Kata is the Heart of Karatedō

Four of ‘The Seven Core Kata’ of Shōtōkan-Ryu was the focus of my training today. These were:

① 十手 (Jitte);

② 半月 (Hangetsu) also known as セイシャン ‘Seishan’ and "...originally a variation of the 十三 ‘Sesan’ kata (from the Matsumura Sokon lineage, which differs from the Naha-Te)".

③ 岩鶴 (Gankaku) originally known as チントウ ‘Chintō’; and

 

④ 慈恩 (Jion).

Again, in traditional practice of 型 (Kata)―which I follow―we do not merely practice the kata as a complete routine. 

In addition to the full kata ‘form’ it is critical to also practice individual elements of the kata. This is, of course, the origin of contemporary 基本 (Kihon) training. 

Last, and certainly not least, it is imperative to practice the practical 応用 (Õyo) or ‘applications’. Needless to say, this is literally the basis of ‘traditional 組手 (Kumite)’, which is based on practical 護身術 (Goshin-jutsu).

In the case of the four aforementioned kata, it is absolutely obvious that each of them is a distinctive fighting STYLE in themselves. Only when kata is properly understood in this way and trained accordingly (in the manner described above), can one truly master a kata.

Nowadays, mastery is mostly determined by external performance of kata as, essentially, ‘floor routines'. While this is certainly a part of kata, “…without diligently practicing the kata, properly for self-defense, it loses its ‘Budō value’ as a training tool”. The traditional perspective is that “Karate merely as a performance art―has no meaning―and thus, is no longer True Karate”.

What’s interesting here is that ‘when optimal application steers one’s karate practice’ it rapidly establishes what STYLE suits the individual. 

Returning to my practice today, and with these points in mind, not all four of these kata suit me; however, each offers a pillar of information specifically emphasized by Funakoshi Gichin Sensei.

With this in mind, kata training becomes a remarkable time capsule for the handing down of Budō knowledge and the fostering of classical technical skill.

Whilst some may argue that kata is not necessary, one cannot deny their continued motivational value: even decades after beginning karate. They are undoubtedly the aspect of Karate-Dō that make it a lifelong art.

In my case, in the 1980s, 1990s, 2000s, 2010s, and now, in the 2020s―I still seek to improve my skill―and still every day, kata is at the heart of this process.

押忍！

アンドン  バーテル

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

Correct understanding of the 順路 (Junro) 'kata'

One of the most confused series of 'kata' are undoubtedly the five 順路 (Junro). Please note my emphasis on 'kata' here...

Looking at the way people practice and teach them usually makes me cringe. The core points that Asai Tetsuhiko Sensei was teaching—and why he designed them in the first place—seem to have been either misunderstood or completely not understood at all.

Alternatively, like the other ‘kata’ from Asai Sensei, they have intentionally been, what we in the IKS call ‘Shōtōkanized’…

While I’m 100% a Shōtōkan karateka, it’s clear that changing these kata ‘so that that conform with all the Shōtōkan norms largely invalidates their purpose’, which was to expand our bujutsu-knowledge. If you are going to do that: in Asai Sensei’s words, “…you’d be much better off doing 平安 (Heian), which were derived from the classical forms.”

Returning to Junro (and equally relevant to 常行 Jōkō, which I’ve intentionally not addressed today), please again, allow me to quote Asai Sensei… 

He stated that “Junro are supplementary kihon-gata”. They are not classical forms but, rather “kihon training routines” each with a specific fundamental target and varied from the Shōtōkan-ryu standard actions.”

Accordingly, both Junro (and Jōkō) are “exercises”/ "drills" to further master your foundational techniques and develop variations of them.

Rather than blasting through these ‘basic training kata’, instead, use them specifically in your training (and, if you are an instructor, specifically in your teaching). As always, quality and knowledge are all that matters.

Lastly, a quick bit Japanese and conclusive notes…

順路 (Junro): (じゅんろ, junro) means a ‘prescribed/designated route’.

And for your information, and more revealing 常行 (Jōkō): (じょうこう, jōkō) means ‘everyday conduct’.

Clearly, both of these meanings must not be misunderstood and incorrectly practiced in one’s karate training.

押忍！

アンドン バーテル

{The following images are from my daily self-training today}

Movement one of JUNRO SANDAN.

Movement one of JUNRO SHODAN.

Movement one of JUNRO NIDAN.

Movement one of JUNRO YONDAN (from rear view).

Near completion of movement one: JUNRO GODAN.

©️ André Bertel. Oita City, Japan (August 21st, 2026).

The 太極 (Taikyoku) Connection...

Practice today was focused on two kata: 観空小 (Kanku Shō) and 拔塞 (Bassai Dai).

For those of you who have personally trained here as Renshusei, or at seminar's here in Japan and/or around the world, you will know what I mean by 型 (Kata) practice. This, of course, not only includes full kata as ‘Solo forms’ but also 基本 (Kihon) and 組手 / 応用(Kumite / Ōyo).

Yes, there is a performance aspect, but this performance is directed by precise form and effective application. This brings me to my main focal point in my training today: ‘Speed, power, large scale technique and precision’ through being in a state of total relaxation.

