Decoding Bunkai:
Sensei Spencer
3/4/2016
Learning to decode kata’s bunkai is like learning an ancient language. The word bunkai, in Japanese, means to disassemble or break down. We cannot break a form down unless we have a methodology to glean its’ meaning. If kata is the unwritten instruction book of the martial arts then there must be a logical way of understanding what is being transmitted. In time we were able to translate Egyptian hieroglyphics, and we too can learn the rudimentary meanings found in the movements of our forms. Hieroglyphics is a more rigid language than that found in kata, because kata’s motion is more impressionistic. Moves with multiple meanings are kind of like the English homonym. Similar sounding words in English can have more than one meaning. This is true in kata as well. One technique can have many different purposes. This is like the English words to, too, and two. Even though the words sound the same they convey different actions. Still, by listening to the context surrounding the use of the word, the meaning can be uncovered. Context can be your guide to unlocking a form’s bunkai. Kata is the true essence of the art part of the marital arts. All else is martial science, but to make kata a viable tool for the modern martial artist we first must be able to decipher its’ ancient text. A kata without bunkai is like a tiger without teeth.
Homonyms are like sounding words that can be confusing to someone learning the English Language. This also applies when trying to decipher Okinawan, Korean, Chinese, or Japanese bunkai. Culturally each group has a slightly different interpretation for the same technique. Even differing styles of karate can have different interpretations for the similar movements in kata. When you look at a technique, do you take it at face value, or do ask yourself if there is another possible meaning. In the following text we will look at couple of examples of a homonym like techniques found in the kata’s bunkai.
We will examine two basic techniques found in the kata of many different systems. We will break apart a simple block and stance to expose problems that can occur when taking a technique at face value. The first technique we will examine is the middle block (Chudan uke) and the second will be the cat stance (Nekoashi dachi.) This study is in no way an exhaustive exercise. Its’ purpose is to whet your appetite and get you thinking. A student of the martial arts can spend a lifetime breaking down, not just the kata’s situational self-defense into pieces, but also breaking down every basic technique that comprises the situational self-defense.
Every traditional system contains what is referred to as a middle block. Some systems block with the side of the arm, or ulna and radius bone, while others utilized both bones along with the musculature (padding) of the forearm. Observing the surface, you block with, when decoding bunkai, can also tell you a little about the purpose of the technique. If the block is made with the ulna bone, radius bone, and musculature of the forearm, its’ purpose is purely for redirecting the energy of an opponent’s blow, yet if the initial contact is made in this same manner, but the forearm is rotated to the side making contact with the ulna or radius bone only you’re then redirecting the blow as-well-as cutting the adversary’s pressure points. At this point the bunkai is no longer a simple redirection of the strike’s energy. Many systems believe blocks are made by driving the ulna or radius bone into an oncoming attack to force the deflection. To ensure these bones are not damaged by impact, arm pounding drills became part of those systems’ training. If this is a system’s method of delivering a middle block, then they too are simply redirecting the blows energy.
Why may you ask do we differ on the method of delivering a middle block? Obviously, the safer deflection should be made with the impact spread across the two bones of the forearm and the musculature padding. Utilizing a single bone in the block increases the trauma to a small area of the forearm and heightens the likelihood of a fracture. Many students learned by watching their instructor in the teacher-do then student-do methodology of transmitting martial arts knowledge. When you cut pressure points, with the ulna or radius bone, it appears that you’ve blocked with the side of the forearm. If you only see your instructor’s final blocking position, it looks like they’ve deflected the blow with the side of the arm. In many cases the student and the instructor are blocking at the same time during practice, so the end result is the student’s focus. Only advanced students were taught the intricacies found in this simplest of these basic techniques. Tatsuo Shimabuku removed the twisting motion when delivering this block. He told his students it was to make the block faster, but I believe he simply removed the pressure point application from the bunkai.
Karate basics 101 state that the purpose of the middle block is to stop a blow to the centerline of your body. The centerline is where most incapacitating targets reside. Protection of these vulnerable areas is the sole purpose for blocking or redirecting the energy from an adversary’s blow. This applies not just to the middle block but to all blocking techniques whether they’re low, middle, or high.
