中段前蹴り蹴上げ (CHŪDAN MAE-GERI KEAGE).

 

中段前蹴り蹴上げ (CHŪDAN MAE-GERI KEAGE). 

Pronunciation: ちゅうだんまえげリけあげ

This article will briefly give fundamental overviews of the two main forms of stationary 'mae-geri keage' practice in traditional style Shōtōkan Karate-Dō. My hope is that it guides readers to better practice in line with what we practice here in Japan. Much of the notes here come from my trainings under Osaka Yoshiharu Sensei over the decades. Needless to say, and according to my late teacher Asai Tetsuhiko Sensei, "Of all the instructors, Osaka has the most perfected technical form ".

STATIONARY MAE-GERI #1

Assume 下段掻き分け構え (gedan kakiwake gamae) whilst simultaneously drawing the right foot to the left forming 閉足立ち (heisoku dachi).

Alternately execute 右 (migi) and 左 (hidari) 中段前蹴り蹴上げ (chūdan mae-geri keage. 

Key points:

Make sure the heisoku dachi is precisely formed with the inside edges of the feet touching with the toes and heels laterally aligned. Furthermore, the posture of the pelvis, back and head/neck must be perpendicular with the knees of both legs indiscernibly bent.

Before, during and after the kick maintain the gedan kakiwake gamae keeping is as motionless as possible. The head and arms form a motionless triangle. While keeping exactly formed seiken with both hands, set the eyes and unchanged facial expression. Also pay special attention to keeping the hips and head at the same height and in the same position.

Strongly form jōsokutei, then pushing down the heel of the sasae ashi, raise the kicking legs knee both tightly and high; furthermore, slide the inside of the kicking foot’s heel up the sasae ashi. The bottom of the kicking foot, remaining in the dorsiflexion position, should be at groin height.

Without losing any momentum fluidly snap the lower leg out and back, then immediately return to heisoku dachi. The kicking speed ratio is 3:7. In this process extend jōsokutei forward by flexing the ankle just before full extension targeting the suigetsu. Take special care that even though the second half of the kick is faster, that the the kick returns to the Hiki ashi position and heisoku dachi following the same path it came from.

Focus on being relaxed as possible in the kicking action, focusing on the shime of the joints, as opposed to muscular force. This is imperative for speed and snap. Moreover, as already stated, keep the supporting heel, hips, hands, head and expression set: as to not telegraph your kick. 

In order to do this, develop mental control in practice. Practicing in this strict and disciplined way will result far superior fundamentals in much less time and mitigate bad technical habits.

STATIONARY MAE-GERI #2

Assume 下段掻き分け構え (gedan kakiwake gamae) whilst simultaneously stepping forward with the left foot into 左前後立ち (hidari zenkutsu dachi) with the hips in 正面 (shōmen).

Make 右中段前蹴り蹴上げ (migi chūdan mae-geri keage) then return to hidari zenkutsu-dachi. Repeat the prescribed number of kicks on the right side, then return to shizentai, followed by mirroring the practice on the opposite side.

Please refer to the technical notes for ‘Stationary mae-geri keage #1’; furthermore, these additional points.

Maintaining an exact shōmen position of the hips/pelvis before, during and after kicking is much harder in zenkutsu-dachi; furthermore, the kakiwake position and head should be as stationary as possible.

In application this is not a 攻撃技 (kōgeki waza) but, rather, a 反撃技 (hangeki waza) or ‘counter-kick’. It is therefore a 出会い技 (deai waza) to hit the opponent as they close the distance with an offensive technique.

The kick in this case can come from behind, before raising the knee right, to provide more momentum. Still maintain the aforementioned fundamentals practiced from heisoku dachi.

If the hips pelvis remains set, besides protecting your face/head, and not losing your mass by leaning back, you can utilize 重力 (jūryoku) or gravity to assist in rapid recovery back to your stance. Again, the kicking speed ratio of 3:7 must be applied.

It is important to note that this practice is particularly hard on the sasae ashi. As while the kicking action is whipped out and back, as relaxed as possible, the strict setting of the 姿勢 (shisei) and load on the sasae ashi is muscularly demanding. That being said, this makes this training very important fundamental training for baseline strength and explosiveness.

Common variation: quite often, here in Japan, this kihon is practiced with two kicks. 中段刻み前蹴り (chūdan kizami mae-geri) followed by 上段前 蹴り蹴上げ (jōdan mae-geri keage). 

(i) For the mae-geri with the lead leg, don’t lean rearward. Keep the           body set.

(ii) In the case of jōdan mae-geri, maintain the same points as the      chūdan kick but, in kihon-geikō target the 人中 (jinchū).

(iii) In my own training, I find the ‘single kick’ training more technically beneficial and primarily recommend this for the optimal development of those who I teach. In sum, the simpler the better the kihon practice as one care really master the core motor skills and make them both reactive, adaptable and utterly reliable.

To conclude, the practice of the stationary 中段前蹴り蹴上げ (CHŪDAN MAE-GERI KEAGE) is a core a CORE FUNDAMENTAL PRACTICE in traditional Shōtōkan Karate, irrespective of grade and years of experience. In saying that, optimal form and correct practice is critical.

