平安四段 (Heian Yondan)

Movement 25 of Heian Yondan: Hidari ashi dachi, Migi hiza tsuchi, Ryoken migi hiza ryogawa

Heian Yondan is the longest of the five Heian Kata with 27 movements. It’s two kiai are made on thirteenth and twenty-fifth actions. It is traditionally required for the Yonkyu Examination as established by Nakayama Masatoshi Sensei. My late mentor Asai Tetsuhiko Sensei maintained this requirement; and accordingly, it remains the same in the IKS (International Karate Shotokan).

The tewaza (hand techniques) in Heian Yondan include Ryoken gedan juji-uke [Gedan-kousa-uke], Chudan-kakiwake-uke, and Uraken tatemawashi-uchi. Furthermore, this kata introduces Kousa-dachi. 

Just like in Heian Nidan, almost all of the core basic techniques are found in this kata. Because of this wide variety, you can better understand the fundamental principles of Shotokan-Ryu, such as the pacing of these techniques. 

A special point of Heian Yondan includes the self-defense strategy of pulling the opponents head downward and impacting with a Hiza-tsuchi. 

In the original form of this kata, Pinan Yondan, the two opening movements were rapid; however, it is said that Funakoshi Gichin Sensei made them slow to better teach ‘Te-Ashi-Onaji’. That is, to correctly coordinate the hands and feet to be optimally effective.

The Enbusen  (performance line) for this kata looks similar to the Japanese Kanji for 'ground’: 土

Now, I will provide an overview of each action in the kata in both Japanese and English.

OSU, André

礼               結び立
REI: Musubi dachi


用意              八字立     両拳大腿前          
YOI: Hachiji dachi, Ryo ken daitai mae


第1挙動    右後屈立    左背腕左側面上段横受      右前腕額前横構
Migi kokutsu dachi, Hidari haiwan sokumen jodan yoko uke, Migi zenwan hitai mae yoko gamae


第2挙動    左後屈立    右背腕右側面上段横受      左前腕額前横構
Hidari kokutsu dachi, Migi haiwan migi sokumen jodan yoko uke, Hidari zenwan hitai mae yoko gamae


第3挙動    左前屈立    両拳下段十字受
Hidari zenkutsu dachi, Ryo ken gedan juji uke [Gedan kousa-uke]


第4挙動    右後屈立    右中段諸手受
Migi kokutsu dachi, Migi chudan morote uke


第5挙動    右脚立     両拳右腰構   左足裏右膝横 
Migi ashi dachi, Ryoken migi koshi gamae, Hidari ashi ura migi hiza yoko

第6挙動    右脚立     左裏拳上段横回し打       左足刀横蹴蹴上
Migi ashi dachi, Hidari uraken jodan yokomawashi uchi, Hidari sokuto yoko geri keage


第7挙動    左前屈立    左掌に右前猿臂
Hidari zenkutsu dachi, Sasho ni migi mae enpi


第8挙動    左脚立     両拳左腰構   右足裏左膝横 
Hidari ashi dachi, Ryoken migi hidari gamae, Migi ashi ura hidari hiza yoko


第9挙動    左脚立     右裏拳上段横回し打       右足刀横蹴蹴上
Hidari ashi dachi, Migi uraken jodan yokomawashi uchi, Migi sokuto yoko geri keage


第10挙動   右前屈立    右掌に左前猿臂
Migi zenkutsu dachi, Usho ni hidari mae enpi


第11挙動   左膝屈     左手刀左方下段払い左掌上段受          右手刀上段外回し打
Hidari hiza kutsu, Hidari shuto saho gedan barai sasho jodan uke, Migi shuto jodan yokomawashi uchi


第12挙動   左脚立     右上段前蹴蹴上
Hidari ashi dachi, Migi jodan mae geri keage


第13挙動   右足前交叉立  右裏拳縦回し打         左拳左腰 (気合)
Migi ashi mae kousa dachi, Migi uraken tatemawashi uchi, Saken hidari koshi (KIAI)

Movement Nine of Heian Yondan: Hidari ashi dachi, Migi uraken jodan yokomawashi uchi, Migi sokuto yoko geri keage.