It is important to examine the mechanics of the middle block to truly execute the technique as the master intended, and to fully understand what is happening as you dive into the bunkai. Many schools start this block at the hip and whip it across the body. When we examine this action closer we see that moving the fist to the hip turns the body slightly removing direct access to the centerline targets. It also loads the hips and shoulders by slightly coiling the core. As the block moves around into its final position the shoulders and hips uncoil and weight is transferred from the back leg to the front leg while the arm is whipped across the body. This motion is necessary for the maximum transfer of power. Worst case scenario is the attacker is faster than you, he/she may hit you in the arm or shoulder as you move to redirect the blow. A mistake made by many karateka is when the block is made solely with the arm. The arm alone may not generate enough power to deflect a powerful punch and does little to cover centerline targets. Final position of the forearm is also important. The elbow stops a fist and a thumb’s distance from the side of the body to protect the ribs. The fist stops at shoulder height and just outside the shoulder-line. In this position the fist can easily be moved to protect the head, or can be turned into a lead hand strike after redirecting the momentum of the adversary’s attack. Pushing the block, too far outside body, expends energy and makes recovery more difficult if the same arm is needed to block a second attack or if it is needed to protect the face. When looking for situational self-defense in kata, always examine the mechanics of each techniques involved. A slight turn of the shoulder can mean success or failure of the self-defense response.
Middle Block:
This block is designed to deflect any attack targeted from the groin to the face. The circular nature of the technique creates a circular shield of protection. The question is when interpreting the bunkai can it be more? Is every middle block just a middle block? The circular nature of this block enables you to also reposition the attacker’s body by using their striking arm or leg as a lever.
Middle Blocks can be Locks:
Do not be locked into the thought that everything that looks like a middle block is indeed a middle block. The circular nature of the technique can also be a lock or a strike. Kata is mainly self-defense in range-two or close in fighting. In range-two combat locks and throws are common techniques.
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Closing the Centerline:
Most karateka understand that blocks do not stop an attack they simply redirect the energy of the blow. The advanced karateka can decide whether to open an opponent’s centerline to attack or close it. Closing the centerline means your counterattack is to the targets on the side or back of the body. Closing the centerline effectively takes away the opponent’s opposite side weapons. The downside is there are fewer targets to choose from. When developing your interpretation (Kaishaku) of the situational self-defense you must determine if the opponent is being opened or closed. A middle block sets-up your counterattack. Look at the block in context. Examine the proceeding technique and the succeeding technique to interpret the direction you’re turning the attacker. Turn the attacker in the wrong direction and you become vulnerable, and the self-defense response fails.
Opening the Centerline:
Again, blocks do not stop an attack they simply redirect the energy of the blow. Opening the centerline gives the karateka access to vital centerline targets like groin, solar-plexus, throat, and eyes. The downside is the adversary’s second weapon or hand is poised to strike, so your counter must follow immediately. An example of this concept can be found in the kata Seisan. In one series of techniques a middle block is followed by a snap punch right and then quickly a snap punch left. This lets you know that the middle block opens the opponent’s centerline targets due to the series of one-two punches. Rapid fire punching does not give the opponent enough time to initiate a solid counterattack with their free hand. Again, when developing your interpretation (Kaishaku) of the situational self-defense, you must determine if the opponent is being opened or closed. A middle block can be used to position your opponent for a counterattack.
