国際空手道松濤館 (IKS — INTERNATIONAL KARATEDŌ SHŌTŌKAN): A General Overview of 'Several Core Concepts' of Our Karate Way

In the 国際空手道松濤館 (IKS — INTERNATIONAL KARATEDŌ SHŌTŌKAN), power generation is entirely different from the rigid, muscular, and "stiff" biomechanics often seen in modern sports karate. 

Under the personal guidance of my mentor, the late Asai Tetsuhiko Sensei, I focused (and continue to focus) on stripping away brute physical force. Accordingly, the IKS style embraces a highly bio-mechanical approach centered on relaxation, fluid kinetic chains, and internal energy. Ironically, the IKS ‘Way of Karate’, is closer to that of Okinawa and China, whilst embracing the positive Budō aspects advancements made through the advancement of Shōtōkan as a contemporary traditional Ryūha. 

The foundational principles of power generation in IKS rely on several core concepts. Today I will generically explain these, as they have been uniquely formulated in our organization, directly from my personal training under Master Asai.

押忍！

André Bertel

1. Power Through 脱力 (Datsuryoku)

In IKS, muscle tension is viewed as an enemy to power. If your muscles are tense before or during a movement, you create internal friction that slows you down and absorbs your own force. Practitioners maintain complete, elastic relaxation until the exact, fleeting millisecond of impact. This soft, unhindered body allows for maximum velocity—and because force equals mass times acceleration (F=ma), extreme speed translates directly into devastating power.

2. Whipping movement: 鞭の動き (Muchi no ugoki) 

Instead of a rigid "piston" punch, IKS techniques utilize a ‘whipping movement’; that is, a whip-like snap. Power is generated from the feet, travels through the legs, multiplies in the hips, and waves through the spine out to the relaxed limb. Just like a whip, the hand or foot remains loose and light, tightening only at the ultimate destination to deliver a shockwave of force deep into the target rather than bouncing off the surface. This requires 柔軟性 (Jūnansei).

3. Dropping and Shifting the Center of Gravity: 重心の落下と移動 (Jūshin no rakka to idō)

IKS utilizes low, expansive, and highly natural postures. Power is generated by using ground reaction forces—specifically by shifting or dropping the body's center of gravity, especially the 丹田 (たんでん ‘tanden’) or lower abdomen. By dropping your body weight dynamically into a technique or using the aggressive forward drive of the hips, you are weaponizing your entire body mass rather than just your arm or leg muscles.

4. Opening and Closing the Body/Expansion and Contraction: 体の伸縮 (Tai no shinshuku) and the Power of the Hips: 腰の力 (Koshi no chikara)

Instead of simple linear movement, IKS power relies heavily on the physical expansion and contraction of the chest, back, and hips. The torso will deliberately "open" (create potential energy like stretching a bowstring or rubber band) and then explosively "close" or square up to unleash that kinetic energy directly into the strike. The hips do not simply rotate horizontally but can be used like a ball; however, the prime generation is from ‘ground power/reaction force’. 

5. Cultivation of Ki (Internal Energy): 気の養成 (Ki no yōsei)

Beyond pure physical mechanics, IKS heavily stresses the mental and energetic synchronization of the body. Power must be concentrated in the tanden and guided through focus and breathing. When the mind, breath, and body drop smoothly into total unison, the resulting impact is much heavier than what a person’s muscle mass should logically dictate. Again, the 丹田 (たんでん — Tanden) is the ‘primary physical location for cultivating internal energy’. Specifically, the Seika Tanden (lower abdomen, about two inches below the navel). It is considered the physical center of gravity and the reservoir where Ki is accumulated.

6. Breathing methods: 呼吸法 (Kokyū-hō):

Deep, abdominal breathing (Tanden Kokyū) is the primary engine used to gather and circulate ki. By synchronizing the expansion of the lower abdomen with inhalation and exhalation, practitioners stimulate the autonomic nervous system and center their physical mass.

7. Mind-body unification: 心身統一 (Shinshin Tōitsu)

In traditional Japanese Budō, that is practiced within the IKS, internal cultivation dictates that energy cannot flow or build if the mind and physical alignment are disconnected. This aspect cannot be absent in one’s karatedō training.

8. Spirit: 気迫 (Kihaku)

The steady, overwhelming spiritual presence or intensity that radiates from a practitioner who has highly cultivated ki is expressed in resolute ‘fighting spirit’. Combined with the aforementioned aspects completes a Budō Karateka. Needless to say, the one with stronger kihaku can overcome physically superior opponent’.

 To conclude, I hope that this brief article provides a general insight into the Budō Karate of our organization: the 国際空手道松濤館 (IKS).

