Hebi-Do Kata 1
Earth: Elbow and Knee
Attacks
Upon learning the basic moves in
a kata, most students assume
that it is proper to move to the
next kata because the movement
in the next kata may seem more
intense; they look “cooler,”
“snappier,” etc. Use any
adjective you wish. Though the
moves in Hebi-do kata may appear
simple and almost without grace
or finesse, the concepts
underlying it are the most
important you will ever learn.
The innate ramifications and
esoteric elegance, which will be
explained to you during the
analysis sections, cause Hebi-do
kata 1 to be a
full-blown combat form—nothing
less, and it must be treated as
such. With practice and study,
you will acknowledge it as such.
If you do not understand what
Hebi-do kata 1 is about, there
is no way you will ever
understand the 2nd,
3rd,
4th
,or
5th
,
other than the specific moves,
or for that matter, any kata.
All concepts and theories of
Hebi-ryu karate-do are revealed
in this first kata.
Understanding the concept is
crucial. Then the moves become
matter of fact. Hebi-do kata 1
is broken down into sequences
that will enable you to put each
set of moves together in
functional form. It is suggested
that you have physical control
and understand the idea of each
sequence before proceeding to
the next. In this manner your
actions will flow with ease and
grace through the entire form.
Visualization
Visualization of an actual
attack coming in is imperative
if you are to understand the
realities of practical combat.
You cannot normally go into the
street and practice on
passersby, but you can come to
terms with its variations of
reality if you start slowly and
“see” the attacks coming in.
This is very important if you
are to get anything at all out
of training in Hebi-do, or for
that matter, in anything you do.
To develop the ability to
visualize the attacks, you must
start slowly and “see” the
attacks coming in as well as
visualizing your technique in
dealing with them. This takes
time, though not that much. It
is essential to understand and
develop this concept.
Hebi-do 1 begins with a normal
front facing stance with the
hands in fist form held to the
front. Any variations of the
opening are acceptable, but they
must be in context with the kata
philosophy itself. This means
that you may start from any
position that your particular
school requires as long as you
can move into the first sequence
properly.
This kata is sub-titled “elbows
and knees.” When you are able to
attack a target with your knees
and elbows with ease and
sophistication, you will have
come to understand the ideas of
going into the target and
moving forward. As well,
attack/no-attack becomes
evident in your overall
demeanor. Elbows and knees take
courage to apply because you
must go “into” the target and
not permit fear to cause
hesitation in your approach. As
a result of a proper approach,
you will have a tendency to
attacker harder and faster,
which is always to your
advantage.
Sequence 1
Movement
Inhaling deeply into the abdomen
and exhaling forcefully during
the entire sequence, attack to
the left with an inside middle
hammer fist deflection, palm
down while using the left leg as
a defensive gesture in the event
of a kick attack. Immediately
execute a lunging right knee and
rising right elbow strike.
Continue this attack with a
right backfist to the face and a
stomping right foot to the
target’s instep. Execute a left
reverse and right lunge punch
bringing the left hand behind
you as a deterrent to an enemy
approaching from the rear. Drop
into a left diagonal stance
utilizing peripheral vision to
the fullest extent with the left
leg rearward.
Analysis
The entire sequence is done as
one motion and enables you to
develop the attitude of going
into the attack. It is essential
to be facing directly into the
enemy’s face when you make turns
and shifts in position. If you
don’t do this, you will be
off-center and will miss the
target of your own attack’s
intent.
Keep in mind that the first
sequence IS NOT a left
deflection followed by a right
knee, then a right elbow, then a
right stomp, etc.
It is done in one continuous
movement and is not broken up
into smaller segments. In
Dojo no Hebi karate, the middle
inside deflections are performed
with the hammerfist palm down.
The small finger side of the
wrist is stronger than the thumb
side and will avail you more
power as you drive in with your
attack.
The knee and elbow also serve as
deterrents to an enemy’s
reflexive defense and is at the
same time a penetrating double
attack. (Note that the elbow
strike comes directly up into
the enemy’s jaw and is not
executed from the side that can
cause you to be unnecessarily
exposed to an incoming punch.
The knee does not come around in
a circular motion. It drives
straight in.) The back fist to
the top of the head or middle of
the face is a natural
continuation of the elbow strike
prior to the two punches. The
stomp nails the enemy’s foot to
the ground. The back fist and
the stomp are a two-step aspect
of your attack done with one
exhalation.
Breathing is done as one breath
for the entire sequence. The
life force, or “ki,” must be
focused in order to penetrate
the enemy’s defenses and
exhalation of the breath must
develop into a fierce guttural
“kiai” and not a high-pitched
scream. The opening deflection
to the final lunge punch strike
and rear deflection must be done
as one continuous move with the
appropriate changes in step. The
knee, elbow, backfist, and stomp
increase the depth and
penetration of your attack when
executed with resolve and
commitment. Consider the
possibility of going deeply into
the attacker and only using the
knee, elbow, stomp, and
backfist. The rear deflection
with the leg moved into position
is an aspect of
zanshin, awareness, and
should be developed as such.
