My current daily self-training

 Finally, here’s my current daily self-training regime. Rather than give reps, sets, durations, and other such details, today I thought I’d focus more on my points of attention and lastly my methodology. Sorry if this schedule may seem not so interesting on paper/screen; nevertheless, it’s been a very challenging schedule for me and, at times, fun. Before I begin, I would like to wish everyone who reads this the very best. Hopefully it provides some useful information and perhaps even some motivation. 

押忍

 

Kumite with my student Lyall Stone. Lyall was in the group of my first students to achieve Shodan.

基本  (KIHON)

Tachikata practice… “Fronting up with the front stance”…

1.     Zenkutsu-dachi with various unsoku: forward, rearward, leftward and rightward, diagonally forward and backward, and with all the variations of tenshin.

 

In particular, I’m really focusing on projecting my ‘front stance’ forward during

all footwork; furthermore, during the various transitions into shomen/zenmi,

hanmi and gyaku-hanmi.

 

 

Foundational tsukiwaza and enpiuchi no waza:

2.     Chudan choku-zuki (Shizentai).

3.     Chudan oi-zuki (From zenkutsu-dachi, gedan-barai).

4.     Jodan kizami-zuki (Stationary zenkutsu-dachi).

5.     Chudan gyaku-zuki (Stationary zenkutsu-dachi).

6.     Jodan kizami-zuki kara chudan gyaku-zuki (Stationary zenkutsu-dachi).

7.     Asai Sensei enpi-uchi combination no. 1

8.     Asai Sensei enpi-uchi combination no. 2

 

My main objective at present is to move as naturally as possible: SHIZEN-KARATE (I will upload an article about this soon). In particular, with relaxation of muscles, full use of shime on the joints, and speed with precision.

 

 

Freestyle kihon:

From jiyu-dachi with a freestyle kamae transiting through zenkutsu-dachi (Keriwaza kara tsukiwaza).

 

9.     Chudan mae-geri keage kara chudan oi-zuki.

10. Chudan mawashi-geri kara jodan gyaku-zuki.

11. Chudan ushiro-geri kekomi kara chudan gyaku-zuki.

 

To sum up my ‘main focus’ with these three renzokuwaza, which I am currently working on is as follows: (a) A high and tight knee chambering; (b) Relaxed ‘whip action of each keriwaza; (c) Trajectory in combination with tai no shinshuku—not strictly classical but practical hip ‘extension’ whilst still ‘getting the weight into each keriwaza’; and (d) The descension/compression and expansion for the follow up tsukiwaza… There is much more to this last point as it also entails a high level of situational awareness which, needless to say, I’m always constantly working on.

 

 

組手  (KUMITE)

Application of the aforementioned ‘legs followed by hands’ in the context of DEAI; furthermore, the extension of training via the switching of legs and setting of the hips to control maai. Overall, the waza must have destructive power (in reality), which is consistently reliable. In this regard, the use of energy and fluidity/adaptability is of special importance in this training. In sum, techniques will be combatively unreliable if they can only be used in a specific context with maximum impact power. This is my current focus in my kumite training.

 

型  (KATA) 

Today my kata training consisted of Heian Shodan, Heian Nidan, Bassai Dai and Raiko. However, I’ve also been covering all of the other kata in my general training.

 

More than ‘what kata I am doing each day’, my use of energy has been my major focus. I’m sure that you have already recognized that this is perfectly in harmony with my current kihon and kumite training: of course, that is not coincidental. My target is always ‘gaining results based on evidence as opposed to feeling(s). This is why, as a coach, the demand for my teaching is high. The fact is that high level training combined with evidence-based analysis not only gets results—it keeps getting increasingly the individuals skill-level. I am not bragging about this but, rather, stressing the need for karateka to also follow this methodology for themselves (if they don’t already). Any other way is literally like taking a long and complex journey without a map or means of accurate navigation. I will say it again, training and teaching must be scientific. YES to the knowledge of the past: TRADITION. But also YES to CONTEMPORARY KNOWLEDGE. People ask why I always improve and this is the answer. Don’t get fooled by talk and gimmicks. Many people now have all sorts of ideas and articulate them well. As Mike Tyson says: “Everyone has a plan until they get punched in the face”. I'll leave that there…