第 14挙動  右後屈立    両拳中段掻分け受
Migi kokutsu dachi, Ryo ken chudan kakiwake uke


第15挙動   左脚立     右上段前蹴蹴上
Hidari ashi dachi, Migi jodan mae geri keage


第16挙動   右前屈立    右中段追突[順突き]      左拳左腰
Migi zenkutsu dachi, Migi chudan oi zuki [Jun-zuki], Saken hidari koshi


第17挙動   右前屈立    左中段逆突   右拳右腰
Migi zenkutsu dachi, Hidari chudan gyaku zuki, Uken migi koshi


第18挙動   左後屈立    両拳中段掻分け受
Hidari kokutsu dachi, Ryo ken chudan kakiwake uke


第19挙動   右脚立     左上段前蹴蹴上
Migi ashi dachi, Hidari jodan mae geri keage


第20挙動   左前屈立    左中段追突[順突き]      右拳右腰
Hidari zenkutsu dachi, Hidari chudan oi zuki [Jun-zuki], Uken migi koshi


第21挙動   左前屈立    右中段逆突   左拳左腰
Hidari zenkutsu dachi, Migi chudan gyaku zuki, Saken hidari koshi


第 22挙動  右後屈立    左中段諸手受
Migi kokutsu dachi, Hidari chudan morote uke


第 23挙動  左後屈立    右中段諸手受
Hidari kokutsu dachi, Migi chudan morote uke


第 24挙動  右後屈立    左中段諸手受
Migi kokutsu dachi, Hidari chudan morote uke


第 25挙動  左脚立     右膝槌     両拳右膝両側 (気合)
Hidari ashi dachi, Migi hiza tsuchi, Ryoken migi hiza ryogawa (KIAI)


第26挙動 右後屈立      左手刀中段受
Migi kokutsu dachi, Hidari shuto chudan uke


第27挙動 左後屈立      右手刀中段受
Hidari kokutsu dachi, Migi shuto chudan uke


直れ              八字立     両拳大腿前
NAORE: Hachiji dachi, Ryo ken daitai mae


礼               結び立
REI: Musubi dachi

Supplementary practice: June 24th, 2025. Movement two of Heian Yondan. Hidari kokutsu dachi, Migi haiwan sokumen jodan yoko uke, Hidari zenwan hitai mae yoko gamae.

                                     © André Bertel. Oita City, Japan (2025).

Daily practice: to supplement DOJO TRAINING

Every day I self-train for 1.5 to two hours, in addition to my time in the dojo. This is essential as a professional karate instructor, especially here in Japan. There is a high level of competition, and to coach at the highest level, it is critical to keep improving.

Usually, this supplementary practice is in the dojo; however, when possible, I enjoy training outside.

Here are some images of my private self-practice. I'll upload some more later. What matters is "practice, practice, practice". Moreover, QUALITY PRACTICE. 

Positive energy from Japan, OSU!!! - AB

© André Bertel. Oita City, Japan (2025).

返し自由一本組手 (Kaeshi Jiyu Ippon Kumite)

In  返し自由一本組手 (Kaeshi Jiyu Ippon Kumite), from a free kamae and maai, the designated initial attacker makes a random [single] 突き ‘tsuki’, 蹴り‘keri’ or 打ち‘uchi’. The designated defender freely makes their ‘uke’ and counterattacks. From there, the initial attacker defends and counters the opponent's counterattack.

(A) Positive aspects of ‘Kaeshi Jiyu Ippon Kumite’: This drill is very good for training awareness and defensive reactivity when making attacks. Furthermore, it develops physical flow and power transitions between consecutive waza: offensive and defensive.


(B) Negative aspects of ‘Kaeshi Jiyu Ippon Kumite’: If kime is lost in the initial attack, the exercise is invalidated; that is, the initial attack must be a fully decisive blow, not merely a feint. Also, each technique must be full and proper. What do I mean by this? Well, while control is exerted throughout, each technique if not controlled, must have the capacity to cause significant damage. If this is not achieved, go back to Gohon, Kihon Ippon and Jiyu Ippon Kumite (also classical Kaeshi Ippon Kumite), and work them until your skill is up to par.

To summarize, strong and precise Jiyu Ippon Kumite attacks must be sufficiently mastered, before training in Kaeshi Jiyu Ippon Kumite. 

