Kata Guide

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The following text is a condensed version of the Kata guide which is available from our Headquarters. Note that I have only included one kata of each set.

Listed below are the katas that each belt level is responsible to learn. You must always know the katas that you learned at a previous level in addition to learning the new ones designed for your current level.
 
 

	Required	Additional
9 Kyu
8 Kyu	Shoshin Kata Ichi
7 Kyu	Kihon Kata Ichi
6 Kyu	Kumite Kata Ichi
5 Kyu	Shoshin Kata Ni
4 Kyu	Kumite Kata Ni
3 Kyu	Kihon Kata Ni
2 Kyu	Nage no Kata Ichi
1 Kyu	Kumite Kata San	* WKF kata Saifa
	Nage no Kata Ni
Shodan	Jissen no Kata Ichi	* WKF kata Bassai Dai
	Kumite no Kata Yon	* WTF hyung Koryo
Nidan	Shoshinsha Kata San	* WKF kata Seipai
	Kihon Kata San	* WTF hyung Keumgang
Sandan	Kumite Kata Go	* WKF kata Kanku Dai
	Nage no Kata San	* WTF hyung Taebaek

Kata's are sequences of movements for offence and defence applied against the simultaneous attack of more than one opponent. Simply put, Kata's are various techniques and combinations which have been arranged in a series to help the students learn them. The movements are rationally and systematically combined. In this way, students can, even on their own, master the art of parrying.

The practise of Kata's is similar to shadow boxing in that when it is practised solo, it is performed against imaginary opponents. However where it differs is that each kata is a series of fundamental movements carried out according to a pattern which makes up a fixed routine. They represent both a compilation of fight controls, as well as a model for combinations.

In Ashihara Karate it is referred to as controlled technique Kata. Controlled technique kata has been devised to help explain the idea behind Ashihara Karate Sabaki techniques. The Kata prepares one for real fight situations and are unique to Ashihara Karate.

There are five Kata types: Beginner's (Shoshinsha), Basic (Kihon), Throwing (Nage), Sparring (Kumite) and Real Fight (Jissen).

Shoshinsha No Kata (Beginners Form of which there are 3) In this set, emphasis is placed on stepping back, judging distance and nagashi type parrying.

Kihon no Kata (Basic form of which there are 3) In this set, emphasis is placed on stepping out. Here the concepts of Irimi (entering or weave in) and Kyushu (absorbing) is put into practice.

Kumite No Kata (Sparring Form of which there are 5) In this set, emphasis is placed on Full Contact type sparring techniques. The first two forms stresses short distance, the next two middle distance and in the last a long distance approach is taken .

Nage No Kata (Throwing Form of which there are 3) This set emphasizes throwing technique and footwork. The two primary throws are Maki Komi Nage (Forward Rolling Throw) and Ura Nage (Back Throw). Most of the movements here are circular in approach and movements are done in a very small circle, i.e. confined space.

Jissen No Kata (Real Fight - 1) This is a kata which is performed at a faster pace than say Kihon or Shoshinsha. Multiple techniques are done at a fast pace. Jissen also means Extreme fighting, so the performance is "to the death"

Kancho Hideyuki Ashihara prior to his death was working on three other sets of Kata - Goshin (Self Defence), Weapons and Circular. Regrettably these were never completed.

Each kata type is divided into 10 units: no. 1 is the stance; no's. 2 - 9 each consist of different control technique for different attacks and no. 10 is the finishing off technique.

These kata should be practised until the actions and reactions become reflex.

In order to save time, the student should learn the Katas at home with the help of the kata guide. Not only will this save valuable time but the student will gain a better understanding by trying on his/her own.

The time spent on kata training in the dojo will be much more productive, if it is spent making small corrections and adjustments rather than starting from scratch.

Kata can be practised with a partner, in one of the following Sabaki forms.

The first two forms teaches sequence and angles.

1. Both the student and the partner are stationary, the Instructor counts, and one step of the Kata is performed on each count.

2. Both the student and the partner are now in motion, the Instructor counts, and one step of the Kata is performed on each count.

The third, fourth and fifth form develops instinctive reaction.

3. The student works with two partners who attack alternatively. This increases the tempo and adds the extra dimension of having two different opponents who will have different rhythm.

4. The student performing the Kata stands facing a group of partners, who attack one after the other, with the techniques from the Kata, in the same order in which they occur.

5. The same as above, but the attacks come in a random order and the student attempts to counter with an appropriate technique from the Kata.

The sixth, seventh and eighth form develops the ability to perform the movements in fighting.

6. Both the student and the partner are in motion, and one step of the Kata is performed by both the student and the partner with no break between the movements.

7. Both the student and the partner are now in motion, and the Kata is performed in a continuous flow, without counting, in a free fighting form.

