Copyright© Andy Paskin and Darren Westwood 2004

1st Edition
All rights reserved. The right of Andy Paskin and Darren Westwood to be
identified as the authors of this work has been asserted in accordance
with the Copyright, Designs and Patents Act of 1988.
No part of this book may be reproduced by any means nor translated
into machine language without the written permission of the publishers.
Published by: BJR Publishing, PO Box 3887, Tipton DY4 8WP, UK.
Published in association with: Summersdale Publishers Ltd, 46 West
Street, Chichester, West Sussex PO19 1RP, United Kingdom.
www.summersdale.com.
Cover illustration by: Ian Turner 2002.
Photography by: Michelle Westwood 2004.
Typesetting and cover by: My Word!, 138 Railway Terrace, Rugby,
Warwickshire CV21 3HN.
Printed and bound in Great Britain by Bookcraft (Bath) Ltd, Midsomer
Norton, Somerset.
A CIP Catalogue record for this book is available from the British Library.
ISBN: 0 9547364 0 0
Important note:
The authors, publishers and distributors of this book accept no
responsibility for any prosecutions, proceedings or litigation brought or
instituted against any person or body as a result of the use or misuse of
the information or any techniques described in this book or any loss,
injury or damage caused thereby.
Some of the techniques described in this book require high levels of skill
and physical fitness.
The techniques described herein must only be practised by those in good
health and under qualified supervision.

ii
Warning

The techniques and descriptions contained herein can be extremely

dangerous or even fatal and must not be attempted by anyone who is not
under expert supervision.
This book is not recommended for non-martial artists or ANYONE
under the age of 18 – any person using or attempting to use any of the
information from this book do so entirely at their own risk.
The sole intent of this book is to act as a training aid to the reader to
supplement training received from a qualified coach in the performance,
interpretation and application of Kata.
All readers should be aware of, and adhere to, all appropriate law and
legislation relating to self-defence.

iii
 Dedication

For my family for their unwavering support.

For my wife for putting up with my constant study.
For my son who is always my gerbil (or is it guinea pig?).
For our students who are a constant source of wonder.
For my Nan who always protected and watched out for me.
For my Mom who continues to fight hard everyday and from whom I
inherited my stubborn streak.
Particularly for my Dad whose strength of character and force of will,
right to the very end, will inspire me evermore.
We’ve been through some tough times together.
Thank you all for being there.
Daz (December 2003)

For my family for all their help and solid support over the last couple of
years – I don’t know what I would’ve done without you all.
God bless all of ya.
For my Brother who was also my best mate who sadly died in August
2000 at the young age of 37.
Last, but not least, for my Mother who, to me, was a fighter in her own
right – the bravest person I have ever known.
She fought for two years with no complaints.
If it wasn’t for her, I wouldn’t be the man I am today.
God bless ya Mom and God bless ya John.
Andy (December 2003)

iv
Foreword

n recent years we have seen a resurgence of interest in the original

I purpose of the martial arts (effective self-protection). As a result, a
growing proportion of martial artists are no longer content to practice
their chosen art simply as a form of exercise, a means of character
development or as a sport. As worthwhile as those aspects of martial
training may be, a rapidly growing number of students also wish to ensure
that their training will adequately prepare them for live situations should
the worst happen. Effective self-protection and combative skills were
what the martial arts were originally created for. However, if we are
honest, we have to admit that the training in many modern Dojos is
found wanting in this regard.
Anyone who has been in, or has seen a real fight will know that real
situations are frantic and chaotic affairs. It can be difficult to see how the
rigidity and formality of most modern training can be applied in the chaos
of live confrontation? An observer to such a confrontation will also notice
how there is no interchange of ‘compatible techniques’, neither do the
combatants stay at a single range. Instead, we see the frenzied flailing of
limbs and ranges being lost in a split-second.
Modern Karate practise tends to only concern itself with mid- to long-
range formally executed Karate-style attacks. There is little in the way of
close-range techniques or methodologies. We see no grabbing, no close-
range striking, no ground-work etc. We only see compatible techniques
at a fixed range. In short, we see no chaos!
It can be difficult to comprehend how modern Karate – which is, after
all, said to be specifically designed for self-protection – can be applied
when removed from the structured and precise world of the Dojo. So
how do we ensure that our art fulfils its original purpose and returns to
being a valid and functional combative system? The great irony and
perceived paradox is that the answer is found in arguably the most
structured and precise part of Karate training: the Kata!
The Kata are essentially a record of the original Karate system; a system
which was designed to deal with the chaotic nature of a live
confrontation. Within the Kata we can find all the skills and methods we
need for live combat, providing we know how and where to look. The
Kata contains punches, kicks, close-range strikes, chokes, holds,
takedowns, strangles etc. We simply need to be able to access that ‘lost’

