評価基準 (HYOKAKIJUN) Evaluation Critera for 形 (KATA)

 

Raikou Kata



形 (KATA)	評価基準 (HYOKAKIJUN) Evaluation Critera
KATA NO ENBU	① 立ち方 (Tachikata) ② 技 (Waza) ③ 流れるような動き(Flowing movements) ④ タイミングおよび同時性 (Timing/Coordination) ⑤ 正確な呼吸法 (Correct breathing) ⑥ 極め (Kime) ⑦ 適合性（Tekigosei: 流派の基本の一貫性） (Suitability: consistent of the respective Ryuha) ⑧ 力強さ (Chikara zuyoi/Power) ⑨ スピード (Speed) ⑩ バランス (Balance)

 

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

礼法・精神・鍛練など (Etiquette, Spirit, Training, etc.)

礼法・精神・鍛練など

 Training in the beautiful and deeply traditional Kunisaki Region of Oita Prefecture.

• Please note that I've translated the Japanese text below: for those who cannot read Nihongo. OSU, André Bertel.

立礼（りつれい）
立礼は立ったまま行う礼で、試合開始や終了などの動作で行います。開足立ちで正面を見た姿勢から上体を約15～20度前へ傾けて礼をします。常に気を抜くことなく周りの雰囲気を感じながら礼をします。

坐礼（ざれい）
坐礼は正座の状態で行う礼です。座る時は左足からアクションを起こし、発つ時は右足から立ちます。礼をする時は左→右の順（もしくは両手一緒）に手を着き、両膝頭の前約10㎝の所に八の字形に置き上体をまっすぐに保ったまま礼をします。

残心（ざんしん）
武士道には「残心」という考え方があります。これは、戦闘が終わった後にも心を残し、隙を見せず精神を統一することを意味します。つまり「勝負が決してからの心のあり方」といえます。この考え方は空手や武道でも重要です。勝負の結果がどうであっても、礼儀作法を通じて、心を整え、常に油断せずにいることが求められます。

守・破・離（しゅ・は・り）
「守・破・離」とは武道の修行において修行者の成長と進化を段階的に表す哲学及び心構えです。「守・破・離」という言葉は、もともと千利休の訓をまとめた『利休道歌』に由来しています。「守」は修行者の基盤を築く過程です。修行者は師匠から教わった型や作法、基本的な知識を忠実に学びます。次に進むのは「破」の段階です。ここでは、修行者は経験と鍛練を通じて、指導者の教えを土台として、自分なりの工夫を加えます。最終的に、「離」の段階に到達すると、修行者は指導者のもとを離れ、独自の学びを発展させます。

空手道五条訓（からてどうごじょうくん）
人格完成に努ること　一、誠の道を守ること　一、努力の精神を養うこと　一、礼儀を重んずること　一、血気の勇を戒むること。空手の修行によって知性・教養を身につけるとともに体力を向上させ、どんな状況でも焦らず的確な判断と行動が取れるようにすることの教えになります。
空手に先手なし本土に空手を普及させた船越義珍先生の空手二十ヶ条の二十番目に『空手に先手なし』という教えがあります。空手の技をみだりに使うことを禁じた戒めの言葉。武力というものは世の安定のため、人類の平和のためにあるのであって安易に行使してはならないという教えです。

道着（どうぎ）
空手を志す人の稽古や試合において必要不可欠な道着です。 もともと空手の創成期においては道着というものはなかったのですが、近代になって柔道着をヒントに作られたため見た目は似ていますが、空手着と柔道着には素材の厚みに違いがあります。

空手道憲章（からてどうけんしょう）
空手道のさらなる発展を期し、基本的な指針を掲げて「財団法人全日本空手道連盟」が定めた憲章で、空手道の修行を志す者は、空手道の品位と威厳を保つため、礼節、正義感、道徳心、克己、勇気からなる資質（倫理的規範）の涵養に努めなければならないという指針を表している。

段[位]（だん[い]）
段位とは、空手の技術・心得・精神的な成長を評価するために定められた格付けシステムです 。段位は初段から十段まであり、段位が上がるほど技術・心得・精神的な成長が求められます。空手を習う方は、段位昇進に向けて徐々にステップアップし、技術、心得、精神面で成長していくことが大切とされています。

巻藁（まきわら）
巻藁は古くから空手の稽古鍛練において使われる藁（わら）を巻いた鍛練道具で、肘から先、膝から先を鋼鉄のように鍛えます。 叩く、突く、蹴る部位を徹底的に鍛え強くする目的で使われます。

道場（どうじょう）
道場とは武道の稽古を行うための場所です。稽古場と呼ばれることもあります。

構え（かまえ）
空手において、構えは基本中の基本であり攻防の要となる重要な要素です。しっかりとした構えを身につけることで、技の威力を最大限に発揮し、相手からの攻撃を防ぐことができます。守りに強く、攻める時は素早く、姿勢を正しく保ち心を落ち着かせる。 これが構えの目的です。

運足（うんそく）
空手における運足（うんそく）は、自分の身体を正しく運ぶ（移動）ことです。組手でも形でも突きや蹴りや受けと上手に組み合わせることによってスムーズな技のキレにつながりますし、運足が正しくないとバランスの良い形や強い組手にならないほど大切な動作です。

転身（てんしん）
空手における転身（てんしん）は、自分のバランスを保ちながらすばやく身体の向きを変える動作のことです。転身しながらも重心を正しくばやく変えることも動作の大切なことです。

Etiquette, Spirit, Training, etc.