 

I’d like to make one more comment, in regards to optimal kata training. Everyone is limited with kata including myself (that is, no one can master all of the kata, if we are talking about ‘karate as bujutsu’/’kata to enhance one’s combative ability’); therefore, “…specialization in one to three kata (which is the ‘traditional way’) is optimal. That being said, ‘training generally’ is also a good practice, and is particularly essential for lower dan practitioners and instructors”. Let me reiterate… Kata training for instructors and lower level yudansha is twofold: (1) Tokui-gata—specialized kata practice (including complete oyo/bunkai); and (2) Broad practice.

 

What’s interesting about the broad training—besides maintaining general knowledge (which is obviously important when coaching others and ‘adding some spice to daily practice’)—is that “…every so often it results in karateka 'bringing in a new kata' into their tokui group.” This happens for several reasons, the most obvious being: (a) an increase in technical maturity/skill/knowledge; (b) aging; (c) injury/illness; (d) a recognition that another kata is better suited or more useful for their ‘jissen-kumite development’, and so forth.  For example, I can name many senpai here in Japan whose tokui-gata were Unsu, Sochin or Gojushiho Sho in their youth, but now their ‘tokui’ are kata such as Meikyo, Jiin, Chinte, Hangetsu and so on.

 

One might say this is because of ‘competition’ which certainly has some merit; however, from my own training and discussion with these seniors, the main reason is ‘fighting style’/practical application of their kata (via their self-training and corresponding research). Certainly, age and injuries come into play; however, as also said above, technical maturity is also a major factor. This highlights an important saying in Shotokan: “The depth of one’s karate is found in the most simple waza and kata”. As I’ve stated in the past, “An Olympic gymnast within a few seconds of observation can make an Unsu jump better than any karateka; yet, to make a good oi-zuki will take them years of training”.

 

I hope from what I’ve outlined today—via providing you with my current self-training regime—shows a seamless line connecting Kihon, Kumite and Kata; moreover, that you can see a tangible formula for literally improving your karate prowess irrespective of where you are presently.

 

Greetings from Oita City, Kyushu, Japan.

アンドㇾ　バーテル

 

© André Bertel. Oita City, Japan (2021).

Doryoku no seishin wo yashinau koto (cultivating the spirit of effort)

 努力の精神を養うこと

Doryoku no seishin wo yashinau koto

André Bertel

© André Bertel. Oita City, Japan (2021).

温故知新 (Onkochishin)

  温故知新

Asai Sensei taught me that "ONKOCHISHIN is critical in Bujutsu". 

 温故知新 (Onkochishin) means “to study and learn what happened in the past, and to utilize the knowledge gained from this to acquire deeper knowledge; furthermore, an expansion of this knowledge”.

 

We can see onkochishin in the formation of what became known as 松濤館流 (Shotokan-Ryu) and its ongoing evolution. Certainly in the other kaiha/ryuha also.

 

It is very important to retain and work to ‘attempt to master’ the karate knowledge of the past; however, it is also very important “…to use this knowledge as a springboard to deepen and expand karate”.

 

More than anything, to be fruitful, cerebral knowledge/understandings must be a part of physical karate training itself—as opposed to merely being 'budo/bujutsu academia'. Otherwise, onkochishin cannot be a part of one’s karate.

 

Onkochishin in karate must intrinsically be founded on bujutsu/budo, otherwise it cannot legitimately be onkochishin for effectiveness in unarmed self-defense. Karate ineffective in this regard is nothing more than bodily exercise and art. Bodily exercise, sports and art, independently (away from Budo/Bujutsu), can and never will constitute true karate: irrespective of social change.

 

Needless to say, this aspect of karate is a major part of the Shotokan-ryu, the Asai-ha karate, that I practice and teach; moreover, this sets “…a major divide between authentic karate and current mainstream shadow of the art”.

 

押忍

André

  

© André Bertel. Oita City, Japan (2021).

府内城の桜 大分市2021

Over the last, nearly 14 years, of this blog I have annually posted some 桜 (Sakura) pictures, and this year is no different.

