Kata & Bunkai

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by Richard Kay, Goju-Kensha Karate-do
kata =forms bunkai =combat applications
Kata are sequences of imaginary combats against imaginary opponents. They are constructed of sequences of
basic, intermediate and advanced techniques which are meant to be performed with technical accuracy. They are
studied so their nature, purpose and the teaching implicit within them may be understood. Indeed, the essence of
a style or school (ryu) is contained within the kata of that style. To master the kata is to absorb the tradition of the
ryu. Kata may be described as a choreography of attack and defence, a ritual of technique and movement;
bunkai are the application of the latter and do their spiritual aspect.
General Points - Kata
Beginners should train large movements with extension of the limbs outwards
The kata starts from yoi; as soon as you bow (rei) you are ready and alert (zanshin)
At the finish, wait for 3 seconds between final yoi and bow to regulate your breathing, with zanshin
Eyes are very important in kata; they lead your body to the next movement, especially when changing
direction. Sequence is eyes-feet-body
When changing direction, eyes (and head) rotate smoothly to new direction, not jerked around quickly.
This smooth transition allows you to see and take in all that is between the old focus and the new
focus (cf. scanning). If you jerk your head quickly you will miss all this information.
Focus is on (imaginary) opponent but is always soft to accommodate peripheral view
Eyes show understanding of kata and bunkai
Arms should be off your body so you dont cramp your technique; if you naturally train small, then you
should consciously train large, and vice versa. But, extension of technique (arms off body) is better.
Pause in kamae postures to emphasise your awareness (zanshin) in between techniques.
Relax and have awareness in between movements and also during movement, ever alert for an attacker
i.e. arms and legs =radar, sensitive
Consciously use large hip motion and other power generation methods during kata
Kata is not just pretty movements; show technique effectiveness
To understand kata you must understand bunkai, and vice versa
Dont be rigid in interpreting bunkai; one move can mean many things
Use correct breathing with movements to add power and effectiveness in techniques
Relax you mind as well as your body during kata, starting at yoi position. This allows you greater
concentration and awareness during kata (and combat)
Visualisation of bunkai is important so you can perform the kata properly
Balance is critical in kata
At a basic level, techniques should be sharp and correct. At more advanced levels, these things arent
so important, but correct use of the body and power generation is very important.
In every kata, relax and complete each technique properly before moving on to the next
Maintain a straight posture; dont bend from the back, but rather from the hips and knees
When stepping, arms and legs move together, but legs finish first; must have solid base before you can
generate power in the body
Stepping movements in kata of Goju Ryu are circular, to show understanding of ashi sabaki principles;
stepping movements in kata of Shuri Ryu are straight and direct
Kata often show option on one side of the body (i.e. Goju Ryu); therefore must train both in bunkai
Dont express latent power; it should be felt, not seen
When demonstrating kata, use only 70% of power and speed, but 100% when doing bunkai
The rhythm reflects the feeling of the technique you are performing and how it would work in reality; if
you rush a technique in kata, you arent allowing for the opponent to react to each strike and their
resultant body position
Can have 1-beat, 2-beat or 3-beat rhythm; in any kata, can have either, all or combination
Slow blocks in kata =kamae senses alert 360
o
, eyes, ears and body listening and being ready to
defend in any direction
General Points - Bunkai
In all waza, 2 key points:
a) Must break opponents posture and balance, by:
o Deflecting or cutting through
o Attacking head or throat
o Attacking legs
b) Must always be alert and 1 step ahead of opponent
Only 1 moment to seize initiative when attacked, so timing is vital; irrelevant whether action is fast or
slow to reach this moment

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Kata Basic vs. Variations (Ohtsuka Sensei lecture, J une 1994)
1
st
=collection of techniques (waza) i.e. Bubishi 48 techniques
From waza, kata was created as reference to remember waza
1
st
learn basic form of kata; next learn variations of bunkai; then can put bunkai variations back into kata
Basic form =striking techniques (atemi waza) at middle level (chudan)
Learn chudan waza 1
st
, then can easily apply it to upper/lower levels (jo/gedan)
No one form is only right; all are right, depending on the variation. But, must come from chudan form
When teaching, must teach chudan form 1
st
(easiest); later, jo/gedan variations are taught
Waza are long and short range and at upper/middle/lower levels. Therefore, imagine waza at these
ranges and levels.
Basic Form Atemi waza

Gyaku waza
Only this way
Nage waza

Shime waza
Not this way
Katame waza

Variation Levels
i.e. empi waza in Shisoshin kata:
basic form =atemi waza; variations =gyaku/nage waza; variations will change the form of the kata
For training, kata is good as it trains the body; for combat, bunkai is best. Reason kata expresses
basic form only, whereas bunkai expresses all variations and possibilities
Kata Principles
1. Kaimo =open gate
i.e. start of Nepai, Sepai
2. Sanchin =3-step technique
i.e. start of Sanchin, Seisan, Seiyunchin, Sanseiru, Shisochin

2
1 3

3. Shimom 4 directions
i.e. Shisochin, Sanseru, Suparinpei

+ =

4. Mihatsu-no-kata technique that is block only (no attack)
a) Mingi shown, open, obvious (bunkai)
b) Angi hidden (kata)

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