1. What is Kata?
I believe that the practice of Kata is extremely important, however, it seems that many may have forgotten or may not understand the original meaning and purpose of learning and practicing Kata. I believe that much of this misconception appears to originate from the apparent belief that kata were only intended in an old-fashioned way to be used as a sort of training model to prepare for real fighting. I believe that it is important to recognize that in real fighting (e.g., life or death) that the numbers of possible considerations for engagement are, of course, potentially infinite. This consideration may be why some may believe that learning and practicing Kata is a useless or limiting endeavor because of the perceived infinite potential for engagement in reality. Accordingly, because of the general belief of lack of practical application, many people tend to believe that practicing Kata is a useless and out-moded practice.
I want to emphasize my belief that the importance of learning and practicing kata is definitely not a useless endeavor, and I would like to explain why I believe that this pursuit is so important and true. One important concept that I would like to present here is that by learning and practicing Kata properly, that the engagement action or response becomes increasingly clear – not infinite.
My understanding of this matter is based in part on being taught Kata from childhood, by oral tradition which has been taught and carried forward for many generations by my ancestors; my father and grandfather taught me the Kata, which have been preserved and carried forward for centuries in the same form. By analogy, I believe it is as though I have been given as ancient systematic written and illustrated tome of the preserved original forms of the Kata by my ancestors who endeavored to capture and teach their true original meaning and application. Therefore, to study, assimilate, apply and understand the original oral tradition and these “books” containing visual descriptions of the Kata has been entirely dependent upon how much focus and effort I applied over a long period of time. In other words, when I was initially taught the Kata as a child, I did not know, nor was I taught their meaning, application, purpose and I did not understand or appreciate any of the key science and theory of the movement that underlies the Kata. I had to identify, learn and understand these new theories only by a careful, systematic and painstaking effort to practice of the Kata over a long period of time.
The actual forms of all of the Kata that were handed down to me by my ancestors comprise only the form and sequence of overall movements of the Kata. When I was growing up, I was taught the correct form and sequence of movements for the Kata, but I was not taught any underlying theories or science of movement for the Kata, which are something that I believe are most important – but are the most difficult – to learn.
After many years of painstaking effort, I believe that I have identified the theories and science of human movement which are embodied within the Kata, and I want to explain their meaning and purpose. I believe that none of these theories have been previously identified and they are unique and important to understand ideal human movement, performance of Kata and their application for bujutsu.
I want to emphasize that the actual Kata for ms are comprised of the application of the theory that I have identified and now teach for Shinbukan. The Kata embody the practice and application of some very important theories regarding human movement for bujitsu. But, until now, I believe that no one has observed or described these theories, and I will now try to describe them from the perspective of the Kata. As I mentioned earlier, many people believe that learning and practicing Kata is unimportant or limiting , and they may therefore fail to recognize that there is much hear to be learned and refined that is essential for achieving ideal human movement for bujitsu. I hope to constructively dispel the foregoing myth and to open an new and informative introductory explanation of the essential components of ideal human movement in bujitsu.
I will carefully illustrate here that the more prevalent modern belief that Kata are not useful or important is not founded on a proper understanding of Kata. I believe that I can speak to this fact very clearly because of my ancestor’s consistent teaching and preservation of the Kata over generations, and also recognizing that one of their key objectives in doing his was to avoid losing the true sequence and form of movement contained in the Kata and to provide the continued opportunity to understand the actual theory and practice of Shinbukan Kata as it was actually untended and performed long ago. Perhaps another way to consider my comment here is that had my ancestor’s NOT preserved and taught this information, it is very possible that the critical essence and purpose of Kata would likely have been lost.
The most important consideration, from my perspective, is that learning and diligent practicing of the Kata leads us into another completely different world of understanding. This completely different world of understanding involves the training and optimization of human movement and ability. Ultimately, this is known as the developing “disappearing movement” or invisible movement, which I will try to describe for you briefly as an introduction.
2. The Performance of Disappearing Movement
The Kata that I teach in Shinbukan are comprised of several important fundamental theories that underlie their purpose and application. When a human being correctly follows and executes these theories during their movement when they perform the Kata, their partner’s actual perception of their movement will seem to disappear or otherwise become invisible to others who are receiving their movement and technique.
