Passai Kata

One of the many bunkai from Itosu's Passai Dai kata - Adam (right) follows up with double high block to stop Ryan (left)
 from grabbing his throat and finishes Ryan with double back fist strike. This is just one of many bunkai possibilities for
 this part of the kata practiced by members of Seiyo Kai Shorin-Ryu Karate and Kobudo.

Members of the Seiyo Shorin-Ryu Hombu in Mesa, Arizona, are introduced to Itosu's Passai kata. In our system of Shorin-Ryu Karate known as Seiyo-Kai, members are introduced two different Passai kata: Passai Dai (大 dai meaning major) and Passai Sho (小 sho meaning minor). Passai is nearly universal in traditional karatedo schools, but the kata have many differences depending on the style of karate. Soke Hausel kept these kata intact.

The kata includes a variety of bunkai. Each ryu has their own variations of bunkai. Some historians suggest the kata was created by a left-hand martial artist; while others suggest it was designed to defend against an antagonist armed with bo. Soke Hausel noted that he sees no evidence the kata was created by a left-handed martial artist, particularly when there are more than a half-dozen movements that favor right-handed martial artists. 

As far as defending against bo? Soke Hausel claims there is no evidence for this. Anyone attempting to block a full-force strike from a bo with closed fist blocks like those in passai dai would spend a lot of time in the ER. Bunkai demos of Japanese Shotokan practitioners emphasize blocking bo, but Soke doesn't believe anyone in their right mind would survive such a strike. This is because the force of the strike of bo in flight would be greatly increased by blocking with an arm to yield an additive force of a head-on-collision between bo and arm. Visualize blocking a baseball bat swung at full force with your arm - your baseball career would be over. For those unfamiliar with Shotokan - Shotokan is variety of Shorin-Ryu introduced to mainland Japan by Funakoshi in 1922. 

As with many kata, the origin of Passai are obscure probably because karate was kept secret for hundreds of years with nothing written about the fighting art until it was introduced to Japan during the second decade in the 20th century. So, we are left to speculation as to where this kata came from, its meaning, and who was the author or authors.

The version of Passai we practice in Seiyo Shorin-Ryu is similar to the form taught by the Okinawan Shorin-Ryu karate masters Anko Itosu and Gichin Funakoshi. It is suggested the Okinawan kata is at least 400 years old based on a silk drawing of the kata that was analyzed using carbon isotope age dating. It is also suggested by others that the kata was originally a form named after a family on Okinawa.

But others turn to the translation of Passai to help find the origin for the kata. The kata is called Passai on Okinawa. On mainland Japan, it is called Bassai. The kata is also found in Korean martial arts such as Taekwondo and Tang Soo Do. In Korea, the kata is known as Bassahee, Bal Se, Pal Che, Palsek, Bal Sae, Ba Sa Hee, and Bal Sak. 

In Gichin Funakoshi’s 1922 book, the kata is referred to as Passai which was also the name used by Motobu Chōki of Okinawa in 1926. But for some reason, Funakoshi decided to rename the kata as Bassai in 1936. It is suggested “Bassai” was the Chinese pronunciation.

The meaning of Passai can be “to penetrate a fortress” or to “extract from a fortress”. The Japanese meaning of batsu is "to pull out or extract” while the Chinese meaning is "to seize or capture”. Additional insight comes from an interpretation of kanji for sai/soku which can mean “fort”. In the 1973 translation of Funakoshi’s book Karate-do Kyohan, the author refers to the kata as “Breaking through an enemy's fortress.”

This may be in reference to the power in which the kata (especially closed-fist blocks) is executed, as well as emphasizing power from hip rotation. The kata focuses on destroying an attacker’s defense with very strong and powerful blocks. When we practice this kata, we have a feeling of precise movements with fast execution of each individual technique, with attention to balance, speed and power. Remember the TV series ‘Tool Time’ - this is a kata that needs MORE POWER to be done properly! Each closed-fist block in the first half of the Passai dai kata needs every ounce of power, strength and speed you can muster. Your blocks should shake the walls of the dojo! If you practice this kata like tai chi (slow and with no power) you are doing yourself a great disservice and butchering the art. You need to feel the power and snap in every closed fist block!