Needless to say, this means that the more fundamental forms of Yakusoku Kumite, which underpin Jiyu Ippon, must be strong. 

Otherwise, KAESHI JIYU IPPON KUMITE will result in weakening of one’s 基本技 (‘Kihon-waza’/ Fundamental Techniques’).

(C) Examples of 返し自由一本組手:

Here are some concretes examples of Kaeshi Jiyu Ippon Kumite. For simplicity, rather than having a ‘random initial attack’ I’m following the order in standard 自由一本組手 (Jiyu Ippon Kumite). Once familiar with this drill, you should attack with any waza with aim of catching your training partner. 

The final example is a renzokuwaza from my tournament career, which came directly from this form of kumite training.

Example 1:
“上段” (JOUDAN)

(A) Attack with MIGI JODAN KIZAMI-ZUKI. (B) Defend and counter with HIDARI JODAN SOTONAGASHI-UKE and MIGI CHUDAN GYAKU-ZUKI. And (C) Yori-ashi diagonally rearwards with USHO OSAE-UKE then counter with HIDARI CHUDAN GYAKU-ZUKI.




Example 2:
“中段” (CHUUDAN)

(A) Attack with MIGI CHUDAN GYAKU-ZUKI. (B) Defend and counter with HIDARI SOTO-UKE and MIGI CHUDAN GYAKU-ZUKI. And (C) Yori-ashi diagonally rearwards with MIGI GEDAN-BARAI then counter with HIDARI JODAN GYAKU-ZUKI.




Example 3:
“前蹴り” (MAE-GERI)

(A) Attack with MIGI CHUDAN MAE-GERI KEAGE. (B) Defend and counter with HIDARI GEDAN-BARAI and MIGI CHUDAN GYAKU-ZUKI. And (C) Yori-ashi diagonally rearwards with HIDARI GEDAN-BARAI then counter with a retraction of the lead leg and delivery of MIGI JODAN MAWASHI-GERI.




Example 4:
“横蹴込み” (YOKO-KEKOMI)

(A) Attack with MIGI CHUDAN YOKO-GERI KEKOMI. (B) Defend and counter with HIDARI CHUDAN SOTO-UKE and MIGI CHUDAN GYAKU-ZUKI. And (C) aim to snatch, or at least deflect, the incoming tsuki with MIGI TSUKAMI-UKE then counter with MIGI JODAN URA-MAWASHI-GERI.



Example 5:
“回し蹴り” (MAWASHI-GERI)

(A) Attack with MIGI JODAN MAWASHI-GERI. (B) Defend and counter with HIDARI JODAN UCHI-UKE and MIGI CHUDAN GYAKU-ZUKI. And (C) receive with HIDARI GEDAN-BARAI then counter with MIGI CHUDAN GYAKU-ZUKI.




Example 6:

“後ろ蹴り” (USHIRO-GERI)

(A) Attack with MIGI CHUDAN USHIRO-GERI KEKOMI. (B) Defend and counter by stepping back diagonally with the left lead foot and receiving with MIGI GEDAN-BARAI followed by HIDARI CHUDAN GYAKU-ZUKI. And (C) receive with MIGI GEDAN-BARAI then counter with MIGI URAKEN JODAN YOKOMAWASHI UCHI.

Example 7:

“André Bertel SHIAI-KUMITE NO RENZOKUWAZA"

The following RENZOKU-WAZA I perfected through 返し自由一本組手 and used many times successfully in competition.

Firstly, I'd attack high with a solid JODAN MAWASHI-GERI, which forced the opponent to cover it, or I win by Ippon in that moment. Secondly, seamlessly from my kick I would charge forward immediately, lowering my hands - covering chudan and offering my head as a target. Doing this, I closely analyzed the opponent's response (a skill Asai Sensei really emphasized to me constantly). The position and momentum always resulted in them firing a desperate JODAN-ZUKI, which I'd slip (use head movement to avoid), whilst executing ASHI-BARAI (KUZUSHI) cutting in deep aiming to sweep both legs. As my opponent flew to the ground, I continued analyzing them (to avoid any desperate attempts to kick me), which I'd also slip and finish with OTOSHI-ZUKI or a KERIWAZA. From Kaeshi Jiyu Ippon Kumite, this type of combination became natural for me, and also useful (but adapted) when I was working as a nightclub bouncer.