v
 information and reintroduce it into our training. This is where this very
informative book by Andy Paskin and Darren Westwood will be of help.
This book is written in a warm and engaging matter that will make this
fascinating subject easily accessible to all. Not only do Andy and Darren
share their interpretation of the three of the ‘basic’ Katas, but they also
cover such subjects as effective power generation, kneeing, head-butting,
locks, chokes, strangles and some ways to realistically apply the ‘blocking’
techniques of the forms. It is this kind of knowledge that is needed if we
are to ensure that Karate is practised as a pragmatic and effective system.
As interest in the practical application of the forms (Bunkai) grows, it is
vitally important that we Karateka with a pragmatic-bias share our
information, views, opinions and preferences as widely as possible. This
will ensure that those who wish to practise the art of Karate, in its most
complete form, are free to do so in a way that works for them as
individuals. Darren and Andy are to be congratulated for making their
approach to the practical application of Kata techniques available to all in
what I’m sure will be the first of many books. I’m certain that this very
accessible book will be warmly welcomed by the thinking Karateka and
all those looking to find meaning in their Kata.
Iain Abernethy 2004

vi
Contents

Introduction 1
1 The Authors 3
2 Karate & Kata 4
3 Kata History and Style Genealogy 7
4 Bunkai-Jutsu 10
5 Kihon Kata 13
Oyo
Henka
Kakushi Waza
All Perpetuities
6 Uchinadi Pinan Shodan 25
Oyo
Henka
Kakushi Waza
All Perpetuities.
7 Uchinadi Pinan Nidan 48
Oyo
Henka
Kakushi Waza
All Perpetuities
8 Effective Punching 60
Theory and Practice
9 Effective Kicking 70
Theory and Practice
10 Effective Striking 73
Theory and Practice
11 When a Block is not a Block 84
12 Throws, Locks, Control, Takedowns and Groundwork Principles 87
An introduction 87
13 Scripted Human Behaviour 97

vii
 14 Chokes 99
15 Stances 102
16 Closing comments 105

viii
Introduction

he decision to write this book was one which was taken following
T careful consideration.
A number of students have, in the near and distant past, requested a
book be written which covers all of the aspects of Kata Bunkai (or
Bunkai-Jutsu) as a ‘take-home sensei’ and this is the result of those
requests.
The reason for writing the book is another story entirely.
We have, as all good Karateka should, studied our art extensively, both
from a practical and academic point of view and, during the course of
those studies, have encountered a certain ‘Kata Mythology’.
This mythology is prevalent throughout modern Karate and this,
coupled with a number of other incidents, led us down this narrative
route.
A typical mindset of this type of thinking is below, in italics:
‘The Kata are a set of prearranged movements whereby the Karateka
engages in battle with imaginary opponents. Kata contains all of the
techniques and principles of Karate and, after practising each literally
thousands of times, the movements become automatic and instinctive.
This will enable the Karateka to defend against and attack many
opponents at once.
Kata is meant to train the mind, and is not intended only for conceptual
and intellectual self-defence. Its real purpose is to bring it in contact with
the real self. Kata, in the traditional sense, is a spiritual ritual. The essence
of the art of Karate is attaining a spiritual goal through the practice of the
Kata, so that the Karateka competes against himself and succeeds in
conquering himself.
The basis of Kata lies in the concept ‘Karate ni sente nashi’, which is
translated as ‘in Karate, one does not make the first move.’ All Kata begin
with defence and end with defence. The Kata teaches that the true
Karateka never strikes first, and never strikes in anger.
Now, we have been accused in the past of being too forthright in our
analysis of certain subjects, but we would ask, ‘Can you be TOO
forthright?’
We think not and, with this in mind, the example above, in its
fundamental analysis of Kata, is incorrect.
Visualisation is certainly as important an aspect of Karate as is posturing
and body shifting but is certainly not the basis of Kata.
Equally, Kata does contain techniques and principles within it but this,
alone cannot sufficiently define Kata.
Kata is the spirit, true meaning and purpose of Karate.

