Why slow movements in kata?

JR 137 · Black Belt

I've often wondered it. Why are some movements done slowly in some kata?

Examples...
A lot of movements in Pinan 5:
In the beginning after the inside-out block and punch to the sides, the hands come back slowly to the side as they're stacked on top of each other.
After the high cross-block, the hands twist slowly before the step and punch.
The slow knife hand inside-out block (not sure what to call it in English nor Japanese) in kiba dachi before the crescent kick/elbow/backfist combo.

Saiha/Saifa:
After the 3 initial steps with elbow/backfist into kiba dachi, there's a slow step into kokutsu dachi with a slow shuto chudan uchi uke/gedan brai (again with the terms).
After the morote haito/morote jodan tsuki, both hands come up and do a big circle, one hand open, one closed. This is done slowly.

I could keep going in a bunch of different kata, but I think you get the gist of it. I know there's variations of these movements and not all schools do them slowly, but there's many examples in many different kata.

Is it emphasis on a key movement?

I don't think it's really done to dramatize the kata, although it does help make it look cool sometimes. If you're into that sort of thing. I've just never heard an explanation, so I thought I'd ask here.

Edit: Some movements are done under high tension with ibuki breathing. Sanchin and tensho come to mind. I understand coordinating breath, movement and tension in those. I'm talking about the movements that aren't done with ibuki breathing.

sensei8 · KF Sensei

Depending on whom one asks, the answer might be as wide as the sky, and as deep as the ocean. Doctrines dictate, yet the doctrines shouldn't be the holy grail.

Imho...

I believe that the movement in the Kata is performed slowly to indicate that the Bunkai should be performed slowly, if we didn't, then for this bunkai, we lose a lot of training partners.

I believe that the movement in the Kata is performed slowly to indicate a grappling movement.

I don't believe that the movement in the Kata is performed slowly because it looked cool; things within the Kata are done for reasons, and not for the season.

On the street, the application should be executed short and sharp, at times, that emphasis in the Kata are performed slowly. Akin to a possible slow movement.

That's when the CI's teachings should be closely listened to. Remember, the ways of the CI aren't to be written in stone. After all, Oyo is why it's so important. We are to discover our own paths and truths towards effectiveness of applications.

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Wastelander · KF Sensei

Well, I may not be the best person to comment on this, because we don't do any of the movements in our kata slowly the way you describe--even Pinan Godan, which was one of your examples. Even the founder of our style, at nearly 90, didn't move all that slow: https://youtu.be/th7ELIPbNl8

That said, I'm familiar with some kata that do slow movements down, and I tend to think they are joint locks or chokes, and the kata is reminding you that you have to do them slowly for safety. In some cases, it could just be that you will likely encounter resistance, and so the movement CAN'T be performed quickly, if you were actually applying it. Unfortunately, I think there ARE some instances of movements being slowed down because it looks cool, but those are changes to the kata that are more recent--probably from the 1950's onward.
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singularity6 · Pre-Black Belt

I suspect the motions in your school's forms come more from your master instructor than they do from tradition. Forms seem to be fairly personal, to me. Everyone's body is relatively unique, and a combination of how they move, and what they perceive as proper (or just appealing) will impact the way things are taught.

I think solid evidence of this exists if you watch your forms done on YouTube from different schools. At least, when it comes to the forms I do, I see tremendous variety.
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JR 137 · Black Belt

I like and respect the responses so far. But here's my thing...

If it's to slow down the practice of bunkai (in all it's forms), wouldn't you slow down every movement? If you subscribe to jodan uke/high block is a joint lock/arm break (I do), then shouldn't that be done slowly? I've seen gedan brai/low block broken down as a neck twist; combine that with a 180 turn (taikyoku 1), and you've got to go pretty slow in practice. Yet I haven't seen it done slowly in any school.

The more I ponder it, the more I think it's duty emphasis on particular movements. And possibly the whole sport movement adding to it, depending on school.

Noah: Do you do Seiunchin? Is the opening sequence done slow or fast? Ive never seen it done fast. It would be interesting.

sensei8 · KF Sensei

Wastelander · KF Sensei

Spartacus Maximus · Black Belt

In general there are two reasons why certain techniques in certain kata might be done slowly. As others have explained, this varies from dojo to dojo and even from one instructor to another in some cases.

The first reason for slowness is to emphasize a key point and make it easier to teach. Slowing down any movement, especially subtle or complex ones also allow one to feel and remember the required body mechanics to make it effective.

The second reason is a question of rythm. Each kata has its specific rythm and some parts are easier to evaluate by instructors or judges when done slowly.

JazzKicker · Orange Belt

The short answer is, there are slow moves because not every move is a block, punch, or kick. You have to interpret the move's application. It may be a joint manipulation, push or otherwise moving your opponent, or a roadmap to a pressure point strike.

I used to take the superficial explanations of kata movements at face value, but an old buddy of mine got involved with Ryu-kyu kempo (and is now an international GM) and opened my eyes to new interpretations.

Kusotare · Purple Belt

Purely from a Wado-ryu perspective, slow movements usually imply or at least are trained to imply resistance through dynamic tension - although it isn't as straightforward as it sounds.

There aren't many Wado katas that have slow movements in them, however those that do, are generally considered amongst our most important.

In his book, Shingo Ohgami writes that Seishan is a kata of 2 halves, the first being performed slowly under dynamic tension (although I think this is somewhat lost in translation) and the second half with speed and relaxation.

The suggestion is that by training both methods in one kata one can obtain a greater control over ones body movements and thus develop greater core strength / speed and efficiency of movement.

The important thing, is the movements aren't being done slowly for appearance they are done to realise correct connectivity to the ground, and the internalisation of core strength and linkages throughout the body.

This is where perhaps, karate meets the internal arts of the Chinese systems.

K.
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