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    Bassai Sampler

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    hazard123
    This document provides an overview and analysis of the Bassai kata practiced in karate. It explains that Bassai is one of the most prevalent katas, found in styles like Shotokan, Shito Ryu, and Taekwondo. The document delves into the meaning and origins of the kata's name. It also analyzes several techniques in the kata, explaining their intended applications in self-defense and noting how some interpretations taught in modern karate may overlook the dangerous techniques the forms were meant to preserve.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Bassai Sampler

    Uploaded by

    hazard123
    149 views4 pages
    This document provides an overview and analysis of the Bassai kata practiced in karate. It explains that Bassai is one of the most prevalent katas, found in styles like Shotokan, Shito Ryu, and Taekwondo. The document delves into the meaning and origins of the kata's name. It also analyzes several techniques in the kata, explaining their intended applications in self-defense and noting how some interpretations taught in modern karate may overlook the dangerous techniques the forms were meant to preserve.

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    Karate Bassai Kata

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    This document provides an overview and analysis of the Bassai kata practiced in karate. It explains that Bassai is one of the most prevalent katas, found in styles like Shotokan, Shito Ryu, and Taekwondo. The document delves into the meaning and origins of the kata's name. It also analyzes several techniques in the kata, explaining their intended applications in self-defense and noting how some interpretations taught in modern karate may overlook the dangerous techniques the forms were meant to preserve.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    149 views4 pages

    Bassai Sampler

    Uploaded by

    hazard123
    This document provides an overview and analysis of the Bassai kata practiced in karate. It explains that Bassai is one of the most prevalent katas, found in styles like Shotokan, Shito Ryu, and Taekwondo. The document delves into the meaning and origins of the kata's name. It also analyzes several techniques in the kata, explaining their intended applications in self-defense and noting how some interpretations taught in modern karate may overlook the dangerous techniques the forms were meant to preserve.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 4

    Black Belt Study Group

    Masters Series

    Bassai
    This Book
    The purpose of this document is to remind practitioners of the Bassai kata and how to get
    the best from them. No publication can teach a kata and its applications; this can only be
    done by a qualified instructor in a time set aside for tuition.
    This document can help to jog the memory and provide inspiration for further study of one of the greatest exercises in karate.
    The Bassai kata is one of the most prevalent in martial arts. It
    occurs in many different styles with only slight differences.
    This in itself shows a common root to the traditions which
    share Bassai. Known variously as Patsai, Passai, Bassai Dai,
    or other variations, this kata can be seen in Taekwondo, Shito
    Ryu, Goju Ryu, Kyokushinkai, Wado Ryu, and many other
    styles of karate. Different Sokes have placed the emphasis
    on different techniques, but truthfully, they are all Bassai.
    The version shown within heralds from Shotokan, nominally
    the style of Funakoshi Gichin, credited by many as the father
    of modern karate-do. Certainly, many movements within
    Shotokan have become homogenised and made safe for
    practice by school children. This does not mean that the old,
    dangerous techniques are removed, just that their applications
    have merely been overlooked in favour of simplistic
    explanations and hidden in order to favour the aesthetic
    required for competition.
    The writing shown here is the Kanji for Bassai Dai. Originally
    it would have been written differently, but Funakoshi chose to
    write it in Japanese (which was a foreign language to him).
    The term is made up of three characters:
    the last one is Dai, meaning the greater part, major (as
    opposed to minor), or great (as in Great Britain).
    The first character is Batsu, meaning to extract or re- Bassai Dai, written with
    move.
    Japanese Calligraphy
    The second character is Sai which is usually translated as Fortress but more likely means obstacle or blockage.
    The usual given translation in the west is To Storm a Fortress, Major Version. We
    might think of it more literally as the major way of removing obstacles.

    The tate shutouke which seems to precede a punch which is then followed by a block
    makes a mockery of the idea that kata would decisively end a conflict.
    Firstly, the distance is clearly incorrect for the attacker to attack. This punch did not have
    to be blocked.
    If you hit someone then why do you need to subsequently block their next attack? Did
    you fail to hit them properly? This is, of course possible, but not something that the masters of old would codify for us to remember as a core article of their teaching. Yes, if you
    fail to end the confrontation with one defence/retaliation then you must be prepared to
    continue; but this isnt a good reason for moves like this in kata. Students should practice
    for success, not failure.
    This combination ignores the starting position of the hands placed at the hip. This ready
    position is apparently redundant. Why keep it then? (Answers over the page.)
    If the attacker is able to attack again (necessitating your subsequent block) then why
    doesnt he just hit you again? If your blows are this ineffective why arent you presented
    with an alternative strike which might do better (and not lead to you having to block fur61

    3) Though often overlooked, the starting cup and saucer position is actually an effective defence all on
    its own!

    Having avoided a punch, the attacking arm is latched


    and pulled to the hip. Once located securely at the hip,
    the wrist is seized by the right hand and the fist bent upwards to gain compliance. Usually, it will be found that
    the fist opens due to the energy flooding to the hand.
    Control of the wrist is achieved through the attacker feeling like he has given up. The short-circuit of his intention and subsequent concern for not having his face fall
    into the floor tend to manifest as a degree of compliance.
    This is codified in the kata as a wrist at the hip with a
    hand placed at right-angles to it directly above it.
    This is a smooth continuous action that yields with an opponents force and re-directs it to a position of relative
    security.
    The location of the left elbow above the opponents right
    elbow effectively prevents them from struggling.
    The meridians affected
    are the fire meridians on
    the outside of the arm,
    and then, on the latching
    action we combine them
    with metal points to make
    our classic Fire melts
    metal combination.
    If possible, we seek to put
    pressure on the LI3 point
    of the index knuckle.
    Extra pressure can be applied, depending on the ability
    level of the defender by seizing the ring finger and little
    finger separately from the other two fingers and applying
    pressure on them at separate angles to the hand.
    An important point to remember is to vary the pressure/
    pain applied to the joints, as any constant pain can eventually be resisted.
    Note that the action of the kata takes place after having
    avoided an attack. And that the turning-pulling up motion is what achieves the result.

    62

    12) Unfortunate enough to be restrained in a


    headlock we must be prepared to bite and
    gouge our way free.

    Lets face it, we shouldnt really find ourselves


    in this situation if our zanshin is good! Then
    lets also face the possibility that we wouldnt
    need any physical skills if our zanshin were
    that far evolved, and that our physical skills are
    only necessary because at some stage someone may get the better of our zanshin.

    There are many routes out of this situation,


    and one must not overlook the importance of
    struggling to keep the opponent off-balance or
    biting into the delicate rib area to aid the release. Turning the head will also help to keep
    the airway clear.

    The hand which is next to the opponent can


    easily reach around and find GV26 by feel
    alone.

    Our other hand strikes with a hammer-fist into


    the bladder/dantien area (CV4). In practice
    this strike must not be performed on females
    in even the most gentle fashion. This area of
    the body is too precious to risk.

    The hand under the nose must not just pull


    backwards, but should feed through a 45 degree angle upwards and backwards.

    Notice that this application makes good use of


    the pulling back feeling following on directly
    from the double punch of the kata.

    95

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