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

March 2027 Seminar in ADELAIDE, AUSTRALIA

 On the 13th and 14th of March, I will be giving my first seminar in Australia in just of ten years. Furthermore, it will the first in Adelaide.

It is open to anyone who really wishes to improve in traditional karate; accordingly, all-styles and organizations are very welcome.

This will be a TOP CLASS EVENT.

For those who secure places at the seminar, see you in South Australia. 押忍！

To not miss out REGISTER HERE: 

https://pci.jotform.com/form/262668304343862

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

できるだけ練習する (Dekiru dake renshuu suru)

The high point of movement 29 (Kankū Shō Kata): Hidari KAITEN SONOBA-TOBI.

Today my 基本 (KIHON) training mainly comprised of 蹴り技 (Keriwaza), namely, 連続技 (‘Renzokuwaza’ or combination techniques). These included consecutive rear leg kicks, the inclusion of various kizami-geri, and consecutive kicks with the same leg; in particular, the Nakayama Sensei classic: 前蹴り蹴上げから足同じで横蹴り蹴込み (Mae-geri keage kara ashi onaji de yoko-geri kekomi), which was always present in the old JKA Dan Exam Syllabus.

Today’s 型 (KATA) was 観空小 (Kankū Shō). I supplemented my dōjō training with some outdoor practice (photo above). Please note: the first jump (movement 29) is high, whilst the second (movement 42) is low and tight, directly and sharply from the 'migi mikazuki-geri'.

基本一本組手 (KIHON IPPON KUMITE) has been at the forefront of my kumite practice this week. The main focus has been utilizing sophisticated forms of 転身 (Tenshin) in defense.

Today's advice! できるだけ練習する (Dekiru dake renshuu suru): Practice as much as possible! 

Never forget, consistency gets results!!!

押忍！

アンドン  バーテル

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

解裁の原理 (Kaisai no Genri)

The hidden logic of 解裁の原理 (Kaisai no Genri), the traditional framework of rules used in karate to "...decode and extract the practical (Ōyō (applications) hidden within solo kata."

These 'rules' were formally structured, named, and brought to the public by Toguchi Seikichi Sensei (who was a direct student of Miyagi Chōjun Sensei). The specific points you quoted illuminate how traditional karate is fundamentally a close-quarters grappling and striking system rather than a long-range 'sport'.

While I purely practice and teach traditional 松濤館 (Shōtōkan), our organization I.K.S  国際空手道松濤館  (International Karatedō Shōtōkan) remains strictly traditional and, consequently, has strong ties here in Japan with the other traditional Ryuha/Kaihai. This sharing of knowledge in the same traditional of our Grandmaster, Funakoshi Gichin Sensei, Miyagi Chojun Sensei, Kenwa Mabuni Sensei et al.

There is, in fact, no superior style of Karate-Dō, but there are are superior groups and approaches to training that do not comprise the art as Budō. This is reflected in today's important quotes from 解裁の原理...

Three Important Quotes from 解裁の原理

1. "Techniques executed while advancing are offensive and those executed while retreating are defensive."

This is part of the Shuyō San Gensoku (Three Basic Rules) of Kaisai. In the solo performance of a kata, direction tells a story. Advancing steps indicate you are actively applying pressure or crashing into an opponent's space. Stepping backward translates to creating leverage, absorbing an incoming attack, or setting up a counter-throw.

2. "Touching your own body in kata indicates that you are touching part of your opponent."

This is one of the advanced Hosoku Jōko (supplementary rules). Because kata is performed alone, your own body acts as a proxy for the enemy's anatomy. For example, if a hand slaps or rests against your own chest, shoulder, or thigh during a sequence, it dictates exactly where you would grasp, anchor, or control the opponent's body in close-quarters combat. 

3. "Uke are not blocks, they are 'defenses'..."

The word Uke (受け) derives from ukeru, meaning "to receive"—not to statically smash or block an incoming strike. In Kaisai no Genri, an "open hand block" or circular motion is almost always a limb-clearing entry, a wrist grab, an arm-bar leverage point, or the setup needed to execute a complex unbalancing throw.

To conclude: By analyzing kata through this specific lens, practitioners realize that what looks like a series of abstract uke, tsuki, keri and uchiwaza is actually a highly compressed textbook of percussive blows seamlessly mixed with combative grappling techniques. While this is common knowledge, it is critical to train in a manner which physically encompasses 解裁の原理. Failure to do so is to practice karate as an incomplete art of self-defense; moreover, ceases to be Traditional Karate-Dō. This a major failure in most peoples practice of Shōtōkan and contemporary karate in general.

