順路初段
Junro
Shodan’s well known theme is ‘push and pull’. However, this is not merely
forward and backward, but also using gravity to drop and ground power.
Furthermore, this kata master’s different forms of tsuki: the counterpunch and
the attacking tsuki. Namely, this is to do with timing, which even here in
Japan is mostly practiced incorrectly.
Taken as a
whole, this is about using hand speed and fully utilizing the weight in your
tsukiwaza; that is, the combination of relaxation for snap and the transfer of
weight into the target to achieve maximum impact. In the contact of defense,
Junro Shodan is all about the fundamental fluctuation of distance via the
active use of tachikata. Junro Shodan elucidates that stances are not positions
in themselves but, rather, as Asai Sensei said “…exaggerated positions found
within dynamic and freestyle motion”.
順路二段
Immediately
when thinking of Junro Nidan one will think of two hand attacks and
simultaneous ukewaza with tsukiwaza. While this is correct it does not
highlight the importance of mastering these techniques, which is fully
utilizing the backbone and pelvis. There are actions in this kata which are
quite subtle but must be done precisely if its core theme and purpose is to be
achieved through practice.
One
important point is the use of ground power and ‘sinking’ ones weight in
addition to moving the center. In all cases to maximize the use of the hips and
backbone one must fully utilize the drive of the rear leg via proper tai no
shinshuku. With these points in mind and practiced correctly, Junro Nidan will
be of great benefit to ones karate as it will improve one shomen/zenmi in
relation to technical delivery.
順路三段
Junro Sandan
was designed by Sensei to have karateka practice more striking techniques
which, due to their illegality in competitions (in the case of most of them), tend to be
the least practiced in kihon. Nonetheless, there is more to Sandan than this.
Asai Sensei was concerned about the trajectory of strikes which in the last few
decades have changed, not for efficiency but for aesthetics. Accordingly, the
purpose of Junro Sandan is to use wide arcing strikes which ‘go through’ the
respective target.
Another
aspect that Junro Sandan works on is using different strikes for different
distances. This mixture of long-range and close-range attacks is a feature
throughout this kata and strongly encourages one to coordinate kata practice
with time on the makiwara, sand bag and so forth.
順路四段
You will
know that the theme of Junro Yondan is to perfect fundamental hip rotation;
nevertheless, this broad statement is rather obscure. Firstly, one must know
what hip rotation is. In Japanese, the hip or hips are not what we often call
‘hips’ in English. The term ‘hips’ in English usually relates to the hip
joints, which are located on both sides essentially linking your legs and
torso; whereas, in Japanese it means your backside. That’s right, your butt!
Needless to say, by rotating by using the backside, and therefore being
centralized and functioning as a unit, one can generate far more speed and
power. What’s more, then we can secondarily focus on the hip joints, which
become the frontal and rear axis and, with further practice have many other
subtle variables.
Certainly,
this is not the whole picture with Junro Yondan. The kata also forces one to
master the timing and positioning of the feet, toes and ankles—in addition to "being harmonious with the technique being applied". This coordination, in relation to hip action, defines this kata.
順路五段
Junro Godan
is the most technically difficult in the Junro series. At face value, many do
not see nor understand
this. One the main reasons for this is that Junro Yondan is externally more
technical; however, the underpinning transitions make Godan harder.
In
particular, the ukewaza whilst turning into nekoashi-dachi are challenging (in
the use of power in the arm actions as one transfers into the respective 'cat leg stances'). This example
is still too obvious and fails to fully verify the overarching technical point. The real challenge
is the correct transition of weight and precise moving from the center. In the
case of Junro Godan, the center-line changes backwards and forwards requiring a
full understanding of the seichusen; furthermore, full expression of each fundamental
tachikata.
When this is
understood, and practiced extensively, the theme of Godan, (Unsoku/Ashi-hakobi),
can be fully appreciated, worked, and capitalized on. Thinking back to what I explained
about Junro Shodan (earlier in this brief article) you will see a full circle
that connects this important series of Kata.
Ok! I hope that this better helped you to understand the Junro series. Please keep in mind that their objective is to improve people’s karate: kihon, kata and kumite (self-defense) capacity. They are therefore best understood and practiced as ‘training tool’s’. In this way, one will maximize their practice-times and see immense advancements in their tokui-gata and the practical application of their karate from a budo/bujutsu standpoint.
Last, but not least, I have yet to
teach beyond these points and applications—to any of my students—both here in
Japan and around the world. However, there is a deeper level (to these and
other kata) which I will begin sharing once they demonstrate sufficient technical ability
to me. This is the ‘old way’; that is, one must earn the right (be ready)
before higher skills/deeper levels are taught. There is so much to come in the future
and I hope to fully pass on this knowledge, which came directly to me under the
personal guidance of Asai Tetsuhiko Sensei. I also hope that this does not
intimidate anyone but, rather, motivates people to train intently and with vigilance.
This was the ‘Karate Way’ impressed on me from Asai Sensei, and what still really
inspires me to this day. Osu, André.
© André Bertel. Oita City, Japan
(2020).
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