Great to have mutual respect between karate styles who truly follow the BUDO WAY.
Here is a link to the Kyokushin Oita Homepage with a brief article. If you cannot read Japanese, Google translate will certainly work.
You can click here: 松濤館の空手家、AndreBertel先生と交流 (kyokushin-oita.jp)
A big OSU and 'Arigatou gozaimasu' to Mimura Tadashi Shihan and Kyokushin Karate Oita.
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© André Bertel. Oita City, Japan (2023).
In this brief article I will explain 矢勢（やいき) ‘Yaiki’, which is a term from 弓道(Kyudo: Traditional Japanese Archery), and is also an important concept in Budo/Bujutsu Karate: irrespective of Ryuha/Kaiha, Shotokan or otherwise.
Yaiki is ‘the movement of arrow's’.
Even when an arrow hits a target truly high level karateka
can immediately ascertain the manner of how it hits ‘is either good or bad’.
One may believe or conclude that ‘as long as the arrow hits the target, the
movement is not so important’. However, if the arrow has insufficient ‘yaiki’,
whilst it hits the target, it cannot puncture the board or, in the case of old
school battle, puncture the opponents armor.
It should be obvious now how yaiki applies to the various
waza of karate. A top level budo karateka’s waza is clearly dangerous (seen in
its speed, power, control and autonomous adaptability). Karate with technical
immaturity can have good form and speed, but lacks a devastating capacity and
also the ability ‘to adapt and remain just as effective’ in a live scenario.
Nowadays, many senior graded black belts fail to discern this, which is sad.
These karateka may fool the majority when demonstrating
and/or they might wins points in competition, but they have bad yaiki, as they
have not trained their waza correctly nor thoroughly enough with constant
seeking of 一撃必殺 (Ichigeki-Hissatsu); that is, to
finish with a single blow.
I’ve seen several Shotokan instructors on YouTube who many
people think are good, even though they have very low Yaiki. Their karate is
‘performance karate’, laced with lots of well spoken talk. However, if they
have to use their karate in a really violent situation, their ‘karate’ will
fail them. They are 'karate salesmen and theorists', weak and easily crushed in a real fight.
Yet, why do so many high graded karateka now
cannot discern this UTTERLY CRITICAL POINT? WAKE UP!
For many years I’ve taught this, but still people are still confused. The Shotokan we have is effective in free fighting AGAINST ANYTHING.
Please always reference 矢勢（やいき）‘Yaiki’.
If you do, you’ll understand the old school Japanese perspective of true
karate—irrespective of the fakery—and, in this way, you be guided to seek true
training and instructors. Like my masters, Asai Sensei, Nakamura Sensei, Osaka
Sensei et al.
押忍! アンドレ
© André Bertel. Oita City, Japan (2023).
その場基本
1. 中段直突き (自然体)
30 to 50 reps of chudan choku-zuki (Shizentai).
2. 上段直突き(自然体)
30 to 50 reps of jodan choku-zuki (Shizentai).
3. 三本連突き(自然体)
30 reps of sanbon ren-zuki (Shizentai).
4. 中段前蹴り蹴上げ (閉足立ち)
60 reps of chudan mae-geri keage (Heisoku-dachi).
5. 上段前蹴り蹴上げ (閉足立ち)
60 reps of jodan mae-geri keage (Heisoku-dachi).
6. 左上段刻み突きから右中段逆突き(左前屈立ち)
30 reps of hidari jodan kizami-zuki kara migi chudan gyaku-zuki (Hidari zenkutsu-dachi).
7. 右上段刻み突きから左中段逆突き(右前屈立ち)
8. 左中段刻み前蹴りから右上段前蹴り(左前屈立ち)
30 reps of hidari chudan kizami mae-geri kara migi jodan mae-geri keage (Hidari zenkutsu-dachi).
9. 右中段刻み前蹴りから左上段前蹴り(右前屈立ち)
30 reps of migi chudan kizami mae-geri kara hidari jodan mae-geri keage (Migi zenkutsu-dachi).
