New video uploaded

© André Bertel. Christchurch, New Zealand 2011.

TACIT KARATE

The majority of highly advanced techniques, principles and applications in karate can be best explained as tacit or unspoken knowledge.

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An example of tacit karate are the oyo-jutsu (applications) of the numerous forms of double punches in Shotokan such as heiko-zuki, awase-zuki, yama-zuki, hasami-zuki and others. These punches more than often attack corresponding points on the human body which greatly magnify their destructiveness. Such techniques are most effective at close range, typically in a self-defense context to finish an attacker. If explicitly taught with their respective kyusho (vital points) they are extremely dangerous, even performed with moderate power. A very basic example could be a seiken hasami-zuki simultanously impacting on the opponents throat and base of their skull (first cervical vertebra).

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Of course other traditional karate styles such as Goju-ryu, Wado-ryu, Shito-ryu, Uechi-ryu, Ryuei-ryu and Shorin-ryu also have these techniques, which are equally effective, but with slightly different form.

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The widespread use of double punches in all of the traditional styles is highly indicative of how much they were valued by the old masters and effectively employed in hand-to-hand combat. Therefore, double punches are an excellent of example of tacit karate knowledge handed down from the past. Needless to say, tacit knowledge in karate is tactit knowledge for a good reason!

© André Bertel. Christchurch, New Zealand 2011.

What's your stance? (The Draft)

From a constructivist view point, especially when considering that this website follows my daily training and teaching, here are some of the photos from the original 'What's your stance' article, which I actually wrote last year (For the article please click here: http://andrebertel.blogspot.com/2011/03/taking-stance.html). Usually the articles are written a few months ahead of time, as I can never write for more than 15 minutes at any given time, due to my university schedule, personal life and daily karate commitments. Rather than harp on, I thought I'd make this post to give some insight on how I produce the content on here. All the very best, Osu!

© André Bertel, New Zealand 2010 (published March 2011).

Taking a stance!

The tachikata (stances) of Asai-ha Shotokan-ryu Karate include heisoku dachi, musubi dachi, heiko dachi, hachinoji dachi, uchi hachinoji dachi, renoji dachi, teiji dachi, kosa dachi, neko ashi dachi, sanchin dachi, hangetsu dachi, shokutsu dachi, zenkutsu dachi, kiba dachi, kokutsu dachi, fudo dachi and others. They are all essentially `transitional positions' or `landing gears' to launch, deliver, recover from, or to `set up' various techniques/combinations. This is especially the case when considering the effective oyo (practical application) of kata.

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Here I am displaying several of the IJKA tachikata as taught by Tetsuhiko Asai Sensei. Such critical technical issues make our preservation of Asai-ha Shotokan-ryu Karatedo all the more important, as we are keeping Sensei's technical legacy alive by our practice.

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We understand and respect that karate is a changing martial art, nevertheless myself, and many others will continue to practice pure martial arts karate, the way Asai Sensei taught us, via his lifetime of research. This is the stance we take!

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© André Bertel. Christchurch, New Zealand 2011.

Keriwaza II: Form & strength first, flexibility second.

I was swamped by emails after my last post titled `keriwaza’ so rather than answer everyone individually, I thought I’d make post answering ‘the consistent inquisition’: “How can I improve my flexibility for kicking?” Originally I decided to post with a bit of humour… However I amended this, deciding to answer the `main question' sensibly. All the very best in your endeavours, Osu! André Bertel.
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Too much focus on flexibility: Personally I believe this is where many people go wrong. My advice is to first and fore mostly develop form and strength, and SLOWLY build up flexibility to increase range of motion. Aim to have perfect gedan and chudan traditional keriwaza in slow motion and with maximum speed. If effective TRADITIONAL jodan techniques are not possible, just forget them! What I mean by `traditional keriwaza’ are kicks which travel a high path and smash upward, downward or directly into/onto the opponent with effective weapons i.e. – mawashi-geri coming down with josokutei (the ball of the foot) or sune (the shin); ushiromawashi-geri with kakato (the heel) etc.
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Have no preferences: As you can see in my photos and videos, I can kick just as well with both legs, just like punching with either hand, or being 100% comfortable fighting either side forward. Anything less is not good enough, it shows poor training. This is not bragging, it is essential FOR EVERYONE WHO IS SERIOUS ABOUT THEIR KARATE.

