Bunkai, the application for Karate Kata technique.
As I was originally trained and as my instructors were trained in Okinawa, there was NO Bunkai. After a long personal quest I eventually hit on what Bunkai could be. Presenting that possibility to my instructors I faced rebuke that the concept was even part of Karate Do.
Being on my own I paid no attention to that rebuke and continued with a quest that now extends into several decades of my own studies.
First, it is important to acknowledge there are most likely an infinite number of ways to structure and teach a martial art. In all likelihood they all will work and be successful.
Karate systems which do not use Bunkai are as valid as those which do. The bottom line all you need to defend yourself are techniques you can successfully sell in those circumstances. Whether they reside as applications of kata technique, come from a dusty book or off a list of prescribed drills is irrelevant.
But Bunkai, in my mind opens many possibilities.
Of course what Bunkai means varies a great deal.
For example, my friend, instructor and confidant, Ernest Rothrock, tells me in the Shaolin Arts, and most especially in Faan Tzi Ying Jow Pai (Northern Eagle Claw) there is only one application taught for every techinque. On the other hand those kuen (forms) are so long and so vast, you’re talking about thouands of techniques. If you truly learn only one application for their moves, believe me you have more than enough to handle anything.
Another instructor, Tris Sutrisno, in his family system of Shotokan (his father studied under Ginchin Funkoshi) is a strong proponent of Bunkai. After achieving Dan ranking, the adept begins to study one bunkai for each movement point in the kata for each degree of Black Belt (of which they have five levels). Hence, by the time one completes 5th Dan training, they likewise have several thousand bunkai. Of interesting note, the use of ‘bunkai’ is as a mnemonic device. The techniques really have nothing to do with the movement of the kata on the whole. Those techniques encompass a vast range of technique from Shotokan, Aikido and Indonesian Tjimande and represent a complete martial art by any standards.
[Note. I strongly suspect this was done in the Indonesian traditions to hide one’s art to the greatest extent. In the small amount of his Indonesian Tjimande I was fortunate to study, the application of techniques from their forms had absolutely no relationship to the movement itself.]
By way of contrast, my original instruction in Isshinryu did not contain any aspect of Bunkai. Heavy on Kihon, Kotikite, Kata and Kumite (tournament free sparring) with some grappling counters, the Dans of Sensei Lewis’ tradition are likewise more than capable.
As I trained with many people in Shorin Ryu, Gojuryu, Tang Soo Do Moo Duk Kwan, Kempo Goju and so on, likewise, there was never mention of Bunkai in their training.
As my studies progressed, a great deal of which was under Sutrisno Sensei, I began to appreciate a wide range of techniques.
Working my approach logically, I started to question why even have kata. The techniques in the systems I studied seemed to be developed from kata to kata in not a logical manner. I hypothesized one could restructure the training without kata by technique category. [Note, this was just a theoretical study and never once did I abandon my own kata, kuen, juru training.] And within technique category move from simpler to more advanced techniques in a progressive manner building the skills of the practionier as you progress.
It was about that time I became aware of the writings of Dr. Yang Jwing-Ming on Chin Na. He in a similar approach, categorized the Chinese locks by function. Such as locks for fingers, locks for wrists, locks for elbows and so on. According to his writings, the techniques in traditional White Crane were taught randomly and he was trying to develop a better approach.
It is interesting that this is not a modern development. In Northern Eagle Claw, there is a 2 person form, the 108 locking form, which was created by a Chinese General long ago to teach his troops his locking and fighting skills. He structured the techniques into sets of 10’s. Such as 10 elbow locks, 10 neck locks, etc.
This form is one of the pinnacle studies in Faan Tzi Ying Jow Pai.
I and my students were fortunate to be shown the first 3 of the 108 sections at our recent clinic with Laoshi Rothrock. The entire set is very interesting. It consists of 4 or 5 set up strikes and ‘blocks’ before entering the lock for the section. The lock entails pressure points and use of both the upper and lower body to completely dominate the opponent. To learn the entire 108 2 person locking form (both sides) would require study and memory of more than a thousand individual components.
On the other hand, my own studies in kata, and most especially in Yang Tai Chi Chaun, began to show me how kata was an extremely important tool in developing the energy of the adept.
I began to believe better and better kata practice was the key to developing higher energy levels in ones technique. The more precision, power and speed generated the greater energy one can impart into one’s opponent. Seemed like a great idea to me. [At this point I humbly note, that while I fully believe this, I am sure I am very far from being very accomplished myself. I trust I do a far better job for my students.]
With this understanding, and about 15 years work studying technique from many sources, I began to try and understand what Bunkai could mean for my own kata studies.
Now (my definition) Bunkai can mean many things.