The entire sequence is done as
one continuous move. It is not 2
moves nor is it a 1 + 2 + 3 + 4
combination. All motion must be
fluid, quick, and powerful. To
develop the power needed to
bring off this type of attack,
you must practice by adding one
technique at a time until the
entire sequence is accomplished.
If you execute with more than
one attitude of attack, your
posture, stance, and commitment
are wrong.
Make certain you understand what
I mean by having proper balance
to execute correctly. It is
essential to be firmly rooted.
If the sequence is not done in
one move, then there will be
hesitation between movements
regardless of your speed and it
will show as a lack of
conviction in your attack. This
example should indicate to you
why people complain about kata
moves not working. There must be
total commitment to the
application of the technique. If
there is not, then you can
practice from now until doomsday
and you will never effectively
or efficiently use the
techniques correctly in combat.
Sequence 2
Movement
Without changing position, and
inhaling deeply after extending
the left arm as a low deflection
(you have already turned 180
degrees to the left in a
crouch), use the left leg for
target orientation and move
forward with the right leg
raised as a kick deflection
while executing a right inside
hammer fist as a punch
deflection. Execute a driving
left rising elbow strike and
left knee attack continuing into
the left backfist and left
stomp. Fire a right reverse
punch and left lunge punch to
finish the attack sequence.
Analysis
This is a mirror of sequence 1.
The rear deflection while
crouching considers the
possibility of an incoming
attack. You thwart a potential
intent during the 180-degree
turn while maintaining a low
stance because you
don’t know what level of
attack may be coming. This
position enables a low, middle,
or high defense and will be
developed in the improvisation
section. The low stance enables
you to “spring” into an attack
with the help of the left leg.
The middle deflection enables
you to change height instantly
to ward off a high or middle
attack.
At this point you have
theoretically “killed” two
enemies. Continue to practice
sequence 1 and 2 as one move
until you completely understand
their implication. Understand
WHY you are making these moves,
which is to deal with 2 attacks
while changing direction. If you
do not practice with the correct
attitudes of destroying attacks,
then it is foolish to continue
with the kata, or for that
matter, karate. There is no
other reason to practice these
martial arts moves.
Form is essential in practice.
It enables you to perfect your
sense of self during enemy
destroying attacks: functioning
with correct balance and posture
to execute properly. Examples of
this are that the feet must
always be pointed towards the
target and shoulders must never
be extended in an attempt to
reach the target because you
will be firing outside of your
range. Approach the target with
the torso and synchronize your
hips with the steps and strikes.
Remember that karate is not for
fighting (in the limited sense
of the word) and it is not for
self-defense in the manner
generally taught and thought
about. It is specifically for
destroying attacks in combat
situations. Contemplation of
this attitude will enable you to
understand what you are doing.
Karate is not a game and it is
not a competition form for
trophies. It is a “way” of
being. There is no other reason
to use it. That is why the true
warrior does not get into
“fights.” Fools fight in an
attempt to show off who is
stronger and faster. Their egos
are small. Develop a big ego and
supreme self-confidence through
practice, meditation, and
visualization. Then approach
your everyday affairs with moral
self-righteousness and continue
to go forward.
Sequence 3
Movement
Turning 90 degrees to the left
in a low stance, execute a left
down deflection as an extension
of the previous left lunge punch
in sequence 2 and snap into a
left rising deflection in the
manner of avoiding a kick and
high punch attack. Continue with
a right lunge punch, half step
left straight punch, right lunge
punch, and a final left lunge
punch all in one breath with a
powerful “kiai.”
Analysis
In combat situations you must
commit to your attack and focus
through the moves you make
remembering that kata sequencing
is for combat situations. You
must follow through with
complete devotion to the
“moves.” This sequence enables
you to accept and release great
energy while performing a set of
6 moves as one attack. This
develops your ability to chase
an enemy in retreat while
continuing to go into the
attack.
The reason for the halfstep is
because when you are chasing an
enemy in retreat, you may be
moving faster than the target
and can become entangled with
the target’s body. The halfstep
enables you to maintain control
of your balance by forcing a
redirection of your own intent.
You do not always “fight” on a
flat surface, so practice of
this seemingly awkward step will
enhance your ability to proceed
over rough terrain as well and
eventually will develop into
muscle memory. Strive to make
your feet flow smoothly.
