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.
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• Lateral (90° and 270°): Moving directly left or right. Used to completely escape a charging opponent.
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• Diagonal Angles (45°, 135°, 225°, 315°): The primary defensive angles. They allow you to slip past an attack while remaining close enough to strike.

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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).
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• Tactical Use: This moves you away from their reverse hand (gyaku-zuki) but puts you closer to their lead hand.
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• Easiest Counter: Ideal for jamming a kicker or landing a short, fast lead-hand punch (kizami-zuki or nagashi-zuki).
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2. Outside Angle (Outside Slip)

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• Movement: Stepping diagonally forward or laterally to the outside of the opponent's lead shoulder.
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• 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.
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• Example Counter: Perfect for executing a reverse punch (gyaku-zuki) to the opponent's ribs or a sweep (ashi-barai).
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3. The 45-Degree Retreat

• Movement: Stepping diagonally backward at a 45-degree angle (135° or 225° on the compass).
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• 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.
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• Example Counter: Trapping the opponent's extended arm and countering with a roundhouse kick (mawashi-geri) to the body.

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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.
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• 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.
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• 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).

Trainees from the Caribbean (Saint Lucia)

Three karateka from Saint Lucia, in the Caribbean, just completed four days of Renshusei training: Mario Juan Lans (3rd Dan) Sensei, Randall Bain (3rd Dan) Sensei and Richmond Chenery Felix (2nd kyu).

Mario Sensei when initially contacting me, several months ago, emphasized that his core objective was to return to the source of traditional Japanese Budō Karate. Accordingly, I focused on teaching the underpinning aspects of old-school Shōtōkan 基本 (Kihon), 型 (Kata) and 組手 (Kumite).

The main point I covered was as many ‘critical details’ as possible, whilst they were here.

High priorities included:

(1) Relaxation for natural energy, snap and optimal form;

(2) Ground power from the legs seamlessly driving the hips;

(3) Budo Karate (MAAI) in KUMITE practice: as opposed to sports karate distancing. <Supplementary photos below>

(4) Special focus on SHITEI-GATA: Heian and Tekki Shodan; furthermore, two of the SENTEI-GATA: Bassai (Dai) and Jion.

(5) Japan traditional standardization of authentic Budō Shōtōkan-Ryu KIHON.

I will not go into specifics as that is for them to take back to their dōjō and country. All I will say is that it was great to watch them improve over all four of the Renshusei sessions.

In addition to the Renshusei training, it was also great to spend some time with Mario, Randall and Richmond outside the dōjō. 

All three are GREAT GUYS! Accordingly, I wish them all a wonderful remaining time here in Japan, good health, and continued development in Karate-Dō.

押忍！

André

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

The 'Core Essential Kihon'

 Today rather than write too much I decided to simply post some pictures from today's training, which was dedicated to the CORE ESSENTIAL KIHON. I concluded with ENPI KATA.

Best wishes and positive energy, OSU!!

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

A few tips for the 指定型 (Shitei-gata)

Regularly I receive technical questions domestically, here in Japan, and from around the world. Today I felt compelled to answer a few about the 指定型 (Shitei-gata) and offer some advice.

Please keep in mind: one's karate can only grow by QUALITY PRACTICE! Best wishes in your training. 

押忍!

For the first and second movements of Heian Yondan there is an opportunity as they are executed slowly. Please ensure that: (a) both 右後屈立ち (migi kōkutsu-dachi) and 左後屈立ち (hidari kōkutsu-dachi) have the correct configurations, weight distributions and posture; furthermore, that hands and feet/legs are precisely coordinated: 手足同じ (te-ashi onaji); and (b) that haiwan-uke and the simultaneous hitai-kamae follows the proper trajectory and completes in the optimal position for both defence and attack. This aspect of kokutsu-dachi also applies to the opening sequences of Heian Nidan, Yondan and Godan (and indeed elsewhere).

Please note: for older karateka and/or those with injuries the stances do not not need to be low. However, even if standing in a high natural position it is imperative to maintain the correct weight distribution and positioning of the feet, legs, pelvis and overall posture. Needless to say, this applies to ALL OF THE STANCES IN KARATE-DŌ.

