IKS JAPAN: 8th & 7th Kyu Examination Requirements (Nihongo)

 

八級、七級

       
基本

その場基本
1.      中段直突き（八字立ち、縦手刀構え）
2.      上段直突き（八字立ち、縦手刀構え）
3.      中段前蹴り蹴上げ (閉足立ち、掻き分け構え)

4.      中段逆突き（前屈立ち、縦手刀構え）
5.      中段前蹴り蹴上げ  (前屈立ち、掻き分け構え)

移動基本
1.      下段払い  (前屈立ち、半身)
2.      中段順突き  (前屈立ち、正面)
3.      上段順突き  (前屈立ち、正面)
4.      上段揚げ受け   (前屈立ち、半身)
5.      中段外受け  (前屈立ち、半身)

6.      手刀中段受け  (後屈立ち)

7.      中段前蹴り蹴上げ  (前屈立ち、正面)
8.      上段前蹴り蹴上げ  (前屈立ち、正面)

9.      横蹴り蹴上げ  (騎馬立ち)
10.     横蹴り蹴込み  (騎馬立ち)


組手

A.      五本組手またわ三本組手（上段と中段）
B.      インパクトテスト（中段と上段逆突き）


型

八級      平安初段
七級      平安二段

©︎ André Bertel. Oita City, Japan (2024).

虎穴に入らずんば虎子を得ず (Koketsu ni irazunba koji o ezu)

虎穴に入らずんば虎子を得ず (Koketsu ni irazunba koji o ezu). What this translates as: " If you don't enter the tigers cave, you will not catch its cub".

The meaning of this Japanese 'kotowaza': You cannot do anything without taking a risk; that is, "Nothing ventured, nothing gained". 

This proverb from Asai Tetsuhiko Sensei, directed my life direction, and with his guidance and support allowed me to become a professional karate instructor here in Japan.

Everyday training continues in hope of being 10% as good as Asai Sensei. Irrespective of whether I can achieve that goal or not, I'm striving every day of each year to achieve it.

In all my personal times with Sensei I simply tried to catch as much 'magic dust' as possible. 

Again, what matters is TRAINING!!! Positive energy to everyone from IKS JAPAN. OSU!!!

URAKEN JODAN YOKOMAWASHI UCHI (folowing Chudan soto-uke and yoko-enpi).

Shodan renzokuwaza: MAE-GERI KEAGE (followed by oi-zuki).

MAWASHI-GERI rotating...

From the previous waza, rotating into USHIRO-GERI KEKOMI.

SHUTO JODAN SOTOMAWASHI UCHI (followed by the same hand shuto jodan uchimawashi uchi). The final Idokihon-waza for the IKS Japan Shodan Examination.

©︎ André Bertel. Oita City, Japan (2024).

平安の日

I just completed what I loosely call a 平安の日 (Heian no hi) or ‘Day of Heian’. I periodically do this in my self-training. My basis for this practice is from Osaka Yoshiharu Sensei, who always references the Heian kata in regard to everything else in his teaching. Needless to say, since I first came to Japan—and even as one of Asai Tetsuhiko Sensei’s direct students—Osaka Sensei’s instruction and methodology has greatly influenced my karate.

 

So, what does Heian do for me? Well, the five Heian really ‘hit the fundamentals of karate’; that is, the core 技waza, 立ち方tachikata, 運足 (unsoku), and so on. I need to strongly emphasize that I’m not saying this lightly… This is brutal ‘raw practice’ where all weaknesses are vividly exposed. Aspects yet to be mastered, or even yet to be learned, are spotlighted. In these cases, we have the opportunity to face our true technical level and, in the case of ‘not learned yet’—mentors can guide us to understanding and a higher road of practice.

 

One high level aspect of technique, which I’ve written about so much in the past, is ‘technical moderation’. This, insofar as technical form is concerned, is really what defines ‘karate movement mastery’. Please note, I did not say ‘karate mastery’—as “…this requires both mastery of movement and functionality/effective application in a freestyle context”. Certainly, the years of my working in various security jobs (throughout my 20s, standing at the doors of pubs and clubs, and later as a professional bodyguard) really brought this to light in my karate.