Today I'd like to share some simple photos from here in 大分市central Oita City, at the remains of 府内城 (Funai Jo). While these photos are not what I'd call spectacular, I hope you enjoy them! Like other images on this site, you can click on them to see them more clearly.

Osu and greetings to everyone around the world.

VERY POSITIVE THINGS TO COME, 押忍！

Andre Bertel

© André Bertel. Oita City, Japan (2021).

OI ZUKI: 'The model of hand-foot timing'

 Using oi-zuki as ‘the model of hand-foot timing’ that it is, please allow me to unpack it as a technique that can be used in both jiyu-kumite in the dojo, competition and, yes highly effective on the street as well.

 Before I go on, it needs to be stated that SO MANY PEOPLE CLAIM OI-ZUKI IS INEFECTIVE ON THE STREET.

THEY ARE WRONG!!!

The 'basic' oi-zuki: which is important for foundational training, but incomplete practice.

 Well, the reality is, OI-ZUKI IS EXTREMELY STREET EFFECTIVE. The problem is that "...their oizuki, training, skill, physicality, and/or understanding of it, is incorrect (or, more to be more accurate, 'incomplete').

Of course, most techniques in the foundational training are not directly transferrable from their basic form (specifically for their ‘so-called basic function’). Let me give a few concrete examples (other than oizuki):

 

(1)      Opponent throws a jab or cross at your chin, you meet it with a classic age-uke. Yeah right!!!

 

(2)      You decide to launch a mae-geri and you do so with gedan kakiwake-gamae. Please punch me in the face!!!

 

(3)      Opponent raises his fists; you drop into a long and low zenkutsu-dachi with gedan-barai, before raising yours. Best scenario: your opponent(s) collapse in laughter.

 

These are clearly all just silly; moreover, doing a basic oizuki in a real fight is also a ridiculous notion.

 

However, these training methods have a lot of value. To save time I’d just like to refer to one of these… The kakiwake position when practicing kihon mae-geri. This is position with arms diagonally downward at both sides of the body help us to control our hips and core (and most importantly, monitor these aspects via this position). In combination, forming a triangle with the top of the head, we develop less telegraphed keriwaza, amongst other things. In sum, it is basic isolation training of mae-geri in its most simple form. This practice is important, but “…if this is all one does, they will not develop the technique fully”. Of course one also needs to practice it in freestyle, solo and in kumite, on the bag etcetera.

 

OK, so onto oi-zuki… Oi-zuki as I said is what I refer to (as I said in the opening of this article): ‘the model of hand foot timing’.

 

Why is this the case. Well, like all techniques with timing, there are multiple stages between initiation and completion (also pre-initiation and post initiation, including zanshin, which I wont go into today); however, THERE ARE THREE MAIN FORMS OF TIMING. I’ve written and taught much on this before, but it is very well worth my recapitulating this subject: as I really want to take these points to much higher levels in future courses and, certainly, with future renshusei as well.

 

FIRSTLY, the foundational Shotokan timing; that is TE-ASHI ONAJI—the hands and feet complete at the same time. This is our basic style… It’s our ‘reference point’ or marker for the other two main forms of timing. I'll come back to this later a few times.

 

SECONDLY, there is what I refer to as OKINAWAN timing. In this case, the stance is completed then the tsuki (or other tewaza) is launched. It is also seen in many other styles. An obvious example of this are movements 2-7 in 雲手 (Unsu) kata. This methodology can be used to cause one’s opponent to mistime their defense (just think of Gohon Kumite between beginners and intermediate level karateka). Often, in this type of situation, the beginners timing is really awkward for their training partners. I’ve even heard students complain about their partners ‘incorrect timing’ resulting in them being hit… I also say "Bravo, how fat can you make their lips!" But that's another story. Indeed, while the technique itself might be incorrect (incorrect shisei, tachikata etc.), they are instinctively/naturally using good timing to 'whack' their partners! The problem is that the intermediate karateka are not watching to receive the attacks with the right timing: cheating, moving too early. This is because "...the basic oi-zuki is not effective". Yes, this is the only oi-zuki that 'the people who think oi-zuki is ineffective' actually know. Yes, their concept of oi-zuki is like Kindergarten students understanding of quantum field theory. Well, hopefully not that bad, but it makes a point.

