Thursday 27 June 2024

青柳型 (Seiyu Kata) performed slowly on 'YouTube'

 Here I am performing the kata 青柳 SEIRYU slowly during my warm-up at training yesterday (June 26th, 2024). Therefore, the point of this video is not to impress but, rather, to show the correct actions.


As I've stated before, I am the only person who was ever taught this kata directly from Master Asai. This, and many other kata from him, are only taught in IKS; consequently, preserving these forms (and doing so correctly) is an important objective of my karate life.

青 SEI means 'Blue (Green)' in Japanese, whilst 柳 RYU means 'Willow'. This name can also be read as AOYAGI; however, even though sharing the same kanji, it is a different kata from Shito-Ryu. Asai Tetsuhiko Shuseki-Shihan, when teaching me this kata, said that it emulates the flexible branches of a tree. He stated, "Imagine a willow tree in a typhoon". Not coincidentally this kata is very similar to 風手 (Hushu), which means 'Wind Hands'. There are no keriwaza in this kata, only hand and arm techniques. Furthermore, all of the waza are swung in wide arcs with the exception of the ura-zuki. Some have learned this kata online as have removed the wide scale arcs. This, in fact, removes the entire bujutsu purpose of this kata, which is to swing the arms widely to generate speed and impact power. Accordingly, Seiryu especially develops 'shoulder snap'. As in standard Shotokan, this relaxed power still utilizes ground power, proper power generation from the hips and propulsion to move the center (and mass in general). In this way, Seiryu combines hard -- the torso, and soft - the shoulders. Asai Sensei stressed to use the arms like a whip; in sum, 'Muchiken-waza'. With practice, one should bring this snap, softness and speed into the standard Shotokan Kata; thereby, improving in classical skill. The Koten-gata introduced by Asai Sensei, were in his words 'clean canvases' to boost one's overall karate skill. In particular when one reaches their limit. The practice of Seiryu and the other additional kata introduced by Master Asai allow Shotokan karateka to go beyond their physical limits by harnessing natural energy. Another factor is that that these kata are not hard on the joints, which makes them excellent for those with injuries, or an advanced age. This literally allows 'Lifetime Budo' to be a reality, which was one of Asai Sensei's aims for his students. In our organization 国際空手道松濤館 (International Karate Shotokan) the Koten-gata are permitted for Dan Examinations from Nidan and above (in addition to the standard 26 Shotokan-Ryu Kata. However, none are compulsory. Thus, these additional kata also "...give karateka more options to personalize their own karate based on their individual characteristics, attributes, strengths and weaknesses, etcetera". This Karate 'Way" is based on karate as classical BUJUTSU.
One final word from Master Asai that I must share... He stated "In Seiryu, do not primarily aim for precise form, instead focus on maximum effectiveness". In other words, 'make the actions work; that is, Seiryu is literally a 'fighting kata', which is what all kata should be.

押忍!!!
André Bertel
国際空手道松濤館 INTERNATIONAL KARATE SHOTOKAN
Oita City, Japan.

                                 © André Bertel. Oita City, Japan (2024).

Saturday 22 June 2024

Some thoughts on Karate-Do

One of the advantages of Karate is that it can be practiced anywhere, with or without a dogi, equipment and even a training partner.

Furthermore, it can be adapted according to age, health, fitness, strength and flexibility. These aspects make karate a physical and psychological activity that can universally practiced by anyone.

Here in between times in the dojo, during my lunchbreak, I did some extra self-practice behind Oita Eki (the main train station here in central Oita City).

Keep training! And if you haven't started already, don't procrastinate! Slowly, "step by step", build up! If you think about training, you will fail. So just go for it. Save the thinking for after training, in preparation for your next session and reap the benefits.

押忍!!

André


© André Bertel. Oita City, Japan (2024).

Saturday 15 June 2024

Completion of waza is never the point of impact

Daily self-training - Saturday, June 15th, 2024.

 The near completion of a waza is the conclusion of the critical phase; that is, the end point is 'through (or past) the respective target'. In this photo I'm doing Bassai Dai kata, 'a fractionally before the completion of hidari tate-shuto chudan-uke'. Following this moment the hiki-te pulls back fully as the uke arm action concludes is sideward course.

Once completed this is also the position from which to execute the next waza. In this case, migi seiken chudan choku-zuki.

In sum, and to quote Abe Sensei, "...each waza must at least be able to break a board". What was meant by this was rather literally 'breaking something' that maai is not merely surface level. This is a definitive difference between sports karate and karate as bujutsu.


This is an important technical characteristic of the IKS (International Karate Shotokan).

押忍!!

André

© André Bertel. Oita City, Japan (2024).

Saturday 8 June 2024

Variations from adaptability

 I was asked “what is the Japanese terminology for the oi-zuki with intentionally high shoulder?”

Tanaka Masahiko Sensei from the book 'Hasha'.

 
That’s a good question as it points to a larger picture of karate; that is, 基本技 (kihon-waza) and 自由技 (jiyu-waza). To begin with, OI-ZUKI is OI-ZUKI, unless you use the alternative term of 'Jun-zuki', which is equally acceptable.

 

It is important to understand that the classical form ‘kihon-waza’ are the base of the freestyle ‘jiyu-waza’; however, by themselves will not make one’s karate ‘reliably effective’ in reality, that is, outside the dojo—for self- defense.

 

One must work on the classical techniques as a basis, “a foundation”, then work them ‘as you will use them’ in an actual altercation—the ADAPTABLE ‘freestyle waza’. Besides all the physical training and technical attributes, the ‘classical kihon’, also provide a baseline for variations/adaptability. ‘Variation’ via ‘instantaneous adaptability’ in budo/bujutsu is a key point, as one’s techniques—in reality—must automatically change according to the circumstances.

