Should you create a Kata?

At one time or another, most of us who have practiced Kempo (or any kata based art for that matter) have been tempted to create our own kata. Perhaps it was for fun, or to help remember some techniques that you don’t practice often enough, or maybe to have some flashy moves to impress the judges at the next open tournament. Cool. 

 

Most of us have also dropped the kata, or even the idea of creating one. One might think based on my occasionally reactionary stance in regards to kempo material that I’d be against it, but no, more power to the kata creators, within reason. 

 

David Krueger at 24fightingchickens.com wrote a fine article about creating a kata with very good advice for the creative process involved in kata creation, and he began the article with a selection of questions to ask yourself before you start. The first question was the most important: Why do I want to create this kata?

 

The time that most people get uneasy about the creation of a kata is when the kata is to become a codified part of the curriculum of a school or style. Many of the more modern kata are tagged with the ‘he just made it up’ derision, forgetting perhaps that at some point, every kata was ‘just made up’ by someone. The time I get uneasy about people creating a kata is when they are planning to add it to their curriculum, but not because it’s ‘just made up’, but rather, because it is adding to the curriculum. Our curriculum is a bit bloated to begin with. Do we really need another kata? 

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Anatomy of a Streetfight by Paul Vunak

I purchased this book in the hopes of a realistic treatment of combat in a non-sporting context. I was mostly pleased with what I received. The book is ambitious in scope – it covers tactics, instinct, Jeet Kune Do concepts, Filipino arts, HIV implications, women’s self-defense, and legal issues. The preface poses the question, ‘who is the best fighter’, and then tries to define a streetfight, combining a variety of definitions. After the preface, the book veers dangerously close to silly ranting in the ‘No-Holds-Barred Tournaments are not Streetfights’ chapter, complete with an anecdote about he and some wrestlers losing terribly in a mass barfight against a large group of people. He claims he was hospitalized after a severe beating because his friends each took one opponent to the ground, leaving a large group to pound down the unfortunate Mr. Vunak. It even has the desperately cliched pull quote:

This wasn’t a no-holds-barred tournament. This was the street.  

The rest of the book is a relatively nice jaunt through JKD, Filipino Arts, and some ‘biting’ art called Kino Mutai. Many photos are included, making the concepts clear, but in a lot of them, Mr. Vunak appears off balanced or out of posture. I’m not certain whether it’s intended to show the ‘fluid nature’ of combat, or whether he’s just off. This book reads alternately like an ambitious manual, manifesto about the superiority of ‘the streets’ over the cage, or JKD guide, but there is a lot of useful information between the covers. So, as a serious manual, it doesn’t reach its potential, as the 125 pages just don’t have the room to cover the topics in depth. However, if you have an interest in Paul Vunak’s Rat or JKD programs, this book certainly provides a nice broad look at what he does and how he thinks about combat. It’s pretty good.   

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My new Mantra – words to live by.

My friend Dave, who has a blog where I find cool new things, pointed to an article at 37signals about questioning your work. 37signals makes some of my favorite free web collaboration software – writeboard.  Basically the post consists of questions they ask and feel that everyone should ask about their work. The one question that got me was: Is it useful. In the words of Jason Fried of 37signals, “Cool wears off, useful never does.” I think I’m going to be returning to that quote over and over again – for myself, for anyone I help with their curriculum, for the next person who wants to show me their new techniqe / form / drill. Folks are probably going to get sick of it.  I try to make sure my students question things, and question me. If I didn’t think critically about what I was doing, I’d still be flooding my brain with useless techniques, doing knife defenses that involved lots of cat stances and posing, and generally being yet another kempo black belt who had no idea why he was doing any of the things he was doing. I hope that my students think and question so they can bring kempo further than I ever could.  

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