Kata Competition

All styles of karate have kata but some emphasize its practice more than others. Although kata differs from style in most of the traditional karate styles, the katas have a lot of similarity because they originate from Okinawan karate masters. Although recently the practice of kata has been on the decline, its practice is still important, especially in the Japanese and Okinawan karate systems.

Another major form of karate competition is kata competition. Here contestants perform a chosen kata and are graded by 5 or 6 judges on a scale of 0 to 10. Each judge awards a score and usually the top and bottom scores are deleted. The remainder is added together to form an overall score for the contestant. After everyone has competed, the highest scoring kata competitor is declared the winner.

Kata is usually judged on good form, appropriate speed and power, correct breath control and correct direction of movement. In the US, kata competition is often divided into soft style, hard style and weapons. Recently a new innovation, musical kata, has come into prominence. Here contestants perform kata music and are judged not just on form but on showmanship and how well the music and kata coincide.

Essential points in kata training

1.            Kata training demands perfectly controlled movement sequences.

2.            For each kata, the number of movements is fixed (Twenty, forty, etc ) each technique must be perfect and deliberate, separated by long pauses and purposeful withdrawal movements and they must be performed in the correct order.

3.            The first movement of the kata and the last movement must be executed at the same point on the performance lime. The performance line has various shapes depending on the kata, such as straight line, like the letter “T”, like the letter “1”, in the shape of an asterisk (.) and so on.

4.            There are kata that must be learned and kata that are optional. Ther former are the fice Heian kata and the three Tekki Kata. The latter are Bassai, Kanku, Empi, Hangetsu, Jutte, Gandkaku and Jion. Other kata are Meikyo, Chinte, Nujushiho, Gojushiho, Hyakuhachiho, Tensho, Unsu, Sochin and Seienchin.

5.            To perform a kata dynamically, three rules must be remembered and observed:

                (i) Correct use of power,

                (ii) Speed of movement, fast or slow,

(iii) Expansion and contraction of the body. The beauty, power and rhythm of the kata depend on these three things. Rhythem is the soul of kata. The spirit of kata springs to life in the characteristics changes of speed from fast to slow, in the focusing and relaxding of muscular tension, in the sudden change from gentle breathing to an explosive exhalation, ending in the power of Kiai, or the harmony of resolve between mind and body.

6.            At the beginning and at the end of the kata, one bows. This is part of the kata. When doing kata successively, bow at the very beginning and at the completion of the final kata.

7.            Kata is combat! Every movement is adapted to a specific situation. Only those who can identify the situation (attack), who can fight against it, who can read an opponent and his technique react accordingly, are true exponents of kata.

8.            Kata means form. This is reflected by the importance given to the formal sequence of approach, greeting, addressing, concentration and commencement, to starting and ending at the same point, to Zanshin – withdrawal from the final position and the concluding greeting.

Instructions for Kata Practice

The following approach is the best way of learning kata forms:

First practice the general sequence of movements, following the step-by-step illustrations (Embusen). At this stage, strength, speed and rhythm are not important and the finer points of technique are also irrelevant. When you have mastered the general sequence, the other points should be added. You should then start to develop the technique for timing the holding and relaxing of a position and the fast or slow speed sequences demanded by kata in its most profound sense. To those lacking ad deeper understanding of the meaning of kata itself, it will probably always remain a mere striking of balletic poses. In good kata demonstrations, the significance of the movements should become clear, even to the layman. 

Etiquette requires that kata always commences with a forma standing “greeting”. Put your heels together (Musubi Dachi), your hands flat on your thighs and bow from the waist. Look straight ahead, this symbolises the dignity and respect which a karateka should show in the practice of his martial art. After the greeting, you should be in shizentai (Natural stance), position or ready stance with hachiji-dachi, or your feet vertically below your shoulders. The karateka is now in zanshin, representing a state of readiness for imminent action. 