First it can represent a manner to directly apply the movement of a kata technique against an attacker.
Second it can represent a way of opening with the kata technique and then extending that technique to conclusion with the attacker. This being use of a block to re-direct an attack, then turning the hand over and pulling the opponent down in the motion begun with the block. An extension of the original technique.
Third, it can represent a place to create an opening to place a ‘kaku****e – hidden hand technqiue’. This concept represents ‘secret’ techniques taught by the instructor only to the most senior students. They can be as simple as adding a front kick in Chinto Kata from kake dachi (cross legged stance) where there is no front kick, because the movement could easily follow the flow of the kata. Or the ‘kaku****e’ could be an entire sequence of moves which extend the kata. In this manner, the bunkai of the Sutrisno family system could be considered.
I began to logically explore them all, with a definite intent on the First. It seemed to me the more one could use the actual kata technique, the more synergy could be developed by training. And that synergy became very important to what I am trying to accomplish.
About four years into this study, working slowly with my dans, finding success and of course not success on occasion, I chance to meet a training companion of my original instructor from Okinawa. Sherman Harrill. Here was an individual who lived and breathed bunkai in the manner I was researching, although he had about a 40 year head start on my studies.
I’ve been fortunate to attend about 8 eight hour clinics with him and watch him take a movement and spend literally hours drilling down through the applications of a movements, mostly without adding other movement and just deeper and deeper analysis of what potential it holds.
While I’m not his student, his example has certainly helped me immensely on my own path.
But this path is not so easily completed.
Stranger, I, in a strange land, I more certainly realize Bunkai is not the entire answer, but a very important tool.
How does one teach ‘bunkai’?
How does one teach how to actually chose a defense against a real attack?
How does one go beyond bunkai of a movement, to flow from bunkai potential to bunkai potential granting even greater synergy to completely demolish an attacker?
Must every student, re-invent the wheel and find them themselves?
While not a complete list, you can see there is still much to explore in our topic.
While I can give more examples, the Rothrock and Sutrisno examples are sufficient for a point to be made. In both of those cases, the student does not try and figure out bunkai on their own, ever!
The role of the student is to study, study study and become proficient. The course of those arts will give all anyone needs. Trying to learn new bunkai is not a component of their training. In the Northern Shaolin arts, trying to uncover every possible application of every technique would make it impossible to learn the actual systems. The originator / Senior Instructors have made those choices. The student studies.
In much of the Okinawan Arts I’ve seen, this is not the case. Frequently senior instructors will answer the student, this is the application, now you have to work to develop new applications.
A case can be made that this encourages one to think about one’s art. At the same time generation after generation of students have to re-invent the wheel.
In my own teaching I have chosen to not make bunkai a formal part of kyu training. My students study kihon, kata, specific wazza on their way for Dan indoctrination. The learn beginning bunkai to assist them to learn kata technique spatially, and they are shown many examples of what bunkai study will become after Dan level, but those examples and practices do not form the core of their Dan preparation. More a prevue of coming attractions.
As to the larger issues, I’m still in a work in progress on Bunkai with my Dans. I suspect the answer lies in all of our efforts, move by move, kata by kata, to develop a strong Dan training program for future generations to study Bunkai on the Dan level in a logical manner.
In that future, the Dan would not be trying to figure out Bunkai, but rather studying. I would see the role of Senior Researchers and Senior Instructors, having completed the basic Bunkai curriculum (for say 20 or so years) to use their knowledge to extend those studies.
In the one (of multitudes of possibilities) vision I currently have Kyu and Dan adept alike would be students of a larger curriculum (most of which yet remains to develop).
If you remember my questions, there is still much more to go beyond all of this.
At least you can’t say I’m short sighted.
Author’s Note:
This work was composed while listening to J. S. Bach’s ‘Das Wohltemperierte Clavier 1 & 2’, a superior effort well defining what a Master does.
While the silent snow falls in New Hampshire this Friday evening.
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Victor Smith
On Bunkai – A Discourse
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Gary Santaniello
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On Bunkai – A Discourse
Victor,
It appears as though you have looked at a lot of various styles. Let me refer to
"your definition" of bunkie :
First, it can represent a mannor to directly apply movement of a kata technique against an attacker.
Second, it can represent a way of opening with the kata technique and then extending that technique yo conclusion with the attacker.
Third, it can represent a place to create an opening to place "hidden hand technique."
I would like to say that to me, it is "all" of the above. So many are fixed on "one" interpertation. How limited that is. Although one technique may serve well, there is no assurance that it will end the situation. Although i would not confuse a student by throwing "all" that at them, i do beieve in it strongly.