押忍！

アンドン  バーテル

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

Training and understanding Karatedō from a Budō/Bujutsu perspective: REAL TRADITIONAL KARATE

When one understands practices Karatedō from a Budō/Bujutsu perspective, their mentality and training will differ significantly. Let’s begin with 組手 (Kumite), followed by 型 (Kata) and, conclude with 基本 (Kihon).

組手 (KUMITE)

Real Karate is about optimal effectiveness in the real world, not just an abstract idea of this. It is not a game or tag nor pure gymnastics.That is, the techniques of Karatedō must be trained to be as destructive as possible. "Effectiveness" and "Reliability" are two words that acutely describe the Real Art of Karatedō.

In 約束組手 (Yakusoku Kumite) it is therefore absolutely critical that the designated attacker makes their respective waza with the best maai to achieve maximum effect. The attacker when training correctly is, in fact, training to make a pre-emptive attack in a real fight.

The defender must therefore deal with this attack and execute a controlled counterattack; that is—one with full commitment—where if the attacking limb is extended, the partner will recieve a maximally powerful blow to an effective target.

Practicing in this manner EVERY TIME one practices, is intrinsically very different from training to ‘score points’ (and avert being scored on).

Of course, in Jiyu Kumite absolute control must be applied, but the maai is consistent with yakusoku kumite. Needless to say, 応用 (Ōyo) from the kata are also constantly utilized, which is illegal in competitive matches.

In sum, the aim of Budō/Bujutsu Karate Kumite training is master the timing, distancing, and reactivity in order to deliver techniques with optimal effectiveness. The ultimate aim being ‘to finish with a single blow’. This aim may never be achieved, but main point is to always raise the bar when training. The concept of 一撃必殺 (Ichigeki-hissatsu) is therefore the constant aim of all Karatedō-Waza.

型 (KATA)

The majority of those who practice karate around the world do kata as a mere ‘gymnastic floor routine’/performance. Consequently, certain kata are more popular than others. In Shōtōkan, kata such as Gankaku, Unsu, Gojũshiho Shō and others are constantly selected as tokui-gata.

Whereas, in Budō/Bujutsu karate, these kata have no more value (or less value) than any other. What matters is utilizing the kata for optimal effectiveness in self-defence by perfecting the application of each waza and renzokuwaza respectively. The excellence of form is steered by this point, and the underlying ōyo (applications) bolsters this, not vice-versa.

Accordingly, in authentic Karatedō, one’s Hangetsu or Wankan can naturally be superior to say Unsu or Kanku Sho. Put another way, it is not the kata but, rather, it is the effectiveness of technique and reliable applicability that determines the level of one’s kata. Hence, kata is a training tool not a dance. Many also say this but, in reality (their training), their kata is just a performance.

Overall, kata is not a separate art but perfectly linked to Kumite; that is, 実践組手 (Jissen Kumite). Once this is understood, one can select kata to optimize one’s own Karatedō without the falsities of the mainstream poorly influencing one’s direction.

基本 (KIHON)

Allow me to be brutally honest about Kihon here—please pay close attention here if you wish to really attain a high technical level in Trditional Budō Karate.

The ultimate Kihon practice is the deep level refinement of the most basic techniques, stances and footwork. Insofar as renzokuwaza are concerned, the two-movement combination are ‘king’ (i.e. — uke + tsuki) followed by three movements (eg — sanbon ren-zuki). Please reference Nakayama Masatoshi Sensei’s ‘Dynamic Karate’ for specifics in these regards.

Never forget that Kihon is first and foremost ‘isolation training’. Long strings of techniques are fine for exercise, but they are mostly just for variety. This is ok, but only sometimes as ‘training novelties’. Beware of ‘creativity for creativities sake’.

The most simple Kihon disallows one to hide weaknesses in their karate and, with competent instruction, makes the most pure and effective action’s. 

Likewise, the most simple Kihon strengthens one the most.

To reiterate, the most simple pure Kihon is the most difficult and most meaningful. Consequently, those wishing to attain or maintain an elite level spend most of their Kihon practice time on ‘the core foundational techniques’ as opposed the more complex sequence’s. 

Taken as a whole, Budō Karate (Authentic Tradtional Japanese Karatedō) is not so common in the world now. Therefore, it requires responsible custodians to keep it alive. From here in Oita City, Japan, this remains one of the central objectives of the I.K.S  国際空手道松濤館  (International Karatedō Shōtōkan). 