10. 中段連 (騎馬立ち)
11. 縦猿臂から後ろ猿臂、前猿臂そして横猿臂 (自然体)
10 repetitions of tate-enpi kara ushiro-enpi, mae-enpi soshite ushiro-enpi (Shinzentai).
12. 手刀上段外回し打ちから手刀上段内回し打ち、手刀縦回し打ちそして背刀上段外回し打ち
移動基本
1. 上段刻み突きから三本連突き (自由立ちから前屈立ち)
20 reps of jodan kizami-zuki kara sanbon ren-zuki (Jiyu-dachi kara zenkutsu-dachi).
2. 上段揚げ受けから中段前蹴り蹴上げそして上段逆突き(前屈立ち)
20 reps of jodan age-uke kara chudan mae-geri keage soshite jodan gyaku-zuki (Zenkutsu-dachi).
3. 中段外受けから中段逆突き(前屈立ち)
20 reps of chudan soto-uke kara chudan gyaku-zuki (Zenkutsu-dachi).
4. 中段外受けから中段横猿臂そして裏拳横回し打ち (前屈立ちから騎馬立ち)
20 reps of chudan soto-uke kara chudan yoko-enpi soshite uraken yokomawashi uchi (Zenkutsu-dachi kara kiba-dachi).
5. 中段内受けから上段刻み突きそして中段逆突き (後屈立ちから前屈立ち)
20 reps of chudan uchi-uke kara jodan kizami-zuki soshite chudan gyaku-zuki (Kokutsu-dachi kara zenkutsu-dachi).
6. 転身の下段払いから中段逆突き (前屈立ち)
20 reps of tenshin no gedan-barai kara chudan gyaku-zuki (Zenkutsu-dachi).
7. 手刀中段受けから中段刻み前蹴りそして貫手 (後屈立ちから前屈立ち)
20 reps of shuto chudan-uke kara chudan kizami mae-geri soshite nukite (Kokutsu-dachi kara zenkutsu-dachi).
8. 前蹴り蹴上げから中段追い突き (自由立ちから前屈立ち)
20 reps of mae-geri keage kara chudan oi-zuki (Jiyu-dachi kara zenkutsu-dachi).
9. 中段前蹴り蹴上げから上段前蹴り蹴上げ (前屈立ち)
10 reps of chudan mae-geri keage kara jodan mae-geri keage (Zenkutsu-dachi).
10. 中段刻み前蹴りから上段前蹴り(自由立ちから前屈立ち)
10 reps of chudan kizami mae-geri kara jodan mae-geri keage (Jiyu-dachi kara zenkutsu-dachi).
11. 裏拳横回し打ち (前屈立ち)
20 reps of uraken yokomawashi uchi (Zenkutsu-dachi).
12. 手刀上段外回し打ちから手刀上段内回し打ち (前屈立ち)
型
1. 平安初段 (Heian Shodan)
2. 五十四歩大 (Gojushiho Dai)
3. 火手 (Kashu)
Each kata eight times (slow then full speed - thus, twice for each direction): Northward, Eastward, Southward and Westward.
組み手
KUMITE
自由一本組手 (JIYU IPPON KUMITE)
Attacks and defenses with and against: (1) Jodan oi-zuki, (2) Jodan gyaku-zuki; (3) Jodan kizami-zuki, (4) Chudan oi-zuki; (5) Chudan gyaku-zuki, (6) Chudan mae-geri keage, and (7) Jodan haito sotomawashi uchi.
© André Bertel. Oita City, Japan (2023).
 |
ASAI TETSUHIKO SENSEI
The YouTube footage in the direct link below is from the private training at the host dojo, during the Friday evening prior (to the 2023 Freital International Budo Shotokan Karate Seminar).
CLICK HERE FOR THE ORGINAL REPORT IN GERMAN (PHOTOS INCLUDED)
ENGLISH TRANSLATION (PHOTOS EXCLUDED)
Relax, Snap: Karate works!
The anticipation of our course in Freital lasted a long time - several times the karate seminar with Shihan André Bertel (7th Dan) had to be postponed due to the pandemic. On 04 and 05 February 2023 we were finally able to welcome him again in Freital.
