和 (WA)

和 (Wa) in Japanese is a concept which is integral in Japanese culture and is best translated as ‘HARMONY’. In particular, in the daily lives of the Japanese population; that is, “the maintenance of peacefulness, conformity and self-responsibility within society and various groups/organizations”. The underpinning and unspoken understanding is that each individual places higher value on contributing towards a harmonious community above and beyond their self-vested interests.

Accordingly, Wa is an imperative aspect of traditional Japanese family values, work life and so forth. Individuals who break or damage group harmony are ‘brought into line’ covertly and/or overtly via their respective family, colleagues or 先輩 (senpai) 

Deeply entrenched hierarchical structures exist right across Japanese society; moreover, they primarily exist to teach, propagate and maintain Wa.

Again, what makes it so unique is that when Wa is rewarded, it is rarely for individuals but, rather, groups; thereby, further reinforcing collective unity.

One observation I’ve made over the years—especially when attending my daughters 運動会 (Undokai or ‘Annual School Sports Day’)—is primarily based on dantai or “group/team competition”.

With the exception of relays, in the West, most events are ‘individual’. Here, we see just one of the dimensions of the Japanese education system teaching Wa and, in doing so forming Nihonjin. Seeing the synchronized dances of the children is always very impressive.  It vividly reflects the intense and harmonious practice. It highlights the saying: “There is no ‘I’ in TEAM”.

The perfect situation… Well, ultimately, I believe the best situation is to harmoniously interact—to apply Wa—with those around us, while balancing that with our unique individual characteristics and marvelous creativity. In this way Wa can be externally expressed in society, whilst the individual will not be internally repressed. In sum, the ideal situation is: ‘ heathy societies together’ and ‘healthy unique human beings’.

Lastly, when we consider safety, etiquette/good manners, quality service and cleanliness, it is irrefutably true that Japan is a remarkably amazing nation. Especially considering it’s small size and correspondingly large population. Certainly, Wa is at the heart of this success. Consequently, I have deep respect for Japan, the Japanese people and it’s superb education system.

This nation, its people and education have all strongly influenced Karate-Do and Budo in general. Indeed, 和 (Wa) has been an underpinning element in the spread and popularity of the various arts of Japan around the world.

押忍!

André Bertel

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

半月立ち (HANGETSU-DACHI)

 半月立ち (HANGETSU-DACHI)

立ち方  (Tachikata)

Originally known as Seishan-dachi, the Hangetsu-dachi (the ‘half- moon stance’) is a mix of zenkutsu-dachi and sanchin-dachi. The length is slightly less than zenkutsu-dachi, however the weight distribution is the same. The foot positions are similar to sanchin-dachi with the knees inverted and bent (inward tension of the thighs. Contrastingly, there is outside tension with the feet: as the outside edges (足刀 Sokuto) of both feet must be firmly on the ground. When rotating the hips to execute various waza, the legs and feet formation remain set.

Some instructors and Shotokan organizations now teach a more linear version of the stance; furthermore, execute all waza without rotational changes between hanmi and shomen, and vice versa.

While I respect this variation, IKS (International Karate Shotokan) has not adopted this contemporary method; accordingly, we are continuing to practice 腰の回転 (koshi no kaiten) in Hangetsu Kata and in its respective 応用 (Oyo). I personally asked Osaka Yoshiharu Sensei about hanmi in Hangetsu and he firmly stated: “…continue following the guidelines set by Nakayama [Masatoshi] Sensei.” (Please note the link below, to another article, where Osaka Sensei gave me other commentary about Hangetsu).

半月立ちの運足 (Hangetsu dachi no unsoku)

Moving in all directions, in Hangetsu-dachi, always employs crescent steps. These arcs are coordinated with various hips actions and kokyu (breathing).

半月立ちの応用  (Hangetsu dachi no oyo)

Hangetsu-dachi is primarily a defensive and counterattacking position; that being said, it possesses an attacking element: 足掛け (ashi-gake). This is the traditional application of foot/leg hooking or grape vining. This can be used to trap, sweep, distract and/or off balance the opponent.

To conclude, Hangetsu-dachi provides a means to reconsider stance lengths and depths, in which Shotokan are characteristically long/wide and low. In particular, it allows one to re-examine their zenkutsu-dachi via moderation. In this way, one can more readily form a zenkutsu-dachi—in which the configurations are based on optimal mechanics—as opposed to mere athleticism.

Last but not least, like Sanchin dachi, movements in Hangetsu-dachi harmonize unsoku, waza and kokyu. While this is the case in all stances, slow actions in this position help to master this timing. This elucidates the maxim that all of the formal tachikata of Karate, in reality, are in fact ‘active transitory positions.'