 

That brings me to a quote by the founder of modern-day karate and the Shotokan style: Funakoshi Gichin Sensei. He stated, “With mastery of the five Heian kata, one can be confident that they will be able to defend themselves”. This statement was so strong in that it alluded to the fact that one must not only practice the ‘solo form's'. This by itself is clearly insufficient. Accordingly, besides the kata itself, one must work the techniques with and against opponents in both partner drills and in freestyle exchanges. In this way, “…when doing the kata by oneself, we are actually reviewing each action as a mnemonic routine for actual self-defense.

Anyway, here is some of my extra practice outside the dojo today. This is what is I call my DAILY HOMEWORK outside dojo training; that is, my review of my self-practice to achieve on-going skill targets.

Heian Shodan (Movement two): MIGI CHUDAN OI-ZUKI (MIGI CHUDAN JUN-ZUKI)

Heian Nidan (Movement one): HIDARI HAIWAN SOKUMEN JODAN YOKO-UKE DOJI NI MIGI ZENWAN HITAI MAE YOKO-KAMAE

Heian Nidan (Movement 24): MIGI JODAN AGE-UKE

Heian Sandan (Movement one): HIDARI CHUDAN UCHI-UKE

Heian Sandan (Movement 20): SAKEN MIGI KATA UE KOHO TSUKI-AGE DOJI NI MIGI USHIRO-ENPI

Heian Yondan (The first half of movement 11): HIDARI SHUTO SAHO GEDAN-BARAI DOJI NI SASHO JODAN-UKE

Heian Yondan (Movement 12): MIGI JODAN MAE-GERI KEAGE

Heian Godan (Movement 15): SASHO NI MIGI CHUDAN MIKAZUKI-GERI

Heian Godan (The first half of movement 19): TOBIKOMI

Immediately after posting this, I heard of the loss of SHIRAI HIROSHI SENSEI... IKS JAPAN and International members want to offer our condolences to his family and students in Italia and around the world. This is also very sad news for the world Shotokan community.

©︎ André Bertel. Oita City, Japan (2024).

Correct form of 後屈立ち ("KOKUTSU-DACHI")

Here I am demonstrating the correct form of the Shotokan-Ryu stance 後屈立ち ("KOKUTSU-DACHI"). Today, I will merely outline correct form as opposed to Unsoku (Leg movement/Foot work).

Opening remarks

One does not have to have perfect form but, rather, understand and use each tachikata correctly. This means finding the optimal stance for one's body, condition, age, injuries and so forth.

Consistent with the teachings of Masters Funakoshi, Nakayama and Asai (and irrespective of width and depth, please read about this in the next paragraph) the weight ratio is 3:7.

As already mentioned, the weight and depth of the stance is the maximum one can do without compromising form and functionality. It is easy to establish this by simply checking if the posture is distorted and/or the correct foot positions cannot be made. Either of these problems means that the stance must either be shortened, made less deep, or both.

Please note - some senior instructors/organizations teach even more weight should be on the back leg. In IKS (International Karate Shotokan) we respect these differences and encourage senior grades to find the optimal stance for themselves.

Key Points

The lead foot ideally points directly forward or towards the prime opponent. The lead thigh and knee are 'lightly rolled outwards' to ensure correct leg and foot alignment from the hips downward. The lead hip is slightly tilted downward - this is 'the lock'. Needless to say, having 30 percent or less weight on the lead leg makes it easy to whip out a leg technique. But more importantly, it allows one in a stationary position/without moving the foot to get out of distance and then immediately rebound to counterattack.

The rear foot ideally points 90 degrees to the side. In IKS we teach the best way to do this is to make sure that the sokuto/sword foot (outside edge of the rear foot) is exactly 90 degrees. Pressure must also be applied to the sokuto to keep the foot completely flat on the ground/floor. The thigh is slightly pressed outward so that the hip, leg, and foot, are all in-line. 

Again, as mentioned earlier Shisei (Posture) must be correct. Stance refers to the hips downward, and posture refers to the hips upward. In sum, good foundational posture is the alignment of the hips/ pelvis, backbone and head/neck.

Conclusive remarks

Lastly, do not worry if you are older, have less flexibility or have injuries. A beautiful stance in Budo Karate is an effective stance. Many Shotokan champions in sports karate, even world champions, have very deep and athletic looking stances; nevertheless, the stance configurations are completely incorrect. They have both incorrect form and no functional meaning. So don't be so concerned about looks; rather, focus on correctness and effectiveness. 