 

So, this (delayed tsuki) is actually a good thing ‘when masterfully utilized’ in the aforementioned context. It is also very useful in combination with grappling techniques (again, note: the aforementioned use in Unsu and its applications); furthermore, in environments that are less than ideal (i.e. – the floor of a slippery bar, on a stairway etc.).

 

THIRDLY, and lastly, the tsuki precedes the step/transfer. In this way, it almost becomes gyaku-zuki—and indeed it can be half-way between oi-zuki and gyaku-zuki; nonetheless, its nothing more than a linear punch which is different in timing. This results in increased hand speed and greater mass behind the fist because you are literally attacking your opponent with your zenkutsu-dachi. Driving from the back leg and unweighting the lead leg is extremely powerful. Once the weight forward with the head of the knee above the toe tips, the technique is already over. This is the ‘post attack loading’ for your next attacking or defensive maneuver.

 

So, we have:

 

(1)      Oizuki which is completes exactly with the completion of zenkutsu-dachi.

 

(2)      Oizuki which is delivered sometime after completing zenkutsu-dachi.

 

(3)      Oizuki which is completed sometime before completing zenkutsu-dachi.

  

I want to clarify here that... "I am by no means saying 'I have the best way... This is my personal style of teaching from my experiences here, over the last few decades". However, it really sums up the ‘proper and basic Shotokan approach to timing’ by all of the greats. Especially 'the combination of their demonstrations and explanations in Japanese' within the more exclusive trainings and private lessons. To reference a few instructors in this regard: Asai Tetsuhiko Sensei, Tanaka Masahiko Sensei, Osaka Yoshiharu Sensei, Kagawa Masao Sensei et al. I want to stress here again, that this is THE SHOTOKAN METHODOLOGY. The other authentic ryuha/kaiha have their equally effective methods, which I also deeply respect! Nevertheless, I personally find that sticking to ‘the Shotokan way’ avoids strange adaptations of techniques, which in the past I've found to hinder people's kihon. This is because many of the core principles are conflicting. Again, this is only my opinion from my own experiences in training and in the coaching of others. To be honest, I have yet to meet anyone at successfully cross training (kihon and kata) in vastly different styles and not seriously deforming their kihon. I hope one day I do. Even training full time, I could never do that. Perhaps I should write about this in the future in greater depth, as I have had some excellent conversations with Osaka Sensei about this topic.

 

So, again let me now break 'the three main types of timing' down from the Shotokan perspective. 

The first type is a generic reference. However, its application is good in the case countering with a gyaku-zuki, moving/stepping back and countering, when doing waza with tenshin (rotation), when dropping with a waza, and, indeed, when jumping (you can easily reference the photo below for the 'tobi oi-zuki' timing). This stabilizes the waza and allows one to utilize ground power/reactive force—driving from the floor with power going to the impacting weapon (or, driving from the center going simultaneously down the floor and to the impacting weapon). No need to explain dropping/falling and and jumping, as they are self-explanatory. We also have third and far more advanced method.

 

The second type (finishing moving then making your waza), as already said, can be used to mistime your opponent. However, also as I said, it is good in combination with grabs, holds, locks, throws, take-downs and strangulation techniques. Not to mention with follow up percussive blows potentially after an ‘weight transferred attack’. And let’s not forget the environment, which I won’t mention again here.

 

The third type is the timing for rapid and heavy attacking. You can use this in a street fight as is. Ironically, though, without the prototype ‘te-ashi onaji’—the first type—this waza cannot be optimized. So ironically, all three must be practiced.

 

So how can I use oizuki in a fight? Well, attacking with this waza requires three basic points to be covered. The first is distancing, the second is positioning, and the third is using ‘the third type of timing’.

 

STEP ONE: Try this… Stand natural with a training partner in orthodox stance (left foot forward). Both hands up protecting your chin and jaw line.

 

Oh no! This position is not good. If you try a stepping through punch (oizuki) you’ll 70% most probably walk straight into either of their fists. It is literally a ‘Kamikaze’ move. You are all but asking them to break your nose.  

