KATA


	FLEET & FROGMORE JUDO CLUB

Kata -A Personal View By Derek Piears,

Hampshire County Coach, 2^nd Dan

Number 1 in an occassional series

KATA – A Personal View

Kata should be part of everyday judo, junior and senior, showing techniques and their principles. The main aim of kata for me is to provide an understanding of judo not a demonstration to an audience.

I use kata to illustrate basic principles; giving a fighter a base to build upon. This foundation must contain an awareness of how the technique works – the fighter can then construct an effective technique. If or when that technique stops being effective the fighter can go back to the basic form, analyse and make corrections.

Nage no kata is perhaps the best known; this kata of throws is often used to showcase kata generally and is included in some theory examinations.

Nage no kata is done on the move – why? Because judo is more effective on the move. Static uchikomi encourages a mind set such that a technique is only attempted when uke is stationary. Within nage no kata grips are changed, direction of throws alter, postures vary, pace modifies – why? Because that is what happens in randori and shiai.

The grouping and sequence of throws is a mnemonic; a way to ensure that none are missed out when practising.

The rituals also play their part, declaring to the two fighters that this is different from normal practice, they are stepping into a “special domain” within judo for serious and worthwhile study. This is similar to bowing on entry to the dojo and acknowledging that you have entered a “special place” where judo is practised.

When executing nage no kata tori and uke take equal parts. Uke is not passive, there just to be thrown or make a fall look spectacular. Uke needs to act as in randori; be that taking hold in a certain way or making a specific reaction to tori’s movements. Kata is a skill drill in which the best circumstances for a technique are presented – not as a courtesy but as a result of the interaction between tori and uke.

Some illustrations of this interaction follow: -

v Uki otoshi (floating drop) –

·

1. Uke acts as in a fight - steps forward to grab the opponent’s jacket, tori reacts by stepping back and grabbing uke’s jacket. They do not move in agreed harmony; it is not dancing- tori is taking the lead from uke and is now controlling the sequence, making uke move as required. Just as happens in a fight when one competitor tries to dominate the other.

2. Tori stops uke from settling by taking a second step and pulling with the hands causes uke to step forward to retain balance and some control.

3. As uke adjusts to being unbalanced tori does it again – but tori’s third step is a surprise. This time a long step back and down with attendant pull; Uke expecting to take a similar step as before is thrown over his/her straight leg.

· In a fight two contestants move in order to gain an advantage or as a response to the other’s actions. Kata allows these movements and responses to be simulated -–then when they come up in contest or randori tori is prepared and can act accordingly.

Kata practice allows the simulation of emerging opportunities as well as executing the techniques. If uke merely dives then tori is learning a set of skills that will not transfer to the competitive arena. Similarly, if uke reacts like a lump of clay then tori has to force the throw, leading to poor technique. Neither is acceptable for a skill drill such as this.

Kata -A Personal View By Derek Piears,

Hampshire County Coach, 2^nd Dan

Number 2 in an occassional series

Working Together

It is very important when practising kata to ensure that tori and uke play their parts correctly. Not by going through the motions but by performing in specific ways so that tori can practise a particular move or technique.

This means that uke must offer the correct amount of resistance and stiffness of body with correct action and reaction in order to simulate conditions that will arise in randori and competition. If that cooperation is missing then the practice is not fulfilling its potential.

By working together tori will be able to recognise when an opportunity occurs in randori and contest; uke will learn to identify a developing situation that could lead to an opponent taking advantage. Such practice is mutually beneficial. Implicit in this arrangement is a mutual respect, it is not an opportunity for tori to slam uke into the mat.

Example

The need for uke to act in a specific manner can be illustrated by using a couple of throws from the nage no kata, for example tsurikomi goshi and uchimata.

With tsurikomi-goshi tori takes a high collar grip and uke stiffens the body to avoid being bent forward. The throw over tori’s hips works because of this stiffness; uke is unable to unbend sufficiently to avoid the throw. If however uke does not stiffen but leans forward when tori pulls then uchimata can be applied.

This action and reaction is repeated throughout the nage no kata. Try it in randori – attempt uchimata against a somewhat stiff and upright opponent and then try trsurikomi-goshi against an opponent who leans forward without stiffness in the body. See what works and what doesn’t.

Learning From Mistakes

Some teachers use the analogy of uke learning from mistakes as nage no kata progresses; this is demonstrated by uke making differing responses and defences which means that tori has to apply ever more techniques to cope.

An illustration of this learning is clearly made with the ura nage and yoko guruma pairing in which both throws result from a blow made by uke. Ura nage is a straightforward response, tori falls directly back with uke held close and throws uke over a shoulder. Yoko guruma is applied when uke blocks tori’s attempt at ura nage by turning to one side and bending forward; tori employs judo principles and throws with yoko guruma in the direction to which uke is bending. Ura nage is no longer a worthwhile option in this instance.

Whichever way the principle of working together is put across it needs to be emphasised that the kata is performed in a spirit of co-operation. It is not a dance, it is not full of meaningless actions, uke does not jump in order to make tori look good. This is a fundamental type of skill drill and becoming proficient in kata means that you can apply the same principles confidently to other techniques and situations.

Do it with an open and enthusiastic mind and you will be surprised at just how effective kata can be in improving you understanding of judo

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