Correct and effective stances are inherently beautiful (to those who know what true Shotokan is). Sadly, the number of such people is now diminishing.

©︎ André Bertel. Oita City, Japan (2024).

Updated self-training regime (Part 2: 移動基本 — "IDO-KIHON")

Here is an outline of my current Ido-Kihon practice, it includes some generic notes and common variations of practice. It is certainly not exhaustive and, therefore, could include numerous more details; that being said, I hope you find something useful for your own training and/or teaching here. 

 The term 移動 (Idou) comprises of ‘move’/‘moving’ and 基本 (Kihon), which of course means ‘basics’. The term ‘basic’ oftentimes in contemporary English implies ‘simplicity’; therefore, I believe, ‘fundamentals’ provides a more accurate term. This is also consistent with the writings of Nakayama Masatoshi Sensei. In practice I do a minimum of five slow repetitions, followed by a minimum of ten with speed. After each set of five I either practice moving rearward or turn 180 degrees with gedan-barai and repeat advancing in the opposite direction. Accordingly, I’ve intentionally omitted these points from the descriptions below as this is inherently obvious for all who practice traditional Shotokan. 

 In sum, the Ido-Kihon presented here today are the current 国際空手道松濤館  (IKS — INTERNATIONAL KARATE SHOTOKAN) requirements for 初段 (Shodan) here in Japan. Moreover, irrespective of rank and experience, this fundamental training will be both technically and physically challenging, and result in improved 型 (kata), 組手 (kumite), and overarching karate prowess. 

押忍 (OSU)!! 

André

 (1) 三本連突き （前屈立ち） Advance with fumidashi into zenkutsu-dachi shomen executing sanbon ren-zuki; that is, jodan oi-zuki/jodan jun-zuki targeting the jinchu, followed by two consecutive stationary thrusts targeting the suigetsu—chudan gyaku-zuki and chudan maete-zuki. All three tsuki-waza must utilize the hips—gyakukaiten, junkaiten, gyakukaiten—and impact with seiken. 

(2) 上段揚げ受け • 中段逆突き（前屈立ち） Retreat with fumidashi into zenkutsu-dachi hanmi with jodan age-uke followed by a stationary chudan gyaku-zuki rotating the hips into shomen. Utilize impacting with tekubi in the uke and targeting the suigetsu with your seiken. 

 • Please note: a common variation is that a mae-geri keage is executed between the age-uke and tsuki. In this case the kick is snapped out and back from its original position. A front leg kizami-geri may be used or a rear leg kick. In either case, the age-uke and hikite positions must remain stationary, koshi/josokutei is the weapon of body employed, and the johanshin (upper body) must remain stationary. 

(3) 中段外受け（前屈立ち）腕同じで中段横猿臂 （寄り足騎馬立ち） • 腕同じで上段裏拳横回し打ち（そのまま騎馬立ち） Advance with fumidashi into zenkutsu-dachi hanmi with chudan soto-uke followed by a yori-ashi into kiba-dachi with chudan yoko-enpi. From this position snap jodan uraken yokomawashi uchi out and back. Utilize impacting with the wrist in soto-uke the drive the elbow into the upper ribs or sternum. The uraken targets the nose, eye socket or temple. 

 • Please note: the additional waza of transferring from kiba-dachi into zenkutsu-dachi with chudan gyaku-zuki is common practice. When doing this it is important to not snap back the uraken but, rather, leave it extended. Thereby, utilizing it for long hikite for your tsuki. Keep the heel of the rear foot in place and don’t only widen your stance to form zenkutsu-dachi but also drive forward so your impact with seiken to the suigetsu has your body weight properly engaged. In other words, don’t not allow your power to go sideways. 

(4) 手刀中段受け（後屈立ち）• 中段縦四本貫手（前屈立ち） Retreat with fumidashi into kokutsu-dachi with shuto chudan-uke transferring into zenkutsu-dachi to execute chudan tateshihon-nukite. When transferring from back to front stance, the kakato of the rear heel remains set, and the lead foot not only moves outward but forward so the power is directed ahead. Centralize the nukite to the suigetsu; however, in reality this waza is directed to the eyes in various forms of ‘the spear hand’ (Ippon, Nihon, Shihon, Tate, Yoko, Ura etc...). Utilize seiken in your hikite whilst executing the nukite. 

