Where is the Fluidity in Kata

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Watching a video of a high ranked karate-ka I wondered where the fluidity of movement and transitions are, why and where is the fluidity of the kata? Is fluidity actually a necessary component and trait of kata? What has this got to do with budo kata practice? Is there actually a budo kata practice? Are budo kata actually meant to be translated into actual technique, tactics and strategies of self-defense? When I think of such things the questions flow like water trying to synthesize some adequate response. I have come to believe that intent in this depends, much like self-defense tactics and strategies, it all depends on intent (like social vs. asocial to predatory S/AS process/resource reasoning, etc.). 

What is used and what should be used when evaluating kata practice? What is the intent and what traits and requirements are seen as positive when evaluating kata practice, not competition for that is another different subject all together? 

First and foremost for ‘ME’ I see kata as a tool, a means to learn about and how to make use of fundamental principles in order to apply multiple self-fense methodologies through the various types of force applied through necessity to stop an attack. I see it as a means to apply the various sensory systems such as sight, hearing, touch, smell, taste, balance/vibration/temperature in relation to applying methodologies and types of appropriate forces to get the job done. 

Seems complex but kata, to my perception and for my martial discipline intent, are the best tools to learn, understand and provide a transitional model to apply them in a reality based model of self-fense. 

When I have watched some of the most senior karate-ka perform kata I sense that the fluidity is missing and that they rhythm and cadence, although present in one sense, is also askew when kata is performed. Principle based kata training also addresses these questions of fluidity, rhythm and cadence. For instance, once you gain a certain level of ability you then transition that understanding and ability to things like applying the OODA loop with speed, rapidly changing methods and force applications along with other things to disrupt the adversary’s loop, put him into the OO bounce, so you can get-r-done. 

I also feel a strong theory that the lack of fluidity, rhythm and cadence is about not transitioning to the proverbial higher levels of training and practice so when it is used in applications you get the benefit of the full composition and capabilities of the system both obvious and not so obvious. 

Sometimes I think that are focus on ranking and overall ‘time in grade (terminology of military for years within a certain grade as a means of evaluation toward next grade, etc.)’ requirements where often they take precedence over knowledge, understanding and applications - the spirit and mind aspects of training and practice disciplines. All to often in my military time I have seen inept personnel get promotions just because of time in grade requirements and the fact they had not obvious disciplinary obstacles. Example: An E-4 who came to work in the training section with me who, I discovered, could not read or write. Wow, an E-4 is a leader and how did that happen? How did the person even get into the Corps and how did they actually get through boot camp not reading or writing?

When you take the most difficult aspects of a discipline and move them aside due to the difficulty factor of teaching and evaluating you are left with the more ‘academic oriented’ and ‘easier evaluation criteria’ where more of the unqualified are ‘given rank’ and so on. Another factor in issues and obstacles of the so-called ‘Educational Implementation’ revolution of the early 1900s in Japan and Okinawa. 

Fluidity in kata from the seniors shows that just kata practice and demonstrations are not what they seem and that may be because kata practice is more about presentation as perceived at the lower levels of practice over applicable skills for self-fense, fighting and combative levels of practice and training. Then again, what the f*&^ do I know, right? ;-)

Q: Is fluidity actually a necessary component and trait of kata? 

Ans: Yes and no, it is about the intent to the practice of kata. If the intent is toward learning self-fense then have a sense of fluidity along with rhythm and cadence is all a part of the principles that can be learned from the practice of kata. For instance, using Colonel Boyd’s OODA loop you begin to understand that all things of nature have a rhythm and cadence often manifested in the fluidity of that things movement and a precept of using the OODA in self-fense is to utilize you rhythm and cadence at a faster tempo than your adversary puts you inside their loop, causing the OO bounce, allowing you to achieve your goals. The fluidity of your rhythm and cadence is a product of those into a faster tempo to get-r-done. 

Q: What has this got to do with budo kata practice? 

Ans: I feel that most who use the term budo are using it as a means to promote a way or belief that may or may not be based in fact. As humans tend to react to emotionally driven stimulus this term speaks loudly to the instinct of human conflict and violence survival. In short, it triggers the male testerone levels much like sex, the emotions of excitement, need and drives leads us all by the nose toward whatever we perceive at the end of that rainbow. 

Q: Is there actually a budo kata practice? 

Ans: No, not really, not from where I see things because kata are sequential physical, mental and spiritual tools to help us learn and understand things like principles, methodologies and types of force for self-fense. 

Q: Are budo kata actually meant to be translated into actual technique, tactics and strategies of self-defense?

Ans: Seen the last question and answer. 

Q: What is used and what should be used when evaluating kata practice? 

Ans: First, and foremost, relying on opinions of others who have personalized, individualized and unique perceptions of kata is inappropriate and not useful so I advocate learning the moves, sequences and patterns then rely on your own perceptions as they relate and translate said practice into actions and experiences. I have witnessed some whose kata seem child like when practiced but when it comes time to apply the methods, principles and force levels those people shine like the early morning sunrise. 

Q: What is the intent and what traits and requirements are seen as positive when evaluating kata practice, not competition for that is another different subject all together? 

Ans: See the last question and answer. 

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“In order for any life to matter, we all have to matter.” - Marcus Luttrell, Navy Seal (ret)