8. The same as above, but the attacks come in random order and the student attempts to counter with an appropriate technique from the Kata.

The sixth, seventh and eighth form are the most important form of Kata practise, and at least 70% of Kata training must be performed in this manner.

Due to the fact that Ashihara Karate Kata are fighting oriented, they are not fixed in absolutes. One must learn to adapt ones defence and counter attacks to the movements of the opponent.

For example, where it says Jodan Mawashi Geri is the counter attack in the Kata text, Gedan may be substituted if the opponents head is protected. Another example is that it might state Chudan Mawashi Geri is the counter attack, but if the opponent is too close, then the Mawashi Geri can be substituted by a Hiza Geri.

In closing, the only way to master the innermost meanings of Ashihara Karate is to have a thorough understanding of the Katas.

Note:That in this guide L indicates Left and R indicates Right.

1. Kumite no kamae.

2. FOR R CHUDAN TSUKI: L chudan nagashi uke while retracting front foot, R chudan tsuki.

3. FOR R JODAN TSUKI: L jodan nagashi uke while retracting front foot, R chudan tsuki, R chudan mawashi geri, follow through and step down in front, turn 180 degrees.

4. FOR L CHUDAN TSUKI: L gedan barai while moving into #2 position, R chudan tsuki.

5. FOR L JODAN TSUKI: L shuto uchi uke while moving into #2 position, R jodan tsuki, switch feet, L chudan mawashi geri, push/throw to front.

6. FOR R MAE GERI: L nagashi uke while retracting front foot, LH push R arm away while moving into #1 position, R jodan tsuki, R chudan mawashi geri.

7. FOR L MAE GERI: L gedan barai while right foot steps to # 2 position, R gedan mawashi geri to below opponent's L (front) calf, L jodan mawashi geri.

8. FOR L CHUDAN MAWASHI GERI: Cross over hiji-hiza double block, L shuto uke while moving into #2 position, R-L mawashi uke, L hiza geri, maki komi nage.

9. FOR R CHUDAN MAWASHI GERI: Hiji-hiza double block to outside L, step into #1 position, L-R mawashi uke, R hiza geri, maki komi nage, kiba dachi.

10. R gedan Tsuki, skip back to kumite no kamae.

naotte

1. Kumite no kamae.

2. FOR R CHUDAN TSUKI: L chudan soto uke while both feet steps out ( R foot steps 45 degrees to maintain orientation towards opponent), R chudan tsuki.

3. FOR R JODAN TSUKI: L jodan soto uke while both feet steps out ( R foot steps 45 degrees to maintain orientation towards opponent), R jodan tsuki, R jodan mawashi geri -- follow through and step down in front, turn 180 degrees.

4. FOR L CHUDAN TSUKI: L gedan barai while R foot steps outside to R, (L foot pivots to maintain orientation towards opponent), R chudan tsuki.

5. FOR L JODAN TSUKI: L jodan uchi uke while R foot steps outside to R, (L foot pivots), R jodan tsuki, RH push opponent's LH down while switching feet, L jodan mawashi geri, push to front.

6. FOR R MAE GERI: L soto uke while L foot steps out ( R foot steps 45 degrees), LH push opponent's R arm away, R chudan (or jodan) mawashi geri.

7. FOR L MAE GERI: L gedan barai while R foot retracts, RH push opponent's L arm away while switching feet, L chudan (or jodan) mawashi geri.

8. FOR L CHUDAN MAWASHI GERI: Cross-over hiji-hiza double block, switch feet while moving into #2 position, R-L mawashi uke, L hiza geri, maki komi nage (face back).

9. FOR R CHUDAN MAWASHI GERI: Hiji-hiza double block to outside L, step into #1 position, L-R mawashi uke, R hiza geri, bring R foot back turning 180 degrees, pull opponent's R shoulder or arm down with L hand and hold.

10. R chudan tsuki, R mawashi geri, return to kumite no kamae.

naotte

1. Kumite no kamae.

2. FOR R GEDAN MAWASHI GERI: L shin block to L, RH push opponent's L arm away, R gedan mawashi geri, L chudan mawashi geri.

3. FOR R MAE GERI: L soto uke, move into #1 position, L-R mawashi uke, R hiza geri, turn 180 degrees, push (or throw).

4. FOR L GEDAN MAWASHI GERI: L cross-over shin block, RH push opponent's L arm away, R gedan mawashi geri, L chudan or jodan mawashi geri.

5. FOR L MAE GERI: L gedan barai, switch feet moving into #2 position,

R-L mawashi uke, L hiza geri, push (or throw) to front.

