THE 3 K’s of KARATEDO

There are three important ingredients to the practice of Karatedo, viz. Kihon, Kata, and Kumite.

KIHON

Kihon are the basic techniques. The very foundation of the understanding of the art begins with practicing the basic techniques. The practice of basic techniques is a prerequisite for all the practitioners at all levels. The basics include practice of various postures and their significance. Execution of various techniques, like blocks, punches and kicks.

Once the students learn the dynamics of hand and foot movements, they progress to the understanding of body movement. Through continuous practice they learn to apply the physical sciences. Thus, by their experiential understanding they learn the principles of coordination, timing and speed.

KUMITE

Very simply put, Kumite is described as an exchange of attack and defense technique between two or more opponents. Basically there are more than a dozen different ways to practice kumite. For the layman kumite is more popularly known as ‘combat’ or ‘sparring’.

Kumite is the practice form that most attracts not only the beginners, but all those that are interested in Karate. All want to begin practicing Kumite as soon as possible; this is the reason why basic techniques (Kihon) are practiced very diligently. I can still remember, in my own case, the feeling of joy that I experienced when I was given the chance of practicing Kumite for the first time.
Some believe that once they begin practicing Kumite, they have attained the highest levels of training in the art; their joy knows no limit, and this is a great mistake. Kumite is the search of Karate as a martial art till the very end, even further beyond, beyond combat itself. Then you will become one with your opponent and yourself.

KATA

Kata is an ancient sequence of technical movements in a codified form. They are similar to the mudras. in our ancient dance forms. Observing how Kata’s are practiced today, viewed as a whole, all movements, from the initial posture until the end must be elastic and continuous, the sequence must be beautiful and rhythmical and the performer must irradiate vitality and strength. Body and spirit must be one entity and the strength must be concentrated. Breathing must be continuous without retention. In the ancient practice, there used to be pauses between each movement; now movements follow each other rhythmically, without pause, in a fluid and flexible way.

Appearances may deceive, even though movements may look weak, they truly are not so. Whenever the body and the movements are rigid the flow of energy is blocked. This results in the strength to be in a very dissipated form, even though the techniques look strong. It is only the performer who feels his own techniques and the resultant effect of the techniques.

THE ESSENCE OF THE K'S

The masters have said that when confronting an opponent you must be mentally prepared to die. In other words, you must be in a state where life or death is irrelevant. Once in this mental state, there cannot exist any antagonism towards your opponent, there will be no winner, no loser, and no feelings of fear or hate.

Through the art you will realize that one’s ‘ego’ is the greatest opponent. You will confront your opponent with a clear mind. In a state of no-thought, you must simply act. This is meditativeness. Through practice this will become understood in a natural way.

A relaxed and flexible mind together with a flexible and rapid body is the best requisites for a karateka. To obtain these, Kihon (basic techniques) and Kata (ancient codified forms) must be practiced. Once you master these, you will be able to attain rhythm, the sense of timing, distance, breathing and the flow of vital energy.

The problem of the mind is a deep subject. The attainment of a higher state of mind, self-growth and self-purification are the ultimate attainable goals through practice. You must train mind - body; otherwise practicing has no value.

Finally as I see it, whether you are a martial artist or not, everybody is fighting. It is only through the practice of the art we realize the significance of the “Empty Hand”, there is nothing to defend, but the “ego”.