Ritsurei
Ritsurei is a bow performed while standing and is performed at the beginning and end of a match. From a stance with your feet apart and looking straight ahead, you tilt your upper body forward about 15 to 20 degrees. Always be alert and aware of the atmosphere around you while bowing.

Zarei
Zarei is a bow performed while sitting upright. When sitting down, start with your left foot, and when standing up, start with your right foot. When bowing, place your hands in the order left to right (or both hands together), place them in a figure of eight about 10 cm in front of both knees, and bow while keeping your upper body straight.

Zanshin
In Bushido, there is a concept of "zanshin". This means keeping your spirit even after the battle is over, showing no gaps, and unifying your spirit. In other words, it can be said to be "the state of mind after the match is decided". This concept is also important in karate and martial arts.  Regardless of the outcome of the match, you are expected to keep your mind in order and always remain alert through etiquette.

Shu, Ha, Ri (Shu, Hari)
"Shu, Ha, Ri" is a philosophy and mindset that represents the stages of a practitioner's growth and evolution in martial arts training. The words "Shu, Ha, Ri" originally come from "Rikyu Douka," a compilation of Sen no Rikyu's teachings. "Shu" is the process of building the foundation of the practitioner. The practitioner faithfully learns the forms, etiquette, and basic knowledge taught by the master. The next stage is "Ha." Here, the practitioner adds his or her own ingenuity to the foundation of the instructor's teachings through experience and training. Finally, when the practitioner reaches the "Ri" stage, he or she leaves the instructor's side and develops their own learning.

Five Articles of Karate-Do (The Dojo-Kun)
Strive to perfect one's character 1. Follow the path of sincerity 2. Cultivate a spirit of hard work 3. Value courtesy 4. Avoid hotheaded courage. These teachings teach that through karate training one can acquire intelligence and culture while improving one's physical strength, so that one can make accurate judgments and take action without panicking in any situation.

“Karatedo ni Sente Nashi” (No First Move in Karatedo)
The 20th of the 20 Karate Articles by Funakoshi Gichin, who popularized karate on the mainland, is "No First Move in Karate." This is a warning against using karate techniques carelessly. It teaches that force is for the stability of the world and the peace of mankind, and should not be used lightly.

Dogi (Karate Uniform)
Dogi is an essential item for karate practitioners in training and competitions.  Originally, there was no such thing as a uniform in the early days of karate, but in modern times, it was made based on the judo uniform, so it looks similar, but the thickness of the material is different between karate and judo.

Karate-do Charter
This charter was established by the All-Japan Karate Federation Foundation with basic guidelines in hopes of further developing karate and expresses the guidelines that those who aspire to train in karate must strive to cultivate qualities (ethical norms) consisting of courtesy, a sense of justice, morality, self-control, and courage in order to maintain the dignity and dignity of karate.


Dan
Ranks are a ranking system established to evaluate karate techniques, knowledge, and spiritual growth. Ranks range from 1st to 10th dan, and the higher the rank, the more skill, knowledge, and spiritual growth are required.  It is important for students of karate to gradually step up to the next rank and grow in technique, mindset, and mentality.

Makiwara
Makiwara is a training tool wrapped in straw that has been used since ancient times in karate training and training, and it strengthens the elbows and knees like steel. It is used to thoroughly strengthen and strengthen the parts of the body that are used for striking, punching, and kicking.

Dojo
A dojo is a place for martial arts training. It is also called a training hall.

Kamae
In karate, kamae is the most basic of the basics and is an important element in offense and defense. By acquiring a solid kamae, you can maximize the power of your techniques and prevent attacks from your opponent. Be strong in defense, be quick when attacking, and maintain a correct posture and calm your mind. This is the purpose of kamae.

Unsoku (footwork)
Unsoku (footwork) in karate is the correct movement of your body. In kumite and kata, combining it well with punches, kicks and blocks leads to smooth and sharp techniques, and it is such an important movement that if unsoku is not correct, it will not lead to a well-balanced kata or strong kumite.

Tenshin (rotation/turning)
In karate, tenshin (turning) is the movement of quickly changing the direction of your body while maintaining your balance. It is also important to change your center of gravity correctly and quickly while turning.

