A plethora of articles have been written on this subject over the past several decades; yet the debate continues.  I’ve been assisting with the instruction of karate classes at a friends (David) school, along with another gentleman (Ariel) who has been training in Shotokan for more than 26 years.  David has been running a commercial school for over twenty-five years.  His original areas of study were Tae Kwon Do and Hapkido.  Over the past decade or so, he has been incorporating a variety of other styles like Kung Fu, Escrima, Krav Magra, and grappling to name a few.  Since we’ve known each other, he has continually asked me why I train in, and teach, kata.  He has battled with what the curriculum of his classes should be, and why there is lack of discipline amongst many of the students.  He is a big fan and student of Bruce Lee, which may explain his lack of fondness for teaching forms and wanting to adhere more to self-defense/fighting tactics.  Those of you familiar with Mr. Lee’s direction of practice towards the latter years of his life know he felt practicing forms (kata) was a waste of time.  Bruce felt training to fight in as realistic a manner as possible was the way to go.

During a recent talk, David told me he’d spent the weekend in Dallas with John Graden (founder of NAPMA, among other organizations) and other commercial school owners.  They were all trying to wrestle with the same dilemma; what to teach in order to retain students.  Remember, they make a living based on the number of students they have.  He told me he was thinking about changing his curriculum so it would reflect more realistic training for them in the street.  In other words, he wants to focus on self-defense so students will be able to defend themselves in the street sooner than traditionally trained karate students.  He wasn’t planning on teaching any kata until they earned their black belt.  At this point you may be experiencing the same reaction I had.  How can a person become a black belt and not know a single form?  That may also beg questions like; what is a black belt?  Or, what does earning a black belt mean?

The following day we were joined by Ariel.  I asked David if he’d discussed this new direction he was contemplating with Ariel.  He hadn’t; so he went over it with him.  David again got into the issue of why we do katas.  Why does a student turn one way when going the other direction might be better?  Why does one instructor teach Bunkai (explanation of movements and tactics) differently than another, or at all?  The conversation continued thusly until we lined the students up to begin class.

I tried to run a commercial school back in the 1970s in Indiana.  I didn’t use contracts or advertise.  I had over a dozen regular students, but never had the numbers that would have allowed me to not work a primary job during the day.  I’ve never sacrificed my traditional methods of teaching or training in order to coddle to students to keep them from loosing interest.  I have endeavored to teach both proper technique and attitude since becoming a karate instructor in 1967.  I know many of you can say the same.  Therefore, my question is simple.  Why can’t many traditionalists run commercial karate schools without sacrificing quality in skills, techniques and attitudes?  I can’t help but think there must be some instructors who are successful at teaching this way.  Yet many others fail.

When Ariel and I talked this over, he suggested that maybe many of these instructors weren’t taught how to properly understand what they were studying and why.  Therefore, they weren’t able to pass this along to their students.  This makes sense to me, and I’m sure to some of you readers.  It also raises certain questions.  What was the focus of your instructor’s classes?  Did you work mostly on sparring in order to compete at tournaments and less on kata?  Did you train any on self-defense?  What about learning the various histories of some of the major styles from Okinawa, Japan, Korea, or China?  Or the various types of training ancient warriers (Samurai) underwent in addition to fighting and strategy?

Don’t know the answer to any of these questions?    See what I mean?

So what should be the goal of martial arts schools?  What should instructors hope to achieve in training their students?  Both of these questions will vary depending on whether said instructor hopes to make a living at teaching, or wishes to train dedicated and skillful students with proper attitudes and understandings of what they studied and why.  For those teachers who want to both make a living and have dedicated students who really earn a meaningful black belt, the challenge is clear.  The difficulty lies in setting a straight course and sticking to it.

When I first began my studies in the martial arts, I had some instructors who taught some aspects of history and the essences of the particular art, and other who didn’t.  Over the years, I’ve learned much on my own.  There was a time when I was very involved in competition.  It was more for the purpose of showing my students I was capable of practicing what I preached.  It was also a means for me to find my weaknesses and work towards improving my skills and knowledge.