 

OK, let’s fix this! Instead, for oizuki, have the opposite foot forward to the opponent. That is, if they are in an orthodox stance, you should stand southpaw and vice-versa.

 

So, you are in the opposite stance and you step through and punch. Nope! This is not ideal either! The best is where you use your lead arm to ‘check their guard’ whilst simultaneously attacking. Note – whilst doing this one must still focus on ‘collapsing the front knee forward’ as in kihon kumite and essentially maximizing ‘juryoku’ (gravity)’. Ideally 'prep the knee' before initiation and 'cut down the seichusen': this really mitigates cues for the opponent to detect your attack.

 

This is a good oi-zuki that you can use… However, there are a couple of other really important points. Namely:

 

(1)      Don’t attack from too far back. You need to be close enough to go right through the opponent’s head, but so close that it can instantly turn into a ‘slug fest’. This also functions to give the opponent very limited time to defend and/or escape; furthermore, to ascertain your attack. I’ll quote Tanaka Masahiko Sensei here: “When I attack I concentrate on driving my hips through my opponent”. I want to say that this advice helped me over the years and helped me better understand Tanaka Sensei’s ‘ankle spring’.

 

(2)      Don’t hikite unless you are pulling the opponent in (to control, ‘blindside’ and or ‘set’ them. Best still, if your aim is a rapid 'king hit' is a light 'check' of their guard and with simultaneous (or near simultaneous) impact on their jaw, chin, neck/throat, temple or jinchu.

 

(3)      Zenkutsu-dachi can be big, but doesn’t have to be. The determinant is ‘case by case’. In any situation, the extended position we call ‘zenkutsu-dachi’ (and all the other stances for that matter) are “ACTIVE POSITIONS as opposed to STATIC one’s.

 

(4)      Even though this is freestyle version, DON’T LOSE THE CORE KIHON and PRINCIPLES OF OIZUKI. By doing this, your tsuki will be more direct and have far more impact.

 

If oi-zuki is done in the aforementioned way, in addition to Kihon training, it is a highly effective tsuki in any context: dojo shiai-jo and street. The problem is that many people only train the basic way.  Yes, the basic style of practice is critical—'IT IS THE BASE’, but without practicing it in the freestyle way, it has no meaning. Lastly, we can see WHY OIZUKI is practiced so much in Shotokan-Ryu and why it's such an important technique for mastering timing, lightness for speed, moving from the center, and maximum heavy transfer of mass. Next time when you hear that oi-zuki is not a useful technique, know this: any person 'who thinks and says that' does not understand oi-zuki. I hope you enjoyed this article. Osu, and greetings from Western Japan. - André

© André Bertel. Oita City, Japan (2021).

When Kihon and Kata are not for Kumite, they cease to be TRUE KARATE.

Practicing at the dojo today. STEP BY STEP!

 Today’s training was all kata; however, the focus was movement for effect/optimal application. I practiced and worked aspects of the following ten formal exercises, five of which are kihon-gata (foundational) and five ‘jokyu-gata’ (advanced).

 
The standard ‘Standard Shotokan’ I worked with today were: 平安初段 (Heian Shodan), 平安三段 (Heian Sandan), 二十四歩(Nijushiho), 王冠 (Wankan) and 百八歩 (Hyakuhappo).

Warming up with Ushiromawashi-geri variations.

The ‘Asai-ha Shotokan-ryu kata I practiced were: 順路初段(Junro Shodan), 常行一勢 (Joko Issei), 脚戦  (Kyakusen), 騎馬拳 (Kibaken) and 水手 / 水の手 (Suishu/Mizu no te).

 

My focus was to optimize each kihonwaza; furthermore, how they link together to create the flow for effectiveness. Each kata has its only character/personality to fight with. This point is not only external but internalized. Especially in regards to sensing the opponents maai and ‘instinctively responding optimally’ according their cues.

 

Movement 55 of 騎馬拳 (Kibaken) kata at my daily dojo training today.

This point elucidates a key point in karate: Kihon is Kumite and Kata is Kumite: Jissen (REAL) Kumite. When Kihon and Kata are not for Kumite, they cease to be TRUE KARATE. 

© André Bertel. Oita City, Japan (2021).