Rhythm in Karate

Stratton Lobdell
Rhythm in Karate
May 2008 Instructor training assignment.


Rhythm (from Greek rhuthmos, "any measured flow or movement, symmetry") is the variation of the length and accentuation of a series of sounds or other events. In karate, the rhythm of our movements determines the speed of an encounter. Rhythm is particularly important in the practice of kata. As discussed by Okazaki Sensei and Dr. Stricevic in the “Textbook of Modern Karate”, the rhythm of kata has changed much since Funakoshi Sensei introduced the world to Shotokan Karate. As the rhythm has changed, katas have become shorter in time and changed the type and degree of athleticism necessary to perform kata.
Howard Goodall, author of numerous books on music, presents theories that rhythm recalls how we walk and the heartbeat we heard in the womb. However neither would seem to have any survival value in Man's evolution. More likely is that a simple pulse or di-dah beat recalls the footsteps of another person. Our sympathetic urge to dance is designed to boost our energy levels in order to cope with someone, or some animal chasing us - a fight or flight response. It is possibly also rooted in courtship ritual
We will leave the courtship rituals to another discussion, but it is important to realize that rhythm is a part of everything we do. As Shihan Robinson points out, karate is in everything we do as well. Walking down the street is karate; awareness of your surroundings, the way you walk to keep yourself always prepared to move, the speed and length of your steps. The rhythm of your gait is part of this.
Funakoshi Sensei predicted that as karate developed the rhythm of kata would increase and the duration of katas would decrease. There is no more striking example of this to me than the Tekki katas. When Funakoshi Sensei performed Tekki Shodan in 1935, the duration of the kata was a full 60 seconds. At the time that Okazaki and Stricevic published their book the average time to perform Tekki Shodan was 35 seconds. From personal experience, I have to slow the movements down to even take 35 seconds!
For kata to be most effective as a training tool the rhythm can be changed. There are optimal times for different katas to be performed and until a high level of proficiency is achieved with each kata there should be very little deviation from the time frame put forth by the instructor. To illustrate katas in which rhythm is of particular importance, Hangetsu and Empi are good opposites. Hangetsu is a slow and controlled kata with an extra emphasis on breathing. Hangetsu is from the Shorei school. Empi is quick, light, and acrobatic. Empi is from the Shorin school.
The rhythm of Hangetsu is slow and powerful with a moment of tension before the next movement. This 41 movement kata moves in time with the karateka’s breathing. This is one of the few kata that has increased in it duration since Funakoshi Sensei’s day. The rhythm of this kata lends itself to long term training. Hangetsu is a kata that can be performed without great impact and will continue to benefit strength and balance even for older karateka. This kata still includes explosive movements and provides anaerobic muscle conditioning as well as isometric strength training. The common mythology surrounding the Shorei school of kata is that these karateka were mostly inland farmers and the long plodding pace of their movements was best for long days of planting and work in the hot sun.
Empi is the other extreme. The rhythm of this kata is fast, the movements whip the karateka through combinations. Because of Empi’s rhythm it lends itself more to the younger karateka with its acrobatic jump and constant movement. This kata is another which has become shorter in duration over the years and is generally performed in less than 50 seconds as opposed to Funakoshi and Nakayama Sensei’s 60 seconds. This is likely also a result of this kata’s use in sport karate. Sport karate has pushed the rhythm of many kata to make them faster and more acrobatic. Empi is anaerobic and its 37 movement are almost all completed quickly. The Shorin school this kata comes from is said to have developed from the fisherman in Okinawa who were more accustomed to casting nets and had higher stances than their farmer counterparts.
In self defense rhythm plays a subtle but important role. The rhythm and tempo of a confrontation must be controlled carefully. Fast, frenetic movements will stimulate a frantic response from an opponent while controlled and relaxed movements can calm a situation. The karateka must be able to read his opponent and manipulate the rhythm of the confrontation to his benefit.
Karateka must also be aware of others effect on us. Most confrontations in the street are over quickly once they have moved to physical violence. The goal is to avoid such confrontations and this can often be accomplished by the use of rhythm in our speech. By speaking slowly and softly with respect and deference most confrontations can be defused. Funakoshi Sensei used this method as a first line of defense in many situations. He was singled out for his ability by his instructors as he relates in his autobiography a particular walk home from a moon viewing party. He was sent by Master Itosu to speak to their, would be assailants. “Perhaps, this is a case of mistaken identity?” he said, knowing very well that he and his group were perfectly capable of defending themselves against these men. This is an example of the diplomatic use of karate’s other weapons; calm demeanor, control over natural fight/flight response, and clear thinking. By dictating the rhythm of the confrontation Funakoshi Sensei avoided what could have been a costly altercation for both sides.
It is important for us to understand rhythm not just as an aspect of karate but is an integral part of how we relate to the world around us. Humans see the world in terms of patterns and events. Our day to day lives are structured by rhythm; wake up, eat, work, train, sleep, repeat. We walk with a rhythm, one foot in front of the other again and again. Our hearts beat with a rhythm that structures everything down to the music we listen to. Because rhythm pervades every aspect of our lives, a deep understanding of this rhythm can give us greater insight into our karate. It can also help us to understand when the rhythm must be changed.
Breaking rhythm on ones own terms allows the karateka to create openings. Becoming focused on or lulled into rhythms is the ultimate trap. Once lost in a rhythm an opponent become completely vulnerable. This is a concept which warrants deep study. This is a concept which pervades the art of Judo. The ultimate goal of Judo is to break the opponents balance and throw him to the ground. This is usually accomplished by breaking the rhythm of his movement, or by changing the rhythm of ones own movement so that it disrupts the opponent. This is an important lesson for all martial artists.
To create an opportunity to end a conflict, we must render our opponent vulnerable. By changing our rhythm we are out of sync with our opponent and openings become available. To understand karate one must understand rhythm.