In this level I recommend two kata. I am not sure if such is a necessity, but in my Katannabis, I find the two of the shortest duration Kata within the Goshin-Do system work best. You may find the same applies within you Kata curriculum.
The goal of the two Kata is to foster the transition stage from a physical based experience to a more non-physical experience. Level II laid the foundation by using a Kata that had a non-physical significance. In this level, we try to duplicate that non-physicalness within the physicality of two Kata. I’ll repeat that the two Kata I use in my Katannabis are, first, Ananku and second Seipai (see Endnotes for a video)
The Kata will foster this transaction in two different ways. The first fast is performed with Kime (focus). Again, I find the best Kata should be short, fast, and powerful. I find a short Kata works best to allow you to transition the power and perception of power from a physical to a spiritual. How? Notwithstanding that you are physically performing the movements swift, powerful and with intent (Zen-Ken-Ichi, “Mind and fist are one”) you want to channel that energy not as a physical force but as a forceful energy wave emanating from the physical movement. Think of putting out a candle flame with your punch – it is the wave of energy, not the fist that does so.This shift of perception is the groundwork for transitioning from the realm of physical sensation to the realm of the energy wave which is derived from the physical movements of the kata. Like two different universes within one space, a co-existing multi-verse of perception. Think to the first time you learned to punch, or, gasp, break a board, you were told to penetrate the target but to “snap” your punch, not push through it. Thus, part and parcel with the physical penetration, there is a percussive energy wave.
The second Kata, also of a short direction is one that while using Kime, is performed with flowing, light, swift movements. It is the flowing nature of the performance that, I submit, is key. If you established a percussive energy wave with the first Kata, this Kata allows you to perceive yourself as riding that percussive energy wave. In my syllabus, the Kata Seipai fits that requirement perfectly. If you are unfamiliar with the Kata, you can easily find an online video. If you do not have a Kata that is performed in the manner of Seipai, then you can adapt one of your Kata. Remember, it is not necessarily the sequences of the Kata, but the manner in which they are performed – a subdued , snappy Kime, flowing, light, graceful movements. I would say this is akin to a Kata with Kime mixed with a Tai Chi performance influence. To test this theory, I tried substituting the Kata Wansu performed in this manner in lieu of Seipai and achieved acceptable results. Note that Wansu is also a relatively short duration Kata.
Visualization: At this level, your visualization is one of a Tableau Rosa – a blank slate. To the extension possible, you must view your actual surroundings with a gaze called “Boketto.” Boketto is to view your surroundings, preferably outdoors in nature, without preconception or definition. That is to say, look at a tree, or grass, etc without forming their name in your mind. It is the name that drags along a preconception. This is to be avoided. In its place, let your mind fill itself with the “Mind of a white belt.” Remember your first days, weeks and months in the Dojo – you did not know the names of techniques or Kata practiced by your seniors, rather you observed purely without association. This is your visualization and mindset during this level.
To recap a few highlights:
The levels progress from a physical based experience to a non-physical one;
This progression also affects one’s mental viewpoint from a physical based reality, Level I envisions the mythical Kata combat to a non-physical based experience, the combat becomes a non-physical energy;
Boketto and the “mind of white belt” will begin to transition you from the pre-judged, pre-conceived physical reality to the unknown and unseen non-physical dimensions that exists concurrently with our physical based one.
Even though I lived in Arizona for the past ten years, family and seasonal work in New Jersey meant one fact, the road trip. Though I do fly, I prefer to ride the highways and byways of the American road. I made at least two road trips a year; sometimes in my truck, sometimes on my Harley. Each and every trip I’ve had two items “packed” with me in my travel bag. The first is my dog-eared copy of Jack Kerouac’s On The Road. The second is my kata. I use kata to keep me alert and mitigate the effects of long distance travel. I’m not one to travel leisurely. I burn the miles like the fictional Dean Moriarty. The trip usually only takes me three and a half day. My personal best as far as quickest trip was in 2008 when I did it in three days; and that was on a Harley-Davidson Electra-glide, with my dog Chloe (a Min-pin)!