1
 Bushi-Jutsu

ALL Karate is found within Kata.

As for multiple attackers – the best defence is to run away….quickly!
The ‘spiritual ritual’ aspect of Kata is fine as a consideration but the
reality of Kata is that it will enable the Karateka to deliver devastating
technique to any would-be assailant.
In Kata, there is NO preparatory movement, there is NO stylised
posturing, NO showboating and, perhaps most controversially of all, there
is NO purely defensive technique.
All of the technique(s) within a Kata are offensive (in the sense that
they intercept an attack rather than defend against it) and all use
projection and ‘soft’ techniques in approximately equal measure.
Likewise, each and every technique within a Kata has a Kakushi Waza
(Hidden Technique) which, when analysed and understood is, in fact,
quite frightening in its brutality but, as we all should remember, these
techniques were developed for only one thing….combat!
The Kata certainly does NOT teach that the Karateka never strikes first;
in fact, it teaches that the true Karateka will not instigate combat but,
when a combatant launches a strike, the Karateka will either intercept or
will pre-empt, that is to say, out-pace, his assailant and will, indeed, strike
first!
We will, however, concede that you should never strike in anger.
Within this book you will find:
Oyo the various application(s) of the technique
Henka the variation and change developed from the technique
Kakushi Waza the hidden technique
We will concentrate on the Kata which is considered ‘lower-level’
although we hope to prove that even the humble Kihon, when fully
analysed, is an insight of devastating effectiveness of this, our beloved
Karate.
Read on!

2
1.0 – The Authors

Sensei A Paskin (Left):

ensei Paskin has been training for some 20 years in various forms of
S martial arts, though predominantly Karate.
Shotokan Karate established the initial interest.
A period of study around the boxing arts came next.
Sensei Paskin then shifted to Shorin-Ryu, which he believed was closer
to the roots of true Karate.
Finally, Sensei Paskin’s life-long study of the martial sciences has led to
(and continues to develop) a study of Bushi-Jutsu – Warrior Science.

Sensei D Westwood (Right):

ensei Westwood has trained for approximately the same amount of
S time as Sensei Paskin. However, his roots spring from Wado-Ryu
Karate.
In addition, Sensei Westwood has also studied Ju-Jutsu and Chinese
Gong-Fu.
Like Sensei Paskin, Sensei Westwood now devotes all of his time to the
study of Bushi-Jutsu – Warrior Science.
Both have had some ‘live’ experience but this was during the energetic
exchanges experienced during the hormone-fuelled periods of
adolescence and early adulthood.

3
 2.0 – Karate & Kata

t is important, in our opinion, to understand the associated history of

I the Kata contained within this book as, without this, your appreciation
of the Kata, their intrinsic development and their historical significance
will be impeded.
Access to the Kakushi Waza of the Kata has been deliberately veiled.
Probably, in their original form, the Kata were much more deliberate in
their communication of technique. However, following the introduction
of certain Kata into the education curriculum, they were ‘watered down’
in order to conceal the brutality of certain techniques.
These watered down versions are now practised, throughout the Karate
world (with certain obvious exceptions) as ‘traditional forms’.
Some instructors will, in our experience, not teach Bunkai in any form
(DW was never taught Bunkai and AP was taught that it was a defence
against (or within) a mass brawl!!).
Others will dictate Bunkai and others still will be prepared to discuss
Kata application providing their opinions are not too closely scrutinised.
We would suggest that if your current Sensei falls into any of the above
categories, you might want to try a different ryu!
Kata Bunkai, inside a Dojo, should be studied.
All Kihon Ippon and all Ippon Kumite (and Kumite in general, as
practised) should consider the technique(s) of Kata.
Too much emphasis these days is placed on mass tutoring within a ryu,
with very little time allowed for one-to-one tuition, and this is where the
real understanding and communication of Bunkai will take place.
Certainly our students, when developing Kihon Ippons for gradings, are
encouraged to look to the Kata of their grade for inspiration.
It’s a good starting point.
Furthermore, Karate, in general terms, is thought of as a kicking and
punching system.
In our opinion, nothing could be further from the reality.
Our lower grades are encouraged to block and counter but not in
isolation of grappling and close-quarter combat considerations.
You will be very lucky indeed if your confrontations, thus far, have
enabled you to remain standing whilst incapacitating your opponent.
Almost all fights will enter a ‘grappling stage’ at some point and many
will go to ground – being able to do a spinning jumping reverse
roundhouse kick, when someone has you by the throat on the floor of
the local night club, will not help you a great deal!