Both Sides of the Body:
The karateka must be pseudo ambidextrous from a martial arts perspective. Why in kata do we perform the same technique on both sides of the body and sometimes three times? Over the years I’ve had many different karateka give me their thoughts on this topic. The most plausible of these is to train your body to do the same technique effectively on both sides, so in a confrontation the series can be executed regardless of your body position. I believe it goes a little farther. Most unskilled fighters will attack with their strong or power side. The highly skilled martial artist knows in advance what they’re going to do if they’re attacked. This includes knowing how to turn the opponent to expose the target they’ve selected. An attacker can be right-handed or left-handed. When they pull their fist back you know two things. First you know if they’re right or left-handed, and second you know which direction the blow needs to redirect to strike the selected target. Knowing this you can reposition your feet if necessary, before the blow is delivered. You can achieve the desired results because you’ve performed this situational self-defense countless time on both sides, of the body, during kata training. In most fighting systems, like American boxing, both sides of the body are not developed. The power hand is always on the same side. In karate we do not limit our ability by training only one side. Boxers lose fights when their lead or power hand is damaged, and suddenly they’re forced to fight outside their training. Turning the opponent is not always the reason for performing the situational self-defense more than one time. It also trains the mind and body to move in unconventional ways. Remember how foreign performing the basic techniques felt when you first began karate training. Your mind and body were building a body-mind connection. Kata reinforces this connection. In many cases the situational self-defense is repeated because it is a series that the form’s creator wanted to emphasize. Other masters repeated the series to simply put the form back on track, so it flowed in an aesthetically pleasing manner.
Hanto Kata:
You may have heard of Hanto kata. Hanto kata is the distillation of the form. Hanto means half. In hanto kata the situational self-defense is only performed once. This is also sometimes called the master’s kata because it contains the core of his self-defense. What it does, for the student, is define the situational self-defense, so that scenario can be practiced outside the kata with a partner. To practice Hanto kata all these scenarios are strung together without the repetition found in the traditional kata.
Twin Strikes:
In many forms twin techniques are demonstrated. Taken at face value a “U” shaped block would be blocking two targets at the same time. An American master of Isshin-ryu that trained with Tatsuo Shimabuku said that Master Shimabuku once told him that twin techniques were often two independent techniques, but they we’re thrown so quickly, one after the other, they appear as one twin technique. This movement in kata was to remind the student of the timing of the technique. When dual techniques are performed don’t just assume you’re striking two points, yet in many dual techniques like twin forearm blocks you are striking with two blows at one time to remove an opponent’s grasp. You must examine the next moves to see if your interpretation is plausible
Theories:
Portions of bunkai reflect a theory of combat. Every karate master believed he had the best theory for surviving an attack. These theories are also woven into the bunkai. For example, if a master believed that a distraction to the lower body would open a target to the upper body the kata would contain a low kick and a high punch. Looking at the kata in a one-dimensional manner you only see a kick and a punch and miss the creator’s theory of combat.
The next few examples in this discussion will give you scenarios where a block is not always just a block. Even in these examples opening and closing the opponent is vital understanding the how and why of the situational self-defense. You cannot just middle block and not investigate deeper because if the adversary is turned in the wrong direction, as previously mentioned, your counter will be ineffective or at worse you open up your body to the adversary’s counterattack.
Rear-hand Trapping and Forearm Strike:
Trapping is an advanced concept and is not part of the novice’s training, but to take a deeper dive into the self-defense found in kata it must be known that trapping, locking, and throwing are foundational parts of all forms. Karate originally fought in all three ranges of combat. It was specialization that separated karate from jujitsu. When trying to understand bunkai you cannot be one dimensional. When you see an open hand this may be a trapping technique. When the open hand is placed under a punch, this is many times an indication of a grasp of the attacker’s arm or garments to prevent their escape while you execute your attack.
Not every technique that looks like a middle block is in fact a middle block. Lead-hand and rear-hand trapping must be understood and practiced by the serious student. A master of karate must understand how to manipulate and control the movement of his/her attacker. Trapping can facilitate this facet of karate. Trapping and pulling an adversary overextends their position. In the example below we see that the middle block can also be used as an offensive weapon. This may look like a middle block in the kata, but it can be much more.
Example: The attacker lung punches. Trap the attacker’s wrist by intercepting his/her punch with your rear hand and pull him/her off balance while driving your forearm into the side of the attacker’s neck or head. This looks like a middle block, but it is really an offensive weapon.
Forearm Strike to Remove Lapel Grab:
This is another example of a technique that looks like a middle block in kata but is a different response to a situational self-defense attack.