I hope my friend David finds what he’s looking for.  He does a great deal of reading and study in the arts which has increased his knowledge and understanding.  He must decide on a single curriculum and stick to it.  Over the six or seven years I’ve known him, he’s continually battling with what to teach.  What should he expect from his students?  In the early years of teaching, he taught disciplined traditional Korean style classes.  He had a number of very good and dedicated students.  He wants to capture that again, but appears to be more focused on the economics rather than the traditional aspects of his school.  Is he dealing with a dilemma?  Of course he is.  He was trained in a traditional manner.  Over the years, he’s become more enamored with success stories of commercial school owners who’ve become millionaires.  He’s striving to find the nitch that will give him the same success.  Whether he will realize his financial dreams in South Texas or not, only time will tell.  Time will also reveal whether he is successful at both training dedicated students and keeping a high enrollment, or turning out black belts who lack the traditional qualities and haven’t really earned the rank.

During a discussion with Ariel, he recounted how when starting as a white belt at his University in the Philippines there were some 500 others.  More than 5 years later, when he tested for his black belt, there were only 7.  Over my forty plus years of involvement in the martial arts, I’ve seen countless numbers of students come and go.  And yet, those who stuck it out to eventually earn their black belt were few.  Those who continued on to higher black belt ranks were fewer still.  It didn’t make much of a difference whether the instructor tried to make the classes interesting or just stuck to the traditional ways of training.  There will always be those who have it in their heart to become a dedicated practitioner of the martial arts.  This dedication will take them through a lifetime worth of training and learning.  The true martial artist is less interested in rank than he or she is in growing in their respective art.  There are many others who start their training with the sole goal of earning rank.  It’s more an ego trip for them.  The desire to learn is present only in so far as it facilitates their progression in rank, not because they truly want to learn.

For me there is but one question.  Do I continue to train students based on the traditional ways I learned?  Or do I sacrifice some of the disciplined traditionalism in order to increase the number of students on the floor?  If you know me, you know the answer already.  For those readers who don’t, it’s simple.  I would rather have a few hard working, dedicated students who are truly interested in learning, rather than how soon they could earn their black belt.  Their desire should be the experience of learning and growing in both their knowledge and skills.  Not rank.  If it’s a black belt they want, the store down the street sells them for $7.95.  If I ever get to the point where money is more important than my traditionalistic principles, it will be time for me to hang up my belt.


Respectfully Yours in Budo,

Mike Sullenger, 8th Dan
AKS Assistant Chief Instructor

The following article was submitted by Lonnie Sprouse, 3rd DAN, new head instructor at Harrison County YMCA Karate Club in Clarksburg, West Virginia.  The Harrison County club was visited by a guest who shared his own expertise with its students.

I've been training for many years in Martial Arts (MA); mainly stand-up fighting using basic techniques such as punching, kicking, blocking and self-defense.  How many have taken an opponent down using self-defense maneuvers and have had it reversed; making you the victim on the ground?

I've been there, with my back on the ground and my opponent controlling every movement; making me struggle, causing frustration to the point I burn out, or giving the opponent time to lock a submission hold - disabling me for good.

Here at the YMCA Karate Club, we've been implementing ground fighting techniques.  We had a guest from Gulfport, Mississippi, Officer Andy Ratcliffe, III.  Officer Ratcliffe taught us the basics of ground fighting.  He first demonstated the take down, and then the ground techniques;  different ways of positioning yourself over or under your opponent, causing damage to; or preventing being damaged.  If one way doesn't work, move on to another technique.  This is a whole different world than stand-up fighting; which always seemed to go to the ground.

I believe implementing ground fighting techniques will make our students better and more rounded martial artists; especially in this new wave of skilled fighters.

Officer Ratcliffe, we thank you for your time and patience.  It has been a great opportunity for our club.  We shall pass on these techniques; handgrip, onion peel, shrimpping, table legs, hooks, guard, side mount, branch up - out and down, triangles, naked choke, and so on.

"Thank YOU."

Lonnie W. Sprouse 3rd Dan
AKS Instructor, Harrison County YMCA Karate Club

Those interested:   Brazilian jiu-jitsu – Self Defense by Royce & Charles Gracie. Or go online to Amazon.com, Books a Million, Walden Books, or major bookstores.

