Kata, a collection of structures

Kata is a key element in the Japanese martial arts traditions.
A kata is a type of activity that is regulated by “rules or norms” for the use of efficient body movements. The purpose of a kata can involve simulating a martial situation. This is a recreation of the original,’real’ version, with the removal of certain elements that are not relevant at the present time.

A kata contains both static and dynamic structures. These structures are not subject to changes. However, not all sequences we use are kata. The Kodokan Judo syllabus stipulates the use of a training tool called ‘Go-Kyo’ to teach techniques. Gokyō is the classification of a set of throwing techniques. Tomiki Aikido uses a similar teaching tool to study Atemi waza, Hiji waza, and Tekubi waza.
This training tool is flexible and can be used in various situations or environments. By using the concept of static and dynamic structures, a better understanding can be obtained by how a technique can be performed. In the first instance, a basic version is used.
Kenji Tomiki created a basic version called ‘Basic 15’ in the 1950s. If this is a formal presentation, a Kata, this is probably not a kata in the strict sense, because there are many version of Basic 15 and none of them are classified formally as a kata.
The “Basic 15” is later replaced by “Basic 17” and “Tanto Basic 17”.
Some high ranking instructors used the expression “Randori no Kata” to give a more formal name to the basic techniques. In 1980, the JAA syllabus included the term ‘Randori no Kata’.

Key-pictures, in other words static structures, are commonly used to explain a technique using pictures. To move from one static structure to another one we use dynamic structures.
Video can be used to show dynamic structures and give a 3D insight into the movements.
When used in a 2D format, like a book, magazine, blog, etc., signs can be used to express the performance of a dynamic structure.

Does Aikido have kata?

After WW2, names of techniques were given by high ranking students to make it easier to remember the attacking and defending movements. The names create a kind of “meme”, a key to an image or structure into the brain. When using a more complicated sequence, it was later transformed into a more formal sequence or kata.

Choreography of the kata – interactional organization

The inclusion of interactional organization in Kata is necessary because Aikido is a training method that involves two or more individuals. To describe Tori and Uke’s roles in kata, static and dynamic structures can be utilized.
The kata cannot be brought to life by just choreography. Besides physical structures, mental structures also need to be practiced. This task requires guidance from an instructor or an advanced practitioner.
Techniques can be learned from books, videos, or other media. The experience of how a movement works efficiently in a certain environment is what skills are all about.

Aikido syllabus, a blueprint for structures

The content of major Aikido schools’ syllabuses was briefly mentioned in a previous post, Short Version Aikido, without any technical specifications. The techniques’ names can serve as a kind of ‘meme’ for remembering the attacking and defending modes.

Structure can be defined as the content behind the meme. The name of the technique is looking into your brain for the structures. The technique is performed using a mental structure when the structure is discovered.

A syllabus is a collection of memes that direct you to the structures in your brain.
If the kata (a collection of structures) is not trained properly, it will fail and the demonstration will be shallow. Before performing any kata or randori, a practitioner must create the proper images of the different structures.

Aikido Kata as an act of Theatricality

The theatrical performance of martial arts has existed since the concept of theater was introduced into human society. Fencing was or is a part of the study for performers in Europe. Chinese opera is heavily influenced by the choreography of Chinese martial arts. Martial arts choreography is an element of Japanese Kabuki.
More info can be found on the many websites covering this kind of choreagrapies.

What are the distinctive aspects of training that make it a theatrical performance?
The martial artist must act like they are fighting actual opponents during the physical performance of the technique to convey the ‘truth of action’. The training is intended as a prelude to the theatrical performance for spectators and judges, not as an actual theatrical performance. The training still emphasizes character development. The practitioners aim to impress spectators or judges by incorporating social interaction.

Character development is the main focus of Modern Budo (Gendai Budo). Judo, Kendo, karate-do, and in a lesser form, Aikido, among other arts, also place a strong emphasis on competition.
Character development can be achieved through the physical practice of martial arts, both individually and (more importantly) in a social context. In the context of theatrical and competitive performances, it can be observed how skills are exchanged.

Aikido Kata is a martial technique that is derived from actual combat and turned into tools for aesthetic expression. The problem arises if the emphasis is too much on the aesthetic side, which means neglecting actual combat. This could be the reason for the spread of false assumptions about the application of martial technique.

In general, there’s nothing wrong with putting a strong emphasis on the aesthetic aspect of the performance. The aesthetic aspects of the performance are what lead to such a performance. The ideal solution would be to integrate actual combat concepts into the theatrical performance.

Static and dynamic structures training

If you ask randomly to an Aikido student to demonstrate a certain technique without specifying the initial start (an attack or other action), the demonstrated technique will give an idea how the student sees a certain technique associated to the inintial starting action.
The performance consist of static structure and dynamic structure. It is possible the performance is a form of application as described in a kata. The actual technique is hidden in the application. There is a possibility that the student has no real understanding of the actual technique and does not know the strategies for performing the technique efficiently.

By using static and dynamic structures, which are not directly related to practical applications, an image of the basic technique can be created in the brain.

Techniques and skills

To perform a technique you need the necessary skills. To use a structure (static or dynamic) you need the necessary skills to make the structures efficient.
However, techniques can be performed without the necessary martial skills.

It might be helpful to distinguish two general kinds of skills: (1) athletic skills and (2) martial skills. Athletic skills are needed for practitioners to demonstrate their martial techniques. These skills are not sufficient by themselves to reach the higher combat levels of any art.
In Tomiki Aikido, known for the competitive format “randori” and “kata”. Both performances are different although they are using the same techniques, but different levels in athletic and martial skills.
Most of the skills performed during kata and randori are the result of separate training methods. Of course there is some overlapping, but someone who is proficient in kata is not always a good randori fighter.
The distinction between athletic and martial skills is valuable because it gives practitioners the opportunity to showcase their skills on a variety of platforms.

Structures, a concept useful for instructors.

Scientific research is conducted on structures and mental images, which are used in all layers of our society. The study of structures and signs is called “semiotics”. Feel free to search on the internet for those who are interested in this subject.