Vince Morris is a Karateka that has become world renowned for his no-nonsense approach to martial arts and fighting. He is also the founder of the Kissaki Kai.

One of the significant differences which marks out a true school of martial arts (and this includes Karate Dojo) from those which purport to be genuine schools lies in the breadth of the curriculum.

Now for those who are already fortunate enough to be within such a Ryu I apologise for stating the obvious, but my observations, based upon fairly extensive experience of a multitude of different Dojo and schools all over the world lead me to conclude that whilst a fair amount of lip-service is paid in public to the teaching of a 'Traditional' art, in reality by far the majority of them teach mostly basic physical technique.

"Nothing wrong with that!" You might argue; and - at least initially - you would be right.

However experience over some 40 years of training in a variety of cultural and ethnic backgrounds underlines quite emphatically that this emphasis upon technique (albeit 'Stronger - Faster!) remains the staple diet!

"OK." You might ask, "What can possibly be wrong with that?"

Well, I will begin with a comment by Patrick McCarthy who was kind enough to write the forward for my 'Kyusho Secrets' book.

Beginning with a quote by Henri Poincaré: "Science is built upon facts much in the same way that a house is built with bricks, but the mere collections of facts is no more a science than a pile of bricks is a house!"

Patrick continues: " ..the same can be said of Karate, when it is learned indiscriminately; a profound cultural tradition is reduced to a mere sport, regardless of one's external accomplishments."

In this comment Patrick is alluding to the whole philosophy and ethical ideal which historically has inextricably been seen by the masters as, on the one hand a governing and guiding influence on those who are learning potentially dangerous skills, and on the other a paradigm for coming to terms with the vagaries and pitfalls of life, leading eventually wisdom and self-knowledge.

Naturally, these are important, if not vital factors which should - but usually do not - form a significant part of the teaching within a -Do form Ryu. In the end, nothing can be more important than learning to deal with all the fortunes and misfortunes of our human existence - certainly it is far more important in the long run than the mere physical capacity to punch and kick harder and faster.

In the short term, however, the student is drawn to the Dojo, not initially to acquire this esoteric knowledge but to learn a fighting art, often with a view to gaining self-defence skills.

Well, he or she might well eventually become proficient in the sport form of karate and indeed begin to amass a collection of silverware, but let no-one mistake this for the learning of a martial art!

I have said before that if you take away the football from a football player you are left with nothing; the water away from a swimmer - nothing; the tennis ball away from the tennis player - again you are left with nothing. However take away every technique from a martial artist and you still have a whole history, morality, philosophy and code of ethics which are little to do with physical technique!

There is one rider to this, however, the student must be taught all these for this condition to apply!

How many hours of training are set aside for this? Who are the teachers that can teach it? This is knowledge based upon study and experience from far more than the limited world of the rule encompassed Shiai-jo!

Nothing will force me to deride the sport form of karate that is so prevalent today - after all, I spent many years punching and sweating my way through innumerable championships and competitions. That was a necessary learning and testing time for me, and quite invaluable; but there comes a time to move on.

Of course if instruction is based upon the minute correction of technique which has already been practised for decades, and upon the erroneous belief that one must always strive for speed and power, then where can you turn when it is time to realise that at 40 or 50 it is foolish to attempt to keep up with those half one's age?

Well, my views are well known on this matter ever since many years ago I upset a number of people with articles about Children's' Karate, Alphabet Karate and the like.

My basic premise - which is largely unchained today - is that all the emphasis upon kihon and misunderstood Kata practice is simply practice in saying the ABC of the art; there comes a time when that is not enough, one has to progress to making up phrases, then sentences, and then whole paragraphs, if not it is like someone in University thinking that a degree can be gained merely by how loudly and quickly he speaks!

As for using sport karate as a self-defence, of course it can work, especially if you are highly trained, physically fit and at the right distance from an attacker!

Consider this, however. What areas are prohibited in Shiai?

Throat, eyes, neck, testicles, joints...

What techniques are prohibited?

Choking, gouging, spitting, biting, wrestling, butting, finger-bending, throwing, hair pulling...and so on.

Ask yourself about the range at which attacks commonly take place, and at what range are the majority of sport karate techniques practised?

Then ask yourself this: How can anyone brought up on a diet of basically sport forms of basics and kumite ever begin to understand the intricacies of the close-range combat techniques of the Kata?

"Well what else is there?" " Surely a technique that works is all that is necessary for Kata Bunkai or Oyo?"

No. It isn't enough. "Bunkai" is a term used in the main only by the Japanese, comprising two characters (1) Bun meaning "to divide or separate" and (2) Kai meaning "to understand, to solve." Thus it means understanding the essential elements of a technique. In the old Bu-jutsu of Japan the term used to describe Kata application was Riai, meaning 'harmonisation of principles.'

Essentially when researching the application of any Kata move or sequence it is not enough merely to come up with 'something that works.'