押忍！

アンドン  バーテル

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

The technical moderation of 中段蹴り技 (Chūdan keriwaza)

Here I am executing a Chūdan keriwaza in competition. In freestyle, the trajectory is altered accordingly. For example, being between a mae-geri and mawashi-geri without compromising KIME.

In Shōtōkan-ryū we must particularly focus our attention on the practice and training of the techniques handed down from the 型 (Kata). So, while free fighting and competition are important testing grounds, the classical waza remains the most important version; that is, the baseline technique from which variations can be seamlessly made.  

Moreover, this must be done in a systematic way, which in Budō is based on ‘pragmatic self-defense application’. From this standpoint, one can truly hone highly effective reliable skills.

The keriwaza of Karatedō is particularly interesting in these regards, as in many ways, they are the weakest link in the chain: so, to speak. What I mean by this is that tsuki, uchi and grappling skills far outweigh them in a street fight. That being said, if properly understood, practiced and trained, they are like a secret weapon.

How I used my keriwaza—in my decade of security work—was to set up my finishing impact(s), and or locks/holds. This is as exactly as the kata prescribes and, when mastered, has phenomenal efficiency in the real world.

From a practice/training standpoint, this naturally requires an extremely high level of physical self-control in one’s movements: especially pertaining to 中段技 (Chūdan-waza). It is all too easy, when kicking, not to raise the knee high enough with full ground power, and to ‘over kick, especially pertaining to height as opposed to the depth of impact.

One problem in the training of fighting arts is the misunderstanding about pain in a real situation, the inflicting of pain works in the dōjō, but in reality, adrenaline makes pain something that loses its offensive advantageousness. In fact, it can increase the ferocity of the opponent. This is exactly why, say, Yoko keage in kata is always coupled with uraken and a follow action; likewise, kekomi always pulls the opponent in whilst kicking and mae geri is always followed by tsuki. 

This tactic strongly elucidates the practicality of the kata.

When kicking chūdan there are some key points for optimal execution. 

— Strictly make the foot formation at the very beginning of the       

     action.

— Focusing on a grounded heel raise the kicking knee high and 

     compact.

— Do not kick high, rather, make it decisively chūdan so it can be 

     sharper.

— Completely relax focusing on a speed ratio of 3:7 imaging a whip.

— Maximize the horizontal drive/expansion of the support leg to 

     keep deeply.

 

— Be mindful that the kick is generated from the rear lower back.

— Set the hands and elbows by squeezing at the armpits. 

— Be highly conscious of the impact of fascia: keep the head 'set 

     upright'.

— Return the kicking foot to the floor rapidly, but also lightly. 

With these key points in mind, especially in relation to the two most common kicks in the Shōtōkan kata: mae-geri keage and yoko-geri keage, one can decisively focus on the practical applications of these waza. In reality, they aimed at gedan targets to open up the opponent's head/face for attacks. This must be practiced extensively in kumite and with impact training. Of course, the most common leg technique is actually fumikomi, nevertheless, many of the same key points are applied.

Keep in mind kizami geri. That is, ‘cutting kicks’ with the lead leg. Whilst these waza lack the same power as the rear leg kicks, they are harder for the opponent to read and often more safe for the user. For example, when used defensively. That being said, without the proper understanding of the traditional technique, they run the risk of exposing one to a barrage of violent attacks in a real situation. Accordingly, when using these waza, particular emphasis must go on driving the weight of the entire body forward and optimizing the spring of the ankles.

To conclude, I have not mentioned Mikazuki geri, Nami gaeshi, Sokuto gedan kekomi, Nidan geri, De ashi barai, Mawashi geri, Ushiro geri, and so on. Irrespective of that, I hope that it is clear to readers, that the points outlined in this article intrinsically relate to all the keriwaza in Shōtōkan-ryū; furthermore, keriwaza in Gōjū-ryū, Shitō-ryū and the other traditional karate styles.

Lastly, keep in mind that “…a precise chūdan is also the reference point for both jōdan and gedan waza; moreover, chūdan keriwaza are the ‘deepest’ kicks”. This is an important point as kicking techniques are the longest-range unarmed weapons that we possess.

押忍！

アンドン  バーテル

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

Renshusei from Paris France: Aude Giraudet

Aude Giraudet Sensei (5th Dan, French Karate Federation) came for 15 renshusei sessions. 

She proved that even with injuries, it is possible to successfully be on the program, as the trainings are catered for each individual. 

The main points of the RENSHUSEI program being:

(1) The acquisition of technical knowledge (that is, the fine details of traditional Japanese Budo Karate, rarely taught to non-Japanese practitioners).

(2) Budo Karate Skill improvement.

(3) The Japan and global preservation of old-school Shotokan and the bujutsu developments made/introduced by Asai Tetsuhiko Shuseki-Shihan.

  

(4) The achievement of specific goals, as determined by each Renshusei/Trainee.

To conclude, it was great to have Aude here again as a Renshusei.  Also to spend some time together outside of the dojo.

 押忍！

André 

 

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At the end of the final session today: October 12th, 2026. 

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

Renshusei from Leipzig, Germany

 It was wonderful to have three karateka from LEIPZIG, GERMANY come as Renshusei here in Oita. 

Sebastian Maliezefski, Celine and Sandra, you all did very well. I hope that the training met your expectations. 

Kindest regards and best wishes to the three of you. 押忍！

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

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).