Note:  Officer Ratcliffe, III is a police officer in Gulfport, Mississippi.  An acquaintence of Sgt. Chuck Krum, Mr. Ratcliffe was taking a course on C-23 airplane certification and wanted a place to "work-out" during his 3-week stay in West Virginia.  Ground fighting / submission is part of an officer's daily task.  To subdue or arrest a person sometimes involves taking that person to the ground and putting on handcuffs.  Ground fighting, grappling, Jiu-Jitsu is part of their training.

Andy said that if anyone was interested in more information, they could contact him as follows:

andrew.ratcliffe@us.army.mil

or:
Andrew M. Ratcliffe, III
CPT, AV, MSARNG
1108th AVCRAD
Gulfport, MS

“Kata is Like a Tea Bag…”
Dr. Rob Debelak, AKS 6th Dan
August 2006

I was once asked:   “Why do you practice kata?”

Grab a cup of tea, and I will tell you how I answered that question.

CONTROVERSY
Over the past 30 years, I have listened to both sides of an argument:  does kata training contribute anything to a martial artist’s development?   For some, kata is just another exercise that must be performed to advance to the next belt rank.  Some opponents to kata training feel forms are too restrictive on students.  Those favoring kata point out the movements are logical, helpful routines for exploring self defense ideas.  Others find beautiful qualities in kata and perform the sets much like Olympic gymnastic routines.

Essentially, an instructor’s attitude toward kata sets a tone that may influence students for a lifetime.  Because of this, an instructor can either teach there is no connection between kata and other aspects of martial art training, or an instructor can help pass along the unique contribution kata training makes to an artist’s overall development.

Admittedly, I favor kata training.  I have been fortunate to have had instructors who stress the important and positive aspects of classical forms, as well as the challenges kata offers to my training.  I have come to appreciate the qualities of sound fighting theory that kata preserves and advances.

CONCEPT
As a training concept, kata is one exercise within a variety of training rigors in many martial art styles.  “Martial” is warfare or combat.  The “art” aspect considers a science of sorts to the study of martial concepts.  The idea is some training methods are more effective than others.  In short, martial art training to a great degree is about the strategy of fighting - admittedly, there is more to this, but let’s at least get the ball rolling!

Under the topic of “martial” training, students seek to perfect personal technique and strategy in hope of achieving a desired outcome.  Whether in the competitive ring, self defense on the streets, etc, the training efforts have a goal in mind:  survival and successful self defense.

Grades (belt ranks) offer increasing challenges in the pursuit of bettering one’s technique.  The AKS Student Handbook for example, documents how a student’s advancement in rank includes examination of proper performance of: basic techniques, one/three steps, historical knowledge, teaching ability, kata, sparring requirements, etc.  Here is a key place where attitudes shape a student’s success or failure in technical aspects of training:  kata is either an exercise contributing positively toward success in martial art training at large, or kata is just another calorie-burning set of movements separated from the overall goal of learning quality defensive techniques.

Can you be a good fighter without kata?  Sure – there are plenty of examples.  But if kata were seen in a proper light, why would you want to diminish the value of this training mode if the right perspective and understanding helped you toward greater technical success?

CURE-ALL?
One legend says there was an ancient, long, grand kata from which all other kata or fighting theories developed.  Another idea says when one nation invaded a country; the oppressed secretly hid the knowledge of their art in cultural forms of dance.  Through time, these became what various systems refer to as “kata,” or pre-arranged patterns of movement simulating a fight against various opponents.  Some may argue these routines are stylized forms of shadow boxing.

Whether these backgrounds can be substantiated or not, a style’s emphases (hard or soft, kicks or punches, circular or straight-line theories of movements, etc) are often revealed in the kata it commits to (if any) passing on to its students.  When elements of the form remain unknown, passing on info about movement at least preserves a basic sense of emphases in the form itself.  However, when the bunkai or meaning of the form is known and explained, a rich treasure of knowledge (self defense information) is revealed.

Kata is not a cure all – but it does afford one more means of training designed to help a student explore the mechanics of movement, etc.  As such, a note of caution is offered:  if confronted by an aggressor or two, launching into the 20 movements of H Form is not advisable.

If such a tactic were employed, attacker(s) will likely overcome a defender in short order.  However, if some principles of movement, economy of motion, self-defense theory, etc. are properly adapted for a given setting, the potential contribution kata makes to self defense efforts is increased.