Example: The attacker grasps your lapel. Drive your forearm into the attacker’s elbow joint to make him/her release their grip. Circle under the attacker’s arm until your forearm is in a position where it comes in contact with the adversary’s arm just above the elbow joint and at the bottom of the triceps muscle. When done properly, the attacker’s fingers are trapped in the material of your jacket. Use your forearm to hyperextend the locked joint and follow with an offensive attack immediately.
The Grab:
This is another potential meaning for the middle forearm block technique in kata. The circular motion of the block moves the attacker’s blow outwards. Once the blow is no longer a threat you can quickly move forwards and grasp the attacker’s clothing to set up a strike, or you can simply grasp adversary’s pectoral muscle just under the armpit to inflict pain. The pain is a distraction, and it gives you time to drive your fist under their chin. This all looks like a combination of middle block and punch
Cat Stance:
These are only a few examples of what we can learn from one simple block. My hope is that you examine every block in context of the predecessors and successors as well as their mechanics in the situational self-defense to derive the true meaning of the situational self-defense. Remember not every block is a block just like every punch is a not punch. Be open to new interpretations of simple techniques.
Next, we will discuss the Cat Stance (Nekoashi dachi). A cat stance is not really a stance at all. It is merely a point in time as the body transitions moving forwards or backwards. Fixing this position cements the body mind connection. This means the mind feels the correct position, of the body, when moving into that phase of the transition. The question remains what is happening when you move into the cat stance? For clarification a fighting stance is always a balanced stance. A true stance, as understood by the AOKK student, is one that you can easily move from one position to another. You’ll never see a seasoned fighter sparring from a cat stance or long forwards stance because these are only momentary transitional positions. The purpose of these transitional positions is to build the body mind connection so that when you pull someone off balance your body and mind will adjust to the correct position automatically. Examining stances like Nekoashi dachi (cat stance) can give you clues as to what is happening within the situational self-defense. Have you ever watched someone pull backwards on a rope? Their position is very similar to a karateka in a cat stance, so in some cases when you see a cat stance the martial artist is simply pulling backwards. A cat stance can be used to facilitate a front snap kick without compromising balance. The cat stance can be a strike with your buttocks. This is a powerful blow and can break the attacker’s balance allowing him/her to be thrown. This strike can be done in concert with a rear elbow attack to separate you from someone that is trying the grab you from behind. A cat stance is flexible and may have more than one purpose in a kata. It is never there because it looks cool.
Hand Position:
Hand position can help you determine what is being performed when the cat stance is executed in kata. Many times one falls backwards into a cat stance only to increase distance between you and the attacker, but this is not always the case. If the hands are pulled to the hip you may have trapped the opponent’s blow and are pulling backwards to break their balance. Dropping back into a cat stance in a shuto guarding position, can imply that you’ve increase pressure on an elbow lock by dropping your body weight. A simple cat stance can imply several possibilities, but its real meaning will be determined by the context of the situational self-defense. Hand position can help with your interpretation, but the interpretation cannot be out of context with the techniques executed before and after.
Guarding:
Hands forward is the firsthand position we will discuss. This technique can be a simple guarding position. Increasing distance between you and a potential attacker is a good idea. Brining your hands up, prepares you for an attack. It takes time to bring your hands into a position that enables you to block an attack, so pulling them up in preparation is a good theory of combat. Being aware of an impending attack is a viable technique. Awareness and preparedness is the karateka’s greatest weapon.
Note: This can also represent a joint lock. This is especially true if the hands are circling or you’re stepping while repeating the motion.
Distance:
The cat stance creates distance. Moving backwards, takes the sting out of the strongest kick or punch. If you trap an adversary’s punch with the lead hand and drop backwards into a cat stance, it enables you to counterpunch to the adversary’s centerline targets as the attacker is yanked off balance. In some cases, you’re simply getting out of the way before delivering your response.
