Karate Kata

In this article I am looking to explain some applications for the opening movement of the Kata Heian Nidan. I chose this Kata as I felt that it was one that most Karate-ka would know at least one version of. I have also found that many Karate-ka focus on the more senior Kata when it comes to applications. The reason given for this is usually that the Heian/Pinan Kata were formulated by Master Itosu for the purposes of being taught to school children. According to Funakoshi Sensei, Itosu sensei was asked to create a way of introducing Karate to the public education system. What Itosu Sensei came up with were the Pinan Kata, which Funakoshi Sensei later called Heian, when he took Karate to Japan.

This was not the only time when “introductory” Kata were formulated. In Iaido for example, there are the Seitei Kata. There are examples in many other fighting arts of simplified versions of older Kata being used to teach students.

This has led many practitioners to regard the Heian Kata as “junior”, and therefore not worth bothering with beyond a certain grade. Another criticism often aimed at Heian Kata is that Itosu sensei was forced to alter many of the techniques in these Kata in order to make them safe to teach in the Okinawan school system. I even heard one Dan grade refer to them as children’s Kata, which is a shame as many of the techniques in the Heian Kata are taken directly from the older Kata. With identical movements, the applications are the same and of no less value. Many of these techniques result in the serious injury or death of your opponent, regardless of what level the Kata is taught at.

The opening movement of Heian Nidan, Haiwan Uke, can also be seen in the Kata Unsu, (Rohai). The first technique involves moving both arms in the same direction whilst stepping to the left into Kokutsu-dachi, (back stance). This movement is used to block a strike aimed at the head with the left forearm. This is quickly followed by a punch with the right hand, as the left arm is brought sharply back to sit above the right shoulder. This is then followed by a punch with the left hand, making sure to bring the elbow back, and then expanding the chest as the punch is executed.

Application 1

The attacker throws a right handed punch at your head, as can be seen in Figures 1 and 2. In a previous article I wrote about Common Acts of Violence, and this is a typical example. The right handed punch to the head is the most common attack faced by most men on the street. I specify men, as statistically women are more commonly grabbed. This is purely a generalisation, and this can differ depending on an individual’s lifestyle.

Make sure that in your training you get used to practising as realistically as possible from the beginning. The large movement of Haiwan-Uke has been developed to block a punch from the side, so make sure you are not standing square on to your opponent. As your partner throws the punch, you are looking to drop your bodyweight, as you block the technique with Haiwan-Uke.

When practising the Kata, your starting position should be yoi. As you step into Kokutsu-dachi, the hands can look as if they have been flung back in the opposite direction prior to the block. If the Kata has been taught correctly, you should in fact leave the hands exactly where they are in yoi, so when your body moves your hands stay in their original position. This is essential when practising the application, as when you realise a punch is coming in you should be reacting based on your natural flinch reflex. This means raising the arms in a large sweeping motion, a cover all technique that totally protects your head. If you are bringing your arms back before the block, then there is no way you will be able to move quickly enough to protect your head.

When practising Kata, a consideration is the floor pattern or Embusen. Generally speaking when it comes to practical application you should step in whatever direction is most practical. Except for specific techniques which require you to step at a certain angle, the Embusen is usually a simple way of maintaining the symmetry of the Kata. I have found this same principle to be true in other fighting arts in Japan, such as the classical sword schools. Again, many of these principals tend to be universal in the fighting arts.

The left arm of the block should be absolutely vertical, (as you can see in Figure 2), and you should be close enough to your opponent to be able to deliver the counter attack. You should be able to reach the back of the head without stretching, allowing you to bring your opponents head in towards you as you strike to the face with the right hand, (Figure 3). Please note, that if you have kept the arm in the correct angle as seen in the opening block, you should find that your left elbow is wedged firmly against your opponent’s right shoulder, (Figure 4). This gives you the leverage for the next movement. Using the correct punching motion, you are able to tuck your opponents head down and spin your opponent away from you, allowing access to your opponents back, (Figure 6).

Application 2

Once again your opponent is attacking you from the same direction in another very common form of attack. As your opponent grabs your shoulder and spins you into the punch with their left hand, (Figure 7), you perform the movement in exactly the same manner as you did in Application 1, (Figure 8). You allow the arm to wrap your opponents arms together at the elbow, pinning their arms, and allowing you to perform a strike to their ribs, (Figure 9). Providing they are struck at the correct angle, it only takes around 8 pounds of pressure per square inch to break a finger or a rib. It is important that you pull your opponents elbows in and upwards with force, as this will not only disrupt your opponents balance, but will also spread their ribs making them easier to break. You can then complete the technique by punching your opponent solar plexus, sternum or towards the bladder, (Figure 10).

An interesting point of this technique is the way that both hands move in the same direction. If you are to try this same movement with just one arm, you will find that the blocking technique is no way near as effective, (Figure 11).

As I said in my previous article, I am hoping to not only show some of the Kata applications I practise, but also to show the combative principles within the Kata. The key issue here is that even though you can be attacked by either a left hand or a right hand, you can use the same blocking technique in the same manner exactly the same way round. This is true of most good self defence techniques. I have seen teachers tell their students that if they are right handed they should practise double the number of repetitions on the left hand, to bring it up to the same standard.

As I said in my previous article, I am hoping to not only show some of the Kata applications I practise, but also to show the combative principles within the Kata. I cannot disagree with this more. Though it may have a certain value in developing the appearance and performance of your Karate, in fighting terms this is totally impractical. Most people will naturally favour one side, and it is far more practical to work to your strengths rather than your weaknesses. I have yet to see a right handed cricket player practising batting left handed. Of course it is important to develop all of your weapons, in order to have the ability to attack effectively with any limb. I suggest however, that it is far more practical to practise equally on both your right and left side. I believe that most fighters would rather be armed with one very good weapon and one weak weapon, than two mediocre ones.

An easy criticism to aim at this technique is that it relies on you, as the defender, being able to react quickly enough to block a sudden attack from the side or from just behind. The technique works on the principle that you are relying on your natural flinch reflex. It’s natural for a person to react quickly without thought to something that you see out of the corner of your eye. This is such a useful principle that it is commonly taught in Japanese sword schools, and other armed and unarmed arts. It is known that in a stressful situation the two things commonly experienced are a loss of fine motor skills and tunnel vision. As you can see, the technique uses very large body movements, as do the vast majority of Karate techniques. Regarding the tunnel vision experience, this is only a perceived loss of peripheral vision. You still have peripheral vision, you are just not aware of it. This has led to some combatants seemingly able to defend against attacks they haven’t even seen, leading to the idea of some practitioners actually having a sixth sense.

It is important however to remember that there is no fighting art that can train you to effectively deal with a totally surprise attack. It is common then that most Japanese arts repeatedly emphasise to their students the importance of Zanshin, (awareness). I sincerely believe that if people were more aware of their surroundings, the majority of violent crimes such as assaults and street robberies could be avoided.

About the Author

Allan Gill has been practising martial arts for 23 years. He is currently a 3rd Dan in Shotokan Karate and is a practising student of Tenshin Shoden Katori Shinto Ryu.

 

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