This was just one of many combinations I mastered from 返し自由一本組手 (Kaeshi Jiyu Ippon Kumite).

To conclude. I recommend prioritizing the development of correct, explosive, strong, adaptable and reliable KIHON. One's karate must be effective against a non-compliant opponent, otherwise, it is useless. This requires not only 'nice movement' but highly effective and functional actions. Nowadays, many instructors move nicely, but that is all. 

True Budo Karate is beautiful due to its effectiveness, not merely external performance. When one is truly ready for Kaeshi Jiyu Ippon Kumite, this drill will contribute towards these regards.

© André Bertel. Oita City, Japan (2025).

Migi teisho chudan oshiage-uke doji ni hidari teisho chudan oshiage-uke

 'Migi teisho chudan oshiage-uke doji ni hidari teisho chudan oshiage-uke' is executed on the 31st and 33rd actions of ENPI KATA (with the 32nd action being the same waza mirrored of the opposite side:  'Hidari teisho chudan oshiage-uke doji ni migi teisho chudan oshiage-uke'). Ironically, this is balanced by the second movement of Jitte; furthermore, and arguably, the wind-up leading into movement 31 of Enpi.

Regardless of these somewhat trivial aspects, which are unrelated to "why" these are actions are in kata. Correct kihon is paramount.

The trajectory and completed position of this waza must be correct for effective OYO (Application). Allow me to verify these decisively from now.

To begin with, I must say that instructing around the world, Oceania, Africa, America, Europe and here in Asia, I've found many discrepancies in this waza (amongst others). Even with world kata champions.

Please allow me to make some essential corrections, based on my karate experiences, here in Japan, since 1993...

1. The completion of this waza has one teisho in-line with the corresponding shoulder, and the other in line with the corresponding hip.

2. The trajectory of both arms is direct. No inversions, nothing superfluous.

3. The koshi no kaiten (rotation of the hips) is done naturally; that is, allow the hips to work by themselves when advancing in shomen.

4. From this motion, trajectory and completion, one has the ideal and highly adaptable position to counterattack an opponent in self-defense. 

5. Your form doesn't need to be perfect, like in competition, but you need to understand and be able to apply it under pressure. 

This is TRADITIONAL/BUDO/BUJUTSU 

KARATE

© André Bertel. Oita City, Japan (2025).

受けは極めなり UKE WA KIME NARI

Today I will quote the main teacher of my late mentor (Asai Tetsuhiko Sensei), NAKAYAMA MASATOSHI SENSEI. I believe that this is good food for thought, especially for those practicing karate as BUDO.  - André Bertel

Nakayama Sensei's 'Tokui' in Kumite was "受けは極めなり" (UKE WA KIME NARI)

Here is a direct quote from him about this aspect of Shotokan:

"The uke (reception) becomes the kimewaza (decisive technique). This is the motto of Shotokan-Ryu Karate-Do. According to its use the ukewaza can become a powerful attack. Along with advancing the leg and posture, the critical aspect is decisiveness".

Nakayama Sensei expands on this by stating: 

"The real ukewaza (reception techniques) of karate-do not end simply with the reception of an attack; according to the way the uke is used, it can be a strong kime-waza (decisive technique).

Uke kime ichijo: Uke and kime are one. This is the characteristic that, more than any other, gives karate-do its distinctive nature.

With only a reception, arms and legs forged into iron by daily training can deliver a tremendous shock to an opponent and shatter his will to fight.

To be able to protect oneself without injuring human life is the very soul of karate-do and can be said to be the proper function of all martial arts.

In recent years, contests have become popular everywhere.

Great importance is attached to gaining points by concentrating one's energies on henka waza, renzoku waza, tai-sabaki, deai etc., and to making great progress through skill. This is tine so long as the spirit of karate is not lost. If it is lost, there is cause for great sorrow.

In former times, when karate was thought of as fighting techniques, there was the motto, ikken hissatsu, to kill with one blow.

The meaning that uke is also kime is implicit in this motto.

We must pay great attention to this point, conduct contests with seriousness, understand the nature of karate-do, and pass these things on to those who follow karate-do in the future."

© André Bertel. Oita City, Japan (2025).