After ten years living in the “Valley Of The Sun”, I planned to relocate back to my home state of New Jersey. With final preparations and renting out the house in Arizona complete, it was finally time to make my last cross-country journey. In the past, I had previously documented my kata journey (See Endnote # 1 for applicable links). Since I first wrote of my kata on the road, I’ve become more video savvy. For this trip, I wanted to film my personal kata. So, on Monday, November 24th, 2014, with the camera and tripod on the front seat. I started the truck for the three and a half day, twenty-five hundred mile trip back to the Garden State. During the trip I performed my kata in truck stops, beautiful surroundings, while pumping gas, in cheap motels, and nice motels, in the early hours filmed by the headlights of my truck, and more.
What follows is my video series, “Sensei John’s On The Road With Kata.” Here is the introduction to the video series. I hope you enjoy the videos.
More importantly, I hope the videos inspire you to:
Perform your kata whenever and wherever you desire or need to perform them;
Use your kata to enhance your daily activities (See Endnote # 2 for my Virtues Of Kata article);
Understand kata from the mindset of Nenjuushin (“Everyday Mind”);
Adapt your kata to your specific needs at any moment in time;
And, maybe, just maybe, actually enjoy your kata experience.
With that, here is my video introduction to the On The Road series.
Day 1 (Monday): This video takes us from my home in San Tan Valley to Shamrock, Texas, over 750 miles. It includes four kata, including my final kata in the house (a modified Taikiyoku), ending with a rejuvenating variation of Sanchin Kata in my motel room after a long day on the road.
Day 2 (Tuesday): In this video, I travel from Texas, through Oklahoma, Arkansas and into Tennessee. It sounds like a far distance, but, its only 649 miles for the day. Thanks to construction and bumper-to-bumper traffic in five separate areas of Arkansas that was the extent of the day’s journey. Kata includes a hybrid of Suparunpei, Seienchin and Shobu-Sanchin Kata filmed by my trucks headlights, Ananku Kata and Fuku Kata in a scenic location.
Day 3 (Wednesday): This video takes place throughout Tennessee and north into Virginia. It contains two important videos filmed in motel rooms. These hotel room kata sessions led to the development of my Kata Deconstruction technique (here is a link to the article and video Link: https://senseijohn.me/2013/06/09/kata-lab-201-introduction-to-kata-deconstruction/ ) Every Wednesday since the passing of my deceased friend and colleague, Shihan Wayne Norlander, I perform a Kunchaba Kata in his honor. This day was no exception. There is a footage of this performance and Hatsu Bon poem contained on the video.
Day 4 (Thursday – Thanksgiving Day, 2014), I was eager to pound the miles and reach my destination in northern New Jersey. I knew I would not arrive in time for Thanksgiving dinner, but, I was hoping to be there for coffee and pumpkin pie. I filmed one kata in the most unusual setting and circumstances. I think it is the ONLY time in history that a kata has been filmed in this manner. This video will put to shame anyone who has ever said, “I don’t have time to practice a kata.” Watch and see.
That concludes my “On The Road With Kata” Thanksgiving, 2014 video series. To mark my relocating from Arizona, here is one of my most profound kata video experiences, Seienchin Kata filmed with a herd of wild horses at the Lower Salt River, Tonto National Forest.
In the next few weeks, I’ll settle down in New Jersey. After the Holidays, look for new and exciting things to come on this blog, including new and innovative Kata Labs.
In the meantime, my best to you all,
Sensei John Szmitkowski
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Background:
There are numerous karate-do techniques involving any number of striking surfaces with the hands, feet, knees, elbows, fingers and the like. These techniques are combined with any number of stances to form a posture.
These postures are linked together in a cohesive manner to form sequences which are combined to form a unified pattern called kata. This is the physical aspect of kata.
Bunkai (analysis) is used to understand the kata. The majority of practitioners limit their bunkai to the overt moves and sequences in kata. The transition from sequence-to-sequence, posture-to-posture that occur with a kata are often ignored in bunkai.
This Kata Lab looks at the physical aspects of those transitional movements.
Kata Lab: (Recommended Reader Experimentation)
To assist you in the process of this Kata Lab, I have a video after the procedural outline.
