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Motobu Sensei with Naihanchi

Decoding The Kata By Means Of Bunkai

Bunkai, Kata

In this article you will gain insight into the decoding of the kata using bunkai rules from experts. It is assumed that the kata and their deeper application are encrypted and were only passed on by masters to trustworthy students. This secret knowledge has been modified in such a way that many movements do not reveal their effective application. This means that when I see a kata, I only recognize the obvious and not the deeper meaning or fighting strategy.

Karate bunkai refers to the analysis and application of techniques and movements in karate kata. Kata are predetermined sequences of movements used in karate training to teach basic techniques, strategies and principles. Bunkai literally means “dissection” or “analysis” and refers to the process of understanding the movements in a kata and recognizing their practical application in real combat situations.

Through bunkai, karateka learn how to effectively apply the techniques from the kata in self-defense situations. It helps to understand the deeper principles and concepts behind the movements, which are often not obvious when practicing only the kata itself. Bunkai can be practiced in a variety of ways, including partner drills where the techniques are applied in controlled sparring situations.

The Bubishi is the Bible of Karate

Chojun Miyagi

  • Don’t let the embuse fool you.
  • Defense techniques include the attack, attack techniques include the defense.
  • There is only ever one opponent.
  • Every movement has a meaning.
  • The withdrawing hand always holds something.
  • Use the shortest route to your attacker.
  • Control the head and you control the opponent.
  • There are no blocks in the kata.
  • The kata shows the correct angle.
  • Touching your own body means touching your opponent.
  • Hard on soft and soft on hard.
  • There are no pauses.

Bill Burgar

  • Every movement in kata has a meaning.
  • Kata applications are always against realistic attacks.
  • There are always several applications for a kata movement.
  • The applications are usually only against 1 opponent.
  • There are no blocks in kata.
  • Every kata movement is an attack on vital points (Kyusho).
  • The withdrawing hand usually holds something (hikite).
  • Large turns are mostly throws

George A. Dillman

  • The kata must be interpreted against realistic attacks.
  • The kata does not contain any blocking techniques.
  • The kata is designed for practical applications throughout.
  • The kata contains important information for the applications.
  • The actual technique lies in the intermediate movement.
  • There is more than one correct application for each movement.
  • Each kata technique contains vital point attacks (Kyusho-Jitsu).

Lawrance Kane & Chris Wilder

  • There are always several applications for a technique.
  • Each technique must end the fight immediately.
  • Strike to disrupt, disrupt to strike.
  • Kyusho points are a bonus.
  • Use the adrenaline flow.
  • Maximum speed & power.
  • It must work even with an uncooperative partner.
  • 100% commitment – no half-hearted techniques.
  • If you’re not there, you can’t get hit.
  • Cross the T to escape.
  • Stances are not only important for kata.
  • Always use both hands.
  • Leverage is not a primary fighting technique.
Sesam with Karate-Ka and black belts

Karate Concepts by Sensei Guy Brodeur 7th Dan

Bunkai, Demonstration

Sensei Guy Brodeur, a highly accomplished martial artist with a 7th Dan ranking in Traditional Shotokan Karate. He boasts an impressive background, having been a four-time National Champion in various traditional styles and winning the SKI’s World Championship in Team Kata in 1985.

Despite his success in competition and his strong foundation in Traditional Shotokan Karate, Guy felt a need for further development in his martial arts journey. In 1998, he encountered Sensei Steve Ubl, which significantly altered his perspective and approach to karate. This encounter redirected his path while maintaining his dedication to Traditional Shotokan Karate.

The narrative highlights the transformative power of training with a different sensei and how a single experience can revolutionize one’s martial arts journey. It also emphasizes the importance of solo training. We are happy to give you a brief insight into his skills and ideas here.

Demonstration: Concepts within Kata Bunkai

Demonstartion: Delivering body mass through technique

Demonstration: Controlling the middle line

View more videos related to KIHON.

Seiken or iron fist

Secret Karate

Impression

Back to the roots of karate in Okinawa. This report shows the original and pure Karate styles in the presence of Okinawa with their heritage. A human body becomes the ultimate destructive weapon with its mysterious divine techniques. Karate is a martial art far beyond your imagination. It can only be mastered with years of continuation and practice to reach the state of true self-consciousness.

Okinawa Karate: Volume 1

Okinawa Karate: Volume 2

Motobu Sensei with Naihanchi

Best Choki Motobu Quotes

Kata, Kumite, Special Reports

Motobu Chōki (1870 – 1944) was an Okinawan karate master and founder of Motobu-Ryu. He was born into a branch of the Ryukyuan royal family, and at the age of 12, he and his older brother Motobu Chōyū invited Ankō Itosu to learn karate. Chōyū was also a noted martial artist.