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If you are interested in actual stretching methods or ways to improve you kicks, please do some searches here on my blog via the search engine at the top left corner of the page.

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© André Bertel, New Zealand 2011.

Keriwaza I

There are many keriwaza (kicking techniques) in Shotokan Karate-Do, the more common include mae hiza geri, mae geri (keage and kekomi), fumikomi, yoko geri (keage and kekomi), ushiro geri (kekomi and keage), mawashi hiza geri, mawashi geri, gyaku mawashi geri, mikazuki geri, ura mikazuki geri, kakato otoshi geri, ura mawashi geri, ushiromawashi-geri etc.

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Variations: In addition to these and other keriwaza, you can kick with either the mae-ashi (front leg) as a kizami geri or cutting kick, or the ushiro-ashi (rear leg). In special circumstance you can also opt to use a tobi geri (jumping kick) or kick from the ground i.e. kata like in Unsu, Hachimon etc. Add to these variations different ranges/depths of kicks, angles, footwork, differing karada no buki (weapons of the body) and so on... It soon becomes clear that we have a vast array of kicks in our

arsenal

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The foundational keriwaza: The most important kicks early on in the karateka's training are those which are featured in the five Heian kata, Tekki-shodan and the five Junro kata, but also others featured in the kyu grading syllabus. This is because these keriwaza are the basis for all of the others, and allow the karateka to later specialise in techniques which suit their personal needs, physique and so forth.

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Dispelling a kicking myth: When kicking Shotokan and other `so-called traditional karate' people are often too religious about not coming up onto their toes, which is an important aim (feeling/intention), but not required in reality. By, aiming to keep the heel down, even if/when you come up onto your toes, you will not endanger yourself of falling to the ground. The overcompensation of keeping the heel down is an important skill, but is certainly not an end in itself. Try kicking a heavy bag full power. You will notice that you do come up onto your toes, even if you are trying to keep the heel down. Now try the same thing coming up onto your toes... If you don't fall over, you will find that your kick is not nearly as effective. Of course this also applies to punches and strikes. The OVEREMPHASIS of keeping the heel down has its origins not in the traditional Martial-Art of Karate but rather in modern transformation of karate [kata] into an aesthetic sport.

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Simple logic for self-defence: Gedan (lower level kicks), Chudan (middle level kicks) and Jodan (upper level kicks) are all important for training, but it goes without saying that in self-defence, for most people, the best kicks are low. The logic is that YOUR LEGS ARE CLOSER TO YOUR OPPONENTS KNEES, GROIN/PELVIS, SHIN etc... Just like your hands are closer to his nose... In saying that I have employed higher front kicks with "great success" whilst working in the security industry, and I've seen others also do this. But again I have to emphasise, the snap kick to the shin or groin followed by the elbow or punch to the head/face is far more consistent...

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The keriwaza of karate-do is extremely varied, but like all other techniques, their key lies in optimally using the body mass and momentum/ acceleration via correct technique. Keriwaza is of particular use in understanding the kahanshin (lower body) and hara in a most extreme way. I follow my late teacher, Asai Tetsuhiko Sensei's maxim which is "to physically study to respond to any situation, by being able to reactively use the body as a weapon from, and to, any position, without the need for any conscious thought." This Asai-ha Shotokan-ryu training philosophy means that all techniques, including all keriwaza, must be intensively practiced and made second nature.

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© André Bertel. Christchurch, New Zealand 2011.

Jiyu kumite no kamae

The 'Jiyu-kumite no kamae' (posture of free-sparring) in traditional karate refers to the position of the upper body and arms in particular. Here I'm in a typical `kamae' which allows a direct lead hand jodan attack or defence and middle and upper level attacks or defenses with the rear hand.
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If I had to name three critical points in forming a good jiyu-gamae, in no particular order they would be as follows: (1) Control the defensive hand positions and movements with the elbows ; (2) Establish good shisei or posture so you can later break posture (yumi-gamae) depending on the situation, as typical of Asai Sensei; & (3) Fix the eyes to "see everything".