 • Please note: it is common that a 刻み蹴り (kizami-geri) is executed after shuto-uke and before nukite. Usually this is a kizami mae-geri, but sometimes kizami mawashi-geri is employed. In either case, when kicking the body weight must be directed forward; that is, the drive of the sasae-ashi is used and the johanshin must not tilt rearward.

(5) 中段内受け • 上段刻み突き • 中段逆突き（前屈立ち） Advance with fumidashi into zenkutsu-dachi hanmi with chudan uchi-uke. Please note that this hanmi is smaller than usual. From this position rotate further into hanmi to exacute a stationary jodan kizami-zuki with your ‘uke’ hand. Follow up by rotating into shomen with chudan gyaku-zuki. The uke utilizes tekubi and both tsuki impact with seiken. It is important to make the kizami-zuki a kimewaza and utilize its long extension for a large scale hikite for your middle level reverse thrust. When aiming at the suigetsu the intent is to target the spinal column.

(6) 下段払い • 掌底揚げ突き（前屈立ち） Advance with fumidashi into zenkutsu-dachi hanmi with gedan-barai the follow up with shoutei age-zuki. The uke impacts with tekubi and the ‘rising thrust’ with shoutei/teisho, which is the bottom portion of the palm. In this basic form aim for up and under the opponent's chin, however, impacting the jaw in a slightly angled trajectory is more commonplace. Make hikite with seiken whilst rotating the hips into shomen. 

 • Asai Tetsuhiko Sensei often requested the various waza with 転身 (tenshin/rotation); accordingly, this is a variation often employed in fundamental training. Spin fully making a solid and correct front stance in the half-facing position—with gedan-barai—before executing your counterattack with shoutei/teisho. The feeling rather than gedan-barai is spinning and attacking with gedan-tetsui /kentsui.

(7) 中段前蹴り蹴上げ • 中段追い突き（前屈立ち） Advance with mae-geri keage into zenkutsu-dachi with chudan oi-zuki/chudan jun-zuki. Impact with koshi/josokutei with your kick and seiken with your thrust. In the basic form aim for suigetsu with both ‘keri’ and ‘tsuki’; however, in reality target the opponent's groin and head. Please note that ‘legs followed by hands’ requires an equally sharp kick and thrust; furthermore, there must be minimal time between the two waza. The tsuki must impact slightly before zenkutsu-dachi is completed for ‘hand speed’ and also for ‘maximum body weight’/mass to be applied to your blow

   • Please note: a common variation is to make jodan oi-zuki and/or jodan oi-zuki followed by chudan gyaku-zuki with or without 自由な構え (jiyu na Kamae)—the freestyle posture/guard. When using Kamae keep the hands motionless when executing your kick. In the case of leaving the fist extended, remain set. Likewise, if making two consecutive ‘tsuki’—nirenzuki— switch the hands as you kick. 

(8) 回し蹴り• 中段追い突き（前屈立ち） Advance with mawashi-geri into zenkutsu-dachi with chudan gyaku-zuki. Whether kicking jodan to the jaw or temple, to the torso or the legs it is important that one ‘axes’ their mawashi-geri. That is koshi/josokutei diagonally impacts downward via pivoting of the sasae-ashi and rolling over of the kicking legs hip. Sune (the shin) can also be used, however, in fundamental training it is customary in Shotokan-Ryu to employ the more difficult ‘ball of the foot’. The gyaku-zuki is generated by the support leg and counter rotation of the hips with one’s seiken targeting through the suigetsu. In sparring 背足 (haisoku) or ‘the instep’ is commonly used to avoid injuring one’s training partner. 

• Please note: This can be done from an extended ‘set gyaku-zuki’ whilst kicking or with a set jiyu na kamae with the tsuki snapped out and back. Take care when snapping ‘tsukiwaza’ that each technique is fully extended, the shisei (posture) is not broken and kime is not lost. In sum the fundamental form is kept and power increased: via "... the removal of the static structure of classical kihon."