Sequence 4
Movement
Turn 90 degrees to the right in
a low stance using the right leg
as a deflection with correct
form while delivering a strong
right knife hand deflection
(deep towards the shoulder of
the target) immediately raising
and thrusting the open palm into
the enemy’s face. Step in with
the left knee, elbow, backfist,
and stomp. Execute right
reverse, and stepping in, left
lunge punch dropping the right
hand behind you as in sequence
1. Develop a “kiai” from the
beginning to the end of this
sequence.
Analysis
In this sequence, as in all
sequences, you are driving into
the enemy most aggressively.
This committed move forces the
enemy back so you can protect
yourself from an incoming rear
attack. The turn to the right
must be kept low and must be
executed quickly while you
maintain awareness through
peripheral vision of any
possible attacker or attackers
coming from the left. Do not
forget to penetrate deeply. Do
not forget to “kiai.” The
sequence is done as in all
Hebi-do sequences, as one move,
and must be performed with good
balance and posture or you will
be ineffective and have no
balance or poise moving into the
next sequence.
Sequence 5
Movement
Turning 180 degrees left
executing a left knife hand
deflection as in sequence 4
using the left leg as a
deterrent against a possible
kick. Continue the penetration
as in the last sequence with the
left palm and knee. Continue
with the right knee and elbow
attack into the backfist and
stomp. Execute a left reverse
and right lunge punch.
Analysis
The differences in sequences 4
and 5 consider the fact that you
will not always execute the same
technique even if situations are
the same. Maintaining full force
and authority is essential
throughout performance of kata.
You must believe in your actions
and execute correct form and
balance. Continue to think in
terms of going into the attack
remembering that you can only
“fight” the way that you
practice.
The intensity of the attacks in
sequences 4 and 5 must indicate
your developing intentions
growing out of the previous 3
sequences. This is a mental
attitude that develops over time
based on your will to succeed.
It is not a physical exertion.
To strain yourself is incorrect
in that you begin to lose
control, which begins by shallow
breathing. Put extra resolve
into the kata at this point if
you are beginning to tire.
Maintain commitment. Do not look
for speed, but rather quickness
and excellence of execution.
Sequence 6
Movement
Shift 90 degrees to the left
executing a middle palm down
defense and extend it into a
downward deflection to a low
position in the manner of
releasing an enemy’s grip on
your wrist with the attitude of
going forward. Without stepping
in, switch leg positions and
execute a downward right
hammerfist strike as if breaking
the enemy’s grasp of your left
hand and fire a left reverse
punch. Step forward with a right
lunge punch, half step left
straight punch, right lunging
knee and elbow, and finally, a
left lunging knee and elbow.
Develop a fierce “kiai”
throughout the sequence.
Analysis
The addition of the extra block
to break the enemy’s possible
grasp of your arm trains you to
act instantly to thwart an
enemy’s attempt to redirect your
spirit. Your endeavor is to
break the attacker’s grip with
this downward strike. You can
also break his wrist and hand if
you strike with authority and
conviction.
The switch in stance gives you
the added ability to “spring”
into the attacker with full
conviction. You should take care
that you do not jump up and come
down with your body weight when
executing the switch. Always
maintain the same height.
The follow through of punches,
knees, and elbows has the same
intention of chasing the enemy
in retreat as in sequence 3.
Equal force and intent should be
applied when executing technique
from either side of the body
with either left or right hands
and feet.
Sequence 7
Movement
Step forward diagonally to the
left with the right leg and turn
225 degrees to the left while
executing left lower (palm down)
and right middle (palm up)
outside deflections instantly
followed by a right front groin
snap kick and a charging left
lower abdomen reverse and right
lunge face punch.
Analysis
Maintain the attitude of
going forward and
going into the attack regardless
of the direction your body is
moving in. This turn is used to
develop the agility needed when
forced to make awkward moves
specifically if you are being
rushed from behind. The two
deflections are used to protect
against a kick and punch attack.
Your kick opens the enemy
enabling you to penetrate with
the two punches that are fired
as extensions of the kick. The
punches develop the ability to
blast the attacker with body
punches and no more than 2
should ever be necessary. All of
the sequences in Hebi-do 1 are
realistic approaches to street
situations.
Sequence 8
Movement
Turning 90 degrees to the right
and maintaining a low stance,
execute a right lower and left
outside middle deflection.
Execute a left front thrust
kick, middle right reverse and
low left lunge punch. Step back
to starting position.
Analysis
Whenever you practice a mirror
image technique, care must be
given to put as much into it as
into the previous sequence.
Different parts of the body
function differently even when
you are doing the same
technique. Do not favor one side
of your body over the other.
Developing Kata
Performance
Kata is a series of moves
forming sequences that comprise
a simulated combat scenario. The
full kata should take no longer
than 30 seconds. Strive for this
basic time goal and eventually
bring the time down to
approximately 20 seconds. Keep
working towards the goal of
no time and no space. In a
perfectly performed kata, the
starting floor position should
always be the same as the ending
position, and though this takes
considerable practice, it is
possible, and you should strive
for this aspect of execution.