Select a kata that you are familiar with utilizing bunkai to perform the physical applications of;
Perform the kata slowly, paying particular attention to the transitions between movements;
As to the transitions, notice the shifting of weight, body movements, and hand positions;
Exaggerate the transitions so as to identify and define postures within these transitions, define a stance, and hand position;
Again perform the kata slowly, this time inserting the transitional postures into the kata as if they themselves were overt moves;
Perform the kata full speed, once again, insert the hidden postures into the kata as if they were overt moves. Does the kata maintain it’s “flow” when performed in this manner? If so, then your identification of the hidden postures was accurate.
Analyze the kata transitional positions with a partner, pay particular attention to your previous analysis to determine the extent to which the transitional postures enrich your application. The transitions should allow you to see new self-defense application possibilities.
Closing:
Including the transitional postures in your bunkai (analysis) of kata will enrich your understanding of the application of the physical movements. You will begin to see new possibilities. Better still you will see self-defense possibilities that those who do no analyze the transitions will be ignorant of. Thus, your arsenal of defensive possibilities surpasses theirs.
Additionally, the understanding of the physical aspect of the transitional movements will begin to foster a desire to understand the transitional postures from a spiritual (psychological, emotional and stat-of-mind) aspect and a metaphysical (the manner in which the kata connects you to the environment) aspect.
Please remember, the mandate of the kata laboratory is
Cum superiorum privilegio veniaque (With the privilege and permission of the superiors)
Sensei John Szmitkowski
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Background:
I thought it would be interesting to take you behind the scenes into the making of a Kata Lab. I have already written many of the lab “experiments,” my training is a continuing, daily process. Therefore all lab experiments can never truly be written; many remain unwritten and pending discovery.
Recently, I had an idea that led to a new addition to my Kata Lab syllabus. The working title is “Blink-Of-An-Eye Bunkai.” Here’s how this future Kata Lab submission developed. I’ll outline the general process and then provide the working example of how training Ananku Kata led to the development of the Blink-Of-An-Eye Kata Lab.
Sensei John’s Kata Laboratory Development Process:
Step One: Train!
Without exception all Kata Labs, in fact all posts on this blog, begin with kata training. It is utterly impossible to create a kata lab sitting idly at the computer. There must be daily, even hourly, kata training. I regularly take a ten to fifteen minute “kata-break” from my work routine.
I always have a clipboard loaded with blank paper and index cards, a voice recorder and sometimes, even my laptop handy.
As kata training is for the sake of training and not writing, I do not develop an idea during such sessions. Rather, I simply spontaneously record something that I may notice about a particular kata or an idea that may simply pop into my mind. These notations are either a few words or a sentence or two. After the session, I pin the index card to a large cork board for future development.
Working Example: I was performing the Goshin-Do Karate-Do (hereinafter “GDK-D”) Ananku Kata. A thought came to mind. I grabbed my clipboard, made a brief note on an index card and continued training. The thought pertained to the transitional stages that occur in the first four moves of Ananku Kata. These transitions from one kata move to the next contain brief, almost hidden, postures. These brief postures are worthy of bunkai (analysis). The movements are described in Endnote # 2 and # 3. There is also a video below.
Step Two: Think & Sweat:
Prior to a training session, I’ll look over my note cards. Some more than others tend to grab my attention. These notes stay at the forefront of my thoughts as I practice. If any ideas develop from the brief notes they are written down. Over time, I hope that the idea developed from one specific kata will ripen into a generalized concept that applies to any kata.
Working example: Intrigued by my notes on hidden postures in transitional moves, I practice my kata very slowly, paying particular attention to the transition from one kata movement to the next. An awareness as to postures that result from the combination of body shifting, hand and foot postures occur when moving from one kata movement to the next. These postures occur very briefly, in the blink-of-an-eye. They occur so quickly that they may not even be postures in the truest sense of the word. As they occur within the “blink-of-an-eye” practitioners are not even aware of their existence. No attention at all is paid to them. They are often ignored in in both kata and kata bunkai (analysis) in favor of the more overt or apparent kata movements.
Step Three: Experiment:
Now that I have developed a concept, I must determine how it relates to kata outside the GDK-D curriculum. If the concept does not apply to a broad based audience, it cannot become a Kata Lab topic.