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

Updated Self-Training Regime

 移動基本 (IDO KIHON)

20 repetitions of the following 25 waza. 10 ultra slow and light like太極拳 (Taikyokuken, Tai Chi: focusing on joint movement/joint compression and softness of the muscles). Then execute 10 repetitions only adding speed. Please note that the stance utilized, unless specified otherwise is 前屈立ち (Zenkutsu-dachi).

1) 中段順突き

Chudan Jun-zuki.

2)  三本連突き

Sanbon ren-zuki.

3) 中段前蹴り蹴上げ

Chudan mae-geri keage.

4) [連蹴り] 中段前蹴り蹴上げ ・上段前蹴り蹴上げ

[Ren-geri] Chudan mae-geri keage・Jodan mae-geri keage.

5) 中段前蹴り蹴上げ・中段順突き

Chudan mae-geri keage・Chudan jun-zuki.

6) 回し蹴り

Mawashi-geri.

7) 回し蹴り・中段逆突き

Mawashi-geri・Chudan gyaku-zuki.

8) 横蹴り蹴上げ (騎馬立ち)

Yoko-geri keage (Kiba-dachi).

9) 横蹴り蹴込み (騎馬立ち)

Yoko-geri kekomi (Kiba-dachi).

10) 横蹴り蹴上げ足を替えて横蹴り蹴込み  (騎馬立ち)

Yoko-geri keage ashi o kaete yoko-geri kekomi (Kiba-dachi).

11) 後ろ蹴り蹴込み

Ushiro-geri kekomi.

12) 上段揚げ受け

Jodan age-uke.

13) 上段揚げ受け・中段逆突き

Jodan age-uke・Chudan gyaku-zuki.

14) 中段外受け

Chudan soto-uke.

15) 中段外受け・中段逆突き

Chudan soto-uke ・Chudan gyaku-zuki.

16)  中段外受け・寄り足横猿臂 (騎馬立ち)

Chudan soto-uke ・Yoriashi yoko-enpi (Kiba-dachi).

17)  中段外受け・寄り足横猿臂 (騎馬立ち) ・ 裏拳横回し打ち

Chudan soto-uke・Yoriashi yoko-enpi (Kiba-dachi)・Uraken yokomawashi uchi.

18) 中段内受け

Chudan uchi-uke.

19) 中段内受け・中段逆突き

Chudan uchi-uke・Chudan gyaku-zuki.

20) 中段内受け・上段刻み突き・中段逆突き

Chudan uchi-uke・Jodan kizami-zuki・Chudan gyaku-zuki.

21) 下段払い

Gedan-barai.

22) 下段払い・中段逆突き

Gedan-barai・Chudan gyaku-zuki.

23)  手刀中段受け(後屈立ち)

Shuto chudan-uke (Kokutsu-dachi).

24) 手刀中段受け(後屈立ち)・中段縦四本貫手

Shuto chudan-uke (Kokutsu-dachi)・Chudan tateshihon-nukite.

25) 手刀中段受け(後屈立ち) ・刻み前蹴り・中段縦四本貫手

Shuto chudan-uke (Kokutsu-dachi)・Kizami mae-geri ・Chudan tateshihon-nukite.

返し自由一本組手 (KAESHI JIYU IPPON KUMITE)

上段〜後ろ蹴り

(Jodan 〜 Ushiro-geri)

The initial attack for “Jodan” is not limited to jun-zuki. Jodan gyaku-zuki, kizami-zuki, uraken, haito, and so forth, may be used. Needless to say, this also applies to all of the other attacks, for example, Ushiro-geri could be a full 360-degree ushiromwashi-geri, or uramawashi-geri with either the front or rear leg; furthermore, any of these could be chudan, jodan or gedan. In all cases, the aim is to catch one’s training partner with the initial attack.

型 (KATA)

①  指定型 : 平安またわ鉄騎

Shitei-gata: Heian or Tekki.

②  得意型 (松濤館流)

Tokui-gata (Shotokan-Ryu).

③  得意型 (松濤館流またわ浅井派松濤館流)

Tokui-gata (Shotokan-Ryu or Asai-Ha Shotokan-Ryu).

Insofar as reps are concerned, I tend to do each kata a minimum of three times. Once, slowly and very lightly; once following the standard rhythm with full speed and power; and once where I play with rhythm, and various uses of power for improved body control.

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

Self-Training at the grounds of the Noh Theatre (Central Oita City)

Today's supplementary self-practice, in addition to dojo training, was done at the NOH THEATRE, in central Oita City.

While the keiko included Kihon, the main focus was on Kata. To be specific: KANKU DAI, ENPI and ROSHU.

It was a beautiful summer's day, so I also used the opportunity get some sun. Accordingly, rather than write a drawn-out report, I've simply put some images. 

OSU! - AB

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

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).