Eventually, you will want to
execute the entire kata without
moving more than 3 feet in any
direction. This is the ideal, at
which time you will have become
enlightened of purpose.
Hebi-do kata 1 is described in a
series of eight sequences. The
objective in learning any kata
is to compress the activity of
movement and, at the same time,
enable you to become more
effective and efficient. To make
the kata easier to deal with,
begin with the moves in sequence
1 first. When these moves become
one action, then proceed to the
moves in sequence 2, etc. When
all of the sequence transitions
are smoothly executed, then
execute the individual sequences
1,2,3,4,5,6,7 and 8 into 1
sequence using correct “ki:”
breathing, posture, and balance.
Do this until the entire kata is
performed as one combat
meditation experience. This is
the only way to perform kata.
To further illustrate this idea,
sequence 1 + sequence 2 become
1,2 and both then become 1. This
means you practice 1+2
separately, combining them into
1 sequence. Then, 1 (1,2)+3 =
1,3 = 1, after 1+2 become 1, add
3, eventually making 1,2,3 = 1
sequence. This approach
continues until you have
1,2,3,4,5,6,7,8 = 1. The idea is
to bring the kata under full
control by incorporating the
different sequences into an
actual battle meditation. I
break Hebi-do kata 1 into three
sections at an early level of
training by executing sequences
1,2,3, then sequences 4,5,6,
then sequences 7,8. The ultimate
aim of kata is to perform with
authority and correct attitude
the entire kata as one combat
meditation while completely
understanding the reason for
each of the tactics in the
sequences. It is essential to do
this, otherwise you will simply
be flailing your arms and legs
around trying to imagine that
you are in control when in
actuality you are not. Breathing
and utilization of correct
rhythm will enable you to
execute to the end of the kata
without loss of breath or
control.
Improvisational
Development for Kata
Once you are proficient with the
sequences, they should be
incorporated into a daily
training schedule to increase
proficiency of technique. This
enables you to use specific
technique from the kata in
various simulated combat
scenarios. This is how style,
technique, and self-defense
concepts develop. Visualization
is an essential requirement for
work in this format.
The way to develop improvisation
is to do the entire kata as
explained without stopping while
executing variations of sequence
format. As an example, though
the kata is broken into eight
sequences in the order of
1,2,3,4,5,6,7,8, each of these
sequences can be used in any
order, i.e.,
1,3,6,4,7,8,5,5,4,6,3, etc.
By working the sequences in a
random pattern, the student
becomes able to use the
techniques in any order and does
not have to rely on a specific
set of attacks in a given
situation. Improvisation can
last as long as you can last and
will certainly enhance the
ability to work in any direction
with any combination. When you
finish with improvisation, the
original kata should be repeated
in the prescribed form. For
maximum performance, endeavor to
end the kata as close as
possible to where it began. It
is most important to use ONLY
moves from the kata without
bringing in moves from other
kata and thereby losing control.
An additional result of
practicing in this method is to
get full control of the actual
moves and being able to use them
in so-called “self-defense”
situations. Additionally,
improvising kata takes on a
meditational aspect that
increases the student’s
awareness of his or her
individual “warriorness.” It is
suggested that once the
sequences are controlled and the
practitioner is fluid in motion,
music be used to enhance the
pleasure of kata performance.
Variations of Technique
After a period of time, the
student will feel comfortable
with the prescribed moves both
formally and improvisationally.
At this time it is suggested
that variations be brought into
the exercise. Instead of
practicing with the down
deflection as in sequence 3 and
6, rising deflection technique
might be employed. The idea is
to get totally familiar with the
entire gamut of possibilities
within the structure of the kata.
For example, there is no
roundhouse or side kick in the
first kata, but they can be used
where kicking is called for,
though they should not be used
indiscriminately as this will
only cause a loss of focus on
the goal of the kata itself. It
is vital to use only the
movements from the kata, even
though you are using variations
in deflection, punch, and kick
combinations.
Do not permit yourself to lose
control with unnecessary amounts
of punches, kicks, etc. If you
use seven or eight punches in an
attacking technique, it is
because you didn’t execute the
first one properly. Maintain the
goal of completely understanding
the kata. You will find that
“street self-defense” becomes
matter-of-fact when it must be
used.
Once all of the above is
understood, and the student
functions with ability,
sequences should be practiced as
definitive attacks, offensively
and defensively, and with a
partner if possible. Attacks
should be executed with
exactness. In this manner the
student instinctively learns to
use the techniques taught by the
kata. Individual sequences
should be practiced in one-step,
semi-free, and free-style
format.