I am fortunate to have been exposed to kata from styles of karate-do other than GDK-D, most notably Goju-Ryu and some Matsumura Shorin-ryu kata. In addition, I have learned fifteen kobu-do kata (Matayoshi-Ryu, Yamani-Ryu and Uefuichiku Kata). I use this kata base to test the concept developed with the GDK-D Kata.
It is at this stage that the overall kata laboratory starts to take shape. Through these extraneous kata (including the kobudo kata) I strive to find a procedure for anyone to analyze my concept using the kata of their particular style of karate-do.
Working example: I begin to slowly and methodically practice the kata outside of the GDK-D system. Again I pay particular attention to postures that occur when moving from one kata movement to the next. With this particular kata lab, kobudo kata with the bo were extremely helpful. I can only speculate that the length of the bo, which magnifies hand movements exponentially under normal circumstances, helped to intensify the effect of these hidden postures.
Step Four: Design a Practice Procedure For Others To Follow
I document the steps that any kata practitioner can use to analyze their own specific kata and still be able to understand the overall concept and subject of the Kata Lab. I also consider whether a video would be helpful to the reader. If so, production on the video begins.
Working example:
Here is the video I produced as a companion to the “Blink-Of-An-Eye Bunkai” Kata Lab.
Step Five: Administrative Matters Of Writing a Kata Lab
Now is the time to write up the Kata Lab itself. This process is similar to writing a monthly lesson plan for the Dojo where each class is designed to form a cohesive whole. The Kata Lab must be given a name which conveys the subject of the lab. Hopefully, the name of the lab will contain a catch-phrase that makes it easy to remember. Once the lab is written it must be fit within the overall kata lab syllabus. The numbering of the Kata Lab is determined from this step.
Working example: With continued practice and thought, I understood two things, first, practitioners concentrate bunkai (analysis) on the overt, apparent moves of the kata, not in the transitional postures and second, these postures occur so briefly (in the blink-of-an-eye) that they were hardly present at all. So, how to convince practitioners that movements that occur in the “blink-of-an-eye” are worthy of bunkai (analysis)? Simple. I’ll use a phrase that was embedded into my psyche throughout my training in the GDK-D style.
According to Shihan Thomas DeFelice, Ku-dan (9th degree black belt) Karate-Do No Hanshi, Goshin-Do Karate-Do,
“Life and death in the street occurs in the blink-of-an-eye.”
Thus, if the above was correct, it is logical and necessary that our bunkai (analysis) must extend to the kata movements that also occur in the blink of an eye. For, surely, if one’s own life depended upon such a brief interval, then one’s analytical attention must be drawn to it.
Step Five: Finished
If all is done correctly, a Kata Lab that a reader can practice themselves has developed and been uploaded to my blog. A reader can use the Kata Lab to assist his or her own kata experience. Better still, the reader may desire to use the Kata Lab as part of a class within their Dojo.
And that is how the forthcoming “Blink-Of-An-Eye” kata lab came to be. Look for it to be posted in a short time. Once posted, I will provide a link here.
Step Six: Oops, Not Quite Finished:
The last step is to extend, if possible, the Kata Lab into the remaining aspects of bunkai. You may recall that I submit that there are three aspects to kata and that bunkai (analysis) must extend to those aspects. The three aspects are the physical aspect (combat applications), the spiritual aspect (state-of-mind, emotional and psychological concepts) and metaphysical aspect (the performer’s connection with his natural environment).
Working example: The “Blink-Of-An-Eye” Kata Lab above is a physical Kata Lab. My next task is to extend the “Blink-Of-An-Eye concept to the spiritual and metaphysical aspects of kata. And, so, the entire process begins anew, again. And, again. And, again.