押忍！

アンドン  バーテル

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

八歩捌き The 8 Directions of Movement (Happō Sabaki)

八歩捌き The 8 Directions of Movement (Happō Sabaki)

Karate utilizes a concept called Happō Sabaki (eight-direction movement) to visualize defensive angles. Imagine standing in the center of a compass:

• Linear (0° and 180°): Moving straight forward or straight backward. Generally avoided for defense as it lacks tactical advantage.
• 
  
• Lateral (90° and 270°): Moving directly left or right. Used to completely escape a charging opponent.
• 
  
• Diagonal Angles (45°, 135°, 225°, 315°): The primary defensive angles. They allow you to slip past an attack while remaining close enough to strike.

---

Core Defensive Angles and Footwork

1. Inside Angle (Inside Slip)

• Movement: Stepping diagonally forward and across the opponent's body (usually at a 45-degree angle toward their chest side).
• 
  
• Tactical Use: This moves you away from their reverse hand (gyaku-zuki) but puts you closer to their lead hand.
• 
  
• Easiest Counter: Ideal for jamming a kicker or landing a short, fast lead-hand punch (kizami-zuki or nagashi-zuki).
• 
  

2. Outside Angle (Outside Slip)

• 
  
• Movement: Stepping diagonally forward or laterally to the outside of the opponent's lead shoulder.
• 
  
• Tactical Use: This is the safest defensive angle. It places you on the "blind side" of the opponent, making it incredibly difficult for them to strike you with their opposite hand or back leg.
• 
  
• Example Counter: Perfect for executing a reverse punch (gyaku-zuki) to the opponent's ribs or a sweep (ashi-barai).
• 
  

3. The 45-Degree Retreat

• Movement: Stepping diagonally backward at a 45-degree angle (135° or 225° on the compass).
• 
  
• Tactical Use: Used when an opponent executes a heavy, blitzing attack (like a triple-punch combination). Moving straight back leaves you vulnerable, but moving diagonally backward causes their linear punches to miss out in front of you.
• 
  
• Example Counter: Trapping the opponent's extended arm and countering with a roundhouse kick (mawashi-geri) to the body.

---

Key Tactical Concepts for Defensive Angling

• Tai Sabaki (Body Shifting): Defense in kumite is rarely just about feet. It involves twisting the hips and torso to let an attack glide past by millimeters while your feet anchor you for a counter.
• 
  
• The Pivot (Tenkan): Keeping your lead foot planted while swinging your rear foot around to a 90 or 45-degree angle. This redirects the entire centerline of the match.
• 
  
• Dominant Angle: In open-stance matchups (Southpaw vs. Orthodox), the fighter who successfully gets their lead foot to the outside of the opponent's lead foot wins the dominant angle for striking.

TO CONCLUDE: KATA is ideal for perfecting 八歩捌き (Happō Sabaki) as it trains many variations. Accordingly, this grooves natural reactive responses into one's movements. In saying that, Kata cannot stand alone. Jiyu Kumite training is therefore utterly imperative.

Needless to say, these skills "...must become highly reliable against non-compliant training partners".

This is the definition of mastery in Budō.

The completion of movement 12 of Jitte Kata: Migi zenwan migi sokumen jodan uchi-harai.

Migi sokumen gedan-uke (Kiba-dachi) in Bassai Dai is the same as movement 13 in Heian Godan.

The grip release with mae-geri in Hangetsu. Follow this with Gedan uke-zuki, not Gedan-barai.

Movement 41 of Hangetsu. Ryosho gedan awase-uke (Hidari ashi nekoashi-dachi).

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

Supplementary Practices

 I am often asked the questions: "How can I accelerate my improvement in karate?" and "How can I iron out a (particular) bad habit?" 

The answer to this is to iron out weaknesses 'outside of your regular dōjō practice'.

You can do this, even with a very busy life, by doing goal focused 'mini practices'. These will not only improve your karate but also increase your energy and physicality. 

There is, of course, no one telling you or forcing you to do this. It is up to you if you really want to accelerate your skill development and make the most of yourself. 

Think of something you have trouble with... Perhaps not enough 'hiji no shime' in your hiki-te. This can be practice through your day, anywhere: office, on the subway, etc...  

Like all things in life, the hardest part is to begin!

Once you are on the conveyer belt, so to speak, it becomes easy!

押忍！

André

Idō Kihon: Migi zenkutsu-dachi, Migi chudan uchi ude-uke.

Idō Kihon: Hidari zenkutsu-dachi, Hidari gedan-barai.

The old school Shōtōkan kata 三戦 (Sanchin) preserved by only a handful of groups here in Japan.

Hangetsu. The IKS retains the version taught by Asai Sensei's main teacher: Nakayama Masatoshi Sensei.

Kanku Shō Kata. The height of the tobi-kaiten is less important than Tai no Shinshuku.

The pre-WW2 Shōtōkan kata 'Hyakuhappo' (originally known as Pechurin and more commonly, Suparinpei).

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