Kata is a Japanese word which we take as meaning a ‘set’ or form’. It’s a way in which the basics that go into forming the skeleton of a style are fleshed out into practicality: but practicality within the confines of a controlled environment. Quite simply put a martial art is a dangerous creature, bred to inflict harm on one or more opponents so the controls within Kata are absolutely necessary to prevent serious injury or death. At first the controls are there to prevent accidental harm but later on are there to stop the intentional harm that will happen when you can wield the weapon with some confidence. In any case it is vital you follow what some people call the ‘dance’ of the Kata.
Despite these controls many truly experienced practitioners say Kata is merely a mode of transport to catch on the way to the destination of mastering spontaneity. Of course, there are Japanese phrases that I should be using to describe the concepts and process here but I won’t for the sake of the thread. Keep in mind the ‘spontaneity’ versus ‘dance’ thing for later on, though.
In Jodo and more especially in the Shinto Muso Ryu Jodo I practice, there are more Kata to be learnt than you can literally ‘shake a stick at’. Heaps. And all with particular emphases depending on your level. Even the entry level Kata called Omote has 12 Kata designed for big, broad movements where distance and timing can be drilled into the practitioner in a relatively safe environment with the pace of the kata placing its own controls to assist in safety. Later, the next series (called Chuden – and there are 13 really with two variants of number 4) the pace begins hotting up with the two people changing speed, distance and energy quite quickly. It’s been said the Chuden set is a young person’s set but the exposure to harm is a consequently ramped up.
Then comes Ran-Ai. Two very, very long forms pretty similar (with minor changes) but where you really have to have your wits about you when performed quickly. The pace of change is quite breathtaking. I’m wrestling with the next series beyond that, Kage. Kage is a many-faceted jewel and when performed well (read 'by others') demonstrates the true versatility of the art. Andy (my Teacher) always seems to have new slants or takes on particular parts of these kata that emphasise the inate subtlety of Jodo.
Where is all this leading? Going back to “spontaneity and dance”, it is easy to appreciate a momentary lapse of concentration could have serious consequences. Keeping this in mind also implies you have to think on behalf of your opponent at times and not intentionally plan to harm him (or her) with a strike that clearly is intended to inflict great harm. You also have to consider momentary lapses of concentration on their part which might lead to a dangerous situation. “Pulling your punches” is a phrase that comes to mind, but retaining enough sincerity to show what you are doing isn’t for show.
For the last month or three I suspect I’ve been “overly sincere” (for the want of a better phrase) with my strikes and the speed in which they are delivered. Worse still, some bits of my kata appera to have taken on spontaneous lives of their own and are pushing the envelope of the “dance”. My opponents’ wrists have been badly hurt, ribs and internal organs stressed and other body parts (like heads) have come under real threat because of this. It is causing me increasing concern the purpose of Kata – teaching me to use the ‘tools’ with spontaneity – is far, far more dangerous than I signed up for, years ago.
Perhaps I should have looked more carefully at the small print.