Locks:
This is the same position as the guarding position can indicate a type of joint lock. One of the simpler examples is to set back into the cat, to increase distance while rear-hand trapping a punch. You then rotate the elbow, and palm strike the back of the elbow. Note in kata both the guarding position and in the one in this example appear the same, yet they’re different applications
Balance:
To maintain your balance one must keep two points of contact with the ground. Anytime you kick, you’re on one foot, so your balance can be easily compromised. The two points of contact found in the cat stance are made when one foot is on the ground and the second point is your grasp of the opponent. The opponent helps you maintain good balance. During a kick, if your leg is trapped, you can be thrown down to the ground in any direction, but if you grasp the attacker, you can establish a second point of contact and the ability to better secure your balance. A cat stance can be used to facilitate a front snap kick without compromising balance
Trapping:
As mentioned already, trapping is an advanced concept. It is normally taught after black-belt. All katas have traps or grabbing techniques. When the hands are placed on the hips, in the kata, this can sometimes indicate a trap of the attacker’s punch or kick. Trapping the attacker’s punch and dropping back into a cat stance gives you an advantage. It sets up the adversary for a kick to his/her ribs. When their arm is trapped it is preventing them from blocking the kick. Your backwards motion breaks the adversary’s balance forward causing him/her to extend their body and expose their centerline targets. If you trap an opponent’s kick, it places him/her on one leg. This is one point of contact with the ground for the attacker thus making it easy to throw them in any direction. The kick can be pulled backwards or pushed upwards to compromise the attacker’s balance. A rotation of your hips, in a circular motion, throws the adversary sideways. Trapping the attacker’s punch and pulling backwards causes an experienced fighter to resist and reverse their direction by pulling backwards. As they pull backwards you can reverse directions and move forwards to attack their centerline targets. In Seisan kata this is seen when you drop backwards into a cat stance and then move forwards out of the stance. These are only a few possibilities for this stance and hand placement. Its’ real meaning can only be gleaned by examining the techniques before and afterwards.
Defense Against a Rear Attack:
Another common attack is from behind. If you can get your arms around someone, you can pick them off the ground and throw them. The best throw is a suplex where the victim lands on their head. Driving the hips backwards in the cat stance can thwart this type of attack. It creates space between you and the attacker. Driving an elbow to the attacker’s solar-plexus is icing on the cake. Once the hips are driven backwards the attacker can be thrown or you can get turned around to better engage the opponent.
Throw:
Using an adversary’s momentum, when attacked from behind, can facilitate a major hip throw. Hook the attacker and trip him/her forwards past your body. This can look like a shuto guarding block in a cat stance. Many times, the cat stance is representative of a major hip throw from the front. This is especially true if you turn 180° in the kata and set into a cat stance.
Note: The techniques proceeding the turn to understand how the opponent is trapped to facilitate the throw
Note: A bunkai can consist of the setting up a throw. In Judo you push, pull, twist, and lift to break an opponent’s balance, In karate we set-up a throw by striking and locking the opponent. Seldom does a kata show an actual throw. In Kusanku there is a bunkai that takes an opponent to the ground. That is an exception and not the rule.
Pressure Points:
There are series of techniques that show the proper sequence for striking vulnerable points on the body. All bunkai were put into kata so the karateka could remember and practice the sequences.
Context:
The meaning of the cat stance is determined by the predecessor and successor techniques. When building your interpretation of the moves don’t take them out of context. Also do not be one dimensional in your thought process. Who knows your interpretation may be better than the creators. Just keep it simple and practice the situational self-defense to ensure it works.
As you can see from the examples above the cat stance or the middle block can be used to represent several possible scenarios within the bunkai, and yet it is only one transitional step in the overall interpretation. The situational self-defense or how one should respond to a certain kind of attack can contain a cat stance as well as several other techniques to create the desired response. The interpretation is dependent upon the techniques before or after. Keep this in mind as you try to glean viable responses to certain attacks within your kata. Remember karate is for self-defense only, so all bunkai begin with an attack. Your response can vary or end in a simple guarding position. The point is kata must have bunkai or it is a worthless endeavor.