VARIATIONS AND INTERPRETATIONS
There are countless variations in the execution of a kata, all of which are correct and have their place. These differences already existed among the direct students of Gichin Funakoshi, the founder of the
Shōtōkan style.
To name just the best-known ones:
- Masatoshi Nakayama, Hidetaka Nishiyama, and Taiji Kase: They belong to the older or middle generation of JKA founders.
- Hirokazu Kanazawa, Keinosuke Enoeda, and Hiroshi Shirai: Although they belong to a slightly younger generation, they, too, knew Gichin Funakoshi personally.
They all interpreted the kata differently—in some cases, the differences are enormous. These various expressions are legitimately based on the different physical prerequisites and personal focuses of the individual masters (e.g., Kase: focus on power, Kanazawa: focus on elegance).
However, this raises a central question: If there is such a great freedom of interpretation, what matters at all?
The answer lies in the understanding of bunkai, the practical application of the techniques in combat. A kata is not a sterile sequence of inflexible movements, but an encoded textbook for self-defense. The variations of the masters often arose because they saw—and still see today—different applications (e.g., locks instead of blocking techniques) in the same movement.
This aligns with the traditional learning concept of shu-ha-ri: While the beginner rigidly copies the form (Shu, to keep), the advanced karateka breaks it open (Ha, to break) in order to finally internalize it completely and adapt it to their own body (Ri, to leave).
Ultimately, what is crucial is not the rigid external form, but that the functional basic concept of the kata remains unchanged—for it is precisely therein that its true treasure lies. Regardless of the style or the master, every technique should involve the coordinated use of the entire body and the consistent application of the principles of biomechanics.
In kata competitions, strictly uniform and precisely prescribed techniques and sequences of movements have had to be observed for years. Only minimal deviations are permissible, for example in rhythm or transitional movements. This is entirely justified, because it is a competitive sport—meaning sports karate—and such a competition requires objective criteria. If every athlete could interpret the techniques completely freely, a fair assessment by the judges would hardly be possible.
Traditional budō karate sees itself as a traditional martial art and a way of life for personal development. It deliberately leaves room for individual interpretations, yet always demands and preserves strict physical and mental discipline.
A kata is not a rigid form, but a dynamic principle. It is not executed correctly by exactly recreating a photograph, but by expressing the technique with efficiency and making it work in application.