4
 Karate & Kata

The reality of combat is that you may be exposed to extremes of

violence in a confrontational situation and you should be prepared to
fight fire with fire.
Should you be attacked for your wallet, your mobile phone, your
jewellery or just because someone has taken a disliking to you, you
should be prepared to be exposed to this extreme violence.
At this point, you will either choose (if I can paraphrase the great
combat tactician, Geoff Thompson) fight or flight.
Again, the reality is that flight may be impossible and you will be forced
to subsequently choose aggression or submission – to retaliate or to be
the victim.
Undoubtedly, there will be occasions when strikes (whether punches or
kicks) will not succeed in concluding a confrontation – a fact for which
most Karateka are woefully ill prepared.
When the ‘one puncher’ fails, the situation will inevitably go close
quarter.
The techniques contained within this book, we hope, will prepare you
for the worst kind of violent confrontation and enable you to retaliate
with devastating effect!
It should be noted, however, that the employment of some of the
techniques we will describe may have serious, or even fatal,
consequences and, therefore, should ONLY BE USED IN A LIFE-
THREATENING OR EXTREMELY HIGH-RISK SITUATION!
The choice to include these techniques within this book was one which
followed careful consideration.
The reason for choosing to do so stems from the fact that we believe
that the original intent of the techniques was the ‘lethal force’ we refer
to.
The masters of old did not want an aggressor returning again and again.
They wanted the first confrontation to be the only confrontation.
Likewise, they would not be so unrealistic as to think that a hand-to-
hand fight could be ended with a single blow (without prevailing luck or
a very high degree of skill).
Now, we may be living in a totally different cultural society and
environment and we may be hundreds of years past the time when these
Kata were developed, but we believe that the essence of combat (and the
predictability of such) has remained unchanged these many centuries.
The thrust of the message here is EXERCISE EXTREME CAUTION!
We would now encourage you to ask yourself a question.
Do you believe that your Sensei is a veteran warrior who has seen a lot
of action in real combat situations?
We would hope not as the essence of Karate is that it is taught to
enable you to NOT HAVE TO FIGHT.
There are, however, certain advantages to having been exposed to
aggression in real-life situations.

5
 Bushi-Jutsu

One of these advantages is the ability to predict what would be

effective ‘on the street’.
Both DW and AP have some ‘street’ experience (see the passage on
the Authors) and, many times in the Dojo whilst studying Bunkai, been
forced to concede that some technique which the Karate world consider
‘effective’ would have little or no value in a ‘real’ fight.
We would encourage you to read ‘Watch My Back’ by Geoff
Thompson, a gritty, realistic and brutal insight into the world of ‘Street
Fighting’ – Real Combat!
Also, Bunkai Jutsu and Karate’s Grappling Methods by Iain Abernethy
will also prepare you for the brutal reality!
In our experience, the Karate-Do Karateka will tell you that ‘this is a
block and this is a punch and it is from Kihon Kata’ – this is the way of
Karate.
The Karate-Jitsu Karateka will tell you a little more of the intricacy of
the technique but from a stylised perspective – this is the Art of Karate.
We, the Karate-Jutsu Karateka, will tell you that it doesn’t matter
whether you look good or not, that if a ‘block’ can be used as a strike, do
it, that if you need to bite, gouge, strike the throat or squeeze the testicles
to win the fight, do it – this is the Science of Karate.
Within this book, we will show the Way, the Art and the Science.
We do not wish to emphasise or over-emphasise any aspect of
interpretation.
The classical is just as important to the development of the individual
as the contemporary and brutal reality.
Within Oyo, we have attempted to show the classical application of
Bunkai as it is taught in most contemporary Dojo today.
Within the Henka, we have attempted to show the stylised variation of
application with a little more emphasis on effect.
Within Kakushi Waza, we have attempted to show the reality of Bunkai
– that which the Kata was created to communicate and which is the most
effective of the three types we have chosen to include.
You will probably note that, during some of the sequences, there is still
the push and pull motion common to the striking arts.
This is generally still observed for balance of the technique and
provides a position to fire a strike if necessary should a technique fail in
its application – yes….it does happen!