For me it was the third seminar weekend with Sensei Bertel. I knew with my 4th Kyu that a challenging weekend awaited me. I knew I was going to train on the edge in the hall full of Dan carriers. I knew I had to expect some bruises. And I was really looking forward to it all.
Sensei Stephan Pilz (4th Dan) had the organizational strings in his hand and a direct, private line to André Bertel. It is thanks to him that we members of the Shotokan Karate Club Freital were able to enjoy a special privilege: On the eve of the course, André Bertel gave us two training sessions in our dojo.
He had just arrived and apologized to us for his jet lag. What tiredness? With unbridled power, he whirled off. The beginners received an impressive lesson in greeting etiquette and the execution of the basic techniques, the higher graduates then honed their explosiveness and coordination under the attentive eye of the sensei. Everyone was spellbound – especially our little karatekas. "Snap!" was one of his most urgent requests - meaning the snapped, lightning-fast techniques in karate. Another often heard hint was the admonition "Relax!", because we were much too tense about the implementation of his training. Shoulders down – relaxed! Muscles loose – snap! My trouble with this was hopefully not so clearly visible.
On Saturday, many members of our association were on their feet early to ensure the smooth running of the karate seminar. We were all excited, but we already had practice – in 2019 we already welcomed André Bertel in Freital. And suddenly Freital became the center of international karate: about 200 karateka from 17 nations gradually revived the hall. The mayor of Freital had a similar view in his opening speech - impressed he watched the cheerful André Bertel for a while in the sports hall full of attentive karatekas.
I was totally focused, wanted to do everything right and knew – I won't succeed. After the warming by sensei Marco Herrmann (4th Dan), André Bertel attached great importance to the training of basic techniques. He impressively showed every technique to be practiced, every turn to be practiced or every jump to be practiced - even several times and every time perfectly. And we participants translate his demands on the technique into their own movement - some managed it almost as perfectly. Some, like me, are more like that.
This year's kata, which Sensei Bertel taught us in the seminary, was the original version of the Kata Suishu (water hands), which was taught to him personally by his master Tetsuhiko Asai. This demanding kata mimics the course of the water. Accordingly, we trained the alternation of flowing and energetic movements, speed, rotation and strength. Every arm and foot technique, every movement or position demonstrated by the sensei were ideals for me that required the highest concentration. At the end of the day, I was exhausted, predictably dissatisfied with myself, but happy.
Again and again André Bertel showed the kata with bunkai to prove the effectiveness of the techniques in combat. These demonstrations were always a firework of energy, speed and power. André Bertel's "Try this!" was the signal to implement his instructions on his partner: punches, levers, kicks, throws. Many thanks to my training partners for their patience – my insecurity after every "Try this!" was legendary. But the atmosphere in the hall encouraged me again and again: motivated karateka could be seen everywhere with a smile on their faces – even if they were lying on the ground.
However, this first day of the course did not end just like that - a party with buffet at the Feldschlösschen headquarters in Dresden rounded off the day.
Sunday started with the Kata Suishu. Some could be seen before the training, how they ran the 58 movements of the kata relatively safely. Unfortunately, I was not one of them. So it was time again: full concentration. In addition, André Bertel taught us in the militant implementation and effectiveness of traditional karate. We practiced this constantly on our partner and left this course with the certainty: "Karate works!". Andre Bertel took a long time to talk to individual course participants, to fulfill photo requests, to sign autographs. I saw many karateka thanking the helpers to take a last roll or a last coffee. Quickly everything was back in its old place with our many diligent hands.
But for us Freitaler Karateka it was not over yet: Sensei André Bertel gave interesting training sessions in our dojo on Monday and Tuesday. Nothing could have kept me away from this training. At some point, he also referred to his damaged forearms. That comforted me somehow.
My conclusion: André Bertel doesn't just teach karate. He teaches enthusiasm, motivation and technique that enables your own body to do incredible things. His way of praise, repeating, encouraging and being patient makes him a very good teacher. I understand why even karateka from Colombia travel to experience André Bertel in Freital.
We would like to thank Sensei André Bertel as well as all participants, organizers and helpers – together this course was an incredibly inspiring event!