Application is very important. For without it, how then is one to appreciate the significance of the movements ? Kata alone without practicle application ? Possibly bunkai did not exsist years ago. Maybe not, but i doubt that in old days they did not practice some form of defensive drills. Interpretation does come from each of us as we see it. As we continue to study over the years, we must find within ourselves what has significance and what does not. But we need to be realistic and try to work with others of reputable abilties.
Good food for thought !
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Gary S.
It appears as though you have looked at a lot of various styles. Let me refer to
"your definition" of bunkie :
First, it can represent a mannor to directly apply movement of a kata technique against an attacker.
Second, it can represent a way of opening with the kata technique and then extending that technique yo conclusion with the attacker.
Third, it can represent a place to create an opening to place "hidden hand technique."
I would like to say that to me, it is "all" of the above. So many are fixed on "one" interpertation. How limited that is. Although one technique may serve well, there is no assurance that it will end the situation. Although i would not confuse a student by throwing "all" that at them, i do beieve in it strongly.
Application is very important. For without it, how then is one to appreciate the significance of the movements ? Kata alone without practicle application ? Possibly bunkai did not exsist years ago. Maybe not, but i doubt that in old days they did not practice some form of defensive drills. Interpretation does come from each of us as we see it. As we continue to study over the years, we must find within ourselves what has significance and what does not. But we need to be realistic and try to work with others of reputable abilties.
Good food for thought !
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Gary S.
On Bunkai – A Discourse
Hi Victor,
Your experience with bunkai is about the opposite of mine. I began studying karate (Matsubayashi Ryu) in 1970 in a US Air Force base gym. Our teacher was still an ikkyu at the time, but we were visited fairly often by American black belts and occasionally by Okinawan black belts. They all stressed bunkai. We were expected to have a strong understanding of at least one set of bunkai applications for every move in a kata before we were allowed to begin practicing the next kata. From day one, we spent at least a quarter of our practice time on bunkai. That hasn't changed much in Matsubayashi.
In addition, since it was known that I had been studying judo and jujutsu for ten plus years, I was encouraged to offer other bunkai applications for moves, when those among us who had studied only karate were at a loss for variations and alternatives.
Lately, I've come to the realization that bunkai is not as important as I had always believed it to be. My training partners who have spent more time on basics and on mastering the fundamental principles within each move -- rather than the applications of each move -- are now far more skilled than me, even though I was more -- or at least as -- skilled for many years. I'm now concentrating on the basics, particularly by following Choki Motobu's example and concentrating on performing Naihanchi Shodan.
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George
Nana korobi, ya oki.
Your experience with bunkai is about the opposite of mine. I began studying karate (Matsubayashi Ryu) in 1970 in a US Air Force base gym. Our teacher was still an ikkyu at the time, but we were visited fairly often by American black belts and occasionally by Okinawan black belts. They all stressed bunkai. We were expected to have a strong understanding of at least one set of bunkai applications for every move in a kata before we were allowed to begin practicing the next kata. From day one, we spent at least a quarter of our practice time on bunkai. That hasn't changed much in Matsubayashi.
In addition, since it was known that I had been studying judo and jujutsu for ten plus years, I was encouraged to offer other bunkai applications for moves, when those among us who had studied only karate were at a loss for variations and alternatives.
Lately, I've come to the realization that bunkai is not as important as I had always believed it to be. My training partners who have spent more time on basics and on mastering the fundamental principles within each move -- rather than the applications of each move -- are now far more skilled than me, even though I was more -- or at least as -- skilled for many years. I'm now concentrating on the basics, particularly by following Choki Motobu's example and concentrating on performing Naihanchi Shodan.
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George
Nana korobi, ya oki.
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gmattson
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On Bunkai – A Discourse
Victor said: <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Bunkai, the application for Karate Kata technique.
As I was originally trained and as my instructors were trained in Okinawa, there was NO Bunkai. After a long personal quest I eventually hit on what Bunkai could be. Presenting that possibility to my instructors I faced rebuke that the concept was even part of Karate Do.<HR></BLOCKQUOTE>
This topic was discussed over a year ago on Cyberdojo. I wrote that in Uechi-ryu, prior to 1958 there was no formal bankai. However, at my test (the first formal testing in our style) they asked me to 'explain' the kata seisan. When I began to discuss the movements, Shinjo Sensei laughed and said "No talk. . . show how work!" The test went downhill after that.
Following that test, the board created the first formal bankai, which we use today. It is my understanding that the other styles on Okinawa went through a similar bankai evolution. (My full response is posted in the articles section of this website.)
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GEM
[This message has been edited by gmattson (edited February 19, 2000).]
