Bunkai: Basic Rules for Interpretation

Sensei Spencer

11/5/2021

  Kata is the unwritten instruction book of the martial arts. Kata is what separates the karate system from the self-defense gym on the corner. Karateka have linage and their fighting concepts can be traced back for many generations. Anyone can open a gym on the corner and teach a blending of kickboxing and grappling, but there is no art and history behind their curriculum. Kata was originally developed by the palace guards in Okinawa as a means to transmit viable self-defense responses to situational attacks.

Karate eventually spread to the general population as a means of self-defense after Okinawa was conquered by the Satsuma clan and weapons were banned. When karate moved to Japan locks, throws and chokes were removed. This shocked Kenwa Mabuni sensei when he first witnessed karate training in Japan. Throws and grappling possibly was removed so karate would not be in competition with Judo. Our problem today is karate’s effectiveness has been called into question after the popularity of mixed martial arts came into prominence in the nineties. This is due mainly to the disregard of the throws, locks and chokes found in bunkai. When bunkai was lost, karate’s teeth were pulled, and it evolved into something the originators would not recognize. Many believe that competition was the death of traditional karate. I believe it was a gift, and a call to the karateka to find the soul of karate once again. We must explore kata’s bunkai.

How do we begin the process? A Goju-ryu sensi gave us some basic guidelines to follow when we’re decoding the movements of kata. This instructor’s name was Seikich Toguchi. I agree with many of these concepts, but I also believe they can be expanded upon. Let’s look at these concepts. Below are Toguchi’s guidelines and the AOKK version.

Rule-1: [Seikichi Toguchi] Do not be misled by the pattern of the form.

Rule-1: [AOKK] Kata is not a cookie cutter response to an attack. Kata techniques are performed on the right and left side, but the application is the same for both.

Performing a series on the right and left side does not mean you must repeat the series for it to be an effective response. We practice the form on the right and left for practical reasons. Practicing on both sides, of the body, prepares you to use the response with your less dominant side in case the dominate side becomes injured. A series can be performed a third time to place the form back on track. On rare occasions it is done a third time to emphasize the importance of the series, but normally it is to keep the form flowing.

Depending upon the size of your training area a kata may turn in different directions. These changing directions do not dictate how to apply your response to the situational attack. They are simply turns. Do not over think the direction that the form is moving. Angles however are a different topic, and they are important. Do not confuse the pattern of the from with the angles of an executed technique.

When working to determine the meaning behind a series of techniques, they are broken or distilled down to its smaller groups. This total distillation of the groups is sometimes called “hanto” or half. Hanto strips the left-side and third repetition from the Kata. A few schools even turned the catenated techniques of Hanto kata into a form or kata itself.

Lastly, do not change the series of techniques to meet your explanation of the bunkai. If you are seeking the true meaning of the application, it must stay within the confines of the kata’s catenated movements. Granted there are multiple explanations for the same group of techniques, but upon a cursory examination if they’re not congruent with the movements of the kata they need to be discarded or reexamined.

Rule-2: [Seikichi Toguchi] Techniques executed by advancing are offensive and those executed while retreating are defensive.

Rule-2: [AOKK] Attacks can be delivered moving both forwards or backwards, but offensive techniques are usually delivered moving forwards.

Toguchi sensei, I believe, is speaking about individual techniques and not the whole of the bunkai. The AOKK, on the other hand, believes that offensive techniques can be made moving forwards or backwards. Pulling backwards into a cat stance can appear to be retreating upon a cursory examination, but it can also indicate a hip throwing technique which is offensive by nature. Pulling back into a cat stance, can be offensive when you’re setting up a lead leg kick. Toguchi sensei generally is stating that if you’re moving backwards, you are not attacking. Having been involved in personal combat I have executed offensive technique while moving backwards, so I believe that Toguchi is speaking in general terms. Life experience would indicate that kata should reflect those offensive responses, in bunkai, while moving forwards or backwards.

Rule-3: [Seikichi Toguchi] There is only one opponent, and they are in front of you.

Rule-3: [AOKK] The fight is with one adversary, and he/she is in front of you.

We whole heartedly agree with this statement. Kata is not fighting against multiple attackers. Bunkai techniques are mainly in-close fighting techniques and much of the bunkai is in range one and two. This is personal combat and nothing more.