For more on this stance, here is a direct link to another article: André Bertel's Karate-Do: 半月立 (Hangetsu-dachi): The original version (andrebertel.blogspot.com)

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

International Budo/Bujutsu Karate Seminar: NEW ZEALAND (February 2025)

 Besides my regular karate teaching here in Japan, I will be in FREITAL, GERMANY in two weeks from now (September 7th/8th). Also, next February, I'll be conducting a Summer Seminar in CHRISTCHURCH, NEW ZEALAND. If you wish to gain a place in these (and other seminars), please contact the organizers. There is always a maximum number of participants; therefore, it is always 'first-in-first-served'.

Here is the official poster for the New Zealand 2025 Seminar, which has all of the details to secure positions. There will also be official IKS Japan/International Dan Examinations at this event.

Overall, the seminar is open to all organizations, styles and individuals who wish to advance in Budo/Bujutsu knowledge.

I look forward to seeing everyone there and enjoying great training, fun times and friendship through the art of Karate-Do.

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

Visit from Brian Toomey Sensei

 My friend and senpai Brian Toomey Sensei (7th Dan) came to Oita. Brian Sensei is a direct student of Kato Sadashige Sensei and my teacher Asai Tetsuhiko Sensei, so it was a great catch up after many years.

Brian Sensei is not only a serious karateka but also a really lovely guy. He is working hard to preserve Asai Sensei and Kato Sensei's legacy. Literally, Ireland is lucky to have him.

Initially blocked by a typhoon he finally made it down from Yokohama. 

We covered Kakuyoku. Hangetsu, and the first section of Maizuru Dai. Brian Sensei also showed me the Dai-Ken kata of Asai Sensei, which I was never taught. Brian Sensei explained that they are pre-Heian Shodan kata. After that we had a great time hanging out. Overall, a wonderful time.

Big thanks Brian Sensei.

OSU, AB.

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

The 18th Asai Tetsuhiko Sensei Memorial Training

 Today was the 18th Memorial of Sensei's passing. Our deepest thoughts are with his family today. 

To mark this day, every year I (and all of Asai Sensei's students around Japan and the world) do a remembrance training. 

I'M SO DEEPLY THANKFUL FOR ASAI SENSEI'S TEACHING!

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

Saturated Dogi

 I completed my first daily self-training for August today.  It was an extremely hard two-hour session due to the sweltering heat and practice content; that being said, and on a positive note, the warm-up was VERY easy!!! 

Besides Ido-kihon I practiced the kata Junro Shodan, Chinte, Hyakuhappo (the Shotokan-Ryu version of Suparinpei) and Maizuru Dai. For kumite, my focus was on the timing tsuki-waza; in particular, in combination with body-shifting and head movement.

To conclude, definitely 100%, my karatedo-gi was the most saturated, thus far, this year!

押忍!

AB

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

霞の剣 (Kasumi no ken)

Deceive the opponent with a forward pressure, telegraphed arm movements and a 'must block' action.

 This is an example of the HAZE...

Attention taken,and the center of gravity high, also the balanced knocked sideways KUZUSHI is achieved by easily sweeping both legs. This is the SWORD.

Finish the opponent by making a tsuki or keri to the temple, jaw or neck. I used this combination many times with great success in kumite competition. This is the KIMEWAZA.

The term 霞の剣 (KASUMI NO KEN) literally means translates as the ‘HAZE OF THE SWORD’. This does not only relate to swords, but all other weapons as well; and indeed, this includes 体の武器  (karada no buki: ‘the weapons of the body’). Here it’s appropriate to consider the 15th precept of Funakoshi Gichin Sensei: 人の手足を剣と思へ  (Hito no teashi o ken to omoe: “Think of one’s hands and feet as swords”).

Kasumi no ken in all forms of budo/bujutsu is “…the methodology of concealing movements which telegraph one’s actions”. This can: (1) be in the form of how one moves, via higher refined kihonwaza (fundamental techniques); (2) one’s kamae (guard); unsoku (footwork/leg movements); (3) in the form of kenseiwaza (feinting techniques); and (4) psychological domination, thereby, interfering with their judgement in responding to your techniques.

Indeed, all four of these—or any mix of them—can be done simultaneously or staggered, depending on your technical objective and your opponent(s).

According to Nakayama Masatoshi Sensei, Asai Tetsuhiko Sensei was the JKA’s greatest master of this skill in Jiyu-Kumite. He was “the master of unpredictability”; hence, his nickname 雷嵐 (Kaminariarashi, ‘Thunderous Storm’). This made up for his small physical stature, especially in comparison to his peers such as Kanazawa Hirokazu Sensei, Enoeda Keinosuke Sensei et al.

