Originally published in the Kilohana Chronicles, Volume 1 Issue 1, 2000.

Time and time again, I look around the dojo and watch students going about practicing kata, and I start to shake my head in frustration. Most students seem to think or feel that kata is just a way to warm up, some kind of brief work-out, an exercise, and that is all. Then, there are a few who practice hard at it. They wish to compete at the tournament level. They will eventually come up to me and ask, "What does it take to win at kata?"

The first thing I say is, "One must practice kata for one's self. You are not practicing for your Sensei or for society, but for yourself... self im­provement and self awareness." After confusing them with this statement, I go on with what I feel are important factors at winning tournaments, and that tournaments are just a game of psychological acknowledgments.

First of all, you can't even begin to think of winning if you aren't doing the physical, or me­chanical part of your form correctly. KNOW YOUR FORM!

You must understand each movement, maintain proper tempo, and execute each technique cor­rectly. Practice before your group is called. This will help your mental preparation, and can help to get rid of the butterflies. You'll usually be facing 3-5 judges who will determine the outcome. In some tournaments, there may be only a few black belts present, and while these individuals may or may not be the most competent, they arc still judges, and should be respected.

Subconsciously, you are being judged the moment your name is called. Answer sharply when you are called, and in a loud, clear voice. Make the judges aware of your presence. You must remember that they are human, and can be distracted by other activities. Step smartly to the line and announce YOURSELF, WHO YOU REP­RESENT, and the NAME OF YOUR FORM clearly. You need to kind of jar them out of their relaxed state, get them excited, and sitting on the edge of their seats. A passive appearance will hurt your kata. Because you are in a fight, even if with imaginary opponents, you must perform as if you are fighting for your life. Eye contact is vital look directly at your foe. The judges must feel that you are "living" your kata. Do not rush the form, but go fast or slow when it is proper. When you are finished, remain standing until dismissed.

If you have been judged by officials of an­other discipline (style) who didn't understand some of the movements in your form, they will have judged you by your attitude, spirit (Kiai), and technique of your form. When performing kata, you need to teach or condition yourself to feel that this particular kata "belongs to me and no one else can do it like me." We are each indi­viduals, so the perceptions and interpretations of kata should deviate somewhat.

The student comes to me after having gone through all of these steps and says, "Something is still missing. What am I leaving out?" I try to make them understand that a thorough under­standing of a kata is more than just being famil­iar with the pattern and performing the movements in sequence. Kata is a way of self expression. As in other forms of "art", it is an outward attempt to express the inner feelings and emotions within each of us. It's what makes the difference between a good story teller, and some­body just reading aloud. The good story is told with emotion and feeling, and the other is ge­neric. Kata is the same, only you are trying to take control of these emotions and applying them to your focus throughout the kata. This is the part that is missing. If you can attain this, you should come out a winner, for you have reached a goal. If you can control your emotions in a kata, then you can control your emotions outside of Karate (If you show your temper, don't show your weapon, and if you show your weapon, don't show your temper). So you see, kata teaches fighting skills and living skills at the same time.

THE GOAL OF KATA

The goal of kata is the overcoming of the self. In kata, there are only imagined opponents, and thus the performer is playing against the self in search of perfection. If, after many years of hard work, the performer finds that he or she is able to perform the kata without thinking about it at all, a goal has been reached, and the kata performs it­self without any interference from the performer's self. Bodily control is achieved without feeling or thought. This must immediately affect the performer's control of any situation, pertaining to Martial Arts or otherwise. Going through the mo­tions of kata is like the wave of the ocean. When executed, the display will be one of gracefulness and of harmony. Sufficient effort must be put forth to obtain perfection. Forceful energy must be abun­dant and formidable at any given time. Strength must flow unimpeded and directly. Thus by per­forming kata, you preserve the knowledge, tech­nique, and precise moment at which to apply it.

All of the katas we do are based on techniques derived from Professor Chow-Hoon. While devel­oping these kata, or forms, I want to emphasize certain aspects of what I have learned that I felt important.

MOVEMENT
Advancing, retreating, and lateral movement are your first line of defense - to create distance between the oncoming blow and yourself.

BALANCE
Making precise movement at an accelerated pace, and being able to maintain proper balance is essential in order to set yourself for either an of­fensive or defensive action.

SPEED
To be able to deliver multiple blows to a spe­cific target or targets to enrich and enhance your power.

STRENGTH & STAMINA
By practicing these data vigorously, you will be able to increase the overall strength of your body, increase your lung volume capacity, and thereby improve your general health.

CONDITIONING
Mind and body together. Subconsciously, in­voluntary execution of the technique will incorporate itself into the kata. This is your final goal: the kata will perform itself without feeling or thought.

UNDERSTANDING THE KATA

Katas are an attempt to preserve in their purest forms, the knowledge of techniques. One man acts as the performer; he is called "Tori". The other has the techniques applied to him; he is called "Uke". Uke gives Tori the perfect opportunity to apply the techniques. Tori's appli­cation, therefore, must be absolutely accurate in regards to timing, form and complete control of his partner. They work together in harmony, striving between them to give a perfect demon­stration of movements done under the most favorable circumstances. Thus, by this ritual perfor­mance, they preserve the knowledge of the purest form, the proper techniques, and the precise mo­ment at which to apply it. When performing kata, there is only one goal to achieve. It must look real and possible, especially in jujitsu. An important part of performing which can never be over-stressed is the Kiai. The Kiai is an important, dynamic part of the Kata in which you wish to show intensity. The goal is to flow through the kata from beginning to end with poise and control over the self.

WINNING AT KATA IS WINNING AT LIFE