(Report by Anja Blume)
© André Bertel. Oita City, Japan (2023).
This video of Suishu Kata was informally and suddenly filmed on the spot by my (now eight-year-old) daughter, Mia.
Notice I changed aspects of movements 46/47. This variation is also OK with the OYO (application) but at (for) a closer distance. No 'hidari koko jodan oi-zuki' (as I taught at the Freital, Germany seminar last week) but rather an enpi-uchi. Asai Sensei taught this variation to me, so both are OK depending on the maai.
Overall, this version of Suishu is different from the version taught widely now, and is different from Asai Tetsuhiko Sensei's official video; however, this was how he practiced and taught it in private. Therefore, it must be preserved.
Suishu's training of transitions, fluidity, adaptability, and, of course, natural energy offers us many useful lessons to advance 'standard Shotokan'. My kindest regards and best wishes from Oita City, Kyushu, Japan. OSU, - AB.
© André Bertel. Oita City, Japan (2023).
Asai Tetsuhiko Sensei also called this kata 水の手 (ミズノテ
) or ‘Mizunote‘. His official description is as follows: “This bujutsu kata
incorporates movements of water into taijutsu. A jutsu for mastering the
concept of water, which is expressed in ‘the change of speed and strength’ in
the various waza (sometimes intense, sometimes gentle) . Accordingly, Suishu
mimics the flow of water. It is one of five ‘natural energy’ kata, which
function to perfect fluidity, adaptability, and the optimal use of power to transcend
muscular strength”. — Andre Bertel.
[58 movements with kiai applied on the actions 27 and 58]
Kata overview:
Rei: (Musubi-dachi).
Yoi: Ryoken daitai mae (Shizentai).
1. Step back
diagonally rightward into migi ashi mae fudo-dachi with sasho jodan
sotonagashi-uke following into migi te osae-uke. Asai Sensei also taught this
as Hidari kokutsu-dachi; however, that for higher grades, the less distribution
of weight to the rear leg is more effective. Thus, Fudo dachi should be used by
higher grades in this action.
2. Change into migi zenkutsu with migi gedan uke-zuki.
3. Hidari chudan oi-zuki.
4. Draw in the right foot and face diagonally to the right
in heiko dachi with migi haishu/haiwan uchinagashi-uke
5. Move back diagonally into hidari ashi mae fudo-dachi with
usho jodan sotonagashi-uke flowing into hidari te osae-uke.
6/7. Repeat steps two and three on the opposite side.
8. Execute hidari jodan uchi-uke diagonally to the left.
9. Step diagonally on the line of the previous uke into
hidari zenkutsu-dachi with hidari uraken jodan tatemawashi uchi.
10. Hidari ashi soto-uke and at the same time make hidari
jodan soto-uke.
11. Migi chudan gyaku-zuki (hidari zenkutsu-dachi).
12-15. Repeat movements 8–11 on the opposite side.
16. From where you are deliver hidari jodan uchi-uke.
17. Pivoting into hidari zenkutsu make migi jodan uchi-uke.
18. Advance on the centerline into migi zenkutsu-dachi with
hidari chudan gyaku-zuki.
19. Turn 90 degrees leftward into hidari ashi mae nekoashi-dachi
with hidari jodan soto-uke flowing into sasho gedan-barai and a simultaneous
usho hitai-gamae, then counterattack with migi shuto jodan sotomawashi uchi
(saken hidari koshi). Complete this action, by expanding from hidari ashi nekoashi-dachi into hidari zenkutsu-dachi; thereby, utilizing the transfer of weight into zenkutsu-dachi to make your impact with your 'shuto' both relaxed and heavy.
20. Turn 180 degrees and repeat movement 19 on the opposite
side.
21. Pivot into hidari ashi mae hiza-kutsu with migi shuto
sokumen harai-uke.
22. Okuriashi by drawing the left foot half way to the right
with migi shuto jodan age-uke/kamae.
23. Advance into hidari zenkutsu-dachi with hidari chudan
mae enpi-uchi.
24. Migi teisho chudan gyaku-zuki.
25. Turn 180 degrees into migi ashi mae neko ashi dachi with
migi shuto gedan-barai.