Motobu also studied karate under Sakuma, Matsumura Sōkon, and Kōsaku Matsumora. He excelled especially in kumite and was already known throughout Okinawa in his twenties. As he grew up, he came to be regarded as the best in Okinawa in terms of practical karate techniques. He is reported to have been very agile, which gained him the nickname Motobu no Saru (“Motobu the Monkey”). He distanced himself from the modernization trend in karate, focusing only on kata Naihanchi and concentrating on kumite practice.

Find more information about the basic kata Naihanchi-Tekki of Motobu-Ryu.

Kamae is in the heart, not a physical manifestation.

Everything is natural, and changing.

One does not have to take care to block every single attack by an oppenent with weak stricking power.

One must develop the ability to deflect an attack even from behind.

In a real confrontation, more than anything else one should strike to the face first, as this is the most effective.

Karate is Sente (Here, sente means the initiative, or the first move; Karate ni Sente Nashi – there is no first move in karate).

The position of the legs and hips in Naifuanchin no Kata (Naihanchi/Tekki) is the basics of karate.

Twisting to the left or right from the Naifuanchin stance will give you the stance used in a real confrontation. Twisting ones way of thinking about Naifuanchin left and right, the various meanings in each movement of the kata will also becom clear.

One must always try and block the attack at its soure (i.e. block not the attacking hand, but deeper on the arm).

The blocking hand must be able to become the attacking hand in an instant. Blocking with one hand then countering with the other is not true bujutsu. Real bujutsu presses forward and blocks and counters in the same motion.

One cannot use continuous attacks against true karate. That is because the blocks of true karate make it impossible for the oppenent to launch a second attack.

I still do not yet know the best way to punch the makiwara (note: this statement was made when Choki was over 60!).

It’s interestin, but when I just think about performing a kata, when I’m seated, I break a sweat.

When punching to the face, one must thrust as if punching through to the back of the head.

When fighting a boxer, it is better to go with his flow, and take up a rhythm with both of your hands.

It is necessary to drink alcohol and pursue other fun human activities. The art (i.e. karate) of someone who is too serious has no “flavor”.

It is OK to take two steps forward or back in the same kamae, but over three steps, one must change the position (facing) of their guard.

When I fought the foreign boxer in Kyoto, he was taller then me so I jumped up and punched him in the face. This is effective against people wo are taller than you.

I started having real fights at TsuJi when I was young, and fought over 100 of them, but I was never hit in the face.

Funakoshi Sensei with Uchi Uke

Bunkai Bassai-Dai

Bunkai,
The renowned Sensei Gimberline demonstrates his bunkai interpretation of the kata Bassai-Dai with practical exercises.

Bassai translates as “destroy the wall” or “storm the fortress”. Accordingly, the kata should also be performed powerfully. It is said to have been created by Matsumura Sōkon and can be traced back to the Okinawan Tōde-Katas. It is believed that it was taught in its original form by Chinese masters as early as the late 13th century and came to Okinawa as a result of trade relations. Today it is no longer possible to determine how far today’s Bassai Dai still corresponds to its ancient origin.

Bassai Dai belongs to the group of Shorin kata, whose training focus, in addition to the techniques to be executed, is to train the karateka’s speed. The main characteristic of the kata is that the individual techniques are performed very quickly and powerfully. It contains many defensive block and leverage techniques and comparatively few leg techniques. With about 40 individual techniques, Bassai Dai is one of the longer katas. Therefore, it is one of the katas that are very often performed both in Dōjō and in kata competitions.

“In karate, hitting, thrusting, and kicking are not the only methods, throwing techniques and pressure against joints are included … all these techniques should be studied referring to basic kata”

gichin Funakoshi

Find more content about Bassai Dai here.

The Bubishi is the Bible of Karate

Karate Moves Explained by MMA Fighter Erik Paulson

Bunkai, Demonstration, Special Reports, ,

Mixed martial arts champion Erik Paulson from ‪@CSWAssociation‬ tests ancient Karate techniques from Okinawa. These bunkai (kata applications) are found in Bubishi – the Bible of Karate.

What is MMA?

MMA stands for Mixed Martial Arts and is a full-contact combat sport that combines techniques from various martial arts and combat sports. MMA allows a variety of techniques from boxing, kickboxing, Muay Thai, wrestling, jiu-jitsu, judo and karate to be effective both in standing combat and on the ground.

Prohibited techniques in MMA include attacks to the back of the head, spine, eyes and genitals, kicks or punches to the head of an opponent lying on the ground, headbutts, biting, hair pulling and unsportsmanlike behaviour such as holding on to the cage.