Fighting multiple attackers means you must be constantly in motion.  Mas Oyama said he would run away and find a narrow passage, like a hallway, and fight the attacker’s one at a time. One tactic for fighting multiple assailants is to move and keep them lined up so you’re fighting only one attacker at a time. Trying to keep your attackers in a line by movement, is very difficult, so why would one build a bunkai for this purpose? You will eventually get tired and surrounded, and this give your adversary’s the advantage.  The second tactic is you must inflict maximum damage once engaged by an attacker backed up by multiple opponents. Even in this case you’re fighting a solo adversary.

In the AOKK we use our toes and nose as a guide to let us know which direction the attack is coming from when decoding bunkai. This is common sense, When I’m fighting, I look at my attacker, so in bunkai this also holds true.

Rule-4: [Seikichi Toguchi] Every movement within the kata is part of the application. There are no symbolic movements.

Rule-4: [AOKK] All series of movements, in kata, contain a situational response to an attack. There are no symbolic moves representing a non-aggressive philosophy.

Even in the salutation you can see self-defense responses. In Wansu we have a big circular movement with one leg that looks like part of the opening salutation, yet it is kouchi-gari or an inner sweep of the opponent’s leg. In Kusanku’s opening there is a big circular motion with both arms that in reality is a twin elbow lock against a double lapel grasp. Students are often told these are simply portions of the salutation.

I have had many instructors give a very long explanations of the opening salutation before stepping into the ready position. I too was forced to memorize all the symbolic meaning, but upon closer examination I now see technique more than philosophy.

If you like teaching the symbolism that is fine. Younger students may find this an adequate explanation. I believe the symbolic explanation came into play during karate’s philosophical metamorphosis in Japan. It can be good moral lesson, but we should also teach the practical side of the movements. Even Shimabuku sensei told Harold Mitchum sensei the salutation in Kusanku movement was like the rising sun. I’m not sure if this was symbolic or descriptive of the movement, but we can certainly conjure up some Confucius like explanation if we try. Keep your feet in the real world when deciphering kata application.

Rule-5: [Seikichi Toguchi] A closed hand returning to the chambered position has something in it. 

Rule-5: [AOKK] When the hand is pulled to the obi you are grasping clothing, wrist, or belt.

You might be surprised at the number of black belts that cannot answer the question as to why we chamber our fist on our hip. I regularly, in the past, asked this question of visiting black belts. Some said it was to create more power in the punch moving forwards, or a few believed it is done for symmetry or balance. The lowering of one hand to the hip leaves that side of your body unprotected, so there must have been a reason beyond symmetry. I don’t believe the palace guards cared about how the aesthetically pleasing form looked.  Still, the more forthright shrugged and said honestly, I don’t know.

When you grasp someone, or they grasp you it is to maintain the circle of combat. Once out of this range it becomes harder to control the adversary. A judoka cannot throw you without a grasp, so is it not unreasonable that grasping pulling and controlling might be part of your self-defense and thus be found in kata.

I once listened to a Shotokan instructor go into great detail about the push pull nature of the reverse punch while his students diligently struck the air while sitting in a horse-stance (kiba-danchi).  He never went beyond that point. He was so close to a revelation and stopped short. He described perfectly how to break an opponent’s balance by pushing the shoulder backwards and simultaneously pulling the adversary’s arm forwards. He never saw that the horse stance was the lowering of the karateka’s centerline to prevent being thrown. No… to him it was only a punching drill. In his kata this movement will always simply be a punch, and his bunkai, if any, will be one dimensional.  

The rear hand in some kata like Chinto are placed on or above the solar-plexus. It appears to be in a chambered type of position. This is an indication of a trapped kick or punch. Even though the fist is not on the hip it still indicates the hand has something in its grasp.

There are instructors that believe the fist returning to the obi is used a block. This is a viable explanation. I have seen their bunkai and it is impressive. It also may prove to difficult to perform. If the technique is too difficult it may lack substance, but even the difficult can prove useful if practiced diligently enough.

Rule-6: [Seikichi Toguchi] Utilize the shortest distance to your opponent. [Seikichi Toguchi]

Rule-6: [AOKK] The response to an attack, can be made with lead or rear hands or feet and not always the closest.