Every kata begins with a basic defensive action. This intended to demonstrate the peaceful nature of training, which has no aggressive purpose, but which, on the contrary, is based on total control. Kata always commence with a glance at the opponent, followed by the opening movements, which should lead swiftly and powerfully, but without haste, into the new stance. Every movement should end with the muscles tightly contracted (KIME), although the tension should be maintained for varying periods of time. These periods may be very brief, as in the 8^th movement of the 1^st kata (left Age Uke) or the 2^nd movement of the 2^nd kata (Nagashi Uke with Ura-ken), or they may be of normal length, as in the 2^nd movement of the 1^st kata (oi-zuki) or the 1^st movement of the 2^nd kata (double arm block), or the tension may be maintained for very long periods indeed (as in every Kiai).

Kata And Types Of Kata

Blocking, punching, striking and kicking --- the fundamental techniques of karate --- are combined in a logical manner in the KATA, the formal exercises. Since ancient times, the various kata have been the core of karate, having been developed and perfected by old masters through long training and experience.

The Kata, about fifty of which, have come down to the present day, can be roughly divided into two groups. On the one hand are those that are seemingly simple but also exhibit grandeur, composure and dignity. Through practice of this type of kata, the karateka can build up his physique, tempering his bones and forging strong muscles.

The other group is suggestive of the flight of a swallow and is appropriate for the acquisition of fast reflexes and quick movements.

Execution of each kata, that is, the leg movements, is along a predetermined performance line (Embusen). Though one practices without a visible opponent, he should have in mind disposing of enemies coming from four directions—or eight directions---and the possibility of a changing performance line.

Since the kata contain all of the elements essential for exercising the whole body, they are ideal for that purpose. Practicing alone or in a group, anyone can follow this way, in accordance with his own level of ability and regardless of age. It is through these formal exercises that the karateka can learn the art of self-defense, enabling him to face a dangerous situation naturally and expediently, but the degree of skillfulness is the determining factor.

There is no direct translation for the word “KATA”. However, the best way of translation it is by the word “FORM”. Kata itself represents combat against several opponents, although these are invisible and exist only in the imagination of the exponent and the spectator. The objects are total self defense, by a sequence of set attaching or defensive moves. Modern karate developed as sport in its current form around the turn of the century, although “free sparring” as it is known today was not introduced until the 1930s. Before that, the only kata contests held were aimed at trying to find the best karateka expertise.

Depending on the level of training, there are various practice objectives; correct techniques, correct breathing, good stance, perfect timing or rhythm and precision of movement within the spaces marked out in the Hall. There are between 30 and 50 recognized kata (the number varies according to whether and how many of the different kata styles are included). In Shotokan karate, there are four different groups of kata (excluding pre-training exercises, such as TAIKYO-KATAS, which are not dealt here); 

Group 1:              Heian 1 – 5, Tekki 1  or basic kata elementary grade.

Group 2:              Bassai-Dai  Jion, Empi, Kanku-Dai, Hungetsu or advance kata up to Master Grade.

Group 3:              Bassi-sho, Kanku-sho, Jitte, Mekyu, Sochin, etc, or first grade master kata.

Group 4:              Unsu, Gojushiho-Dai, Gojushiho-sho or special kata for Grand Masters and Kata specialist.        

Every level of training has its own set kata forms. This also explains why an advanced kata performed by an elementary grade pupil will always be marked down. Advanced kata demands the absolute precision of movement and perfection of rhythm which a relative novice cannot possibly have attained. For this reason, our golden rule is:

BETTER A PERFECT LOWER – GRADE KATA -------- THAN A MEDICORE ADVANCED KATA!

Basic kata is aimed at elementary training objectives, such as the development of a firm stance, good defense and confident movements. 

The more advance kata forms, of which Empi is s perfect example, promote the development of lightning-quick movements and a rich variety of reflex responses. The simpler forms of basic kata came about because advance kata, once the only form of kata in existence, proved to be too difficult for the beginner, so the original kata forms were broken down into their individual components. In this connection, it is interesting to note that FUNAKOSHI speaks of three years in terms of the period required to master a single kata. Even if a kata demonstration appears to be successful after several weeks’ intensive training, “mastery” in the true sense of karate will still be light-years away.