So, it may be that the kata was an Okinawan family kata or had some other lineage. Even so, karate has its origins in Chinese gung-fu. After Okinawan martial artists learned gung-fu in China, they stream-lined or remove many of the aesthetic movements and deep stances, and developed a more pragmatic self-defense system. It is thought this kata also originated from Chinese boxing before it fell into the hands of Okinawan martial artists. This is supported by Gichin Funakoshi who stated that the form is “a Shōrin-ryū form derived from Chinese Shaolin styles”. 

Some historians point to similarities of Leopard and Lion gung-fu to movements in the kata. Okinawan karate historian Akio Kinjo believes the name of this kata originated from the Chinese term “bàoshī” meaning “leopard-lion” which is pronounced “bá-săi” or “pà-sai” in some Chinese dialects. Other historians see a resemblance to Wuxing Quan (Five Element Fist) gung fu. 

There are several Okinawan versions of Passai. The version practiced by members of Seiyo no Shorin-Ryu Karate Kobudo Kai could be termed Itosu no Passai Dai or Funakoshi no Passai Dai to imply the version of our kata was authored by these two great Okinawan karate men. Anko Itosu popularized karate by introducing it into the Okinawan school curriculum. Itosu was also known for modifying kata to fit his karate personality. He modified Passai Dai from the Matsumura version. The Passai who kata is thought to have been created by Itosu. Funakoshi, a student of Itosu, also modified the kata when introduced to Japan.

It is also interesting to note that Passai may have roots in Tomari village on Okinawa, simply because Passai dai begins with the right fist covered by the left hand, like other kata thought to have originated from Tamari, such as Jutte, Jion, Giin and Empi. This hand gesture is a common salutation in China. 

Watching some variations of this kata on videos just to see the differences employed by different karate schools. It is important to look at every variation because we can sometimes gain important insight into the bunkai. 

For the various kata bunkai, the initial stance in the kata can relate to a simple self-defense technique against a wrist grab. Other wrist grab self-defense applications are found throughout the kata and include single wrist grabs, cross-wrist grabs, double wrist grabs, as are defenses against kicks, punches, arm bar defenses, sucker punches, chokes, etc.

Training in Passai kata at the Arizona Hombu Dojo in Mesa, Arizona

The covered fist - a very nice beginning
to a powerful kata. Sensei Paula Borea
demonstrates Passai kata at the Arizona
Hombu dojo.

BUNKAI - The Essence of Kata

Bunkai from kata (self-defense). This application shows
up in several advanced kata.

Bunkai (practical applications) are every bit as important as the karate kata they are found in. The more one trains in kata, muscle memory, balance, speed & power will improve. And when one practices kata along with the bunkai, the better their skills will be in self-defense.

But it is important to take time initially to:

(1) Take your time to build muscle memory. As your body gains muscle memory, focus all strikes, blocks and kicks (blocks need to be as powerful as strikes, but use your head because some students can not accept powerful blocks).

(2) Speed up technique and perform kata and bunkai as fast and powerful as you can. Take a few seconds and watch some of the more impressive students in a dojo - what are they doing that makes them look so fast and powerful? You should be able to duplicate & even surpass their efforts - just put in as much energy as you can in your kata and bunkai. But make sure that the technique and stance are not sloppy.

"For the word of God is quick, and powerful, and sharper than any two-edged sword, piercing even to the dividing asunder of soul and spirit, and of the joints and marrow, and is a discerner of the thoughts and intents of the heart." Hebrews 4:12

You need to have focus even at the beginning of a new technique or kata. How you practice in the dojo, is how you will defend on the street. If you put in little effort, you are going to learn something, but you are also setting yourself up for a real shock if you have to use your martial art for self-defense. Take a look at any Tai Chi video. Do you think the performer of tai chi could actually defend themselves? Ask yourself. Am I fast enough to block a punch from an attacker? Can I knock down an attacker with one strike?

Another bunkai found in kata - this one occurs in Naihanchi shodan 

and others

As muscle memory kicks in when you are learning a new kata or bunkai, practice the bunkai and kata slow, but focus every single kick, punch and block. During the session, emphasize posture, balance & proper stance.