(9) 上段前蹴り蹴上げ • 中段前蹴り蹴上げ（前屈立ち） Advance with jodan mae-geri keage followed by chudan mae-geri keage into zenkutsu-dachi. This ‘rengeri’ is often times chudan followed by jodan; nevertheless, it important to practice both. When making the jodan mae-geri aim at the jinchu but, in reality the jaw or throat are ideal. Impact with koshi/josokutei. For chudan, utilize the same karada no buki (weapon of the body) and target the suigetsu. In reality, target the opponents groin. A very important aspect of this combination is to make an tight step after the first kick. A long step, in basic training opens one to sweeps and other counterattacks. Throughout both kicks maintain a set gedan kakiwake position or jiyu na kamae. In either case, keep the hands/arms set to hide—‘not telegraph’—your kicks, as much as possible.

 • Please note: typical variations in basic training and exams including kizami mae-geri for the first kick followed by an oi-geri. Another common practice is ‘sanbon-geri’ which is two consecutive oi-geri followed by a stationary rear leg mae-geri; that is, step forward kick, step forward and kick again, then mae-geri on the spot stepping back into zenkutsu-dachi. As in all kicks, a key element is the high and tight/compact raising of the kicking legs knee, full use of the sasae-ashi, and in the case of kicking snap, a speed ratio of 3:7. I need to add here that Master Asai also regularly taught 前蹴り蹴込み (Mae-geri kekomi); furthermore, impacting with 踵 (kakato) and 爪先 (tsumasaki). 

(10) 横蹴り蹴上げ • 足をかえて横蹴り蹴込み（騎馬立ち） In kiba-dachi advance sideways with kosa-aiyumibashi (crossing the rear legs foot in front the lead legs) and execute yoko-geri keage followed by ‘ashi o kaete yoko-geri kekomi. That is, after kicking with the leg and returning it tightly to the floor, pivot on the grounded and make a side thrust kick with rear foot in the same direction as your keage. Land in kiba-dachi to repeat the renwaza on the opposite side. The essence of this waza and if it’s training is to clearly define the difference between yoko-keage and yoko-kekomi. In both cases the karada no buki is 足刀 (sokuto) or the sword foot; however, the heel and its elevated position in relation to the lower portion of the foot accentuates the collective use of sokuto and kakato, especially in kekomi. Targets can be chudan, jodan or gedan depending on one’s flexibility and power, however, classically the side snap is chudan and the side thrust is either chudan or gedan. 

 • Please note: there are many variations of comparing and contrasting these waza. One is simply doing each waza in isolation, rightward and leftward with a cross step. Another common practice is to make the kekomi fist and keage second; furthermore, both kicks with the same leg from kiba-dachi or zenkutsu-dachi, following up with gyaku-zuki etcetera. In any case the key point with yoko-keage is that the knee precedes the impacting sokuto and is snapped back with a 3:7 ratio with good pelvic posture. With yoko-kekomi the sokuto goes first followed by the knee and drive of the hips, again, whilst maintaining postural alignment. In both forms of yoko-geri a high and tight knee raise and returning the along the same trajectory are fundamental aspects for optimal execution. 

(11) 回し蹴り • 後ろ蹴り蹴込み（前屈立ち） Advance with mawashi-geri flowing into ushiro-geri kekomi moving into zenkutsu-dachi with jiyu na kamae. The key with this waza is follow through with the mawashi-geri to initiate the spin for the ushiro-geri with the opposite leg. Impact with josokutei and spin placing the kicking foot then immediately and tightly drive the heel into your opponent's suigetsu or myojo. To make a perfectly linear back thrust kick, which is essential to avoid being 'jammed', graze the kicking leg on the sasae-ashi. Furthermore, for power fully extend the kicking leg and drive the support leg and hips towards the respective target.

 • Please note: variations including following up with tsukiwaza, also swinging the leg in a wide arc when spinning to make 後ろ回し蹴り (ushiromawashi-geri), which is typically aimed at jodan targets, and also utilizes kakato to impact on the respective target. For safety, in sparring 足底 (sokutei ) or ‘the sole of the foot’ is commonly used to avoid injuring one’s training partner. Needless to say, this waza does not need to be done with a spin but also directly from the rear leg, or as a kizami-geri, with the lead leg. The direct versions of these techniques are referred to, in Shotokan-Ryu, as 裏回し蹴り (ura mawashi-geri). 