26. Migi kizami mae-geri.
27. Without returning to neko ashi advance directly into
migi zenkutsu-dachi with hidari chudan gyaku-zuki (KIAI).
28. Yori-ashi rearward and slightly leftward into hidari
ashi mae neko ashi, turning to face the left side, with hidari shuto gedan
sotomawashi uchi/uke.
29. Hidari chudan kizami mae-geri.
30–31. Repeat movements 28-29 on the opposite side.
32. Kosa-aiyumibashi to the left simultaneously loading both
shuto diagonally rearward at the right lower waist.
33. Move into hidari ashi mae fudo-dachi with a slow hidari
shuto jodan uchimawashi uchi doji ni usho sokumen hitai gamae.
34. Kaiten shinagara migi jodan shuto uchimawashi uchi in
kiba-dachi.
35. Turn leftward into hidari ashi mae neko ashi dachi and
make ryo sho jodan age-uke.
36. Move into hidari zenkutsu-dachi with shuto hasami-uchi.
37. Step forward into migi zenkutsu-dachi with ryo ken gedan
uke-zuki flowing into tateken chudan morote-zuki.
38. Turn clockwise to face ura shomen in kiba-dachi with
migi tekubi jodan kake-uke diagonally to the right.
39. Transfer into migi zenkutsu-dachi with hidari chudan
gyaku-zuki.
40. Migi teisho jodan age-zuki. A stationary and subtle
switch into migi ashi mae fudo-dachi is utilized here. Asai Sensei also taught a return to
kiba-dachi.
41-43. Repeat movements 38-40 on the opposite side.
44. Step forward with the right foot into migi
zenkutsu-dachi. When doing this defend with hidari hidari te sotonagashi uke
flowing into migi haishu jodan age uke. Note — the wind up for migi haishu
jodan age uke is from behind your back whilst making the hidari te sotonagashi
uke. In actuality this is a Kamae for striking the eyes and, when used in
defense, is applied as kamae then usho osae uke.
45. From this position make a migi enpi-uchi (keep the hand
of the striking arm open with the shuto formation).
46. Step forward into hidari zenkutsu-dachi with a
pressing/pushing migi shuto jodan uchimawashi uchi. Asai Sensei emphasized t me
that this is a press, opening the neck and off balancing, to attack with the
next two waza.
47. Hidari koko jodan oi-zuki.
48. Migi koko jodan gyaku zuki. Movements 47 and 48 are
ren-zuki both impacting with the ‘tiger mouth’.
49. Turn 270 degrees into migi ashi mae neko ashi dachi with
migi shuto jodan tatemawashi uchi
50. Migi uraken jodan tatemawashi uchi moving into migi
zenkutsu-dachi. Note, this is done with a large
scale rolling action like a wave coming on to a beach.
51. Hidari chudan oi-zuki. Asai Sensei stresses that
movements 50 and 51 (and 53/54) are continuous.
52-54. Turn 180 degrees and repeat movements 47-49 on the
opposite side.
55. Stepping 90 degrees to the right into Kiba-dachi make a
big clockwise circle with the arms (ryo sho jodan-uke) that immediately flows
into a large circular migi shuto jodan sokumen uchimawashi uchi. Note, hidari
shuto suigetsu kamae is utilized here.
56. Kaiten shinagara counterclockwise into kiba-dachi with
hidari yoko enpi-uchi. Note, the striking elbows hand is in the shuto
formation.
56. Mawari
nagara sagatte with both shuto raised up high—then slowly make ryo sho gedan te
osaeuke—whilst simultaneously moving into migi ashi mae neko ashi dachi.
58. Drive forward
into migi zenkutsu-dachi with ryo sho shuto jodan uchikomi (KIAI). Asai Sensei taught me that this waza is to impact with boshiken on both sides of the carotid artery.
Naore: Ryoken daitai mae (Shizentai).
Rei: (Musubi-dachi).
© André Bertel. Oita City, Japan (2023).
© André Bertel. Oita City, Japan (2023).
Links to previous videos (Part ONE and TWO)
© André Bertel. Oita City, Japan (2023).
