I will start this article with the typical disclaimer. These are my opinions; how I teach and train my students and friends in the art. These examples and ideas are mine, they were developed through my training and experiences with many different teachers and friends. This is where my perspective lies at this point in time and I'm sure my views on this subject will change as time passes and I see different things. When they change significantly I will amend this article with a new outlook. While many of the Bujinkan Big-Wigs will not agree with what I have to say, I am presenting this for those who have asked many questions on this subject.

In the beginning we, as ninjutsu practitioners, claimed that our 'system' had no kata. At the time, we called what we did Togakure Ryu Ninjutsu and all we had were training exercises. Eventually, it came out that we taught more than Togakure Ryu, and that we did have kata, although they were not 'kata' as most traditional stylists today think of them. During this period many practitioners hurried to learn this new information. After a few years what set you apart from the rest of the herd was how many kata you had in your notebook. Those people that didn't train kata were dinosaurs and weren't training 'true' ninjutsu. After this went on for a few more years, we shifted back to the first outlook and people who trained kata and sought out information were labeled 'kata collectors' and obviously weren't learning the art in a practical way. Now there seem to be two very divided camps of people training in this art in the U.S. Those who believe in kata training as it obviously preserves and transmits the art and separates the nine lineages we most commonly teach and train; and those who feel that training kata is training something that is dead and has no relevance to today's needs. Well let's examine these points of view and you can form your own opinion.

KATALESS TRAINING
It stands to reason if you spend all of your training time on waza and basic motions and concepts you should get rather good at the foundation of taijutsu. You will truly understand the reasons why things work and be able to apply them quite effectively.

KATA TRAINING
It stands to reason that if you train hours and hours on learning the different kata from the different ryu ha, you will be able to differentiate between the motions of each system and definitely be able to teach your students with confidence that you are transmitting this ancient art correctly.

KATALESS TRAINING
As training progresses, you begin to get bored with simple basics. You now start to combine the aspects of two or three waza. You create little training scenarios as the training gets more advanced. You change, you experiment with countering the basic motions you spent so much time trying to learn. You...Wait a minute, you begin creating kata. Hmmmm...

KATA TRAINING
You have studied for years learning kata. You know the scrolls backwards and forwards. If asked you can demonstrate the entire Koto Ryu Koppojutsu in it's entirety. As soon as your uke varies from the kata, you flounder trying to shift into another kata to make up for the change...that doesn't sound right does it? By making sure you 'know' the nine lineages you've lost the meaning entirely. Hmmmm...

It seems to me that many people try to create the art anew by creating their own training exercises, or kata, but yet they claim they don't train kata. Well, they do, just their own kata. But since these kata don't have neat names they're simply 'training exercises.' Then on the other side of the coin, there are the people who immerse themselves in the kata and try to become the art, but in actuality they get trapped in the scrolls. Losing sight of the true reality behind this art.

Here is what I believe is a happy medium. Train kata, and realize them for what they are. Training exercises that were created by the founder of the art to express ideas and concepts. They are a beginning point. The founder of that specific art had a point to get across, in order to do so he wrote an example down that conveyed said point. He named it with a name that he thought fit his purpose and then he moved on. If you look at these kata as a starting point you can do what the 'kataless practitioners' do in much less time. The examples are there for you. You just need to interpret them and see them for what they are. By doing so you also avoid the 'kata practitioners' trap of getting lost in the kata itself. Kata should be used to get a point across, once the idea or concept is learned leave the kata behind. Preferably in your notebook, so you can look back and remember what helped you learn that point or concept so when someone new comes along you can dust it off and bring it back out to help that person. Just like they did in the old days. From my viewpoint, kata are a trap - a trap that you have to disarm carefully. Many avoid the trap completely by spurning what it offers, others just blindly grab the treasure then become caught in it. Those who take a step back, examine it then see what is going on can reap the benefits without becoming trapped.

HOW TO TRAIN KATA
Now that we see that kata are a tool on the path and not the end of the path how do you train kata? I feel it is very important that each kata is examined and a basic point or concept taken out of it. Once that idea is identified then you can go anywhere with it. Let's look at some of the possibilities...

Kihon Gata - Train the kata in a basic manner. Wide looping uke nagashi motions, generally using the forearms rather than the knuckles. Leave some of the strikes out that aren't necessary to get to the point of the kata. Do it at a slow pace paying attention to your breathing and your own body.

Shinken Gata - Train the kata in a more realistic fashion. Shorten the distance, use the knuckles on the uke nagashi. Put more snap and speed into the strikes.

Tobi Gata - Train the kata with tobi added to the motions. Start at a greater distance, have the uke practice the attack while in mid-jump, and you the defense also in mid-jump. Place jumping into the kata wherever it seems it would fit.

Henka Gata - Change the kata. Change the attack, change the distance, change the viewpoint (uke is now actually tori and vice-versa), change the throw or joint lock. Try to keep the same basic ideas though.

After trying those ideas and experimenting you will see what works for you and what doesn't. This is done now so you won't have to wonder "Will this work?" on the street. That is what dojo training and kata training is for.

As I said in the beginning these are my ideas. If you disagree with them, good. As long as you have a reason and have actually thought on the subject, you are living the art as it should be. As a thinking living being.

Jeff S. Mueller is the Head Instructor at the Bujinkan Musha no Tomodachi Dojo in Bowie, Maryland. He has been training in Ninpo Taijutsu since 1988 and has traveled to Japan to train with Hatsumi Sensei and the other Shihan. He may be contacted via e-mail at: JeffM777@aol.com.