6
3.0 – Kata History and Style
Genealogy

s previously stated, we place a lot of emphasis and importance on the

A understanding and appreciation of Kata history and the background
of your style.
Obviously, you will need to study this yourself as, if we tried to include
it all in this book, we would perhaps have the War & Peace of Bunkai
here!
Emulation is obviously the means by which students learn, develop and
perfect their technique but, have we considered why these techniques
have been ‘hidden’ in Kata?
In the previous section, we mentioned the ‘watering down’ of Kata to
allow teaching in school. However, the chronicling of data through
physical motion is timeless.
Ancient philosophies tended to include the use of stylised ‘dancing’ as
a means with which to equip future generations with this cultural
knowledge.
An obvious inclusion in this cultural communication is the ability to
battle and, perhaps in feudal Japan, the need to conceal this knowledge
resulted in the first Kata coming into being.
Sometime around the 11th century, during the wartime period, an
incursion of Japanese warriors (Samurai) on the island of Okinawa meant
an influx of additional martial knowledge which was previously not a part
of the norm had been taken place.
Around the end of the 14th century, a Chinese incursion on the island
further developed what was already a formidable fighting system.
A direct result of this would have been the influence of Chinese culture
within the predominantly Japanese combat ethos.
Those of you who have also studied the Chinese arts properly will have
an inkling of the type of influence this will have had.
If your knowledge of the history of Kata is poor, allow us to tell you a
little about Shurite, Nahate and Tomarite in the form of the following
development matrix:

7
 Bushi-Jutsu

Shuri, Naha and Tomari were villages, from which the style names were
derived.
We have not included the entirety of the styles within this matrix –
rather, we have attempted to give you an insight into the development of
some of the known styles you may have heard of.
All of the top-line styles (the originals) are collectively known as Koryu –
meaning ‘Old School’.
It may be interesting to you to note that the current Shotokan AND
Wado-Ryu styles were developed from the original Shotokan and that
Gichin Funakoshi Sensei had a direct influence on both!
It was during the 17th century that a law was introduced which
prevented any Okinawan using or even owning a weapon.
The contravention of this law would result in severe punishment.
The local farmers and fishermen, fearing for their families, developed,
predominantly in secret, their ‘empty hand’ fighting skills and the use of
the tools of their respective trades (Nunchaku, Kama, Manriki Gusari, etc)
for combat.
The Japanese Shogunate imposed further laws to completely eliminate
the practice and deployment of the original Okinawan fighting systems.
The effect of this upon the development of Karate at this time had a
profound consequence.
The practice and teaching of the art(s) was carried out in secret with
only certain chosen individuals having the privilege of being able to learn
this most secret fighting system.
The respective Kata, and particularly their application (Bunkai), were
shrouded in utmost secrecy.
Effects of this have been carried forward into the Karate we practice
today – many Sensei still do not know the original application of the
techniques within a Kata.
One thing is certain: the techniques were of a most violent and brutal
nature as their only purpose was to quickly, effectively and permanently
defeat an opponent in combat.

8
 Kata History and Style Genealogy

From that which we have seen (and some deeper study of the styles), it
is apparent that Karate as we know it today is a fusion of many different
local forms from this era of Okinawan history.
The Masters of the time would gather, again in secret, to share the most
effective application of their respective forms – a practice which is sadly
lacking in today’s society as secrecy and jealousy prevail unnecessarily.

Hachiman Symbol

The above symbol is the Ryukyu King’s crest.

It is the War God symbol used by the Okinawan ruling family and also
for our style:
Okinawan Koryu Karate-Jutsu – Okinawan Old School Empty Hand
Science.

