Kellman's Okinawan Karate

1. NO BLOCKS RULE

Simply put, the movements of Kata are not defensive. There are no downward blocks or rising blocks at all. Blocking is a completely natural action requiring relatively minimal training to attain a good level of skill. But this is something that every martial artist already knows. In free sparring blocks occur naturally and without conforming to any particular technique. What is really needed to learn blocking is a partner to feed the attacks. But since Kata is a solo exercise it is a waste of time to practice blocking the air.

The movements called blocks in Kata don't work as blocks anyway. These actions are totally useless - until they are interpreted as offensive actions. Suddenly a technique that didn't work as a block works as an attack to pressure points.

If an opponent punches, that punch must be addressed. And the Kata movements do indicate how that punch is to be handled. However, what Kata shows is definately not how to block. Rather, it shows which pressure points on the attacking arm or leg are to be struck, touched, or grabbed in order to paralyze the limb and/or to set up pressure points on the body or head.

2. PRESSURE POINT RULE

Every kata technique is a pressure point technique. This means that the number one interpretive question on the mind of any student should be: What pressure points am I using with this movement? This is not to say that it is impossible to develop some very effective techniques without using kyusho-jitsu principles. But, only pressure point applications can fully and satisfactorily explain the many nuances of kata movements.

There are hundreds of pressure points, each with its own angle and direction for activation. Kata is, quite truthfully, the only way to remember them all. By linking a mental picture of the exact pressure point application with the physical movement of the kata, the mind and body are literally programmed to respond instantly and effectively.

However, it is not necessary to know all the pressure points and to use them in every kata technique. Whatever pressure points a person knows are the pressure points that person should use. While a complete understanding of the naihanchi kata series, for example, requires familiarity with over 100 acu-points, a meaningful working knowledge of the kata is possible with far fewer.

3. TWO HAND RULE

Simply put, there is no wasted or useless part of a kata movement. Every part of the action is there for a reason. There is no hand at the hip in a ready position. There is no rear hand moving in the opposite direction to add power to a technique. Both hands in the kata action move because both hands are combative in function. Usually,the rear hand or withdrawing hand is grasping the opponents arm or wrist on pressure points which activate the points that the forward hand is striking.

The majority of kata techniques have a set position when one hand is drawn or coiled back, before moving forward. This action is usually interpreted as merely a preparatory movement. But, the truth is, this preparatory movement is actually an attack. Many pressure points can only be struck from back to front, and the setting action maps out those points. When the opponent grabs and threatens, he is immediately attacked with the set position so that the fight is finished before the first technique is even completed.

Not only do both hands work combatively, but the legs also have an important function. The type of stance used in the execution of a movement affects the direction in which energy is put into the opponents body. For example, a horse stance directs energy downward, or to the side; while a front stance beams energy down and forward; and a cross-over stance projects energy beyond the line of the opponents body.

The legs and feet are also used to step on, rub against, trap or bump pressure points on the opponents legs.These subtle leg attacks activate points on the body, while also destroying his balance. It is even possible to knock an opponent unconscious using only the action of a basic kata step. The use of the legs in this manner is very advanced, since it requires coordination and sensitivity. Nonetheless, in interpreting a kata movement one should be asking, what is the purpose of this footwork?

4. MULTIPLE INTERPRETATION RULE

It is sometimes tempting to ask, what is the meaning of a certain kata move, but the truth is that there are several interpretations. Some say that there should be 100 applications for each technique, others say five. Realistically, one should have at least three. These three are categorized differently by different people. Some say that they should be-release techniques against simple grabs, responses to punches or kicks, and defenses against weapon attacks. In our system of ryukyu kempo, we increase the seriousness of the response, starting with joint manipulation (tuitewaza) to control, moving to more serious knock-out techniques to immobilize, and finally to killing or crippling applications.

5. DIRECTION OF MOVEMENT RULE

Kata, as everyone knows, moves in a variety of directions. Most students have been told that the direction of movements represents the direction from which various attacks are coming. Nothing could be further from the truth. Kata does not represent fighting against many attackers who come from different directions. Instead, it represents methods of defending against a variety of attacks, which are delivered mostly from the front. The direction of movement in the kata indicates the angle which the defender assumes in relation to the attacker to insure successful application of the technique. For example, a movement to the side means the defender must turn sideways to the attacker while executing the technique; a diagonal step means that the defender must move to the attackers diagonal to make the technique work 100%.

6. VISUALIZATION RULE

An old piece of wisdom handed down from the masters of old, which never made sense, is this: when performing kata, always visualize the opponent. But, what good did it do to visualize an opponent when the interpretations of the kata movements were so completely useless? With proper understanding of the kata, visualization not only makes sense, it is absolutely essential. Kata is not principally a physical exercise - it is, overall, a mental one. Through the process of visualizing the exact location of pressure points, and properly activating them (including angle and direction) the mind is trained to instantly and accurately respond.The physical actions of the kata close the loop, uniting mind and body, and in the process ingrain real combat skills.

It is also important to work with a partner, practicing the various applications. This allows one to get a tactile sense of how it feels to apply a technique, and this adds to the visualization process. Obviously, working with a partner is a good method of insuring that the applications will really work. You should have proper supervision, consult a physician, and use restraint. However, we have found that by visualization alone we are able to develop and use new techniques effectively the first time we try them on someone. The old masters were right when they insisted that kata training - proper and complete kata training - was all that was necessary.

* "Advanced Pressure Point Fighting of Ryukyu Kempo" by George Dillman with Chris Thomas. Pages 29, 30, 31 and Dillman Karate International