How do you approach forms (Kata / Taolu) within your style

[Ron Goninan]

How do you approach forms (Kata / Taolu) within your style or art?

 

Do you teach the forms meaning (i.e. Bassai Dai ~ "To Penetrate a Fortress, major")? How do you define this?

 

What methods do you use to transmit the forms? Do you teach applications? If so, how do you approach this aspect?

[Birch]

Do you mean more MA stuff?

I only do qi-gong and emptiness meditation.

 

Qi-gong IMO has forms for a variety of reasons and I figure I understand why working with forms in qi-gong is a "good" idea.

 

Emptiness meditation has forms on its edges and if all goes well, then the edges disappear.

 

I think it probably depends on your understanding of how forms originate and what they have as effects. I guess.

[Nanashi]

I practice rigorous amounts of kata in my personal kenjutsu training, but not for repetition's sake-- I intuitively use what feels powerful, quick, or "right" during spontaneous kata moments, then focus on those movements to understand how effective it would be.

 

I am assuming the intuition comes from natural momentum through certain pivots.

[doc benway]

How do you approach forms (Kata / Taolu) within your style or art?

 

Do you teach the forms meaning (i.e. Bassai Dai ~ "To Penetrate a Fortress, major")? How do you define this?

 

What methods do you use to transmit the forms? Do you teach applications? If so, how do you approach this aspect?

This could be a very long response but I'll try to stay focused -

 

I. Do you teach the meaning? In my styles (Taijiquan, Xingyiquan, Baguazhang) the name of each form doesn't do much for me and I don't make a big deal out of it with the students - the names of the forms are mainly descriptive (Yang Style Long Form, Chen Pan Ling's 99 Forms, Seven Star Linking Form, Stable Body Pounding, etc...). It's a little different from the Japanese form names. Each individual posture, however, has a character (Hanzi) that can provide insight, especially in Xingyi (splitting, pounding, smashing, etc...). In Taijiquan, there are often two or more postures that look identical but have different character names. This generally implies that there are differences in terms of how the posture is applied and that is something I'll emphasize. I've always asked my teacher for the Hanzi to describe the various forms I've learned. I've then translated them into English and pinyin. If I have a diligent student who asks me for my translations, I will share them. Most don't ask so I don't bring it up. I've learned an enormous amount from the process of translating and studying the characters but has it really improved my proficiency and skill in the arts? Probably not. My teacher would probably tell me the time would be better spent practicing.

 

II. Methods to transmit forms - We generally teach forms first. This is done through demonstration and imitation with lots of drills along the way. The students must be very proficient in forms before beginning their serious training of applications (especially true in Taijiquan). I will often use applications to illustrate proper posture and movement in the form but very little application work for the first few years. Once it is time to work on the martial aspects, the applications are taught as a set of martial drills emphasizing the basic techniques of the style. These techniques are drilled for years to achieve proficiency. They're then expanded on with more complex footwork, combinations, joint techniques, and throws and so on. I encourage students to get together as often as possible before and after and between classes to work on this stuff. It takes endless practice to master as I'm sure you know. Most don't bother to practice enough outside of regular classes and that's fine. The ones that do are the creme de la creme and it shows in their technique. They usually become future instructors.

[Nanashi]

Steve, that sounds fascinating. I would be interested if you posted these translations, and maybe draw corresponding diagrams (if possible). How interesting and fulfilling your study must be.

[doc benway]

Steve, that sounds fascinating. I would be interested if you posted these translations, and maybe draw corresponding diagrams (if possible). How interesting and fulfilling your study must be.

There's a wonderful book called How to Grasp the Bird's Tail If You Don't Speak Chinese. It's a study of the Yang Style characters broken down into radicals. Very good stuff. I'm not sure if I'm interested in publishing the product of countless hours of work on a forum. Let me think about that. I'm fairly selfish about who I share this material with. Generally I reserve it for students and fellow instructors who I think are dedicated enough to appreciate it. Nothing personal - just how I feel about it.

[Nanashi]

Heheh, indeed. I've been training in swordsmanship and bagua intermittently for over the past decade, and have only recently formalized my own style. After I spend the next 10 years mastering that, maybe I'll look in teaching others, but for now I prefer anonymity and the journey.