But, please don’t misunderstand the term “disappear” or “hidden” or “invisible” that I may use here. I am not trying to imply mysticism or magic here at all. It is important to recognize that I do not literally mean to suggest that one’s arms, legs, or body will disappear, or actually become hidden or invisible. My primary objective here is to describe that when the Kata are preformed correctly, the partner cannot discern or perceive the actual key individual movements or the technique that is being delivered as the Kata is being executed – rather only the beginning and the end result are what are fully perceived.
In other words, it may be useful to consider that what I am trying to carefully describe by using the terms “disappear”, “hidden” or “invisible” with respect to movement of the Kata is that an outsider or opponent’s perception of the actual movement of the Kata is reduced, limited or hindered as a result of the proper performance of the Kata.
What I like to say to my students as an example of this concept is that we cannot perceive the movement of the magician’s hand that produces a perceived magical outcome, which of course, is not magical. The effectiveness of the magician’s performance is because certain correct movements were used, but that were not perceived by the audience.
We also have the theory of Maximum and Minimum in Shinbukan (I will describe this for you later herein), and we must always move in one motion of Kata in the maximum way. I must emphasize that this overall movement of the Kata is composed of many separate components of different anatomical parts of the body, which are moved in a simultaneous and coordinated manner so as to change the perception of the overall movement to make it disappear.
As you know, the normal physiological perception of movement that is sensed and processed by the cerebrum and visual part of the brain is primarily limited to the observation of one major component at a time. I can also say, in other words, that one of the fundamental concepts I am trying to teach about Shinbukan is that it is very difficult for the human brain to concentrate and perceive two or more simultaneous stimuli that require perception (e.g., changes in force, position, movement, balance or pressure) and the direction of such movements as they occur for very long, if at all. From this point of view, the cerebral cortex of the brain and all of the physical senses of the partner cannot perceive the actual information generated of overall motion from the combined of the partner’s complex motion. My teaching of the Kata exploits the limited ability of the human brain to perceive the actual overall movement of the partner due to their ability to perform combined simultaneous coordinated movements of that thereby cause the movement of the partner to disappear.
The foregoing point is I believe is truly unique to Shinbukan.
What I am also saying here is that the disappearing or invisible movements of the Kata involves theories and applications that are not based on simply how one moves or positions the arms, hands or the legs or feet. What I teach in Shinbukan Kata is that one must learn how to “short circuit” or transiently overwhelm the sensory (e.g., visual, touch, position. Pressure), motor and balance perceptions of the opponent by executing proper controlled movement. This point is very important; I will explain this in more detail.
3. How does one learn to move with the invisible or disappearing movement?
The Kata that we teach in Shinbukan has wonderful theories and applications. It takes time and effort to understand these theories and applications, but it is worthwhile to endeavor to do so.
One must obey these theories and applications and practice them carefully in order to perform them naturally and without step-by-step thinking or consciousness. I would like to describe some definitions and terms for you to help introduce and clarify some very key concepts for the practice of Shinbukan Kata practice.
1) Musoku-no-ho（無足の法）
a. “Musoku” means without using or perceiving the feet or legs. This term is meant to teach and describe that the feet and legs are perceived weightless – in other words they are floating (which will be described in Ukimi), and the joints and muscles perform in a relaxed, flowing coordinated manner for performance of the disappearing technique. The weight, strength and thrusting power of the feet and legs cannot be perceived by the opponent (Uke) with the execution of proper technique, but their position (e.g., relative to the body and the opponent) and vector of movement are known to the performer (Tori), with proper technique.
b. The term “no” means “of” or “from”. “ho” means rule, method, way and theory. This is one of the Shinbukan theories and methods: the body movement is conducted in accordance with obeying the natural force of gravitation, or to always use the natural force of gravitation to perform the Kata – and to simultaneously not to use perceptible force or positioning of the legs or feet to perform the Kata.
That is to say, with proper performance of Musoku no ho in the Kata, one does not push or thrust against the floor, but rather one effectively uses the natural form and motion of falling down – which involves the use of the natural force of gravity during the Kata. And, this descriptive terminology for the natural use of the gravitational force of the body to perform the techniques has been used in Jujitsu. It called Shishin-takuma-ryu Uujitsu.
