important as the flow of the kata... the pauses help transition and make the kata more fluid rather than trying to push through sequences.  The pauses also help with breathing through the kata.  Learning this was the key to understanding this kata in more detail.

For those who do not practice Goju, take this back and practice with some of the Kihon (basic) kata.  Try to feel the flow of the techniques.  Remember, Kata should start with a block.  All Goju Ryu katas start with a block... and then transition to counter-attack.  This should give you the intial feel of the Kata.  Work with your senpais and your senseis to understand the flow and hopefully this will give you a better understanding of your choice kata.

Kaishugata and Timing Part 2

Kaishugata and Timing Part 2



In part one, I asked three questions... 1. Do you know what the objective of the kata is... What does the name of the kata mean? 2. How can I apply my techniques to meet that objective... Does the execution of my technique do the kata justice? and 3. How can I make the kata mine... Do I understand the objective and understand the bunkai of the kata?

These three questions have been the focus of my training for the past few years when focusing on kata.  While continuing to practice the basics or kihon of my style, I've really needed to look at the bunkai to understand how my kata is developing... and trust me it is not pretty.

In the past few of years, I've had a pretty enjoyable time working on my required katas. I would say they are my favorite within my style.

1. Sanseiru = San Dan Kata = 3rd Dan Requirement
2. Shisochin = Yon Dan Kata = 4th Dan Requirement
3. Seipai = Go Dan Kata = 5th Dan Requirement

These kata are the precursor to the most challenging katas within Goju Ryu, which are, Seisan, Kururunfa, and Suparimpei (Pechurin).  However, these katas above (besides Seiunchin) tested your abilitly to comprehend advanced bunkai in Goju.  Once you are able to break down the katas and understand their purpose it is very enlightening and will help you when you go to execute said katas.

While there are many interpretations of the katas above, I'd like to share some thoughts on them through my experience.  PLEASE REMEMBER... I am not stating that my interpretations are the end all... if my interpretation conflicts with what you are taught on the above said katas... please do take my interpretations with a grain of salt.  We as karateka evolve through our own experiences and I just hope my insight gives you another perspective.  Also... while there are a lot of kata explanations out on the Web... 2 sources I would recommend for the essence of Goju Kata explanation would be 1. The Goju Ryu Bible (green book) issued by JKF Goju Kai and 2. www.gojuryu.net. In the event you can not find either two... then Wikipedia and http://www.uchinadi-kan.org/kata/katalist.html have also a good listing and explanation of the 12 Goju Ryu kata.

*Kata List Picture Credits to http://www.uchinadi-kan.org/images/500_katachart.jpg

Sanseiru - 36 Hands - 三十六手

To me, this kata represents the ability to limit the mobility of my opponents.  The introduction of "kansetsu geri" is very significant because it is a very devastating attack for having the potential of being able to destroy joints and break bones. However, in order to execute such techinque in this kata requires correct posturing, stance, muscle tension, and the ability to quickly rebound from said technique and change directions.  Unlike Sanchin or Tensho, you'll have to be able to "pop" and "lock" in order for the kansetsu geri to be effective.  Many practitioners like to really show off their kick but most tend to "over thrust" and therefore find themselves in an awkward position when they move to turn.  Biggest problem is that their "jyohanshin" (upper body) and their "kahanshin" (lower body) are not in sync and the flow of the kata suffers from it. (mainly from not being able to properly use their core and their hips)

Shisochin - Four Directions of Conflict - 四向戦
The look of simplicity of this kata makes it the perfect kata to test future instructors to see if they have managed to master basic enbusen and attack angles. This kata heeds no yield to the practitioner.  It gives your instructor all the angle he or she needs to see you as clear as day.  Challenging points where hip rotation and core strength are a key are on both front and back progressions of the ura kake uke and the lower harai uke. Challenge comes from transitioning in zenkutsudachi (leaning forward stance)... where many people end up in kokutsudachi (reverse leaning forward stance) or a zenkutsu that is too long or one that the embusen is way off.  If this happens then the ura kake uke and lower harai uke can not easily progress to the grab and breaking of the arm.  Again, "jyohanshin" and "kahanshin" must be in sync in order for timing to come together.  This is a definite must if you understand the bunkai to this section of the kata. NOTE - One of Miyagi Chojun's favorite kata.

Seipai - 18 Hands - 十八手
My favorite kata. While it was said that this kata was developed in China by masters who wanted to weed out "technique thieves" by developing advanced kata, I can see why because you may easily learn the steps to this kata but may never know the depth of it.  This kata has many favorite techniques of mine, including multiple releases or escapes from being grabbed, not a groin strike but a "love tap" to the testicles, an arm break or submission from a standing position, and a finishing take down move.  However, but as I mentioned before, you would never understand that these techniques are incorporated into this kata without studying the depth and is carefully hidden within the "steps" of this kata. 

