Here is a video courtesy of Nishi Fuyuhiko after the last JKA Gasshuku here in Oita: under the guidance of Hashiguchi Yuji Sensei.
© André Bertel. Oita City, Japan (2016).
© André Bertel. Oita City, Japan (2016).
Wednesday, 20 July 2016
Thursday, 14 July 2016
EUROPE 2016
For those who have secured places (to attend any of these three events) I look forward to training and camaraderie with you. If you have not yet booked a place, and wish to, I recommend that you contact the organizers immediately (on the off-chance that there might be a space left). – Osu, André.
André Bertel European Tour 2016
DEUTSCHLAND / GERMANY SEMINAR 2016
Where: Ahrensburg (Hamburg Metropolitan Region)
When: July 23rd and 24th, 2016.
Contact/Organizer: Oliver SCHOEMBURG SENSEI
Email: olischoemburg@hotmail.com
UNITED KINGDOM / ENGLAND 2016
Where: Poulton-le-Fylde (Lancashire)
When: July 30th and 31st, 2016.
Contact/Organizer: Michael BARR SENSEI
Email: barrme@icloud.com
ITALIA SEMINAR 2016
Where: Venezia
When: August 6th and 7th, 2016.
Contact/Organizer: Silvio CANNIZZO SENSEI and Mauro MION SHIHAN
Email: silviocannizzo@gmail.com
© André Bertel. Oita City, Japan (2016).
Monday, 4 July 2016
大分県の空手家たちが素敵すぎる！Soul of JKA in OITA!
JKA Oita was featured on ‘Kuro Obi World’. I posted about this excellent training camp just recently.
Here is a direct link to that article... http://andrebertel.blogspot.jp/2016/05/oita-prefecture-phoseminar-with.html. Osu, André
© André Bertel. Oita City, Japan (2016).
Sunday, 19 June 2016
9th Anniversary of André Bertel's Karate-Do
Today marks the ninth anniversary of this blog/webpage. Over those years the objective of this site has remained the same: the training and promotion of the authentic 武道空手 (Budo Karate) of Japan.
Rather than write much today I’d simply like to offer my utmost thanks to my supporters around the world.
どうもありがとうございます!!!
Wednesday, 1 June 2016
Updated Training Regime
It is hard to believe that June is already upon us! Here is my updated self-training regime.
Osu, André.
(A) KIHON
Sonoba-Kihon: (1) Chudan choku-zuki (Hachiji-dachi); (2) Jodan age-uke (Hachiji-dachi); (3) Chudan soto-uke (Hachiji-dachi); (4) Chudan uchi-uke (Hachiji-dachi); (5) Gedan-barai (Hachiji-dachi); (6) Shuto chudan-uke (Hachiji-dachi); (7) Mae-geri keage (Heisoku-dachi); (8) Yoko-geri keage (Heisoku-dachi); (9) Gyaku-zuki (Uken then Saken in Hidari then Migi zenkutsu-dachi); (10) Chudan mae-geri keage (Migi then Hidari in Hidari then Migi zenkutsu-dachi);
• Reps: For each of the Sonoba kihonwaza, I execute each technique a minimum of ten times slowly, then and a minimum of 40 times in the regular fashion. Insofar as the Ido kihonwaza go, a minimum of 10 times slowly followed by 10-20 repetitions, with snap.
(B) KATA
At present my training has mostly been dedicated to the four Sentei-gata: Bassai-Dai, Kanku-Dai, Enpi and Jion with references going back to the Shitei-gata. Often this includes extensive practice of one of the Shitei-gata, such as Heian Yondan, alongside Kanku-Dai etcetera. To treat myself I am triweekly concluding the kata section of my practice with a Jiyu-gata. Amongst these are Hangetsu and Gankaku (one of which I need to select for my next JKA qualifications exam), and Sochin.
Without going into details, I'm using Sochin to push my technical boundaries/limitations. This practice is pushing me to the limits, not only physically, but also mentally: as it is forcing me to control myself differently.
• Reps: I’m currently using the `alternate slow motion/regular speed’ method of practice. Following this pattern it is customary to do each kata no less than eight times; that is, slowly then with regular speed to the north, south, east then west.
(C) KUMITE
I. All the forms of `standard Shotokan kumite’ are presently in my regime: Nevertheless, rather than spreading myself wide and mitigating the positive results of my training, I have a specific theme. This theme is simple… ‘to maximize my channeling/transferring of power in all of my techniques’. Currently, Oi-zuki (Jun-zuki), Gyaku-zuki and Mae-geri-keage are the most important techniques in this process; hence I’ve also returned to the practice of Kihon Ippon Kumite (Kiri Kaeshi): as an extension of my ‘kihon ippon training’. In sum, I am doing Gohon-Kumite, Kihon Ippon Kumite, Kihon Ippon Kumite (Kiri Kaeshi), Jiyu Ippon Kumite and Jiyu Kumite (along with ‘Uchikomi’ work). On days when I don’t have a training partner I practice these as solo drills.