2) Ukimi（浮身）
a. It is important to recognize that the term Ukimi was originally used only as a term for an olden form of the Kata. Originally, there was no meaning that was particularly ascribed to the term Ukimi, other than it was just a name of a Kata. I have changed this term Ukimi to specifically define a component of the body movement.
b. “Uki” means floating, and “mi” is a body. This newer term has been used in Iai-jutsu. It called Tamiya-ryu-Iai-jutsu. Floating means that rather than merely pushing or thrusting the feet against the ground (which is not what we do in Shinbukan), rather, we are using gravitational force to store potential energy and release kinetic energy of the body in a highly coordinated and relaxed manner, which is the resultant outcome of properly positioning and moving our body, whether still or moving, to allow it to float with considerably less effort, and to enhance the perception and motility resulting from minimizing the gravitational force. The concept of Ukimi and its perception are very important to understand and develop. Ukimi is one of the more difficult concepts to learn in Shinbukan.
But, there is another school’s name that has the same sound as mine in Japan, however, it does not have the same meaning nor teach the same Kata or concepts that are taught in Shinbukan. We have an ideogram of Kanji that describes the concept or meaning. Each of us uses various words of Kanji for this purpose.
This is my Kanji symbol, 民弥 (tami-ya) 流 (ryu).
And, another type of Kanji for a different school, 田宮 (ta-miya) 流 (ryu).
Both of the foregoing terms (Musoku and Ukimi) are essential components of the same theory for producing the disappearing movement of Shinbukan.
3) The Theory of Maximum and Minimum Movement, Saidai-Saisho-riron (最大最小理論)
This theory is comprised of the key concept that the maximum movement involves the minimum physical movement within a fixed or defined space. Specifically, the maximum effective biomechanical, anatomical, kinesthetical and physiological components of the individual body parts which are involved in generating the minimum, but maximally effective, global body movement of the Kata within a fixed space. This effective overall minimum global body movement is the direct result of the multiple outcomes which arise from all maximally effective (not forceful) biomechanical, anatomical, kinesthetical motions that underlie the global movement of the body during the performance of the Kata.
This unique concept of Shinbukan that I teach requires careful learning of the most efficient, and unforced, biomechanical, anatomical and physiological elements of individual movements that are involved in the generation of the overall movement which is, in turn, maximally effective as a result of the combined multiplicative effects of the smaller components.
4) Juntai-ho（順体法）
Juntai is a basic term that literally means “do not move your arms or legs without maintaining perfectly fixed body position relationship”. The term Juntai therefore implicitly means to keep the body, arms and legs fixed – in a perfect, biomechanical, anatomical and physiologically advantaged position at all times. The concept of Juntai means that the arms, legs and body must be fixed perfectly during performance of movement – they are never isolated or separated movements, nor are they forced movements. They are performed simultaneously in a coordinated manner.
How does one move naturally and in a relaxed by using a fixed body? It is very difficult and requires careful practice to understand and perform. The basic theory of Juntai is one of the superior secrets of Shinbukan.
This theory teaches us not to move our arms or shoulders alone or separately from a perfectly fixed and unforced relationship between the arms or shoulders and the body position. So, it is very important to optimize the entire movement of the body itself – by isolation of the movement, which is emphasized by this term.
And, it is a very difficult and challenging matter to work the body or move it properly, in isolation for achieving invisible or disappearing method of movement of Shinbukan.
5) The Theory of Constant Speed of Movement, Tosokudo Undo 等速度運動
(The Constant Velocity/Speed Movement Theory ＆ Application)
When one practice the Kata, one must maintain a constant speed throughout their entire movement. This consideration may not be widely appreciated. I believe that it is very important to recognize that maintaining such constant speed of movement during the entire execution of the technique is, in reality, the faster of all. With perfect execution of the Kata, there is no acceleration (and, similarly, there is no deceleration or hesitation) of movement.
I will emphasize that even if the slightest acceleration of movement occurs, that any such change in velocity thereby results in a movement with corresponding increase in speed; when this occurs, the result is that the movement is no longer invisible or disappearing – it thereby becomes readily perceptible to the opponent.
I will point out further that the olden Samurai completely avoided any such acceleration (or deceleration or hesitation) of movement for the foregoing reasons – it was life and death for them. They practiced diligently to perform all such movement by maintaining constant velocity/speed in order to make their movements disappear from their opponent’s perception. I will also share that there is a superior secret of “Hanare-no-shigoku”. It is found in Iai-jutsu. This key concept is embodied by the objective that the physical and mental components of the performance of the movement are joined or fused. Such fusion of physical and mental components of the movement begins at the very initiation of a movement and they remain completely coupled to the end point of movement. This concept and its application means that one’s thinking and moving must occur simultaneously and continuously, and from beginning to the end, of the movement.