This kata focuses on embusen as well.  Without your embusen and the proper flow of kata (will be discussed along with go-rei (counting) in Part 3) it is very hard to get the timing of these techinques.  Again, upper body and lower body must be in sync (start to see the pattern??) in order for the techniques to be viable to ebb and flow.

I was told many times when I was younger that when I practice that "jyukusei ga tarinai" (and even now at times) meaning that I am not practicing with feeling, with intent, or application.  This means that I was only practicing the steps.  I'd be tired and only wanting to complete the kata so that I could go home.  That is when my senseis would push me.  They would come out and force me to think about the kata rather than to just think of the steps and that alone would help me get through the kata. 

***Warning*** I would urge caution if you are to use this methodolgy for your junior students... meaning becareful if you are going to criticize them for only practicing the steps.  They are still coming into their own... most just trying to memorize the steps... unless they are preparing for purple belt, brown belt, or Junior Black Belt... then hence they should start to understand bunkai and be able to execute the kata with intent and application.

With the requests coming through, this post looks like its going to be a continual thread.  In Part 3 I'll focus on counting and try to explain how the flow of katas is hard to teach for some instructors. 

Kaishugata & Timing Part One

Kaishugata & Timing

A little while ago we talked about what Heishugata is all about.  I know it was just an basic overview, to which you'll learn more and more as you advance with your own sensei as well as figure things out on your own by drilling, asking questions, drilling some more to develop your muscle memory and your breathing. However, Kaishugata is another thing.  Goju Ryu Black Belts, especially those who are training for your Japan Karatedo Federation (JKF) rank must also work on the required Kaishugata depending on their rank.

JKF Requirements Besides Sanchin and Tensho

• Shodan = Saifa
• Nidan = Seiunchin
• Sandan = Sanseiru
• Yondan = Shisochin
• Godan = Seipai
• Rokudan = Seisan
• Nanadan = Kururunfa
• Hachidan = Suparimpei

Now just so that I don't upset the traditionalists or the modernists, I'd like to put out there that I used to practice competitive kata however, now I focus mainly on Shinsa (testing) kata, which is more traditional as JKF Goju Kai is trying hard to bring it back to the roots by allowing the top Goju minds, including Jundokan, to study and deciminate the information back down to its branch organizations. 

Seiwa Kai USA has some good seminars they hold in the USA by inviting certain Goju senseis who really focus on the mechanics as well as take time to break down how they are currently teaching kata in Japan. Said guests to include, Saito Sensei, who is a top competitor in the Japanese National Karate scene as well as Seiwa Kai head, Fujiwara Sensei, who are both phenomenal in how they bring the topic of Kaishugata to the table.  I, myself, have been lucky enough to translate for Fujiwara Sensei and other great senseis who have visited through our sister Goju Kaiha, Seiwa Kai.

Eibu kan, under Hamabata Sensei has had the honor of learning from our Shihan, Hisanaga Yoshihiro, and let me tell you he has been an eye opener when we have the opportunity to have him visit our dojo.  Our dojo training becomes a one or two week seminar to go over all Goju Ryu Kaishugata and sometimes we feel that we can't soak up the information enough.  While it is difficult for many of the beginners to keep pace, our Black Belts assimilate the information as much as we can and then compare notes after each of Hisanaga Sensei's visits.  Shihan's teaching always include kihon mastery.  Without it kata is a disaster.  

Each Goju Kaishugata has meaning and purpose.  I believe that if we don't understand the spirit behind each kata, we will not understand the depth of each kata fully. Unlike Heishugata which focuses on tension, Kaishugata focuses on timing of the tension depending on the techniques executed.  Transition of movement or transition from stance to stance is very important... your embusen... must not be too shallow or must not be too deep depending on the angle of attack or angle of defense.  45, 90, 180 etc degree turns require accurate timing and "kime" however that "kime" can only be determined by the application of said tension at particular points during technique execution within the kata.  This is what makes Kaishugata different from Heishugata, where Heishugata continually maintains said tension mainly throughout the kata without completely losing it, and where Kaishugata you focus on tension at particular points.

My thought is this when practicing particular Kaishugatas.

1. Learn what the objective of the kata is.  What does the name of the kata mean?
2. How can I apply my techniques to meet that objective?  Does the execution of my technique give the kata justice?
3. How can I make the kata mine?  Do I understand the bunkai of the kata?

