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).

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).

IKS (International Karate Shotokan) KATA & KUMITE EXAM REQUIREMENTS

IKS KATA REQUIREMENTS

IKS KUMITE REQUIREMENTS

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

______________________________

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).

Renshusei from São Paulo, Brazil: Dr. Mario Sérgio Viera

 Dr. Mario Sérgio Viera Sensei, from São Paulo—and is a 3rd Dan with the ‘Escola De Karate-Do do Brazil’—once again came here to the Dojo as a 連取生 (Renshusei). He is a student of one of my predecessors here in Japan, Ennio Vezzuli Shihan, who also trained with my late mentor Asai Tetsuhiko Shuseki-

Shihan.

The focus on all three days of training here was the underpinning core mechanics of Budo/Bujutsu Karate; in particular, maximizing velocity via correctly using the kinetic chains in fundamental actions, and using as much as possible for optimal impact.

I also stressed, as always, that ‘the Renshusei program is not killer training course’ but, rather, “…it is technical training and learning based, to maximize skill development”. Yes, there is sweat and maybe a few bruises; however, nothing beyond each individual’s capacity. In this way, each trainee gains the most from their time here in the dojo.


In the case of young guns—wanting ‘Japanese university karate training’—with masses of Kihon repetitions at a fast pace; heavy contact kumite; and ‘the learn by experience’ method… this can also be provided by request. However, unless in one’s late 30s and under, I personally do not recommend this. 

While much of this was done through 基本 (Kihon), it was naturally also applied in kata—which reinforces these aspects through more variations; and in the different forms of 組手 (Kumite). Furthermore, and most importantly these points were utilized in freestyle: 自由組手 (Jiyu-Kumite).

I must expand on this point as true Shotokan-Ryu; that is, “…shotokan practiced as Budo/Bujutsu”, literally involves “…the seamless integration of Kihon, Kata and Kumite”.


Mario did very well over the three days here, especially improving the use of kakato-chushin, his use of the sasae-ashi, foundational ‘koshi no kaiten’—via ‘ground power’.


A more elusive aspect was Asai Sensei’s use of junansei in relation to kime; nevertheless, this is a on-going challenge for everyone.


Another aspect I focused on was ‘technical moderation’; that is, adjusting one’s positioning and movements to allow the full use of the hips in each waza. This, as all my students know, is one of the major factors which differentiates the very best karateka in the world from everyone else. Moreover, it is one of the major barriers between the standards of Karate here in Japan, and those practicing abroad.


The biggest difficultly for non-Japanese, in there regards, is ‘trend following’ as opposed to ‘allowing one’s own body to dictate unsoku, positions, and everything in between. In the case of Mario, and for those who read this, allow me to use the length and width of as a simple stationary 前屈立ち (Zenkutsu-dachi) as just one example of this.


So, what is the correct length and width of this very common basics position?

The answer is ‘as long as possible’— “…without compromising: 

(a) the position of the hips, especially of the rear legs hip, in forming a full/proper ‘shomen';

(b) the correct positioning and direction of the rear foot, dictated by ankle flexibility; and 

(c) pelvic, back and neck/head posture.

In regard to width, the stance must project forwards as opposed to sideways, therefore, the ideal width (in the standard zenkutsu-dachi—not the narrow ‘zenkutsu’ and ‘hiza-kutsu’) is that of your hips. To be specific, the inside edges of both your front and rear feet should be the same as the outside edges of your hip joints.


Returning to length, if one cannot fully lock the hips into shomen, the back foot is more to the side than the front, or the posture is not able to be completely erect—the stance is too long!


If all of these aspects are exact, in this case I encourage the trainee to experiment with a longer stance, but to limit this length as dictated by the aforementioned prescription.


Mario was very open to this point with his decades of experience and now in his early 60s. Nonetheless, many younger karateka, as mentioned earlier, are fixated on ‘copying the current trends’, especially from tournaments. What’s interesting here, is that many world kata champions have highly compromised kihon within their kata. This has occurred due to sacrificing effectiveness for what they perceive as ‘good look's'. Needless to say, this has no meaningful relationship to true karate.


Ironically, the best tournament champions do not compromise effective kihon in their kata and, by doing so, are demonstrating “Kumite effective fighting forms”. We can see this here in Oita City with Nishiyama Kakeru. This comes from his teacher, and my friend, Sato Shihan who stresses ‘Budo Kihon , Kata and Kumite’.

Returning to Mário’s training, yes, it is different from athletes in their teens, 20s and 30s, but there is no compromise when it comes to doing karate as Budo/Bujutsu.


In fact, as I’ve said many times in the past, “one’s ultimate karate journey begins in the post-competition stage of training”. Master Asai taught me that “one’s technical depth—the richness of their movement—greatly improves through one’s 40s, more in their 50s, and even more in their 60s and 70s”. 

In sum, ‘Karate is literally lifetime budo”. But this can only be the case if one practices karate as budo, as opposed to merely being a sport.


I want to give credit to Mario for continuing to seek to improve his karate in his 60s. While this is still young and strong period of life for a Budoka, it is still easy to walk away from training and/or no longer seek to advance in skill.


In Mario’s case, he is following The Way of Karate— ‘walking the walk’—by seeking knowledge and physically working in accordance with his age, existing knowledge/experiences, and in accordance with his own circumstances.

Accordingly, I’d like to commend Mario in his ongoing practice of Karate-Do, express my personal respect for his endeavors, and offer him a big 押忍

(Osu/Oss).

押忍！ 

アンドレ  バーテル

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