My guess is Toguchi sensei is telling you that the attack is made with the weapons closest to the opponent. Okay, this is a little confusing to me because that would eliminate your rear more powerful weapons. I am certain that I’m misunderstanding this rule.

In Japanese karate the hips are on a slight angle, so when they’re brought forwards, they can generate more power. The downside is this increased distance gives the opponent more time to deflect of avoid the blow. This angular hip position could be what sensei Toguchi was in reference to.

My Okinawan instructors believed in a more hips forward or square position, so all weapons could all be brought into play more quickly and that power was formed by hip and shoulder rotation coupled with weight transfer. If this concept is true for Goju-ryu then any of the weapons can be closest to the opponent at any time.

Honestly this rule is not emphasized in American Okinawan Karate Kobudo (AOKK). We may not stress it simply because we do not understand it.

Rule-7: [Seikichi Toguchi] Control the opponent’s head and you control his body. [Seikichi Toguchi]

Rule-7: [AOKK] Controlling the head is tactic used in kumite, but this is not one of major consideration made when deducing the application of kata, yet in rare cases it will appear in bunkai.

In the AOKK we preach that controlling the head controls the opponent’s body. This is a hard and fast rule in the AOKK when dealing with in-close fighting. Kata mainly consists of in-close fighting, so this does apply in rare cases. In Seisan kata there is one throw (tai-otoshi) that is delivered from a cross lapel choke. This is one of the rarer situations found in bunkai that follows Toguchi sensei’s rule.

Another explanation of this rule is that it refers to striking points on the head. All karateka from the beginning of their training realize that the eyes, chin, nose, and throat are points of attack. Forms mainly target the imaginary attacker’s solar plexus as opposed to head strikes.

Defining or interpreting bunkai using the head is difficult. In the AOKK the majority of our throws are executed by gripping the opponent’s head. We believe this is a viable method of delivering a throwing technique and should be examined when discerning bunkai.

Rule-8: [Seikichi Toguchi] There are no blocks in kata there are only strikes. [Seikichi Toguchi]

Rule-8: [AOKK] Techniques can be blocks or strikes. They can also be throws, locks, and chokes. To determine the type of technique, review the stances involved in the hypothesis. The bunkai should remain within the context of the movements.  

To a degree I agree with Toguchi when he states there are no blocks in kata. There is a great debate about whether “block” is right term to call these techniques. This, in their opinion, is a bad interpretation. Blocking indicates the stopping of a strike. In reality it should be call it a deflection. All blocks from the high, low, and middle position should inflict pain when the technique is executed.

The rule in the AOKK is “I touch you I hurt you.” This means every time you make contact with an opponent it should hurt the adversary. Strike hard and fast with every technique.

Not all blocks are simple strikes when examining bunkai. This includes what we call a middle forearm block. Ask yourself, is it a block or a locking technique? If it is a lock, strike quickly and make it hurt. A middle block can indicate a wrist removal technique. An open hand circular block or mawashi-uke can be an elbow locking technique where you wrap your arm around the attacker’s elbow and tie-off to their clothing. When you see a high crossed-hands block or “X” block it can be indicative of a choke. When you see a crossed-hand choke, ask yourself is the choke followed by a strike? When the hands are closed, a double strike may be used to rock the opponent’s head backwards. Open hands could mean you’re going straight for the choke. When your palms are turned upward, and the hands are open you can be striking with your fingertips to the throat prior to the choke. If the technique is a double low cross-handed block it could be a knee block. It also can be a trapping of the opponent’s leg. Turning 180° after this “X” block is executed indicates you’re throwing the adversary with the trapped leg. When decoding bunkai, look for a realistic application for what is easily termed blocks. Most all 180° turns ending with a block are throws. Throws on hard ground can be game enders.

Truthfully, not every technique can inflict pain, so this is more of guideline than a hard rule but look for good self-defense in every technique that is called a block. Remember when you make contact with an opponent it should cause pain. This is true also if there are pressure points involved. No pain… you may need to rethink the bunkai.

Rule-9: [Seikichi Toguchi] Angles in kata are important.

Rule-9: [AOKK] Angles used in technique are very important. Change the angle and you change the application.