Again, let’s consider Master Funakoshi’s wisdom, from his 13th precept” 敵に因って轉化せよ (Teki ni yotte tenka seyo: “Make adjustments according to your opponent”).

The founder of our style SHOU-TOU-KAN-RYU, and the father of modern-day karate: Funakoshi Gichin Shuseki Shihan.

霞の剣  (Kasumi no ken) also applies to the naming of 雲手型 (Unsu Kata). To quote Nakayama Sensei, from ‘Best Karate Volume 10’: “In Unsu, there are constant transformations, signified by the name meaning “Cloud Hands.” All parts of the body are used as weapons, with feints and provocations leading to unique combination techniques and multi-directional kicks.”

Deceiving the opponent via a technical and/or psychological ‘hazing’ of their senses/perception is clearly an important skill in the execution of kihon, kata and kumite; therefore, it is an integral aspect of 護身術 (Goshin-jutsu: ‘The art of Self-Defense’.

The name UNSU represents 霞の剣 (KASUMI NO KEN).

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

TRUE KARATE - CLASSICAL BUJUTSU: OLD SCHOOL SHOTOKAN RYU

順路初段 (Junro Shodan) Kata at my self-training today.

One of things that contemporary karate has widely lost is what I call ‘the generic perspective’ of techniques. What I mean by this is rather than seeing all the different individual waza (techniques), tachikata (stances), unsoku (leg movements/footwork) etcetera; instead, understand and train them as variations.

As an instructor, over the years here in Japan, I’ve had tremendous success following this ‘old school’ way. Not only with instructors who I coach, but also with the world's best competitors.

Here’s one example, instead of separating choku-zuki, oi-zuki, gyaku-zuki and so forth, train and understand them as various forms of ‘linear thrusts'. Simply impacting the opponent with fists or open hands in a straight line. From this perspective one naturally practices to purely to make them more effective in strength and tactically. Distancing, angles, speed and power take precedence.

What’s more, one then develops instinctively what foot work and hip action is optimal in any given moment. See! What happens here is that, in this case, the ‘tsuki’ used is determined by external situation as opposed to ‘selecting a technique’. Interestingly, this is not only far superior for self-defense and jiyu-kumite, but also aids one’s kihon and kata precision.

This is because the ridiculously high focus on ‘perfect movement’ is taken away. I need to stress here that I’m by no means against ‘training to move precisely’; nevertheless, too many people actually restrict their personal karate development by being obsessed by precision. One of my sayings is “Precision—Yes! Limitations—No!”

Ironically, this obsession results in ineffective karate in the real world as everything becomes too prescribed; furthermore, it actually hinders the individual’s technical growth as it mentally puts them into metaphoric box.

Let me provide one simple example. I saw one famous Japanese instructor (who I will not name) correcting a very talented young champion. He was making sure that the elbow of shuto chudan-uke was one fist-width from the body. While this very true for beginners, Shodan and below, as one advances it is critical to adjust techniques for ‘optimal functionality for oneself’. I’m not talking about radicle nor bizarre changes to kihon but, rather minor adjustments. In the case of the young lady mentioned before, the adjustment made by the instructor was wrong.

Her positioning was clearly optimal for her arm length, height, speed and power.

This is a good example of making karate less effective due to ‘organizational standardization’ as opposed to the ‘bujutsu efficiency of the individual karateka’.

Forgive me for repeating myself from a past article but this is why in IKS if you raise your knee in movement one of Bassai Dai or you don’t, we don’t care, as long as you know why. That is the oyo (application). We accept all the variations of Shotokan kata taught by the various masters. In fact, I encourage senior grades to “…experiment with all the variations and find the best way for themselves”.

One of my Japanese students, who is in IKS but also a member of a large organization here in Japan, now does his Enpi (Kata) with elements of several groups versions inside of it. He has rightly discovered what is technically best for him for generating optimal power and in actual application. Needless, all advanced karate—if they want to maximize their karate—MUST DO THIS!

Again, this also reflects my opening point about having a ‘the generic perspective’ of techniques. And yes, this certainly applies to Kihon, Kata and Kumite. Why is that? Because for one to attain optimally effective karate—as a unique individual—they must practice in accordance, and in harmony, with their individual attributes.

Also, as I stated earlier, ‘obsession with precision’ must not obstruct the individual’s development. I can’t stress this enough, as too many people—especially in major organizations—get caught up in this mentality.

I’d like to end with one more point, which is essential for those seeking karate beyond a mere sport. Prescribing techniques for specific situations is a very limited and ineffective training methodology. Rather, one needs to respond to the situation at hand, and instantaneously with the optimal technique. The first way, is obviously important for beginners, however, I find the majority of karateka never leave this approach. And while they may have beautiful and sharp techniques, kata and kumite, it is limited to the dojo and karate shiai-jo.

