Many around the world will know that this article was originally published in 2006; however, it has been republished (and updated accordingly with many additional notes). The original article only discussed the meaning of the five Joko. This article expands on this and also explains the largely incorrect practice and spreading of these kata.
常行一勢〜五勢 (Joko Issei ~ Gosei)
André Bertel (6th Dan)
TOKYO, JAPAN. April 3rd, 2006
This brief article will look at
the five Joko Kata, which can be an
extremely effective training tool for senior karateka who wish to `re-tackle their kihon`.
However, more than any other kata—they have been taught incorrectly and,
accordingly, have become ‘just another kata’ (or group of kata in this case).
To sum this up as best as I possibly can, “…99.9% of the way that the five Joko are taught and practised
is ‘just movement’ and poor movement at that”. That is why I said above, ‘Joko
can be extremely effective’; however, for the most part, they are either 'training time wasted'… or, the worst-case scenario, 'counterproductive' for one’s karate.
On
one hand there is a strand of Joko which is guided strongly by ‘standard
Shotokan-Ryu’—for consistency—in order not to confuse/disturb JKF
standardization of Shotokan-ryu. And, on the other hand there are those who have learned online
and/or through manuals, which are incorrect as they have missed the majority of underlying key points; that is, the precise objectives (as targeted by Asai Sensei in his design) of Issei, Nisei, Sansei, Yonsei and Gosei. In both of these cases, as I stated before, the each Joko will not
advance one’s skill; but, instead, "...just be another kata".
To put it bluntly, Joko, when done correctly is hardcore fundamental training. There is so very much to be gained,
but it is not a ‘fun’ path. It’s a road which is narrow and is covered in
thorns. Unlike the koten-gata.
The following descriptions
provide a generic overview of the key points of Joko Issei, Nisei, Sansei,
Yonsei and Gosei. These descriptions come mostly from Asai Tetsuhiko Sensei, however, I have also added some notes to help you, the reader, in regards to understanding each of these kata; furthermore, understanding the misrepresentation of them due to merely 'doing movements'. As you read through, it will become obvious why I have done this.
常行一勢
Joko
Issei combines one arm and two arm actions in coordination with
transitions/body shifts; furthermore, the mix of circular and linear techniques
or ‘circle and point’. All of the hand/arm techniques in this kata are with
closed fists with the exception of one hidari tateshuto-uke prior to the first kiai. A
feature of this kata, which is found in the entire Joko series, is the need to
be relaxed in order to execute the transitions correctly. It is worth noting that Asai Sensei
intentionally designed these kata via their long lengths and transitions to
compel natural and smooth movements.
常行ニ勢
The
second Joko combines circular and linear techniques, however, this time a mix
of open hand defences and attacks are stressed’ alongside ‘open and closed hand
tsuki and uchi’. The combinations of the defensive kizami mae geri and
attacking mae-geri is a standout point; also, the use of mawashi-geri. Probably
the most outstanding point is the combined use of various weapons of the body:
namely, teisho, shuto, haishu, seiryuto, tateshuto, kakuto (koken), keito,
seiken and josokutei. This kata is the base of Shotei Dai (Shotei) and Shotei
Sho (Sensho) but, ironically more difficult than both of these due to the
intentionally difficult kihon transitions.
常行三勢
Joko
Sansei literally functions to perfect gyaku-hanmi (the reverse half-facing
position). This use of extreme and maximum torque for rotation is employed in
the three core stances—kiba dachi, zenkutsu dachi and kokutsu dachi—however,
shomen hanmi and the shizen positions are also seamlessly interwoven to
optimize training. Overall, this kata mixes robust large scale and close
distance techniques in harmony with the aforementioned hip work and body
shifts/transitions. I personally love this kata and find it really lifts me up
when I need to improve my hip work for application.
常行四勢
The
forth Joko picks up from the previous kata with a high emphasis on mixing
different ranged techniques; in particular, its large number of
enpi-uchi/hiji-uchi (attacks/counterattacks with elbow strikes) and constant
use of tenshin (rotation). Through various degrees of turns, and spins, different
angles of attack and defence can be achieved which, if mastered (within context
of the foundational movements), result in the reactive application of
unpredictable henka-waza (changing techniques). Junro Yondan can be revisited via this kata and one can further perfect centralization with compression in turns; thereby, mastering that turns are not only rotation but driving towards the respective target.
常行五勢
The
standout point of Joko Gosei is its featuring of close-to-ground jumping turns,
stance switches and spins. Such techniques include rapidly switching legs on
the spot to change the position to effectively attack; jumping and spinning
around to deliver techniques; turning and balancing on one leg to defend then
immediately counterattacking with mae-geri (the reverse action of Unsu kata);
and so forth. In sum, this kata requires a significant level of precision and
body control; thus, technically speaking, appropriately wraps up the Joko
series. I would like to conclude this by saying that I teach a version slightly
different (from Kato Sensei and what is widely taugth here in Japan post-2006 standardization). In this regard, I'd like to thank a senior Japanese instructor and a non-Japanese instructor for confirming this. Both of whom I will not name, but sincerely appreciate. While I deeply respect these versions of Joko Gosei,
I will keep teaching the version and applications Asai Tetsuhiko Sensei personally taught me, whilst respecting the changes made by others.
In sum, as already said, the five Joko are 'level-up Junro' fundamental training kata. They are 'free-choice kata' for those wishing to boost fine points in their kihon; in particular, for Dan graded practitioners. Sadly, on the Internet, Joko have been represented extremely poorly by those with very low level kihon. Obviously, this defeats the purpose of practising them... Unless one just wants to learn 'yet another kata'. To these people, I advise, `learn proper kihon!`
To conclude, the name 常行 Joko (Joukou) means to 'always do', which relates to precise kihon practice and ongoing rehearsal of precise execution; furthermore, the labels of
勢〜五勢 (Issei ~ Gosei) means first to fifth 'energy/force/vigor/authority/influence/ impetus'. A final point in this regard is to understand that 勢 (SEI) is like the power in physics... As a lover of science and theology, again, I will leave that there for you to think about.
It is important to note that "...Issei ~ Gosei, with different kanji can be understood as 'First Generation ~ Fifth Generation'". Asai Sensei just told me that this also has relevance, based on each kata 'choronologically ordered' technique-wise. He said to me that "while this is not the meaning", this was how he pieced each kata together. What a genius he is even in post-operation mode!!!
Added document from my personal notes: To emphasize the genius of Asai Tetsuhiko Sensei, there is more...He told me that ["the meaning of Joko and its overall objective is basically ‘always to do’.
However, historically there is more behind the name.... The kanji can also be read
‘Jougyou’, which has Buddhist
connotations. It means to keep training strictly without becoming lazy in one’s
practice!"]
Based on these understandings and, obviously, when taught correctly, Joko is extremely useful for those wishing to refine their kihon for greater effectiveness and to practice strictly; moreover, seriously: this is the meaning and purpose of 常行. Osu, ァンドレ.
©
André Bertel. Oita City, Japan (2006/updated 2018).