6. FOR R JODAN MAWASHI GERI: L kansetsu geri.

7. FOR L MAE GERI: L gedan barai while retracting front foot, L foot step across in front, R ushiro geri.

8. FOR L JODAN MAWASHI GERI: R jodan juji-uke, switch feet moving into #2 position, R-L mawashi uke, L hiza geri, R hiji uchi (turning 180degrees).

9. FOR R JODAN MAWASHI GERI: L jodan juji- uke, move into #1 position, L-R mawashi uke, R hiza geri, maki komi nage, kiba dachi.

10. R punch, kakato geri (todome), return to kumite no kamae.

naotte

1. Kumite no kamae.

2. FOR R CHUDAN MAWASHI GERI: L shin block to L, step into #1 position, L-R mawashi uke, maki komi nage turning 360 degrees to R.

3. FOR R MAE GERI: L soto uke, step forward with R foot behind opponent's R (front) leg, RH up under chin, uranage turning 180 degrees to L.

4. FOR L CHUDAN MAWASHI GERI: Cross-over shin block, step in with R foot to #2 position, R-L mawashi uke, maki komi nage turning 360 degrees to L.

5. FOR L MAE GERI: L gedan barai, L foot cross in to behind opponent's L (front) foot, LH up under chin, uranage turning 270 degrees to R.

6. FOR R JODAN MAWASHI GERI: skip back, move in to behind opponent's L (back) leg, turning 180 degrees hook LH up under chin, uranage continuing to turn to R to complete 360 degrees.

7. FOR L MAE GERI: L gedan barai, L foot move in to behind opponent's L (front) leg, LH up under chin, uranage turning 360 degrees to R.

8. FOR L JODAN MAWASHI GERI: Skip back L barai, RH push opponent's L arm, L foot move in to behind opponent's L (front) leg, LH up under chin, uranage turning 180 degrees to R.

9. FOR R JODAN MAWASHI GERI: Skip back R barai, L soto uke, R foot move in to behind opponent's R (front) leg. RH up under chin, pull down -- left foot pulling back 45 degrees to kiba dachi -- to cradle head in L lap, push head down with LH to expose neck.

10. R shuto uchi, hiji otoshi, return to kumite no kamae.

naotte

1. Kumite no kamae.

2. FOR R CHUDAN TSUKI: L soto uke while moving into #3 position, LH grab opponent's R shoulder and pull in, R punch, R hiji uchi.

3. FOR R JODAN TSUKI: L jodan soto uke while moving into #3 position, L-R mawashi uke, R hiza geri(push), R chudan mawashi geri -- follow through and step down in front, turn 180 degrees.

4. FOR L CHUDAN TSUKI: L gedan barai while moving into #2 position, LH grab opponent's L shoulder and pull in, R punch, R hiji uchi.

5. FOR L JODAN TSUKI: L shuto uke while moving into #2 position, switch feet with R-L mawashi uke, L hiza geri(push), L chudan mawashi geri, push to front.

6. FOR R MAE GERI: L soto uke, LH push opponent's R hand away while moving into #1 position, R upper hook punch, L hook punch, R cross punch, R chudan mawashi geri.

7. FOR L MAE GERI: L gedan barai, L shuto uke while moving into #2 position, R hook punch, L hook punch, R jodan uke, R jodan mawashi geri.

8. FOR L CHUDAN MAWASHI GERI: cross-over hiji-hiza double block, RH grab opponent's L shoulder and pull across and in (to L) while doing R gedan mawashi geri, L hiza geri, maki komi nage.

9. FOR R CHUDAN MAWASHI GERI: hiji-hiza double block to L, move in to #1 position, L-R mawashi uke, R hiza geri, LH pull shoulder of opponent down and around.

10. R punch, pull opponent in, R hiji otoshi, return to kumite no kamae.

naotte

THE TEN ELEMENTS OF KATA

The following elements should be clearly discerned and understood in the practice of Kata.

1. YOI NO KISIN - the spirit of getting ready. The concentration of will and mind against the opponent as a preliminary to the movements of the Kata.

2. INYO - the active and passive. Always keep in mind both attack and defence.

3. CHIKARA NO KYOJAKU - the manner of using strength. The degree of power used for each movement and position in Kata.

4. WAZA NO KANKYU - the speed of movement. The speed used for each movement and position in Kata.

5. TAI NO SHINSUKU - the degree of expansion or contraction. The degree of expansion or contraction of the body in each movement and position in Kata.

6. KOKYU - breathing. Breath control related to the posture and movement in Kata.

7. TYAKUGAN - the aiming points. In Kata you must keep the purpose of the movement in mind.

8. KIAI - shouting. Shouting at set points in Kata to demonstrate the martial spirit.

9. KEITAI NO HOJI - correct positioning. Correct positioning in movement and stance.

10. ZANSHIN - remaining on guard. Remaining on guard at the completion of the Kata. (ie. back to "Yoi") until told to relax.