Monday, 24 March 2025

Renshusei from Hamburg, Germany: Hauke and Marieke

Hauke and Marieke Johannßen from Hamburg, Germany, came as Renshusei for four days here in Oita. Hauke is currently a Yondan and Marieke a Shodan.


They’ve regularly attended my seminars in Germany, and also once in the UK, since 2010. So, away from the time in the dojo, it was great to spend time together.


This renshusei training focused on deeper levels of Budo Karate 基本 (Kihon); that is, as always said here in Japan: “Basics inside of the basics”. I will not go into all the details here, they are for Hauke and Marieke; however, many key points (not widely known outside the top Shotokan groups—here in Japan)—were covered.


By request 珍手 (Chinte) kata was worked on. References from Heian, Tekki, Bassai Dai, Jion, Enpi, Hangetsu, and other kata were utilized.


To provide a ’clear canvas’ linking the Kihon and Kumite practice, I taught Hauke and Marieke 常行一勢 (Joukou Issei). The focal points were: (a) kubi no shisei/chakugan; (b) sokuto no shime; and (c) kakato-chushin; however, there were others. The 分解 (bunkai) was, of course, also covered (which was specific from my mentor, Asai Tetsuhiko Sensei).


Over the four days, ‘the four generically main forms’ of Kumite in Shotokan (as Budo/Bujutsu Karate) were covered and defined: 五本組手 (Gohon Kumite); 基本一本組手 (Kihon Ippon Kumite); 自由一本組手 (Jiyu Ippon Kumite); and 自由組手 (Jiyu Kumite).


It was great to see Hauke and Marieke improve each day here in the Dojo. Also, it was great to spend time together. 

A big 押忍 (OSU) to you both!
アンドレ
©︎ André Bertel. Oita City, Japan (2025).

Sunday, 23 March 2025

WHAT IS KARATE-DO?

Today I'd like to highlight the definition of 'TRUE KARATE' as defined by Nakayama Masatoshi Sensei.  Needless to say, he was my teacher's 'Sensei' and the successor of Master Funakoshi Gichin, father of modern-day Karate-Do and the Shotokan style.  For many now, this definition is not relevant. And Nakayama Sensei prophetically foresaw this. Asai Tetsuhiko Sensei also held to this view and, needless to say, saw it unfold.


To summarize, Nakayama Sensei is defining 'WHAT KARATE REALLY IS', and how it is rarely practiced now. Even if you have read this, many times before, keep in mind this definition in relation to contemporary mainstream Shotokan. 


This definition is a defining factor of the IKS (International Karate Shotokan) here in Japan and around the world.

押忍! 

アンドレ (André Bertel)



WHAT IS KARATE-DO?


1. Deciding who is the winner and who is the loser is not the ultimate objective. Karate-do is a martial art for the development. of character through training, so that the karateka can surmount any obstacle, tangible or intangible.


2. Karate-do is an empty-handed art of self-defense in which the arms and legs are systematically trained and an enemy attacking by surprise can be controlled by a demonstration of strength like that of using actual weapons.


3. Karate-do is exercise through which the karateka master's all body movements, such as bending, jumping and balancing, by learning to move limbs and body backward and forward, left and right, up and down, freely and uniformly.


4. The techniques of karate-do are well controlled according to the karateka's will power and are directed at the target accurately and spontaneously. This is KIME. And irrespective of an appearance of karate, actions without kime are merely imitations of Karate-Do.


Kime may be accomplished by striking, punching or kicking, but also by blocking. Again, a technique lacking kime can never be regarded as true karate, no matter how great the resemblance to karate. A contest is no exception; however, it is against the rules to make maximum contact because of the danger involved.


5. The essence of karate techniques is kime. The meaning of kime is an explosive attack to the target using the appropriate technique and maximum power in the shortest time possible. (Long ago, there was the expression IKKEN-HISSATSU meaning "to kill with one blow." but to assume from this that killing is the objective is dangerous and incorrect. It should be remembered that the karateka of old were able to practice kime daily and in dead seriousness by using the makiwara.)