• Reps: I am simply going through each drill once very slowly then at least two times in the regular manner.
Overall, my aim is to continue to improve both physically and mentally through Karate-Do training. I’m never satisfied, when looking back, so I must advance myself each and everyday. This is very challenging for me but, at the same time, provides daily satisfaction and, with that, perpetual motivation. Staying at one place is both boring and pointless, and needless to say, regression is even worse. Over 20 years ago I learned that ‘staying in the status quo’ and ‘regression’ are very closely related. I think this is what Funakoshi Gichin Sensei meant when he said: “Hitosu, karate wa yu gotoshi taezu netsu o ataezareba moto no mizu ni kaeru” (Karate is like boiling water; without heat, it returns to its tepid state). Best wishes from Oita, Japan. To the limit!!!
© André Bertel. Oita City, Japan (2016).
Sunday, 22 May 2016
Private kata training for Ohtsuka Shohei
Today I had a trainee from Usa-Shi, Ohtsuka Shohei Kun. He wanted to study a budo version of Unsu, which he could also exhibit in competition. He wants to compete in both budo karate (JKA) and JKF: and demonstrate true Karate-Do. This, to me, is very good, as kata is not an aesthetic game but the foundation and time capsule of traditional Japanese budo/martial arts.
He has had many wins in competition but is seeking more pure karate. Again, for a young man of 23, I really admire this; moreover, with hard work he has the capacity to do extremely well. He has speed, power and talent in abundance; nevertheless, here in Japan the level is so high, so the climb is very-very steep. One of my top goals is to support JKA Oita Prefecture as much as possible. I really want to give as much as I can to Oita.
In addition to Unsu I also corrected his Enpi and Jion. He was very receptive and excited when he felt the difference in his execution of kata and then experienced the oyo (applications). Overall, it was great to see him lift his execution of the kata covered and, indeed, his understanding. Ganbatte Shohei!!!
© André Bertel. Oita, Japan (2016).
Wednesday, 18 May 2016
Renshusei from England: Michael Barr
Michael Barr recently came to Japan to be a renshusei (trainee) at my dojo. During his time here in Oita he completed ten hours of one-on-one practice. I’d like to congratulate him on completing this training and clearly improving his technical ability. OMEDETTO GOZAIMASU!
This year I will once again be teaching Karate-Do Seminars in Europe:
• Ahrensburg (GERMANY)—July 23/24;
• Poulton-le-Fylde (ENGLAND)—July 30/31; and
• Venice (ITALY)—August 6/7
I'm reiterating this here as Michael has organized, and is hosting, the England portion of my Europe Tour. For those wishing to book a place on the Technical Seminars (July 30/31) in Poulton-le-Fylde, please contact him directly at: barrme@icloud.com.
Lastly, for those interested in Michael’s karate training experience here in Japan (beyond the photos featured in this post)—please click on the following link, which features a written report: www.wyrekarateijka.blogspot.co.uk
© André Bertel. Oita City, Japan (2016).
Monday, 16 May 2016
Nishi Fuyuhiko: Movie Director and creator of ‘Kuro Obi World’
This weekend I met movie maker Nishi Fuyuhiko at the JKA Oita Seminar, in Hiji, (which was conducted Hashiguchi Yuji Sensei).
 |
| Photo courtesy of Nishi Fuyuhiko. |
Osu, André
© André Bertel. Oita, Japan (2016).
Oita Prefecture Seminar with Hashiguchi Yuji Sensei
On the weekend I attended Hachiuchi Yuji Sensei’s Seminar—hosted by the JKA Hiji branch—here in Oita Prefecture. The seminar, like Hashiguchi’s classes, was packed with technical details.
 |
| Photo courtesy of Nishi Fuyuhiko. |
Kata covered in depth included Heian Shodan, Heian Nidan, Heian Sandan, Heian Yondan, Heian Godan, Tekki Shodan and Kanku Dai.
 |
| Photo courtesy of Nishi Fuyuhiko. |
© André Bertel. Oita, Japan (2016).
Thursday, 14 April 2016
The Six Sections of the Trunk
In Karate-Do, in harmony with the limbs (arms, legs and neck)—and the power derived from terra-firmer—we must correctly control and utilize the six parts/sections of the trunk.
