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#436547 - 12/22/16 03:55 PM Championship Kata/Forms Techniques
jakmak52 Offline
Newbie

Registered: 11/18/07
Posts: 21
Loc: Florida USA
Championship Winning Kata/Forms Techniques
By Jack Makinson aka jakmak52

Your Opponent/Competition: When I prepare for the execution of my kata, I am my only competition, I am competing against myself, for me to concern myself with the competitors is insignificant and distracting, if by chance the competitor performs my kata, I always use a backup.
Attitude: When performing kata, as in kumite or self-defense, mental attitude and correct state of mind and preparation are very important. Kata should NOT be considered as merely a little game or an aerobic sequence - it should be performed "seriously" and with real "fighting intent" and attitude. Be strong, confident and assertive!
Appearance: You better be clean as a whistle, with a clean Gi/Dobok, I starch mine because they add snap to my strikes and kicks, or wear a 12 to 14 ounce competition Gi. My belt is tied properly and hangs evenly, I even use a longer belt for tournaments size 6 to a 7 for me, because it hangs lower so that when I go into a horse stance the belt ends almost touch the floor giving the illusion of a really low stance (winks).
Correct etiquette: Do not forget that the karate way begins with a bow and ends with a bow. As such, courtesy is always exhibited by bowing, heels together and toes pointing outward at 45 degrees, at the beginning and end of each kata.
Introduction to Judges: After the etiquette while advancing the judges table I make eye contact with all of them, if it’s a mixed (gender) group I refer to them as , for example,” Judges, my name is Jack Makinson, my kata will be Bassai Dai Major, Breaking through the Fortress”, with your permission, I’d like to begin” then wait for a nod from the center judge, usually.
Correct order: The number and sequence of movements in kata are predetermined. All must be performed correctly and in the correct order.
Correct performance line): The performance line is the fixed directions and angles in which the kata is performed. There are eight basic directions, namely front and back, left and right, and oblique to the front-left, front-right, back-left, and back-right.
Beginning and end: The advent of the "sporting era" in karate resulted in an emphasis on kata beginning and ending at the same point on the (performance line). Intensive training is necessary to perfect this. A good and strong ending of a kata is very important, as without such an ending, no matter how perfect and brilliant the kata was performed, it can never be perfect.
Awareness of the target: Realize where the imaginary opponent is and from where he is attacking. Be sure of the target and how, when and in which direction to move, strike or execute a technique. This entails the principle of accuracy. Although your attention must be fixed on the target, at the same time you must also be aware of "other opponents".
Eye position and focus of technique: making "eye contact" is an important aspect of Kata and technique execution. Imagine looking directly into the eyes of your opponent throughout the whole Kata. Eyes are critically important in showing the purpose of movements and should therefore show intensity throughout the entire kata.
Rhythm and timing: Every kata has its own rhythm, and this depends largely on the practitioner's own understanding and "application" of the various movements and techniques. In fact, you should visualize your opponent/s as you perform kata, so that it becomes a "reality" situation.
Correct breathing: Correct and controlled breathing during execution of kata is very important. Although specific conditions might be applicable, generally you inhale during the preparatory or "wind-up" part of a technique and exhale on executing the technique and settling into the final position of each stance and technique. Inhale through the nose and concentrate on exhaling via your diaphragm rather than your throat, and keep the shoulders relaxed. The more sharply the breath is exhaled (like a "soft" kiai), simultaneously tensing the abdominal muscles, the more powerful the associated technique. Tension should be felt under the armpits and not in the shoulders, while at the same time "rooting" yourself to the ground.


Respectfully submitted,

James (Jack) Makinson
5th Degree Godan - American Tae Kwon Do & Shotokan
1999 US Open Champion, Orlando, Florida – Executive Men’s Kata Division
Instructors – John Graden, Bill “Superfoot” Wallace and Mr. Joe Lewis
Dojo: USA Karate – St. Petersburg, Florida


Edited by jakmak52 (12/22/16 03:56 PM)
_________________________
"The only thing necessary for evil to flourish is when good men do nothing" EB

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#436549 - 01/15/17 01:04 AM Re: Championship Kata/Forms Techniques [Re: jakmak52]
Ronin1966 Offline
Professional Poster

Registered: 04/26/02
Posts: 3119
Loc: East Coast, United States
Hello Jack:

Happy New Year to You, and all my FA friends & elders,

This is a perfectly fine piece on the presentation of form. Perhaps we can explore, perhaps challenge some of the ideas within it just a tad.