6. Sun-dome means to arrest a technique just before contact with the target (one sun, about three centimeters). But not carrying a technique through to kime is not true karate, so the question is how to reconcile the contradiction between kime and sun-dome. The answer is this: establish the target slightly in front of the target. Thereby, one can hit in a controlled way with maximum power, without making destructive contact.


Taken as a whole, karate training transforms various parts of the body into weapons to be used freely and effectively. The quality necessary for this is self-control. To become a Victor, one must first overcome one's own self.

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

Thursday, 13 March 2025

常行 (Joko): The 'HANON exercises' of JKA-style Shotokan Karate

 I’ve written articles about the five 常行 (Joko)—pronounced じょうこう (Joukou)—before; however, by request I’ve been asked “…to clarify if they are 古典型 (Koten-gata) or not. Furthermore, I’d like to expand on why they exist which, is ultimately, their purpose, as defined by Asai Tetsuhiko Sensei.



So, let’s begin…


Firstly, it must be highlighted that both 順路 (Junro) and 常行 (Joko) are NOT Koten-gata! They were totally designed/formulated by Asai Sensei.


With this in mind, it is obvious to explain their purpose. In Asai Sensei’s words “…the Joko kata are, in fact, “a higher level of Junro”. The purpose of all of these formal exercises is simple: “to boost one’s Kihon”.


It is here that one could say the five Heian are more than enough to achieve this; nevertheless, the five Junro and Joko supercharge this process.


Ask any karate master, and they will tell you ‘the level of one’s karate skill is absolutely and undeniably determined by kihon'. This point is the only difference between, 'good, great, excellent and legend'. Accordingly, this gives the Junro and Joko kata their immense value.


That being said, these kata, especially Joko are not for the lighthearted—and not for everyone—especially due to their brutal focus on core kihon and their respective lengths.


Please allow me to expand on this. The five Joko are in fact the equivalent of the ‘Hanon piano exercises’, first published in 1873, in Charles Louise Hanon’s classic textbook ‘The Virtuoso Pianist’. If you are not sure what I am saying here, please do quick search. These exercises are nasty but do so much: skill wise. My wife is a pianist, and these exercises perfectly describe Joko. They are not beautiful songs, but pure training for skill development. Not for exhibition, but to make you good... REALLY GOOD. But don't forget, this done properly is painful!


To be blunt, for most, there is little joy in practicing Joko. They are very hard work. But, for very serious Karateka, they really bolster their kihon skills. This is no easy challenge and probably not appropriate for most. For professionals, definitely. In fact, the professionals not doing Joko now are hugely disadvantaged. Asai Sensei said this and taught these kata at the end of his life 'at the expense of art', which demonstrates their importance for elite karateka and professional instructors.


The transitions in the five Joko kata are particularly difficult ‘forcing smoothness’. In sum, and please excuse the seeming pun here, these transitions cannot be 'forced'. Rather, one must utilize relaxed power and achieve kime with each waza naturally. I've seen videos where youthful physicality is OK but kime and basic form is poor. This form of Joko is actually negative for one's karate. The reality is that, for the most part, the Joko Kata have been mostly overlooked, as just another routine.


The fact is, with regular and/or intermittent practice of Joko, everything else seems easy, from the various forms of kumite to the advanced Shotokan-Ryu kata. Again, this is simply because ‘the basics’ determine your skill level. Accordingly, if basic tachikata, unsoku and waza are even slightly compromised, Joko becomes pointless (and to be completely honest, literally counterproductive).


To conclude, Asai Sensei was adamant that everyone must do 順路初段 (Junro Shodan) and initially pushed the other four Junro for gradings and in the elimination rounds at competitions. Insofar as gradings are concerned, he later back-peddled this idea.


Here it is important to note that he only encouraged Joko practice for those seeking an acute level of skill in their kihon. Consequently, these kata are not compulsory practice; instead, their training is depending on each individual’s personal aims.


IKS instructors have noticed our versions have several differences from other groups. In particular our use of Fudo-dachi. This was Asai Sensei's higher forms of the Joko Kata for his personal students, and we retain this.


Finally, let’s examine the kanji for Junro and Joko and their respective numbering.