9
 4.0 – Bunkai Jutsu

arts of this section have used ‘Unante’, by John Sells, as research

P material - the Authors have interpreted and paraphrased this excellent
historical study document for use in this publication.
We have previously mentioned the Oyo, the Henka and The Kakushi
Waza.
A little more information on these, we feel, may prove beneficial to the
serious Karateka although this section will be relatively short as we do not
wish to overemphasize the metaphysical aspects of Karate.
All Karate and Kata practice intends, we believe, to expand, within the
Karateka, the level of power, balance, focus, co-ordination and skill(s) of
technique.
Kata are exercise and meditation in equal measure.
It should be noted, at this point, that today's means of Kata instruction
and practice are much more relaxed than they once were.
The term ‘Hito Kata San Nen’ (One Kata Three Years) captures the
requirement of the student mastering one kata before progressing to the
next (although three years is probably an exaggeration of the reality, it is
clear that much time was devoted to the perfection of the techniques of a
single kata).

The Inner and the Outer Doctrines

The Inner doctrine

That appertaining to the hypothesis, application and understanding of
Kata techniques:

Bunkai
This is the explanation of the techniques within a kata most often given
and used for Kihon Ippons, Ippon Kumite and Kumite proper.
In Okinawa, this was known as Kumiti (the predecessor of Kumite and
now unrelated to Kata practice – sadly).

Kakushite
This means ‘Hidden Hand’ and represents the covert purpose, concealed
within the execution of the kata and not at once obvious in the physical
effecting of the technique.

Jutsu
The Science of the application (to provide devastating effect).

10
 Bunkai Jutsu

Kakushite (or Kakushi Waza) should be encompassed by the Bunkai

but, in today's Karate, it usually is not.
These are the deepest secrets (Gokui) hidden inside the posture and
technique of the kata and conveyed from master to student.
The full realisation of this hypothesis is known as Oyo or Bunkai Oyo
and, quite literally, means ‘Practical Application’ and covers the
application of the technique(s) of the Kata as practised.
Henka or Bunkai Henka is the variation and change developed from
the technique - just because in Kihon the fist is fully closed, this does not
mean that, in application, Ippon Ken cannot be utilised.
Oyo and Henka, once Kakushi Waza have been fully considered, will
provide the intermediate and conclusive techniques to defeat an
opponent.
The Null Hypothesis of Bunkai is to understand the opposite of the
technique within the Kata, that is to say, the technique against which the
Karateka is defending.
Knowledge of this Ura Waza is the singular, most logical, aspect of the
training.
The development of combative skills is inherent in the concept and
Null Hypothesis of Ura Waza.
Also, within many Kata, is the representation of opposites - expressed
by the repetition of techniques (block or strike).
Using this method of reverse technique, the Bunkai will be found
hidden at the mid-point of the form – the point at which your opponent
becomes transparent.

The Outer doctrine

That appertaining to the universal application of the principles of physical
dynamics.

Kata Sequence and Pattern

Every Kata has a pre-set number of physical movements, carried out in a
prescribed order.
No variations to this are allowed (subject to style variations).
The challenge here is not to improvise but to continually train for
perfection.
Also the pattern or ‘Embusen’ is always, in part or totality, subject to an
eight-directional line of movement and, with few exceptions, will end on
the same spot as it began.

The Three Essential Points (Kata No San Yoso)

Mastery of this is prerequisite.
Wada No Dan Kyu correct speed
Chikara No Kiyo-zaku appropriate application of power
Karada No Shin-shiku the graceful use of muscular tension

11
 Bushi-Jutsu

The above, obviously, relates to the performance of Kata and we're not
going there on this occasion.
To finalise, the unification of both the Inner and Outer doctrines is an
intensely idealistic, though comparatively indistinct, axiom, known, in
Japanese, as Shuhari.
Shu means precise consideration of detail and prescribed custom
(executing the Kata precisely as it was taught).
Ha means mastery of that custom.
Ri means to transcend the physical and be free from unnecessary
movement and a graceful, or apparently unstructured, execution,
unaffected by reticence.
It is to reach that which, articulated in old Okinawan, is:

Shimeijurasan
(A form of precision and exactitude that is the objective (although beyond
reach) of all Martial Scientists.
Shuhari then, is a process through which an individual evolves.
It is not an ‘immediate’ torrent of wisdom.
The same is true when discussing, studying and understanding Kata,
Bunkai Oyo, Bunkai Henka and Kakushite (Kakushi Waza).

12