(12) 手刀上段外回し打ち •手同じで 手刀上段内回し打ち（前屈立ち） Advance in zenkutsu-dachi with fumidashi with a lead arm shuto jodan sotomawashi then 'te onaji de' shuto jodan uchimawashi uchi. This means that your make both strikes with the same arm. Rather than understanding this as a continuous attack the key is execute both the outside roundhouse and inside roundhouse strikes with the sword hand correctly. In both cases the trajectory of the strikes must large scale and ‘go through’ the target. In sotomawashi uchi the hips go in the same direction as the strike; that is jun koshi no kaiten. Whereas, in uchimawashi uchi, gyaku koshi no kaiten is used. Take special care with the outside-inward strike, in particular that it travels diagonally past the head; that is, it must be in line with the opposite outside edge of the clavicle. Also, in basic training, both strikes should be eye level, flat and parallel in-line with the ground with elbows nearly fully extended. The common jodan targets include the temple, carotid artery, bridge of the nose and throat. 

 • Please note: These waza are often practiced individually; also, other common karate-striking techniques are also practiced, such as 背刀上段外回し打ち (haito jodan sotomawashi uchi) and so forth. 

I’d like to conclude by saying that all the forms of solo kihon, including ido-kihon are essential for improving technical form and efficiency of motion; however, this training is incomplete without regular full-contact impact training on the sandbag and other training tools. Likewise, controlled Jiyu-Kumite must be regularly practiced refining distancing, timing, chance taking, tactics, and so on. On top of these methodologies, 型 (Kata) and their respective 応用 (Oyo) “... complete the ‘Way of Karate’ as a traditional Japanese art form, and as a rudimentary art of self-defense”. 

 © André Bertel. Oita City, Japan (2024).

Updated self-training regime (Part 1: Images)

I will update my daily self-training regime soon as requested. Until then, here are some images from today's keiko at the dojo, which reflects the practice. My current theme is one of Asai Tetsuhiko Sensei's tenets "NATURAL KARATE". Osu, AB.

©︎ André Bertel. Oita City, Japan (2024).

MEIKYO SANDAN (ISHIMINE ROHAI) YouTube Video

 

Meikyo Sandan is an old kata originating from Ishimine Rohai of Tomari-Te. The use of both ippon-ken and nakadaka ippon-ken; furthermore, sagi-ashi dachi is predominant in this kata.

More profound is the subtle use of tai-sabaki on the various 45-degree angles. This should be studied and is more advanced than the previous two Rohai/Meikyo forms.

The original kata uses the tsuru-ashi dachi of Gankaku/Chinto; however, Asai Tetsuhiko Sensei preferred the frontal raise of the knee for offensive purposes. I dedicate this video to Asai Sensei and a personal friend in New York. I hope this spartan video clarifies my notes!

© André Bertel. Oita City, Japan (2024).

Freital 2024 Seminar Vids from Oliver Schömburg ("Willow Tree" Parts I & 2)

My dear friend Oliver Schömburg is a karateka, digital creator and engineer based in Northern Germany.

He professionally filmed and edited my recent course in FREITAL, GERMANY last month. Thanks so much Olli!!

Please check out these latest videos by clicking on the direct links below; furthermore, be sure to check out the other great content on his YOUTUBE CHANNEL: olliwaa - YouTube

 

押忍!

André

© André Bertel. Oita City, Japan (2024).

Trainee from Biebesheim, Germany

Dominic Jährling (Shodan) from Biebesheim, Germany recently came as a Renshusei here in Oita City.

(1) The KIHON (Fundamentals) are everything in karate. They determine one's technical level and effectiveness.

(2) The form of KIHON is not for looks but optimal efficiency and bodily effectiveness.

(3) Ultimately KIHON is 'ISOLATION TRAINING'.

Overall, while I won’t go into details, the focus was improving subtle aspects of his KIHON naturally through both sonoba-kihon and ido-kihon, but also via kata and the different forms of yakusoku-kumite. Of course, collectively all of these elements culminate in effective jiyu-kumite.

A paramount factor is for each individual to find the best karate for their physique, personal attributes, and so on. This is an aspect that I stress to all Renshusei, and Dominic was of course no exception.

As always, in line with Asai Sensei’s methodologies—relaxation to transcend muscular power—was high on the agenda and, therefore, smoothness and ‘reactive adaptability’. Needless to say, these aspects are utterly imperative when karate is practiced as 武術 (BUJUTSU).

To conclude, it was not only great to see Dominic improve in his skills, power, and understanding of Karate, it was also a really nice time outside of the trainings.

Dominic, I wish you the very best, 押忍!

André

© André Bertel. Oita City, Japan (2024).