As I was originally trained and as my instructors were trained in Okinawa, there was NO Bunkai. After a long personal quest I eventually hit on what Bunkai could be. Presenting that possibility to my instructors I faced rebuke that the concept was even part of Karate Do.<HR></BLOCKQUOTE>
This topic was discussed over a year ago on Cyberdojo. I wrote that in Uechi-ryu, prior to 1958 there was no formal bankai. However, at my test (the first formal testing in our style) they asked me to 'explain' the kata seisan. When I began to discuss the movements, Shinjo Sensei laughed and said "No talk. . . show how work!" The test went downhill after that.
Following that test, the board created the first formal bankai, which we use today. It is my understanding that the other styles on Okinawa went through a similar bankai evolution. (My full response is posted in the articles section of this website.)
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GEM
[This message has been edited by gmattson (edited February 19, 2000).]
On Bunkai – A Discourse
Just a bunkai story,
Last week my girlfriend, who was raised in a dance studio(she once kicked a former boyfriend who was a foot and a half taller than her in the head and almost knocked him out without trying) did a nice front kick to my stomach. While my mind was busy thinking how her foot didn't belong there, my hands did a wa uke and before I knew it, she was facing away from me on one foot, with the other in my hands. I know this is totally basic to you guys, but my point is that I've never done this before. I just work out at home and don't spar or do bunkai(except in my mind). This made me realize how the concepts in kata can spontaneously find their own application even when we don't know what we're doing. You gotta love this stuff!
Your white belt in roughhousing,
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sean
Last week my girlfriend, who was raised in a dance studio(she once kicked a former boyfriend who was a foot and a half taller than her in the head and almost knocked him out without trying) did a nice front kick to my stomach. While my mind was busy thinking how her foot didn't belong there, my hands did a wa uke and before I knew it, she was facing away from me on one foot, with the other in my hands. I know this is totally basic to you guys, but my point is that I've never done this before. I just work out at home and don't spar or do bunkai(except in my mind). This made me realize how the concepts in kata can spontaneously find their own application even when we don't know what we're doing. You gotta love this stuff!
Your white belt in roughhousing,
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sean
On Bunkai – A Discourse
I really appreciate all of the comments this thread has generated.
George D. I totally concur with your observations regarding Bunkai and the correct practice of basics.
Improvement on the basics principles of motion in a technique must always take precedence. If you can’t get your counter to the attacker, the knowledge of what to do is wasted.
Gary Santaniello made the point “Although one technique may serve well, there is no assurance that it will end the situation.” While this may well be true, in my mind the goal of training it to overcome the initial problem and get to the point that one technique will end the situation. Realistically you may not get there, but that should be the entire focus, IMO.
I see the use of kata as a major tool in the process. For you basics need to be correct as well as advanced intermediate principles shifting between those basics.
The blending of increased performance in kata (and basics) and increased knowledge and practice of bunkai should lead one to deliver a greater amount of your energy into the attacker.
It truly isn’t important whether one has dozens of applications for a movement. But for the long term adept, that can help keep the mind fluid as long as one dosen’t go so far into it that the ‘babble complex’ takes over and one loses the ability to chose an appropriate answer.
I find it very interesting that we have come from very different environments, from very different circumstances and yet seem to arrive at similar thoughts on the topics of bunkai, the correct practice of basics, etc.
If you’ve been following Dr. “X” and the Seisan 101 thread, it has been blending this point of view from the Ueichi Seisan perspective. It seems to me this is a very powerful benefit to the Ueichi group and I believe well worth the effort for all to consider.
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Victor Smith
George D. I totally concur with your observations regarding Bunkai and the correct practice of basics.
Improvement on the basics principles of motion in a technique must always take precedence. If you can’t get your counter to the attacker, the knowledge of what to do is wasted.
Gary Santaniello made the point “Although one technique may serve well, there is no assurance that it will end the situation.” While this may well be true, in my mind the goal of training it to overcome the initial problem and get to the point that one technique will end the situation. Realistically you may not get there, but that should be the entire focus, IMO.
I see the use of kata as a major tool in the process. For you basics need to be correct as well as advanced intermediate principles shifting between those basics.
The blending of increased performance in kata (and basics) and increased knowledge and practice of bunkai should lead one to deliver a greater amount of your energy into the attacker.
It truly isn’t important whether one has dozens of applications for a movement. But for the long term adept, that can help keep the mind fluid as long as one dosen’t go so far into it that the ‘babble complex’ takes over and one loses the ability to chose an appropriate answer.
I find it very interesting that we have come from very different environments, from very different circumstances and yet seem to arrive at similar thoughts on the topics of bunkai, the correct practice of basics, etc.
If you’ve been following Dr. “X” and the Seisan 101 thread, it has been blending this point of view from the Ueichi Seisan perspective. It seems to me this is a very powerful benefit to the Ueichi group and I believe well worth the effort for all to consider.
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Victor Smith