Just some thoughts that go through my head when I work out any of the 10 Kaishugata in Goju Ryu.  BTW... breaking down bunkai is great!  What's even greater is when you sit down and learn bunkai from some of the current top minds in Goju as they show you how they interpret our katas.  I suggest if you can sign up for some of the upcoming seminars through Seiwa Kai USA or California Goju Ryu Association, I would do so just so that I can experience the mastery they bring to our art.

Heishugata & Tension

Heishugata & Tension

Most casual practitioners may wonder what heisugata and kaishugata are and how they help us develop our Karate.  Goju Ryu is unique in the fact that in the basic curriculum there are only 12 kata, of which, two are categorized as heishugata and the remaining ten katas are considered kaishugata.  Now, its only fair for me to list those, but many of you may already know which is which.

Heishugata

• Sanchin
• Tensho

Kaishugata

• Gekisai 1
• Gekisai 2
• Saifa
• Seiunchin
• Sanseiru
• Shisochin
• Seipai
• Seisan
• Kururunfa
• Suparimpei (Pechurrin)
• This kata is done differently than you see on YouTube as most are shown in competition.
• Other ryuha such as Shotokan have developed derivatives to adjust to their style.
• Called Hyakuhachiho but in competition may be announced as Suparimpei

While Goju Ryu may not have the impressive selection of kata choices that Shotokan or Shito Ryu offers, Goju Ryu focuses on the 12 above.  Other Kaiha (styles or organizations) within Goju may have developed other kata, training katas, or kata variants depending on the lineage (such as Gekiha (Shorei Kan) or Taikyoku Series (Yamaguchi) kata) but also focus on the above as well.  Many of the kata above, you will see in other Ryuha such as Seiunchin, Seisan, and Kururunfa, which are interesting variants to study.  One thing that I would like to point out is that none of those variants are incorrect, however, there is a depth of understanding the kata and executing the techniques intended by Miyagi Chojun and other Goju forefathers is where the deep understanding comes to life and makes studying the twelve Goju katas very meaningful.

When training kata we may or may not hear the terms Heishugata or Kaishugata.  The funny thing is that if you are at the level where Sanchin and Tensho are mandatory, then you have already begun your understanding of the difference.

Miyagi Chojun taught both Sanchin and Tensho as Heishugata.  While some instructors may breakdown Heishugata as "Closed Hand Kata," as a practitioner just learning Tensho may be confused when told that Tensho is a "Closed Hand Kata" especially when most techniques are open handed. 

The depth of the Heishugata inteded for pratitioners to understand is not if your hands are open or if they are closed.  Heishugata concentrates on the continuous tension required for the kata.  Sanchin was developed for the"GO" aspect or the HARD aspect in Goju, and Tensho later developed to represent the "JU" or the SOFT aspect of our art.  However, just becuase it is hard and soft, this alone doesn't dictate the reason why they are both Heishugata.

Between the two Heishugata in Goju, the best way to describe how tension is held to a beginner, is through the manipulation of tension and muscle memory to acheive a style of body hardening (I think of the image of how a hammer strikes an anvil or pistons when senseis check for tension).  Senseis will be looking at key areas including our core, gluts, traps, lats, quads, hams, all the way down to our toes to see where our tension lies.  A veteran will be able to harness the tension and sync it with their breathing in order to complete the execution of the kata, especially in Sanchin.

Tensho is a different animal.  While the techniques are mainly open handed, your body reacts similarly to that of Sanchin but different in the thought of tension.  While the central mass tension is very similar, arm and leg tension is closer to that one squeezing water out of a wet cloth.  Kiyohara Sensei explained it very clearly to me in Japanese.  He used two specific terms when describing tension in Tensho.  "Nebari" and "Shiboru" are the two terms he used quite often. In simple terms, "Nebari" tension has a viscosity aspect to it.  Think of your "sticky hands" training (if you don't know what "sticky hands" training is consult your sensei)  "Shibori" tension is more of a wringing, squeezing and pressing sensation.  Both types of tension in Tensho are important concepts that must be understood in order to understand the depth of the kata.

So fundementally, both Heishugata are designated by the continual tension that must be applied, learning how to intesify and learning how to relax without losing all of the tension to execute the kata is part of the training that permeates down to basics all the way through Kaishugata, where tension is adjusted to the flow and execution of the techniques involved.

If people are interested in learning more about the flow and applying tension in Kaishugata, please let me know.  I can have another post for that specific topic and we can concetrate on a single Kaishugata at time like if we were breaking down the kata during bunkai.