When one understands techniques as ‘variations’ the numerous waza of karate shrink down into, what I call “a manageable toolbox”; moreover,  if one one doesn’t have “a manageable toolbox”, they will have too many tools. This not only weighs one down with too many options, but also seriously hinders spontaneity/reactivity. This is fine in dojo kumite and karate tournaments but is extremely unreliable for self-defense.

In sum, this understanding and practice underpins traditional karate; that is, karate as classical bujutsu.

押忍!! 

AB

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

Asai-Ha Shotokan-Ryu: The extension of 'JKA-style' Shotokan

Asai Tetsuhiko Sensei personally told me that the additional kata were like ‘blank canvases’ when he taught people. He particularly stressed relaxed and fluid motions as opposed to the post WW2 ‘hard styled karate’. He explained that this style was not bujutsu but, rather, ‘spirit building training’; furthermore, competitions popularized this stiff movement. In sum, 柔軟性 (Junansei) is the priority.

Allow me to explain a handful of waza commonly found in Asai Sensei’s extension of Shotokan karate. In doing this, I’ll also add some corrections in relation to them.

The wind up or chambering of 上段払い (Jodan-barai) is important in itself. It’s actually an impact with seiken—like a ‘hook’ or ganken sotomawashi uchi. This can also be applied as an uke thereby making jodan-barai as an attack. So defense and attack or two attacks.

手刀掛け受け (Shuto kake-uke) and 手首掛け受け (Tekubi kake-uke) are both common ukewaza in the kata I learned from Asai Sensei. It is important to understand that they are ukewaza from 白鶴拳(Hakutsuruken, White Crane Fist). The defense is actually with the elbows not primarily with the hand or wrist.

Sensei was highly skilled with elbow and leg defenses in combination with head movement and ‘tenshin’ which I’ll get to later. I literally suffered a lot of pain from Asai Sensei's elbow and leg receptions! Others who experienced them first-hand will certainly also say this.

刻み前蹴り(Kizami mae-geri) is used a lot in the various 古典型 (Kotengata), mostly they are practiced to chudan; however, in application these kicks are lower, especially to the opponent's groin. While kicking with the lead leg has less power, it is quicker and (if correctly done) is harder for the opponent to read and defend against. Needless to say, '...the low kick is useful for opening the head and face to attacks".

Another technique, which Asai Sensei taught a lot was 上段外受け (Jodan soto-uke) flowing into gedan-barai. In fact, many people miss this, and simply do gedan-barai. For example, there is no direct gedan-barai in 青柳型 (Seiryu Kata). Standard gedan-barai is simply not in this kata!

Asai Sensei emphasized many 体の武器 (karada no buki/weapons of the body) which are illegal in competition; moreover, should only ever be used when needing to protect oneself from an unprovoked and violent assault. Why? Because they are too dangerous and require a 'do or die' scenario.

Emphasis is primarily on close-range waza, which also elucidates the focus on practical self-defense, as opposed competition-based 間合 (Maai).

It is for this reason that Asai Sensei highly emphasized 転身 (tenshin, rotation) in Kihon, Kata and Kumite. This in addition to 鞭拳技 (Muchikenwaza) or ‘whip fist techniques’ are the technical core of his karate and superior for optimally effective karate. These elements maximize centrifugal force and transcend mass and muscle power. Consequently, one can defeat much larger and stronger opponents.

One thing which I need to point out is that the 順路 (Junro) and 常行 (Joukou) kata are not ‘kotengata’, rather, they are ‘fundamental training forms’ designed by Asai Sensei. In his words, “…they are to trick you into doing more kihon”. Taken as a whole, they are to boost one’s fundamental techniques. Perhaps interestingly for you, some of my students I recommend them, others I don't.

Conversely, the kotengata are 武術型 (Bujutsu Kata)—for actual fighting techniques, strategies and applications. Ironically, the movements in these kata are more natural than the standard Shotokan kata; thus, generate more power with less stress on the joints, tendons and ligaments. Lifetime karate! I recommend these kata to everyone who really wants to get good and greatly improve from where they are right now!!! And, yes, 100% of the time they get immediate and long-term tangible results.

Last, but not least, the additional kata and introduced by Asai Sensei require a strong base in 'JKA style' Shotokan. Hand in glove, so to speak. Therefore, the additional kata enhance one’s Shotokan skill and inspires deeper and more meaningful karate practice. And, obviously, for those who are ‘technicians’ they’re fun to learn and practice!

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

48th Birthday Training, no comments, just images (unedited). OSU!!

 Big things to come in 2025!!! OSU!!!

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