Next, do bunkai and kata with as much energy as you can muster - imagine defending yourself and you have to respond to your opponent with great force and speed.

When it comes to bunkai, it is important that after you acquire muscle memory to train with great acceleration and focus. We’ve all heard the gi sleeve and cuff ‘snap’ during class. This is your goal! Listen for that snap on every move in kata and in bunkai! The gi snap is an important training aid. But, protect your training partner by punching in the air next to him or her, that way when someone makes the wrong move, you both will survive.

Kata bunkai demonstrated at black belt clinic at the Arizona Hombu dojo by Grandmaster Hausel. Students claim
Soke Hausel is so fast that they cannot see the techniques until he make a concerted effort to slow down. This kind of 
speed and power results from training with power, speed and focus in all kata and bunkai.

Karate Kata and Zen in Arizona

It was in 1964, I walked into my first dojo (karate school): the Black Eagle Federation Dojo where Oyama's Karate was taught. We were initially told we were training in Goju-Ryu Karate, but later it was established we were students of Kyokushin Kai. It didn't matter to us, all we knew was we were learning karate. The dojo was small, musty and very primitive. The smell of stale sweat, blood and tears permeated the school. Not only did we learn to block as hard as we punched, we learned full contact karate and the only protective gear was an athletic cup: any part of the body was open to attack - groin, feet, legs, arms, chest and even the neck and face - we quickly learned to block effectively for self-preservation.

"Would you walk into a wilderness without a map? Then why would you consider karate without kata?" Soke Hausel

Karate in the 60s. Photo of Senpai Dan Hausel (and geologist) performing
'yoko tobi geri' at the University of Utah with Tim Smith (geophysicist).

It was the toughest training I ever went through - but I was only a teenager. Years later, I found basic training in the Army to be a breeze after karate. Later, when I was at the University of Wyoming, I discovered a martial arts association that was just as tough as Kyokushin Kai but more demanding. This association had the added benefit of learning a wide variety of martial arts - it was the best move I had ever made in martial arts - I applied for membership to Juko Kai International. At JKI, we trained in many martial arts, were taught extreme body hardening: the variety was very important to me as it made martial arts exciting and interesting.

"Kata can be liken to a GPS used to navigate through karate" – Soke Hausel

When I was at the Black Eagle Federation Dojo and later at the University of Utah Wado-Ryu Karate Club, we practiced kata: kata was shrouded in mystery. It seemed like we practiced kata for no reason other than to practice kata. There was no explanation to their purpose.

"The purpose of kata training is not to be bound by form but to transcend form and evolve."

Sensei Paula Borea and students train in Pinan Nidan kata at the Arizona Hombu, Gilbert and Mesa, Arizona.

It wasn't until much later, while a member of the University of New Mexico Karate Club, the University of Wyoming Shorin-Ryu Karate Club and at Juko Kai International, that I discovered kata contained everything one needed for self-defense, comprehension, training - it was like reaching enlightenment in Zen. Kata is a training method unique to traditional martial arts. It teaches power, balance, acceleration, mediation, self-defense and focus.

"If there is no kata, there is no karate, just kicking & punching", Soke Shoshin Nagamine (1907-1997)

In our system of Shorin-Ryu Karate and Kobudo, we have more than 70 kata. Each kata has its own bunkai (applications) and all students learn both the kata and the self-defense applications to progress. And both the kata and bunkai are not sacred. There are times of discovery that require one or the other, or both, to evolve.

"Kata is the origin of Karate. If there is no Kata, there is no Karate! Without kata, there is no martial art - instead it becomes nothing by primitive street fighting!" - Soke Shoshin Nagamine

"One must embrace thedo mu genproverb, there can be no end to learning and that karate begins and ends with the study of kata". Soke Shoshin Nagamine

Training in kobudo kata at the Arizona Hombu, Chandler, Gilbert, Mesa 
and learning bunkai (applications) for the kata below.

Hanshi Andy Finley from the Casper, Wyoming dojo trains with Sensei
Patrick Scofield from the Arizona Hombu.

Sensei Bill Borea trains with Dr. Neal Adam, Dai-Shihan, at the Arizona Hombu