Please remember, the mandate of the kata laboratory is
Cum superiorum privilegio veniaque (With the privilege and permission of the superiors)
Sensei John Szmitkowski
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1. Dr, Frank N. Furter (The Rocky Horror Picture Show)
2. The first four overt movements of the GDK Ananku Kata are (facing North) in ready posture (you may also refer to the above video):
pivot West to a cat stance, raise hands to the challenge position;
pivot East to a cat stance, raise hands to the challenge position;
mawate 180 degrees facing West to a left front stance with a left open middle block followed by two punches to the solar plexus;
mawate 180 degrees facing East to a right front stance with a right open middle block followed by two punches to the solar plexus;
3. The brief, hidden postures that came to mind are (You may also again refer to the above video):
pivot West to a cat stance, raise hands to the challenge position;
First hidden posture: as you begin the next move, you rotate back to North with both open hands lowered as in hache-dache position, then you continue to
pivot East to a cat stance, raise hands to the challenge position;
Second hidden posture: as you prepare to pivot, you look over your left shoulder to West, transfer your weight from your left leg to your right leg, lower your left open hand and bring to your right open hand to semi-center line (to cover your left middle block) – equals: a left cat-stance-like posture with left hand low, right shoulder height*
mawate 180 degrees facing West to a left front stance with a left open middle block followed by two punches to the solar plexus;
Third hidden posture: as you prepare to pivot, you look over your right shoulder to East, transfer your weight from to your left leg, lower your right open hand and bring to your left open hand to semi-center line (to cover your left middle block) – equals: a right cat-stance-like posture with left hand low, right shoulder height*
mawate 180 degrees facing East to a right front stance with a right open middle block followed by two punches to the solar plexus;
* the exact stance that is inferred in the posture depends on how far the front foot is retracted in relation to the rear foot, full retraction with feet touching (an implied heisuko-dache, ready stance), partially back (an implied kokutsu-dache, back stance), no retractions (an implied rear-leaning stance).
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.
You may wish to view my other blogs – my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
and the Goshin-Do Karate blog at http://defeliceryu.com
Submitted for your enjoyment and consideration, is the Karate-Do Sanka (Empty-hand way song) written by Shihan Shoshin Nagamine (founder of Matsubayashi-Ryu). The sanka was utilized during the memorial service for Hanshi Frank Van Lenten who passed away July 1st, 2010. (See Endnote # 1 for videos featuring Hanshi Van Lenten)
English translation: (Please see Endnote # 2 for the original Japanese version)
Ah, beautiful islands of sunlight, And the color of the sea, The proud fighting spirit of the islanders And the empty handed Sword of Justice, Training spirit and training body, Ah, This is Okinawa Karate-Do!
Oh, but if an enemy should happen to attack us, And the method of courtesy proved to no avail If he should cut our flesh with his iron weapon, Even then will we punch through to his bones, Courtesy and defense together, This is Okinawa Karate-Do!
Oh, ever since the mythical ancestry of Japan, The bell of peace has been ringing continually in Okinawa, The way of courtesy and the five bodily weapons of Karate together, To make a straight character and good etiquette, This is Okinawa Karate-Do!
Respectfully submitted,
Sensei John Szmitkowski
For a refreshing and innovative discourse on kata and bunkai, please feel free to visit my Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/category/kata-laboratory/
1. For several videos with archival footage of either Shihan Van Lenten, or members of his Goshin-Do Karate-Do Kyokai (Association), circa the late 1960’s to early 1970’s please visit the “Kata Syllabus” page tab above.
Here are two additional videos of Hanshi Van Lenten that are not included on the Kata Syllabus page:
2. The original Japanese version of the Karate-Do Sanka
Aa sanjento hi no hikari
Myo gunjorno umi no iro
Saekeki shima no tokonga
Saegigaumishi mute no ken.
Kokoro o Kitau, mi o kitau
Aa, Okinawa no, Karate-do!
Aa ware osou tekki araba
Shurei no kuni ni shingiari
Tetsu no kobushi wa kanzento
Niku o kirasete, hone no utsu
Kokoro o mamaru, Mi o mamaru.
Aa, Okinawa no, Karate-do!
Aa tensenshi kodai yori
Hewa no kane wa naritsutau
Semeru ni arazu fusegu waza
Gotai ga bukizo kono karate
Kokoro o tadasu, mi o tadasu
Aa Okinawa no Karate-do!
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** If you experience any difficulty in purchasing online using the above links, please contact me via a “comment” on this blog & I will e-mail you instructions on how to purchase a Sanchin product using a check or money order ***
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In this level I recommend two kata. I am not sure if such is a necessity, but in my Katannabis, I find the two of the shortest duration Kata within the Goshin-Do system work best. You may find the same applies within you Kata curriculum. 
Kata-RX For wellness 
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