How often do you perform a kata movement and think, 'What on Earth could this be about?" Times change and so does the nature of karate. We are better off working with kata movements in a modern context than trying to guess the original intention of the technique. So why not do a little research and experimentation of our own?

The term bunkai means to break down and study. Anyone with a little imagination and common sense can contribute to this area of karate as long as you understand the basic principles that hold kata together. You can begin by learning the interpretations created by other people, or better still, discover how they added meaning to the techniques.

We can start with a simple example. One principle of bunkai relates to the angle of your movement. The opponent is not necessarily coming from that angle (although he could do), but the pattern shows you the best angle to stand in relation to him. More often than not the best angle allows you maximum effect while reducing the opponent's options. A good strategy involves turning the opponent's centre line away from your own while you maintain an advantageous position. From there you can bring all your weapons into play while he is restricted to perhaps just one side.

Armed with this knowledge and a few examples you can now have a go at creating some interesting applications. Think about the following alternatives.

First, define what your opponent does. You could decide upon a common type of attack, perhaps a lapel grab and punch.

Secondly you could work the technique from your end. Ask yourself "Are there any significant clues in the movement?" - look out for mechanical efficiency, grabs, turns and twists or body movements to amplify the effects of a strike.

You don't have to take the entire kata movement and use it literally. Get the feel for the movement, the idea behind it or take a small segment. Another good example would be the first set of techniques from pinan shodan/heian nidan. How many options are covered within the three basics movements (raise arms, pull inwards, shooting outwards). Look at the whole body movement including the stance. Do not be locked into the arm actions alone.

Allow your training partner to make his attack slowly. Start by performing the kata movement as you might see it when training solo. Does that help? How can you make the movement more effective without losing the essence of it? How does changing the angle and line of attack affect the application?

You'll probably find that transition and "in-between" movements in the technique will stop, redirect or off-balance your partner and the end movement represents your counter blow, tie-up or throw. What further options are available afterwards?

Work with a number of alternatives and see which is best. Then swap roles so that you are now the attacker and your partner must find a suitable response. When you are both satisfied test out your applications by showing them to someone else. Can they make them work too?

Incorporate the application into your combat drills, flow drills and progressive sparring. If it still holds out as you pile on the pressure there is every chance you have found a winner. Train as close to reality as possible with a partner you don't normally work with. Be sure to train under as-near-to-live conditions as you can. It's better to find a flaw in the application now than outside in the street.

As a final check ask yourself if the application fits in with the essence of the kata or your system and if all the basic principles are adhered to. Is the technique easy to perform? Does it put you at a position of advantage? Is there a back-up in case it goes wrong? Can it be used against variations of the basic attack?

Fun and play are an important part of the learning process. So play with your kata! Training in this way helps you uncover the principles and perhaps remember the form better. And of course there's the satisfaction of creating something for yourself and your colleagues.