Ensure that the 交差立ち (kōsa-dachi) position and leg movements/footwork are mastered. This stance in Shōtōkan-Ryu is distinctly different from the other traditional ryuha. In the six 指定型 (shitei-gata) it is found in Heian Yondan once (movement 13); Heian Godan twice (movements 17 and 19); and three times in Tekki Shodan (movements one, seven and 21). Make sure that the positioning of the feet, legs, and posture of the upper body are correct.

騎馬立ち (kiba-dachi) is found many times in Heian Sandan, twice in Heian Godan (movements 13, 14 and 16) and throughout Tekki Shodan in 26 of the 29 actions. Make sure that the 足刀 (sokutō) of both feet point directly and especially that the pelvic posture in not compromised. Please remember that the sokutō position of the feet in kiba-dachi is representative of 踏み込み (fumikomi), 足刀下段蹴込み (sokutō gedan-kekomi), 関節蹴り (kansetsu-geri), et al.

From basis of Heian Shodan 前後立ち (zenkutsu-dachi) should be regarded as an attack more than a stance. The logic of this is easy if one considers it as a static position as this clearly makes no sense. Rather it is is one moment in time within the fluctuation of a physical conflict. The ‘primary purpose’ of zenkutsu-dachi is to drive your hips through your opponent; thus, fully utilizing one’s mass. Accordingly, be conscious of the positioning of the front leg legs knee. The optimal position has the front of the knee directly above the base of one’s toe joints with the sokutō of the foot pointing directly ahead. Likewise, the rear foot must be more frontward than to the side and, again, with the weight on the sokutō side of the foot.

The length of the stance is determined by the ability to correctly point the rear foot (and keep it fully grounded); moreover, fully engage the hips into one’s techniques. That is, a complete 正面 (shomen) position of the hips must be achievable.

In our organization, the IKS 国際空手道松濤館 (International Karatedō Shotokan) please be mindful of audible aspects of your kata. Firstly, while it is alright to announce your kata strongly, it must not be theatrically screamed, and name of the kata must be correctly pronounced. 

In kata there usually two 気合い (kiai); however, one is also common for example in 王冠 (Wankan). For power, this must be short and sharp—not theatrically extended, nor a scream—but from the 腹 (hara).  

Also be mindful of unnecessary externally audible 呼吸 (kokyū) breathing. Instead, breath naturally and fully, but with a sense of stealth “...to disallow your opponent from ascertaining your rhythm and capitalizing on this”.

Lastly, I want to offer some Budō Karate advice, especially for ones Heian kata training…

If you are no longer competing (or do not compete); furthermore, you are beyond the exams where the Heian kata are tested, I advise serious karateka use them as ‘forms’ to actively develop your base defensive and offensive skills and link these directly with the more sophisticated skills/applications. This is the actual purpose of the foundational kata.

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

平安五段 (Heian Godan) Kata

A bit of extra training outside of the dōjo today focused on 平安五段 (Heian Godan) Kata. 

Especially keep in mind the utilization of the 'Mizu nagare' action as an arm bar following an impact; the arm lock and follow up impacts leading to movement 12 (where the first kiai is applied); mikazuki-geri as an 'oblique kick' to set up the pull into enpi; the seoinage preparation and throw, followed by juji-jime; and attack and takedown with the conclusive actions. 

OK, from now. Just a couple of 'kihon tips' (below the images). Osu!!

Movement 15: Migi mikazuki-geri to 'Sasho' (and not the other way around). Strictly maintain 'Uken migi koshi'.

Movement One: Correct kokutsu-dachi and body alignment. Higher grades can slightly extend the basic 'one-fist distance' of the elbow from the body (if their arms are shorter).

Movment 19: When jumping, hold the tuck of the legs for as long as possible fully applying 'Tai no shinshuku'.

Movement 21: Initiating movements 21 and 23, extend chudan tateshuto before executing shuto gedan uchikomi doji ni nagashi-uke in 'zenkutsu'. Do not do an additonal wasted action after movement 22.

 

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

My current training regime: General Overview/Base Plan (日本語)

You can click to enlarge for easier viewing.

 

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