6) The Theory of the Straight-Line Movement, Chokusen 直線
This is an invisible straight-line movement. It is an important concept to understand.
I will describe my theory about the straight line movement in some different ways because it is important to understand it. One important concept is that the true straight line of overall movement is invisible. But, from another point of view, the movement of the individual parts of the body during such overall movement is clearly perceivable. In actual practice, when a person observes or touches his partner’s motion of the part of the body, he can perceive that it moves straight line. If a person can move correctly for invisible straight line movement, ordinary people cannot perceive its linearity of movement.
There are two invisible straight lines that are involved in the overall movement of the body during the invisible straight line movement. They are the overall motion of the body and the movement of the inner body. People can touch and feel the inner body movements as the movement of the surface of the body moves in a linear direction.
It is important not to twist your upper or lower body during your movement. Your movement must track the straight line of movement with your body naturally following through. The overall movement of the body that I teach is the direct result of many delicate, unforced, coordinated and complex motions which result in a true straight line of body movement, however, the overall straight line of such body movement is invisible until the movement is fully completed. There is no need to practice by walking on a straight line or to make a perceived straight line; the straight line movement is the result of the actual performance of the movement.
The key concepts that are embodied by the theory of straight-line movement include the following:
1) The overall straight line movement of the body is the result of the smaller, complex and coordinated smaller movements that are carried out by many separate anatomical parts of the body. The overall result of these complexes independently coordinated smaller movements result in an overall movement that results in a straight line of our body through space.
2) The overall movement of our body in space along the straight line motion is invisible for your partner. This overall straight line movement is not detectable by the partner because the normal human brain cannot process all of the small, complex, independently coordinated movements that are occurring in a simultaneous manner.
3) Also, it is important to recognize that with the disappearing or hidden body movement, that an apparent overall true circle arc of movement is comprised of an underlying component straight line movement. Therefore, the overall true circle arc line of movement can be made invisible or disappearing as well.
For these overall movements, it is important to remember that ordinary (untrained) people can only observe that the person moves as a phenomenon – they cannot perceive the actual technique that is being delivered.
An untrained person can not comprehend or perceive the overall motion of the body and technique of the Kata as being straight line or circle or circle arc; these movements are invisible or hidden movements because the partner’s perception does not allow them to be seen.
Similarly, a trained person’s perception for the correct hidden movement will improve with practice and experience. For this person, normal movements that are not correctly performed will be perceived to be slow.
Also, you must never twist or rotate your pelvis during the movement; it must be kept on the straight line as one moves.
The real or true circle-line movement is constructed from the Straight Line Movement; the most important concept of all is the Straight Line Movement. Each part of the physical movement moves in their correct arc/line and direction at the same time.
The Kata are all comprised of all of the foregoing theories and their application.
And, because the Kata involve different important components – which are essentially perfected natural movements and body control (e.g., Ukimi, constant speed, Musoku no ho, Juntai ho, circle-line, straight line), they are extremely difficult for all people to learn and perform. At the beginning, no one can walk properly. Our usual way of walking down the street is against the theory and application of Musoku-no-ho. Also, no one can raise her or his arms or shoulders up and down. There is no forceful power applied. There are very difficult to understand, but this is what I will teach you to do.
From an anatomical, biomechanical, kinesthetical and physiological perspective – all applied in accordance with the laws of physics (e.g., gravitation, F=ma, etc) the normal movements of walking or moving are not capable of producing the maximum effect in the minimum distance, and there is not Ukimi. Such normal movements are perceptible to another human being.
At the first time of trying to practice Shinbukan Kata, no one can move correctly. It is difficult to learn to move correctly, but I must encourage all of our students that, with careful practice, these principle theories and applications of Shinbukan can, in fact, be learned.
Most important you should understand (and please remember) that your body doesn’t move!
Let’s start the Kata-keiko (practice) with happy pain.
Shinbukan-Kuroda-Dojo
The Head Master, Kuroda Tetsuzan
All of the copyright: Kuroda Tetsuzan