Further applications and examples of self-defence can be found here under the heading Bunkai Videos.

Seiken or iron fist

Competition Kumite Training

Kumite

“Winning Kumite” is a karate training video showcasing practical and innovative techniques from South African team coach Keith Geyer.

This video was created to help prepare for the 2000 8th World Shoto Cup in Japan. It follows team member Johan La Grange, who made it to the kumite final. Keith Geyer has represented South Africa internationally for 14 years and has won the South African kumite championship six times. The training techniques in this video are useful for karate practitioners of all styles who want to improve their kumite skills (Source: JKA SKA Australasia www.jka-skc-australasia.com.au).

Sunset with a Kata

Danger Okinawa Skills

Special Reports

Meitatsu Yagi sensei, International Meibu-Kan Gojyu-Ryu Karate-Do Association.

Master Meitatsu Yagi shows how effective karate techniques can be applied. Everything is based on the best possible efficiency, between technique, power and intuition.

The goal is to use as little energy as possible and with simple and targeted movements to incapacitate the opponent. Because there is never a second chance to correct a mistake.

In simplicity lies success, if you look behind the technique.

Andre Bertel with Mawahshi Geri

Power through body gravity

Kihon, Special Reports

André Bertel is a prominent figure in the world of traditional Shotokan karate. Known for his dedication to the teachings of Master Tetsuhiko Asai, Bertel has achieved international recognition for his technical expertise and deep understanding of karate principles. He holds a high Dan rank and is often sought after for seminars and workshops worldwide. His approach to karate emphasizes precision, fluidity, and the integration of traditional techniques with modern training methodologies. Bertel’s contributions to the martial art continue to inspire karate practitioners globally, maintaining the legacy of his mentor while advancing the practice of Shotokan karate.

Main Points for Full-Body Weight Techniques in Karate

Kime (Focus)
Maximize power at the moment of impact.

Hara (Center of Gravity)
Use core muscles for balance and stability.

Kinetic Chain
Coordinate body parts to generate power.

Proper Breathing
Exhale sharply at impact for energy focus.

Oizuki (Lunge Punch)
Drive from the back foot, rotate hips, snap punch.

Mae Geri (Front Kick)
Thrust hip forward, snap kick, retract quickly.

Gyaku Zuki (Reverse Punch)
Rotate hips/shoulders, back heel grounded, punch.

Mawashi Geri (Roundhouse Kick)
Pivot, swing leg using hips, contact with instep/ball.

Age Uke (Rising Block)
Step forward, drive arm up with body momentum.

Stance and Footwork
Stable stances and precise footwork.

Hip Rotation
Use hips to add power.

Relaxation and Tension
Relax before impact, tense at contact.

Visualization
Visualize target and technique path.

More about

Naka Sensei - Heian Bunkai Demonstration

Heian Bunkai with Naka Sensei

Bunkai,

The Heian (peaceful mind) kata are derived from the older Okinawan Pinan kata (which also means peaceful or calm mind). Sensei Gichin Funakoshi changed the name of these and many other Shotokan kata when he took karate to Japan in the early 1920s in a bid to make them more accessible to a Japanese consumer base. An interesting karate history fact is that the kata we know today as Heian Nidan was originally the first of the Heian kata until in the 1930s, Funakoshi switched Nidan with Shodan. Some styles still practice it the original way around though what Shotokan karate calls Heian Shodan is arguably a lot easier than Nidan, which is probably why they were switched in the first place.

Tatsuya Naka demonstrates the shotokan heian (pinan) katas with his personal bunkai explanations.

They are practiced and seemingly designed so that students can learn increasingly difficult techniques as they progress in the art of karate and they were developed by Okinawan Master Anko Itosu at the turn of the twentieth century. However, the Heian kata probably have their origins in much older forms from China known as Channan or Kushanku (Kanku Sho and Dai may also originate from these kata). Legend has it that Master Itosu (or perhaps an older teacher, Tode Sakugawa) learned a kata called ‘Chiang Nan’(pronounced Channan in Japanese) from a Chinese diplomat and Kung Fu expert who lived in Okinawa called Kung Hsiang Chun. Though the original kata is lost, it is believed that it was very long so Itosu divided it into five as they would be easier to learn.

Another theory is that Itosu, who took the previously secretive martial art into the schools in Okinawa, found that children had difficulty learning kata so he devised the Pinan kata group to aid this. It is believed by some that he took moves from the Bassai and the Kanku sets in particular and arranged them so they gradually got more difficult through the various Pinan kata.