CONCERN
Maybe the real heart of the issue is that kata in and of itself is not inherently bad or restrictive.  Yet, the attitudes we choose either help or hinder the view of kata and its contributions.  Perhaps we could take a good look at our training routines and ask ourselves:  in what practical ways do we really value or devalue kata training?

Maybe we need to be more interested in not only the “what” of kata, but the “why” of kata.  For example:  if you look at the pages of the student handbook and assume a checklist approach to the next belt, you may likely have limited yourself to a path that only leads to an ever darkening color of cloth around the mid-drift.  However, if you see the increasing challenges in the incremental levels of development, these forms can be seen as tools for personal growth.

To illustrate:  suppose I gave you three colors:  yellow, orange, and green, and asked you to paint me a picture on a white canvas.  Next, I give you blue, purple, red, and brown, and ask you to keep painting.  The new colors give you more variety and endless possibilities.  We can keep adding or blending colors and complexity to the assignment.  I think you get the picture (pardon the pun!).  This illustration also applies to martial art training.

I’m told some training disciplines (i.e Aikido, Jui Jitsu) teach a limited number of basic movements.  The student then adapts, builds on, tailors, experiments, and expands her or his fighting tools from the basic set of movements.  Generally, advancement in rank is based on the effective adaptation and application of these elementary building-block techniques.  For schools of training such as the AKS, who are committed to using kata, perhaps we could also ask ourselves how well are the basic techniques (those represented in the kata) used in a student’s presentation of self defense and sparring for any given rank (keeping safety in mind, of course)?

What if a training approach captured the idea that helpful, creative, and effective material was “hidden” in the kata just waiting for discovery?  What if effective sparring/self defense was the goal toward which technical abilities were being honed and other exercises were accomplished with that goal in mind?  One and three steps would be more than merely mechanical movements; they would focus on accuracy, timing, and efficient use of effective techniques.  What if kata were a valuable source of reference one could draw from to enhance self defense ability?  In terms of presentation, this kind of commitment translates kata to look more like a fighting performance (shadow boxing).  If we are to ‘practice the way we want to perform,’ AKS students should seriously consider the positive value of kata training and give attention to the performance and analysis of these basic movements.

If we are honest with kata, hopefully, we can also determine what is showy versus what is realistic.  This often is a line between classical schools and more contemporary gymnastic routines labeled as kata.  I mean no unkind jab here; but I do feel the need to assess the realistic application of what one is learning in kata.

CONCEPT / TRAINING IDEA / POSSIBILITIES TO EXPLORE
So here’s a training idea: select any one of the kata you know; advanced belts will have more to draw on, but anyone at any level can try this.  Take one kata you know and break the movements down.  Consider what is done.  Explore why it is done.  Why is a certain movement followed by other specific movements in this kata?  There are endless interpretations and applications.

Next, take an element or two from this kata and apply the movement(s) in one and three step training.  Try this element also, as appropriate; to the sparring mat/ring (remember the setting, safety, etc).  What works?  What does not?  Why or why not?

What are possibilities for those “odd” techniques practiced in kata?  For example, advanced belts working on augment blocks in kata find, in reality, no one spars like that.  Of what use is this technique?  Maybe it is not, as is assumed, an “augmentation” of one hand for the other.  Rather, it may be a way designers of the form helped students learn where a technique was being directed (toward a muscle or nerve in the arm potentially weakening an attacker’s grip).

Students working on the form, Kema (also called Tekki or Naihanchi in some schools), perform what seems to be a rather unusual move of kicking the inside of one’s own leg or thigh.  Sparring experience tells us ‘it is not my job to hit myself – that’s my opponent’s goal!’  So why does the kata teach this movement?  Again, it may be directing the student’s attention to a target on an opponent’s leg to weaken an attacker’s balance.

CONCLUSION
It has been several years ago since I was asked:  “why do you like to train on kata?”

I now share my response with you in conclusion: kata is like a tea bag.  If you try to taste it by itself, the flavor is strong, overwhelming, and hard to swallow.  You probably won’t want to try it more than once.  Yet, unpacking kata is like putting that tea bag in a cup of hot water.  Give it a little time, and the effect of the flavor is more enjoyable!