順路 (JUNRO)


順               Orderly / Obedience

露               Path / Road

This name is extremely common in Japan. For example, when visiting say a castle or park the kanji ‘junro’ directs which way you should walk.



常行 (JOKO)

常               Always

行               Practice / Do

The name ‘Joko’ actually comes from Buddhism, which means “Practicing all the time without neglect”. This directly implies ‘not to be lazy and to always train’.


As already stated, I need to also mention the numbering of Junro and Joko. Junro is simply 初段 (beginners' level) to 五段 (fifth level). Whereas the five Joko are labeled 一勢 (first momentum/energy) to 五勢 (fifth 
momentum/energy) which, at least to me, implies ‘physics'.




















押忍! 
アンドレ


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

Wednesday, 12 March 2025

Saturday, 8 March 2025

SEMINAR APPLICATIONS for the last quarter of 2025

 

Applications for International Seminars in OCTOBER, NOVEMBER and DECEMBER of 2025 are now open.


Furthermore, I must add, that there will only be one opportunity to travel outside Japan in this period, due to my karate schedule here.


We will not accept any more applications for mainland Europe and New Zealand (for the rest of 2025). For these groups, please apply for next year/2026.


As always, bookings are established on a 'first-in-first-served' basis.


Applications should be made via email to: andrebertelono@gmail.com


押忍!

アンドレ  

______________________________

André Bertel (7th Dan)

International Karate Shotokan

国際空手道松濤館

Oita City, JAPAN

______________________________


Friday, 7 March 2025

2025 NEW ZEALAND SEMINAR (Part Two): YOUTUBE VIDEO

 Official YouTube Video


Here is a direct link to the ‘Official YouTube video’ for my Christchurch, New Zealand Seminar, which was held on February 15th and 16th, 2025.

For more information you can read the description below the video on YouTube. Furthermore, like all the other videos on the channel, comments are most appreciated and encourage the uploading for more content!

Greetings from Oita City, Japan, especially to all the Karateka who participated.

よろしくお願いします!
André 

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

Saturday, 1 March 2025

2025 NEW ZEALAND SEMINAR (Part One)

             SEMINAR OVERVIEW                   


Christchurch, New Zealand:  February 15-16, 2025.


I recently conducted the 2025 New Zealand Seminar. Hosted by IKS Christchurch, which is led by Peter Burtenshaw Sensei (5th Dan)—like last year, the seminar was an exclusive Budo Karate event. Exclusive, in that, the maximum number of participants was 50 trainees.


Consistent with other events here in Japan, and around the world, the seminar was quickly sold out by Karateka from across New Zealand, and Australia.


Technically, this technical seminar focused on precise 武道空手基本 (Budo Karate Kihon), which is underpinned by optimum form for maximum effectiveness. To be precise, the IKS (International Karate Shotokan) follows the Kihon of the pre-split JKA and the 'advanced' extensions of this made by my late teacher (former unified JKA Technical Director and Matsuno faction Chief Instructor), Asai Tetsuhiko Shuseki-Shihan.

These underpinnings were applied in 組手 (Kumite) and in the requested 型 (Kata): 青柳 (Seiryu). In sum, the fine details were the key points, as “…these are imperative for meaningful improvement in one’s karate” in both the immediate and long-term.

Overall, I’d like to again thank Peter Sensei and all the members of the Christchurch IKS Dojo for bringing me again, also all of the other great karateka who attended. It is blatantly obvious to me that—if top-level training and good camaraderie are the focus—dojo and/or style are irrelevant. So, a big 押忍 (Osu) and ありがとうございました (Arigatou gozaimashita) to all of you.


Lastly, even as I fly back home to Japan, I’m receiving many messages about the next seminar in New Zealand. This will be announced as soon as it is confirmed!

I must add that there will soon be an official SEMINAR VIDEO released on YouTube soon, in Part Two. Once again, this video will primarily highlight key points of the seminar: with the main objective of supporting the participants. Until then, below is a direct link to SEIRYU KATA.

Greetings from somewhere above the South China Sea.

押忍!!
André 

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