<<if by chance the competitor performs my kata, I always use a backup.

Why???? The thing you are presenting was not created on Mars, 10,000 year ago, and has never been seen/performed since, correct? Solely from the presentation aspect, I might understand having an alternative kata if the entire division did the same form... then again, that might be very pleasurable to do that particular form even more. "...Hey she's much lower than we are, wonder why they turned their spear hand mid body and turned it palm up..."

My form is good/not, no?

<<it should be performed "seriously" and with real "fighting intent" and attitude. Be strong, confident and assertive!

Ok, what does that mean exactly!??!? When I look in the mirror, or at anyone else performing a kata, what precisely am I supposed to see, or not see prey tell???

The 5 year olds performing their circus howling, for 30, 40 seconds pretending to kiai... that is certainly attitude, serious SOMETHING to be sure. I question the ridiculous, over zealous presentation of it however.

<<Appearance: You better be clean as a whistle, with a clean Gi/Dobok, I starch mine because they add snap to my strikes and kicks, or wear a 12 to 14 ounce competition Gi. My belt is tied properly and hangs evenly,

What size should ones belt be prey tell? Seen dozens with belts which they literally could not wrap around themselves twice. Worse see lots and lots with their belt hanging only inches on either side of the knot, literally perhaps six inches either side (if that) and then their belt literally ended. That has a ridiculous look, IMHO.

The belts which are more than perhaps twelve inches in length on both sides of the knot, to me seem ridiculous and bizarre as well. What do you propose for those who's belts are giraffe lengths??? Meaning is there such a thing as too long IYV ???

<<I go into a horse stance the belt ends almost touch the floor giving the illusion of a really low stance (winks).

Except for the really, really new judge... will that fool, or give the visual appearance you think???? I'm "old" not blind or stupid....

<<Judges, my name is Jack Makinson, my kata will be Bassai Dai Major, Breaking through the Fortress”, with your permission, I’d like to begin”

Ok, on the pragmatic side I can see the fundamental value. That said, your name, your kata are not on my score card. My hands go up. Perhaps in other presentations there is a more formalized approach. But in open tournaments (shivering) why this screaming...? Its of no value.

<<Correct order: The number and sequence of movements in kata are predetermined.

What happens when what I am taught as "correct" radically differs from your understanding? A closed tournament it makes for a fascinating comparison. In open tournaments... ok, that kick is supposed to be groin height, not over my 7' height.
(sic. ok you're flexible so what...)

<<Correct performance line): The performance line is the fixed directions and angles in which the kata is performed.

Think you will find a differences between some Shorin parent schools and the arts of their "children" practiced today for example. What does one do about those... whereby there is a definitive difference between one art and the next one?

<<an emphasis on kata beginning and ending at the same point on the (performance line). Intensive training is necessary to perfect this.

I have been a student of my art for a day or two. should What purpose exists to this idea IYHO? It is an odd idea...

<<Be sure of the target and how, when and in which direction to move, strike or execute a technique.

When the application/function is not dynamic??? The elbow retraction, the flipping the wrist from/for a gorgeous lock. What then? How do you present that execution?

<< making "eye contact"

Is that the same or DIFFERENT from the "death stare" sooooo many use?

<<Rhythm and timing: Every kata has its own rhythm, and this depends largely on the practitioner's understanding

What of kata demonstrated with a staccato rhythm(s). Unique pieces of the same form done with a radically very different timing???

Better yet, how do we judge another persons rhythm????

<< generally you inhale during the preparatory or "wind-up" part of a technique and exhale on executing the technique

Does this presuppose that inhalation has comparative little/no power whereas exhalation generates actual power for a technique???

Just checking in,

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#436550 - 01/15/17 02:16 AM Re: Championship Kata/Forms Techniques [Re: jakmak52]
cxt Offline
Professional Poster

Registered: 09/11/03
Posts: 5843
Loc: USA
jakmak

Interesting read.


Edited by cxt (01/15/17 02:18 AM)
_________________________
I did battle with ignorance today.......and ignorance won. Huey.

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#436551 - 01/15/17 02:19 AM Re: Championship Kata/Forms Techniques [Re: jakmak52]
cxt Offline
Professional Poster

Registered: 09/11/03
Posts: 5843
Loc: USA
Ronin

Good questions.
_________________________
I did battle with ignorance today.......and ignorance won. Huey.

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