Choku-zuki (Part Three... Five Years, one month and one day later)!

Assisting my late teacher, Asai Tetsuhiko Shuseki-Shihan (10th Dan).

Today I'd like to share a few points about choku-zuki and its training. This article is by no means 'covering everything' about this waza. Nevertheless, it does focus on several aspects I hope both instructors (and all karateka in general) will find useful. I'll begin with a basic introduction then move on to some aspects of training, and, finally some aspects which are often neglected, and/or technically misunderstood. 

Keep in mind, as always on this site, this article is coming from a 武道空手 (BUDO KARATE) PERSPECTIVE. Furthermore, that my style comes directly from Master Asai and the old school JKA-style Shotokan Karate.

直突き (CHOKU-ZUKI: 'straight thrust') also sometimes referred to as the その場突き (sonoba-zuki) is generally the first 突き技 (TSUKI-WAZA) taught in Karate-Do.

Yes, while it is true that choku-zuki is 'isolation practice' of impacting straight, it also an 'applied waza'. This is why it is 

is found in ten of the standard 26 型 (Kata), a total of 26 times. To summarize: Bassai Dai (twice), Kanku Dai (twice), Enpi (five times), Gankaku (twice), Bassai Sho (twice), Unsu (once), Gojushiho Dai (three times), Gojushiho Sho (three times), Jiin (twice) and Tekki Sandan (four times). 

Its foremost practice is from 八字立ち (hachiji-dachi) and 体の武器 (karada no buki) is 正拳 (seiken), which is the ‘fore-fist’ impacting with the knuckle tips of the index and middle fingers.

That being said, it is practiced in many other 立ち方 (tachikata) and with various karada no buki also. 

Insofar as stances are concerned, it is often executed in 騎馬立 (kiba-dachi). Other examples include 平行立ち (Heiko-dachi), 閉足立ち (Heisoku-dachi), 三戦立ち(Sanchin-dachi), 交差立ち (Sanchin-dachi), 座湾立ち (Zawan-dachi), etcetera.

And in regards to karada no buki there there many variations: 縦拳 (tate-ken), 一本拳 (ippon-ken), 中高一本拳 (nakadaka ippon-ken),  四本貫手 (shihon-nukite), 虎口 (koko), 青竜刀(seiryuto), and so on.

In all cases make sure each ‘weapon of the body’ is correctly formed. As an instructor, I advise to be particularly aware of correct wrapping the thumbs with fist formations and correctly bending and placement of the thumbs in open handed weapons.

It is also critical in Traditional Karate to know the respective targets for one’s ‘tsuki’ based on 間合い (MAAI) and the karada no buki being applied. The basis of targeting in solo practice is structured around three generic target areas: 中段 (CHUDAN), 上段 (JODAN), and 下段 (GEDAN). Without an opponent or target in front, one references their own body. Chudan is aimed at ones own 水月 (suigetsu, which is the solar-plexus). Jodan at ones own 人中 (jinchu, the phitrum). And Gedan is aimed at the 明星 (the myojo, which is about an inch below the navel).

In 松濤館流 (Shotokan-Ryu) it is important to note that, in basic solo practice—unless otherwise specified—the ‘inside edge’ of the respective karada no buki is directly next to, but does not cross, the 正中線 (seichusen).

While choku-zuki is stationary thrust, it is not only directed to the front, nor with stationary movements. My late mentor, Asai Tetsuhiko Sensei, always also used to teach 斜め突き (naname-zuki—making your ‘tsuki’ diagonally to the front and twisting diagonally to the rear) and 側面突き (sokumen-zuki—making your ‘tsuki’ 90 degrees to the sides.

Furthermore, he stressed practicing choku-zuki with various degrees of 転身 (TENSHIN), which was one of his specialities. This included 九十度回転 (kyujudo-kaiten: 90 degrees rotation), 百八十度回転 (hyakuhachijudo-kaiten: 180 degrees rotation), 二百七十度回転 (nihyakunanajudo-kaiten: 270 degrees rotation) and 三百六十度回転 (sanbyakurokuju-kaiten: 360 degrees rotation).

Add to, and combine with these actions: 逆回転 (Gyaku-kaiten: ‘reverse rotation’); 寄り足 (Yori-ashi); 蹲踞 (Sonkyo: ‘formalized crouching’; 飛び技 (Tobi-waza: ‘jumping techniques’), etcetera. 

Like all the waza of Karate-Do, it is essential to optimally make use the ground power and the kinetic chain when making your choku-zuki. This means generating power from the floor/ground into your target, or generating power from the your 中丹田 (CHU-TANDEN) simultaneously downward to the floor/ground and to your target. In any case, it is imperative to maximize 踵中心 (Kakato-chushin).

柔軟性 (JUNANSEI or ‘softness’/‘flexibility’) is essential to relax and `snap` your tsuki—as opposed to using muscular tension. This underpins all of Asai-Ha Shotokan-Ryu.

Accordingly, exact 腰の回転 (KOSHI NO KAITEN), 肩を伸ばす (KATA O NOBASU), 腕の捻 (UDE NO HINERI), and 呼吸(KOKYU) must be used—if high level technical skill is to be attained.

In PART FOUR I will talk about the 引き手 (Hiki-te) and the 応用 (practical application) of choku-zuki. 

 

© André Bertel. Oita City, Japan (2026).