 

Returning to the question about oi-zuki above, in the classical ‘baseline’ kihon (like other linear ‘tsuki’) the shoulder is relaxed and down, in addition to many other points that ‘make the classical form correct’. However, in application, from this ‘baseline’ version, adaptations are made. Certainly, the tsuki arms shoulder can be raised to protect the head from being hit and/or change the angle/trajectory of the blow.

 

This is no different than raising up on the ball of the foot in freestyle, as opposed to being tightly restricted in the classical version. It’s comparable to a 100-meter sprinter training with some form of resistance. Of course there are numerous other variations, but think this example is enough to clarify what I’m coveying here.

 

The freestyle version of all the waza in karate is for one thing: ‘to make it work’ and to do so optimally in that particular moment. If one is limited to classical form, their karate may work but there will be a huge question of its reliability. Effective adaptability, which is autonomous and optimal in any given moment, is an imperative aspect of karate as a form of 武術 (Bujutsu).

 

To conclude, throwing a “tsuki”, oi-zuki or otherwise with high shoulder, is an important adaptation. Such methods which ‘break the classical rules’ can be used for superior defense and unpredictable attacks. Such technical variations must be practiced by senior grades to develop adaptability and, in doing so, better utilizing the classical kihon, kata and yakusoku-kumite.

 

押忍

アンドレ  バーテル

The 'classical kihon' oi-zuki/jun-zuki.

© André Bertel. Oita City, Japan (2024).

Friday 7 June 2024

Asai Sensei would have been 89 years old today

 Today Asai Tetsuhiko Sensei would have been 89 years old. After teaching, and before self-training, I reflected during a walk around the remains of Funai Castle, here in central Oita City.


My thoughts are with the Asai family today, and all others who continue to practice Asai Sensei's Karate here in Japan, and around the world. I'll conclude this post with some photos I took as I walked around Funai-Jo.


Life is short and unpredictable. Accordingly, we need to make the most of our ultra small time here. Following our dreams is scary, but then we can have no regrets. Clearly, Asai Sensei did that with his life.


      押忍!!!





© André Bertel. Oita City, Japan (2024).

Thursday 6 June 2024

The 'core kihon' is at the heart of karate excellence

Migi tobi yoko-geri (Mt, Cook, New Zealand), circa 2004.

One thing I've quickly learned, from when I first came here to Japan in 1993, is that "to do a high jumping technique and other such impressionable actions" is VERY EASY compared to the core fundamentals; that is, techniques like oi-zuki, age-uke, mae-geri, etcetera...


While techniques like the tobi yoko-geri above have their place in certain (but rare) applications, and certainly for physical practice (for younger practitioners), if taught to a competent gymnast, they would be mastered (form-wise) quickly, easily and spectacularly. 


However, teach the same gymnast, say an oi-zuki, and they will need as much training as anyone else to perfect it. I have personally witnessed this first-hand a few times (and let's not get into the aspects of making such a waza functional through kumite and impact training).


So, if you can't do such movements like high kicks, and so forth... Just remember, they are not very important for technical excellence nor for oyo (application), which run hand-in-hand (in Budo/Bujutsu Shotokan Karate).


In sum, the depth of the core KIHON has no short cuts, and separates the beginners, the intermediate, the advanced and the elite practitioners of karate. Understanding this highlights that Karate-Do is LIFETIME budo: as the most important waza are the most seemingly simple and don't require athleticism.


Again, techniques such as the jumps in the various kata, and other gymnastic waza certainly have their place. But their importance is less than the base tachikata, unsoku and kihon-waza. Yes! The 'core kihon' is at the heart of karate excellence. OSU! - AB

Hidari shuto sokumen jodan uchimawashi uchi (Meikyo Nidan Kata).

© André Bertel. Oita City, Japan (2024).

Wednesday 5 June 2024

Keep moving forward!!! Don't look back (too much)!!!

I was recently given this photo. I was New Zealand National Champion a number of times in both Shotokan National Championships (JKA/JKS/IJKA) and All Styles (KANZ) -- KATA AND KUMITE. I think this photo is from 1993 or 1994. 

Young and dumb, but full of ambition (embarrassed now, looking at this photo, but good to share) I think that openly sharing weakness is good. Certainly, we are all weak and have weaknesses. On a positive and productive note, 1993 was my first-year training here in Japan (innocently training with both factions of the JKA) and getting in trouble with Abe Keigo Sensei for doing so. My favorite instructors of course were Asai Tetsuhiko Sensei, Osaka Yoshiharu Sensei and Tanaka Masahiko Sensei. Also, Naito Sensei and Katayama Hitoshi Sensei (Asai Sensei's 'English Secretary) made my time in Japan, in the 90s, very comfortable, because of their excellent English).

Next month I am 48 years old, and August of this year marks my 43rd year in Karate, and 31 years since I really started my Budo Karate journey. The years mean nothing, the hours training, and quality of training each day, are the defining points.

I am so very thankful for my mentors. A big bow of gratitude.


© André Bertel. Oita City, Japan (2024).

Monday 3 June 2024

松江市 (Matsue Shi)

When going around Japan I usually do not share publicly, especially when my wife and daughter accompany me; however, besides being in Hiroshima and Fukuoka again, for the first time I went to SHIMANE-KEN (Matsue-Shi). So, I thought to share a few photos. 

OSU!! - André
National Treasure: Matsue-Jo (one the 'Big 5' castles here in Japan).

Since coming to Japan 31 years ago for the first time, this was my first time to see the NIHON KAI (the Sea of Japan).





 Kanmon Bridge: our connection to Honshu.


© André Bertel. Oita City, Japan (2024).