For example many excellent karate-ka do this, and the waza works for them, but to be correct is must fit into the underlying scheme of knowledge and experience which generations of martial artists have established by their efforts; in other words 'harmonisation of the principles!'

But what are these principles?

Every technique has the possibility of containing a number of elements either individually or (more often) in concert. A short-hand way to list these elements would be:

(1) Ne-waza - groundwork, grappling (2) Nage-waza - throwing techniques (3) Shime-waza - strangling and choking techniques (4) Kansetsu-waza (Tuite) - joint manipulation techniques (5) Atemi-waza (Kyusho) striking techniques.

If the student is unfamiliar with any of these sections then it is unlikely that he or she would recognise their appearance within the Kata.

Moreover, all Kata can be likened to dictionaries. A dictionary gives you the literal meaning of a word, some guidance to pronunciation and a short list of usage, major and minor. It does not, however, give any indication of the grammar which is absolutely vital to any attempt to make proper use of the word in real life. It gives no concept of the speed nor intonation of the delivery.

All this ancillary knowledge in martial terms is that background information that centuries of combat have taught, such as the essential rules of combat which apply no-matter what the particular circumstances may be.

For example such concepts as: Always try to unbalance the attacker, always try to control him, always use ashi-sabaki and tai-sabaki to gain positional advantage, always use vital (vulnerable) points on the attacker's body to weaken or disable him, never stop until the fight is finished, try to get to an outside bodyline position..and so on. All concepts which remain valid whatever the specifics of the attack.

Of course there are more: use distraction techniques, use the correct speed for a technique, use the correct commitment (spirit) necessary to allow full delivery of power, learn break-falling methods...

The Bubishi is a fundamental sourcebook for research into the historical lineage and the importance accorded to these and other concomitants, All of which form the grammar of the martial arts, and they are constant regardless of weapons and situations.

But if they are not taught, what are we left with? Arbitrary ideas as to applications and little or no knowledge of the richness and completeness of our art. We are left with only the acquisition of Kata after Kata to indicate 'mastery!'

Take just about any technique or sequence from one of the original (i.e. pre1900's 'Do' form or Shotokan-type modifications) - in the reality of combat there are constants - the opponent will be the aggressor - he will be in striking, gripping or kicking distance - he will normally initiate the attack and select both the victim and the circumstances (time - place) of the confrontation. These elements vary hardly at all whatever form the attack specifically takes.

The effective response, dictated by centuries of pragmatic, empirical experience, will vary in the actual technique or sequence involved, but should be able to draw upon the repertoire of the totality of Bunkai-jutsu; throwing must be an option, as must striking, locking, choking and all the other components such as distraction and feinting. All of which are enhanced by first taking yourself out of danger and unbalancing and controlling the aggressor, then by finishing the confrontation as fast as possible.

Any combat system which precludes the use of any of these elements is logically unbalanced and incomplete.

Therefore, for example, any demonstration of Bunkai or Oyo which starts from out of touching, grasping and striking range, and which has the attacker lunge forward in oi-zuki and the defender reply with 'blocks' which are unworkable at close range and generally finish after one 'killing' blow, merely shows that only the omote or surface level applications are being considered.

Whether or not the ura (hidden behind) Bunkai is deliberately being concealed is another question.

Another 'give-away' is the sight of a defender with an empty fist withdrawn to the hip whilst defending!

There are only two functions for the hands in combat - (1) defend yourself (2) attack the opponent.

If you see hands doing nothing, especially when not in a position to do either of the above - well - what do you think!

Many students all over the world are encouraged by their grading system amongst other things to learn vast numbers of Kata.

If, however, the grammar of Bunkai-jutsu and its ancillaries are not a vital part of the learning process then I can only repeat here the words of Hironori Otsuka the founder of Wado Ryu karate:

"Some falsely believe that mastery and progress comes by knowing as many Kata as possible. In the older days, one knew three at most. Even to use one Kata properly is not an easy task!" (Wado-Ryu Karate. Hironori Otsuka)

Having defined the problem, how do we resolve it!

There is only one way.

Even Master Funakoshi himself praised his two teachers Itosu and Azato for sending him to learn from others with differing skills. He berates the small-minded commercially driven sensei who insist their students train only with them.

Well - can you do better than master Funakoshi? Do you know any teacher who can honestly impart knowledge of all the above? And consider for a moment what a task it is to understand only some of those 5 sections above!

Such teachers do exist, but they are not to be found on every street corner.

In general it is best to train initially at one thing at a time; however, once a degree of competence is acquired seek out a good Judo club or a good Ju-jutsu Dojo and see what a revealing experience that will be.

Read the histories of your art, and don't skip over the philosophical bits but give the masters credit for thinking their inclusion worthwhile, after all, the word 'sensei' means 'someone who has gone before' - they have trod the same path of humanity as you tread now.

What initially appears as an overwhelming task will soon be seen as the very richness of our art. Yes, it is a mountain - a mountain of knowledge and experience, but consider the view from the summit!