Before I jot down these six sections and briefly explain their basic usage/coordination, it is important for me to stress that “…while they—are essential—they are still ‘physically secondary’ to the power derived from the ground”; in particular, via ‘kakato-chushin’. It is very obvious that this grounding, essentially based on the laws of gravity, is the origin of the term ‘base’ or ‘basic’: the foundation is at the ground. Hence, the kahanshin (lower body) is the focus in Shotokan. Nevertheless, after the building (and maintenance) of a solid foundation, what is built on top of it cannot be arbitrarily understood and used. So that brings us to the specific question of: “what are these sections/structures in your trunk?”: Well, in my own terminology, they are as follows:
一 The Left Chest and Left Upper Back
二 The Right Chest and Right Upper Back
三 The Left Abdomen and the Left Central to Lower Back
四 The Right Abdomen and Right Central to Lower Back
五 Frontal Lower Abdomen
六 Central Lower Back
Before I go on, please note that this is my simplification: While there are some small variations—description-wise (amongst the senior Shotokan instructors here in Japan)—I designed the above simplified list for my ‘English-only-speaking’ deshi (students) and renshusei (trainees). In addition to this, I’ve avoided using the medical/anatomical terms for body parts. My rationale behind this was, and is, to optimally clarify this imperative breakdown; moreover and more importantly, to physically understand/apply this knowledge. With this in mind, I’d like to explain how the six parts/sections of the trunk are used.
The overarching categories of trunk control: To begin with, in regards to controlling these ‘sections’, there are several variations; however to avoid confusion, they are best grouped into four
overarching categories: 1. 縦 (Vertical); 2. 横 (Horizontal--forward and back); 3. 丸 (circular on an even plain); 4. 円 (like a 'ball').
overarching categories: 1. 縦 (Vertical); 2. 横 (Horizontal--forward and back); 3. 丸 (circular on an even plain); 4. 円 (like a 'ball').
The basic coordination of each section—the apartment analogy: Next let's look at the basic coordination of each section… I often describe this to karateka by using the analogy of “…different but adjacent apartments, on the same floor, of three story apartment complex”. Let’s do this in the reverse order, from the top down. Please keep this ‘reverse order’ in mind…
• ‘The third floor’ includes the ‘left chest and right chest’ in correspondence with each other via: (a) the three vertical axises (central axis, left axis, and right axis); (b) their degrees of horizontal tilting; and furthermore (c) their direct correspondence with the left and right upper sides of the back.
• Likewise and needless to say, this also fully applies to ‘the second floor’: the two separate sections of the abdomen (left and right upper to lower abdomen) and the lower side of the back (left and right central to lower sides of the back).
• And, indeed, what applies on the third and second floors also applies on the ‘first floor’ of the apartment complex: the frontal lower abdomen and central lower back.
A contradiction? ‘Base-up’ or top-down’? So, you may be asking yourself (or perhaps you were questioning before, as a result of my prompt) why I started from the top down, as opposed from the base up? Isn’t this in contradiction to my aforementioned statement of ‘starting from the ground-up’—or ‘base power’—being of primary importance. Well, in simple terms, yes. However, in regards to thinking and applying the three vertical axises, the most natural/easiest way is literally from the top-down. Moreover, and not un-coincidently, this elucidates an important point in Karate-Do: the next phase in technique above the basic ‘one-directional (‘support foot/feet to the impact weapon’) source of power’. This secondary, advanced method, generates power from the centre in two directions: (1) from the centre, directing power down to the support foot/feet (to the ground); and (2) simultaneously with ‘1’, from the centre, directing power to the impact weapon. There is a third, highly advanced generation of power, but this transcends the scope of this article.
A broad perspective of using the six sections of the trunk: The main thing to understand is that perception of the axises are easier from the top down; also, in relation to these vertical lines (and horizontal tilting), is the coordination of the six sections of the trunk. Last but not least, these sections are used (1) together (as described above), (2) separately/in isolation, (3) vertically, (4) horizontally and (5) in various combinations of areas, directions and order.
Example of two points with Chudan uchi-uke:
1. During the wind up of chudan uchi-uke the left and right sides of the chest are contracted/closed and, simultaneously, the left and right sides of the upper back are expanded/opened.
2. Next the reverse occurs as the chudan uchi-uchi is executed: The left and right sides of the chest are expanded/opened and, simultaneously, the left and right sides of the upper back and contracted/closed.
Certainly we could expand on this, especially in regards to the central lower back in coordination with the abdomen, however, I think the point I’ve been trying to make has already been made, which is, "the the entire body is used in Karate-Do, nevertheless, the coordination and order of using these bodily sections change; moreover, exist in various degrees."
Irrespective of everything technical, the main physical point of technique (in Budo Karate) is to be able to optimally control oneself both physically and mentally; moreover, to be able to do so in the context of self-protection or the protection of others. Technique and bodily control is meaningless: if only useful in a karate context (the dojo, competitions, or demonstrations). In order to have optimal effectiveness, in the real world, we need to fully—and optimally—control ‘the limbs’ (arms and hands; legs and feet, and neck); the shoulders and hips (‘the connectors’ of limbs to the trunk); and the six sections of the trunk. Best wishes from Japan.
押忍, アンドレ
© André Bertel. Oita, Japan (2016).
Subscribe to:
Posts (Atom)