This is another thing that must be examined closely. Stepping on an angle can make the attacker’s punch miss its’ target. The angle that a technique is applied can increase pressure to a lock. If the changing angle is accompanied by a half moon step it could be a sweep. When creating your hypothesis closely examine angles.

For example: In the Isshin-ryu version of Seuchin kata, the angle of the shiko-dachi in the initial movement is horizontal while the shiko-dachi of the Goju-ryu version is on an angle. Shiko-dachi is a stance similar to kiba-dachi or horse stance where the feet are on an angle and not straight. This change not only makes the kata different it changes the bunkai. In the Isshin-ryu version greater torque is being applied to the same bunkai yet the opponent remains in front of your body. Shimabuku sensei’s version breaks the attacker’s balance more.

Rule-10: [Seikichi Toguchi] Touching your body in kata indicates you are touching your opponent. [Seikichi Toguchi]

Rule-10: [AOKK] Grabbing your wrist indicates you’re grabbing the opponent’s wrist and placing your hand against the forearm can indicate trapping the attacker’s limb during or after the block or strike.

 The AOKK agrees with this rule, but we take it a little farther. There are no supported blocks or strikes. A grasp of the wrist is an indication of a locking technique. A hand supporting a fist is an indication of a lock or a trap.

In a few cases you will grip a portion of your body to indicate where you’re gripping the opponent’s body. This is a device that helps you remember the nuances of the technique.

Rule-11: [Seikichi Toguchi] Don’t attack hard parts of the opponent’s body with hard parts of your body.

Rule-11: [AOKK] Strike the hard part of the adversary’s body with your softer weapons and softer parts of the opponent’s body with your harder weapons. .

When decoding bunkai this rule can help you determine the location of the strike. Different styles and instructors may demonstrate a blow to a different location even in the same form. This can be due to their original instruction or to their stature. If they’re shorter or taller the blow can go from what appears to be a lower technique to a higher technique. Instructors from similar systems will argue they’re right the other guy is wrong when in reality it was all due to their Okinawan instructor’s stature.

This is a commonsense thing. When you punch the attacker’s head with your fist, you can break all the little bones in the hand, so strike with a palm-heel. The same is true of striking with the foot. The foot contains a number of small bones that can easily be broken too. Strike the thigh with the shin. Strike the ribs with the shin. Thrust the heel forwards to the abdomen to bend the adversary forwards or thrust the heel to the bladder and watch what happens. Two variations are the shuto strike to the neck and the hammer fist to the collarbones.

Rule-12: [Seikichi Toguchi] There are no pauses in the application.

Rule-12: [AOKK] A pause indicates the ending of one series of bunkai and the beginning of another. There is no pause between techniques of a design response or application.

It is common the pause between series of technique. This pause determines the end of one series or bunkai and the beginning of another. While executing the series, the techniques should be continuous and explosive. Remember what Joseph Addison wrote, “He who hesitates is lost.”

Rule-13: [Seikichi Toguchi] No Rule.

Rule-13: [AOKK] Techniques like spinning low blocks are hip throws.

When you see a 180° turn followed by a low block could be an indicator of a hip throw. There are no spinning low blocks. If a turn 180° ends with a low block, you are to control the opponent’s fall in the bunkai or you maintain control of the attacker. If the turn ends with open hands or shutos the attacker is thrown violently. The opponent lands in front of you. In some cases a 90° turn can indicate a throw, but many times this is just the pattern of the kata.

Rule-14: [Seikichi Toguchi] No Rule.

Rule-14: [AOKK Version] The last technique of a bunkai should be an ending technique.

When trying to determine where a series of bunkai ends, it should end with a disabling technique. Funakoshi sensei and Itosu sensei ended the kata developed for children occasionally with a blocking technique. This was a symbolic gesture to show karate was not to be used to initiate an attack and could bring a peaceful resolution to an altercation.

Rule-15: [Seikichi Toguchi] No Rule.

Rule-15: [AOKK] When a bunkai uses tension it can be representing a power technique.

Knowing that the form is using strength to execute the application makes understanding the bunkai easier. When you practice the bunkai, it must be done against a strong opponent. Many of these techniques will work when performed quickly against inferior attackers, but you will not be able to overpower every opponent, so you must develop technique for the powerful as-well-as the average.