The 太極 (Taikyoku) Connection...

This is based on 太極拳 (Taikyoku-ken), which is ‘Tai Chi’ in Japanese. Of course, many reading this will immediately think of Funakoshi Gichin Sensei’s Taikyoku Kata.

Not coincidentally, Funakoshi Sensei stated: stated: “Because of their simplicity, these kata are easily learned by beginners. Nevertheless, as its name implies, Taikyoku is of the most profound character and one to which, upon mastery of the art of karate, an expert will return to select it as the ultimate training kata.”

What did he mean by this? The mere movements? Well, not according to the older masters who have guided me here in Japan. The simplicity of movement and technique ‘removes places to hide weaknesses’: moreover, it allows one to ‘deeply perfect a state of being’. That is softness of the body and mind for ultimate reactivity and total softness of the body. 

Does that mean ‘one must do Taikyoku’? Well, in the case of my training here in Japan, 平安初段 (Heian Shōdan) has always ‘officially’ been the first ‘old-school JKA-style’ kata. But Taikyoku, and others, such as 序の型 (Jō nō kata) are commonplace.

Certainly, all three Taikyoku kata hold a very place for our colleagues in the Shōtōkai, who most closely follow the Karate-Dō of Master Funakoshi.

So, returning to their purpose, and linking back to my practice of KANKU SHŌ today: “…beginning and ending with ‘tai chi’ in one’s softness and flexibility” is a critical aspect of Karate-Dō kihon and, certainly, ‘the effective utilization and practical application' of the art". This was a point made by the late Kanazawa Hirokazu Sensei (Sōke of the SKIF).

With these points in mind, today’s practice of BASSAI DAI also reflected the aforementioned focal points in Kanku Shō. However, in it I spent more detailed time on the individual waza and, in particular, 技の緩急 (Waza nō kankyu). I personally like to make each action very large scale, especially decisively attacking with the ukewaza.

Nakayama Masatoshi Sensei stated that “Bassai Dai is a dynamic form that requires strong vitality, vigorous techniques, and imposing dignity”; furthermore, that “…it is a bright jewel among the 15-core kata of the Shōtōkan”.

To conclude, whilst Kanku Shō and Bassai Dai have very different technical characteristics, the underpinning aspect of ‘correctly utilizing energy is shared’. Keeping this in mind, during kihon, kata and kumite is imperative. Why? Because stiff and ‘muscularly forced’ karate is weak. It results in the reduction of speed; the tightening/shortening of actions; jerky transitions; and lessens impact power. What’s more, “…when the body is tense the mind becomes more fixated/less aware” and, consequently, less defensively capable. These aspects highlight the value of kata in one’s training regime.

押忍!

André Bertel

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

‘Variable intensity’ karate trainings

Today, my self-training session comprised of the 平安型 (Heian Kata). From these kata I selected individual waza and renzokuwaza for my 基本 (Kihon) and 組手 (Kumite) practice.  

I then worked on classical kata 慈恩 (Jion), 燕飛 (Enpi) and 鉄騎二段 (Tekki Nidan).

Movement six in HEIAN YONDAN: Migi ashi dachi, Hidari uraken jodan yokomawashi-uchi doji ni hidari sokuto chudan yoko-geri keage.

Here in Japan, Jion is often described as kitsui (きつい) means tight, tough, hard, or intense. It is a versatile everyday adjective used to describe physical constraints, demanding tasks, or strong sensory levels. In the case of Jion, kitsui refers to the tightness of the actions in it; 関節の締め (kansetsu nō shime). Unlike the contemporary competition renditions of this kata, the traditional delivery is stronger and calmer. 

Whereas Enpi <Wanshu> emphasizes 方向転換 (hōkō tenkan / changes of direction), which is expressed by its fast, sharp turns and quick ‘centre-of-gravity shifts’ or ‘jushin ido’. Also important in Enpi is 身体の伸縮 (karada nō shinshuku) especially pertaining to the dramatic changes in height, which like the aforementioned directional changes, resembles the agile flight of a swallow.

Needless to say, the Tekki series addresses ‘in-fighting’. Today I focused on Tekki Nidan <Naifanchi Nidan> in isolation, which is the shortest of the three. With 24 movements it is same length as 十手 (Jitte) and 王冠 (Wankan). It has 応用 (ōyo / applications) that I used in my years of private security work.

To conclude: The session today was a relatively relaxed session, with intermittent bursts of intensity. Until I turned 30, every day I trained very-very hard. However, once I entered my 30s my daily karate practice became more balanced. This was not only to avoid injury and burn-out, but also to really improve in skill. Now in my fifties—which is still very young in budō terms—I continue mix days of hard, soft and ‘variable intensity’ sessions.

A major change for me, as a professional instructor, is that I now recommend this approach for younger practitioners, instructors, and elite competitors alike. Why? Because: (a) it achieves better technical results faster; (b) mitigates the risks of bad habits and injures; and (c) works in better with strength and conditioning routines.

Movement one of HEIAN NIDAN: Migi kokutsu-dachi, Hidari Sokumen jodan yoko-uke doji ni migi zenwan hitai mae yoko-gamae.

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