少しずつ前進 (PART TWO)

Today’s daily two-hour self-training session was completely dedicated to kata practice:

Kata practiced were:

基本型 (KIHON-GATA)

1. 序の型 

(Jo no kata)

2. 平安初段

(Heian Shodan)

3. 順路初段

(Junro Shodan)

上級型 (JŌKYŪ-GATA)

1. 観空大

(Kankū Dai)

2. 十手

(Jitte)

3. 半月

(Hangetsu)

4.王冠

(Wankan)

5. 掌手小

(Shōte Shō)

Rather than simply list the kata I worked on today, which has little to no meaning for you (the reader)—as it is merely a record for me—allow me to expand on the focal points of the practice.

Firstly, for the KIHON-GATA, my focus was on Asai Sensei’s 自然空手 (Shizen Karate) or ‘Natural Karate’, which is at the heart of our way of Shōtōkan. The IKS approach is utilizing all the technical and scientific advancements acquired from Masters Funakoshi, Nakayama and Asai; furthermore, returning karate to its earlier roots, which was based purely on ‘bujutsu efficiency’.

Today, in these regards, I particularly focused on optimal stance configurations to fully maximize the hips.

Secondly, for JŌKYŪ-GATA, my practice was freer. 

観空大 (Kankū Dai): Reviewing Kankū Dai from yesterday, so I won’t comment on this today, except with a few novelties… Doing this kata over and over again with the late Abe Keigo Sensei, this kata became known as Kankū Die. This name also got used when Isaka Akihito Sensei made us do his ‘slow motion’ version of it.

十手 (Jitte) is not only a bold kata but also aesthetically a beautiful one. With proper practice the coordination of the limbs, upper body and hips are greatly improved resulting in increased impact power. There is a joke about Jitte… Many instructors say: “Training in this kata will make you as strong as ten people, hence the name ‘Ten hands’”. Accordingly, it must be ten people with one arm or some karate instructors are simply bad at mathematics, human biology, or both… Lastly, I beg everyone not to try and use the techniques of this kata against a person savagely attacking with a bo, otherwise they might end up being one of the above-mentioned individuals, with only one arm.

半月 (Hangetsu): The applications and depth of Hangetsu (Seishan) is actually really impressive. It really is a high-level karate kata. So many highly effective self-defence applications and counter applications/variations. Many karateka do not like this kata as they only see that it’s ‘different from the others in Shōtōkan’. Needless to say, it is this difference that vividly highlights its value in our style. It also elucidates how much ‘gymnastic performance’ has corroded many people’s understanding/valuing of kata. 

Today I practiced one of the older forms of 王冠 (Wankan). This kata, while short, possesses everything one needs to defend themselves. There are two folktales which, whether true or not are interesting. It is said that the name ‘Kings Crown’ comes from two sources. Firstly, the shape of the enbusen (performance line) resembles a crown. And, secondly, that this kata was “…solely practiced by the bodyguards at Shuri Castle, due to its highly pragmatic applications”.

Many say that Wankan is the shortest kata in standard Shōtōkan-Ryū, which of course it is not. If the Taikyoku are not included, the shortest kata is Heian Sandan with 20 movements, followed by Heian Shodan with 21 movements, Heian Godan with 23 movements and finally Wankan, Jitte and Tekki Nidan—equally in fourth place—with 24 movements.

掌手小 (Shōte Shō). The second Shōte kata continues on from the first but with increased complexity; thereby, requiring a solid foundation in the first two ‘palm heel’ forms: Senshō and Shōte Dai. In particular, the various core applications of kakuto/koken are expanded. Furthermore, kōryū karate attacks with kumade, shunshu, yoko teishō, nihon nukite, seiryutō and other open-handed weapons are employed.

Like Senshō and Shōte Dai, the applications of this kata are not obscure. As such, Asai Sensei categorized them as being amongst the ‘Bujutsu kata’. 

To conclude, I want to emphasize that “it’s not the kata, but the quality of training” that truly matters. That being said, the joy of studying a vast array of kata (in addition to really specializing in less than a handful) makes Karate-Dō a beautiful and inspiring lifelong pursuit.

What’s more, deep specialization as one’s core practice, and also spreading the net wide (in one’s generic practice) is not only highly motivational for one’s own training, but also critical for those teaching Karate-Dō to others.

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

少しずつ前進 (PART ONE)

Much of my training today was 基本 (KIHON), including both その場基本 (Sonobakihon) and 移動基本 (Idōkihon); furthermore, the structural form of 自由一本組手 (JIYŪ IPPPON KUMITE) but only covering “上段”, “中段” and “前蹴り”.

型 (KATA) practice today was out of my comfort zone, via two forms that I find to be very difficult; namely, 観空大 (Kankū Dai) and 落葉 (Rakuyō).

I am still recovering after returning from the United States, but my body is progressively improving. Today's training reflected this, which is a real boost. Accordingly, I must set new targets for myself. This pretty summarizes my 45 years in Shōtōkan: the aim is to keep improving day by day.

Rather than write more, I’ll end there with a few images from today’s training.

少しずつ前進!!!!

押忍!

André Bertel

Kankū Dai

Kankū Dai. Relax the muscles and maximize 'shime' and the whipping of the joints.

Stationary Migi mae-geri keage from Heisoku-dachi

Stationary Hidari mae-geri keage

Jōdan jun-zuki (Jōdan oi-zuki)

Chudan gyaku-zuki

Migi mae-geri keage advancing: Idō Kihon

Rakuyō Kata: 'Falling Leaves".

This movement in Rakuyō is usually done incorrectly. Usho jodan sotonagashi uke is exexuted after the attack with Migi koko at the start of the spin.

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

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).