Tension kata uses isometrics build muscle. These are not quick explosive techniques, so you must build muscle to properly administer them. This may have been man’s first form of isometric exercise. Later, Hojo Undo equipment would be introduced to improve strength and body conditioning. If a tension kata is performed properly, the student should be tired upon completion. All muscles must be properly tightened during the performance of the kata. Many schools test to see if this tension is properly applied during performance.

Rule-16: [Seikichi Toguchi] No Rule.

Rule-16: [AOKK] Stances can be an indicator of the type of technique.

A horse-stance indicates a lowering of the karateka’s centerline. This is to counter a throwing technique. A cat stance can be used to create distance to give you time to execute a counterattack, but when it is coupled with a 180° turn it can also represent a hip throwing technique. The cat-stance can also indicate a pulling action to break an opponent’s balance. You must look at the techniques around the stance to understand what is being represented. A forward stance is used in an offensive series of bunkai.

Stepping in half-moons can indicate sweeps. By sweeping your leg around and behind an attacker you have the correct motion for Osoto-gari. It can also indicate pressing your knee into the opponent’s knee to weaken their stance. This motion can be a leg hooking technique also. These are all range-two personal combat techniques.

Rule-17: [Seikichi Toguchi] No Rule.

Rule-17: [AOKK] The position of the spear-finger strike indicates the target area.

If the spear-finger strike is palm up the strike it to the throat. If the strike is made with the palm down to the throat the automatic response to the strike is to drop your chin. This traps the fingers of the hand and can hyperextend the finger joints. If the hand is palm-up and the chin is dropped by the opponent, you can bend the fingers and claw with your hand backwards.

Twin spear-finger strikes can be a response to an attacker grasping both wrists. Push the hands forward and rolling the hands over the attacker’s wrists allow you to escape when the hands are pulled backwards and suddenly thrust forwards. These twin spear-fingers are not always some kind of flesh ripping technique. That is stuff for the movies.

Rule-18: [Seikichi Toguchi] No Rule.

Rule-18: [AOKK ] The series of techniques should not be overly complicated.

Palace guards’ safety depended upon this self-defense, so it needed to be bullet proof. When the response is too fancy or difficult to master you may be on the wrong track. Like the old saying. “Keep it simple stupid.”

Conclusion

Kenwa Mabuni said,” The karate that has spread to Japan is incomplete. Those who believe that karate consists of kicks and punches and think throws and joint-locks are exclusive to judo and jujitsu, have been misinformed. We should have an open mind and strive to study the complete art.” The process of making karate whole again begins with our grafting throws, locks, and chokes back into our art. Once we understand locks, chokes, and throws we can better understand the odd postures found in kata.  Learning the grappling portion of our art enables us to unlock bunkai giving the karateka self-defense in range two of personal combat. This makes our art viable once again. We must make karate whole once more.

Bunkai is only a suggestion. It is a possible response to a situational attack. When you first teach a bunkai, you should follow the movements within the kata, but after it is demonstrated, you can begin to add techniques and remove techniques to test its’ effectiveness. Bunkai is only a building block. It is designed so that you can practice the response with a partner. Testing the response is the only way to learn to apply it adequately, and to improve the response. These bunkai are not set in stone. This is why bunkai is so important. It opens a discussion on self-defense between real students of the art. Kata ingrains the technique while bunkai brings it to life.

This may sound like heresy to a few traditionalists, but a bunkai from one kata can also be combined with an application from another kata. Yes, bunkai is a mix and match product. I attended a seminar many years ago when a high ranking Shorin-ryu instructor, trained on Okinawa, introduced us to this concept. If you only had one or two forms, by mixing the series of situational responses, a karateka can develop a countless number of responses to an attack. This instructor used the analogy of a taking a wormhole from one bunkai to another.

Kata builds the body mind connection, so you may respond without thinking. Some instructors call this muscle memory. Doing the movements over and over builds this automatic response, but only if the student is aware of what he/she is doing. If they mentally see the attack and respond while in the performance of kata, they are programming their automatic response. Without this seeing and executing application, they are simply flaying the air. Kata without bunkai becomes an empty exercise. It is like a car without an engine. It may be beautiful, but it is not good for anything except to look at.