Changing up the kata

[14 Kempo]

It might show how well you really know the form.
It might show you techniques that you did not see before
It might depend on which form and what style you are in to make any difference

Like I stated before, I'll agree to disagree. If it works for you, whoever you are, then I wholeheartedly say "Do it!"

For me, I use other methods to know my forms inside and out, but not backwards. Application of movement is number one in my book and that is where I concentrate my work. That's what works for me, and therefore that's what I do.

Know it, See it, Do it ... that's how I see forms.

 

[jks9199]

Like I stated before, I'll agree to disagree. If it works for you, whoever you are, then I wholeheartedly say "Do it!"

For me, I use other methods to know my forms inside and out, but not backwards. Application of movement is number one in my book and that is where I concentrate my work. That's what works for me, and therefore that's what I do.

Know it, See it, Do it ... that's how I see forms.

I agree... Doing the form in reverse doesn't make much sense to me. And it compromises the principles of the form.

I'll do sets in reverse (start with set 5, then 4, then 3...) or in random order. But, in our forms, if you just did 'em in reverse, they don't work. Things don't flow together at all.

 

[kidswarrior]

Cant imagine much I could really add to what's been said. The only further distinction--which is built in to my art--is that one of the main tributaries is a CMA, and teaches forms to be practiced in a slow, steady progression. The other tributary is Kempo-based, and follows more the mix-it-up speed of some karateka.

So, yeah, changing speeds, pulling out pieces and adding attacks/resistance from different angles (front, back, side, oblique), doing the piece forward, then backward, then forward again (really makes you think about the principles, and get beyond just the techniques), applying the concept of multiplicity (what if I used this for a grab instead of a strike, a throw after the block or added into the transition/turn, etc.), turning students to face different directions before beginning them all on the same form (and sometimes I'll jump in too, because I still have a lot to learn). I use all of these. Sometimes they help more than other times, and some students take to certain things more than others, but that's what makes the journey interesting to me.

Also, kind of an aside, I do my cane forms with a 36" very light shillelagh, a 36" solid crook'd cane, and my 44" heavy oak shillelagh. Very, very different feels and possibilities open up with each one, which then bolsters my use of the others. And BTW, all can be carried on a plane.

 

[kidswarrior]

Was out of town yesterday, so just now posting a couple of further thoughts.

Re: my change up with different sticks in Cane forms practice, realized I should throw in the kubotan to practice the cane forms, too. Obviously, it would be radically different, but still, a strike to the groin, uppercut to soft tissue under the jaw, and strike to the armpit would all still be effective. So, something I need to work on.

And on your original point, Shesulsa, re: slowing the forms such as in the common picture of Tai Chi practice: Have recently thought that if I ever get a chance to get an Over-40 program started, that's how I'd teach it. So, yeah, good idea. :asian:

 

[Grenadier]

I do change things up a bit. Sometimes, this means hitting the kata one step at a time, with a definite pause between each movement.

This is actually necessary to do once in a while, even amongst senior ranks, since some are in a hurry to blend things together, that they forget about each movement being its own, individual step.

Let's take a look at the Wado system we teach. When teaching kata Kusanku to brown belts, it's actually quite common to slow them down, so that each movement is completed cleanly.

After the first nukite (the first quarter), in Kusanku, there's a 180 degree turn, followed by a double open-handed block, followed by a left open hand high block, and a right open hand strike to the temple. Some folks rush too much, especially those who think that they need to go faster than they should, and sometimes, those two movements end up getting blurred into one. Instead of getting two strong, crisp movements, you get one blurred, weaker movement.

Once they understand that those are separate movements, and practice correctly, then they can start adding speed and flow to it, without making a mess.

Think of it this way: it's not that much different from teaching a painter how to paint individual sections of a house, instead of letting him tackle the whole house all at once.