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Here is the article in Russian:

http://blog.karatedo.by/2011/03/andre-bertel-jiyu-kumite-no-kamae.html

© André Bertel. Christchurch, New Zealand 2011.

Techniques from any movement or position: The Unpredictability of Asai Karate

Kicking from seiza, lying down or seated in squat position (as pictured with both left and right legs here) was a favourite BASIC training method of my late teacher Asai Tetsuhiko Sensei. Basic meaning "for beginners".

Asai Sensei taught me that such "very easy" exercises are important in foundational training. Likewise, the more advanced jumping, rotation and reverse rotational movements are critical, and beyond these, the combinations of anything without thought! For example attacking with an oi-zuki going to the ground with tate hiza dachi, immediately coming up and rotating into kiba dachi with ushiro empi uchi, then jumping and reverse rotating into kosa-dachi with shuto uchi etc. Possibilities are limitless, which adds unpredictability to one’s karate.

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Nevertheless, all of these technical variations depend on strong fundamentals "REGARDLESS OF MOVEMENT OR POSITION IN KUMITE". Therefore, standard kihon must be appropriately supplemented by such movements and drills, at the right time. The extreme refinement of this aspect of karate is what separates the Asai style from all other forms of Shotokan, thus making it all the more precious.

© André Bertel. Christchurch, New Zealand 2011.

JAPAN EARTHQUAKE

New Zealand and Japan are our home countries, Mizuho & I have both lived in both nations extensively over the years, and both have been attacked by natural disasters in the last few weeks. Our love, thoughts and prayers are with our family and friends in Japan, and all of those suffering from this catastrophic chain of events.

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André & Mizuho Bertel-Ono

KUMITE

The definition of ‘Kumite’ by the late Chief Instructor of the Japan Karate Association, Masatoshi Nakayama Sensei, is worthy of much reflection: “Kumite is a method in training in which the offensive and defensive techniques learned in the kata are given practical application. The opponents are face to face. The importance of kata to kumite cannot be overemphasized. If techniques are used unnaturally or in a forced way, posture will break down. And if the kata techniques become confused when applied, no improvement in kumite can be expected. In other words, improvement in kumite depends directly on moving in kata; the two go together like hand in glove. It is a mistake to emphasize one at the expense of the other. This is a point to be careful about when practicing kumite.” - MASATSOHI NAKAYAMA `BEST KARATE 3: KUMITE 1'.

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Nakayama Sensei goes on to explain three broad categories of kumite. I will continue to directly quote him here: “Basic kumite, jiyu ippon kumite and jiyu-kumite are three types of kumite.Basic kumite
In this most elementary form of kumite, the opponents take a fixed distance from each other and the target is agreed on beforehand. They then alternately practice blocking and attacking. This may be done as a single block and attack–ippon kumite–or a series of five–gohon kumite.

Jiyu ippon kumite
The late Minoru Miyata was my classmate and a colleague of mine since the founding of the Japan Karate Association. From his long years of experience, he held a clearly defined view of jiyu ippon kumite and jiyu kumite. Since he was a man who capabilities were highly evaluated by others and one whom I had very great confidence. I would like to quote him on this subject. The method of jiyu ippon kumite is this. Both men take a kamae freely at an optional distance. Announcing the area he is aiming for, the attacker attacks decisively. Against this the blocker freely uses techniques he has mastered and counterattacks at once. This is a training method; the purpose is to put into actual practice the techniques of offense and defence. This is jissen (actual fighting) kumite.” - MASATOSHI NAKAYAMA `BEST KARATE 3 - KUMITE 1'. Nakayama Sensei doesn't mention Kaeshi ippon kumite in 'Best Karate' but for those who do not practice Shotokan, I believe it is best defined (in brief) as "a form of Jiyu ippon kumite which develops `attacking zanshin".

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In regards to jiyu kumite, Master Nakayama, more than anything else emphasized to “avoid engaging in jiyu-kumite prematurely”. His reasoning was based on the problem of people just `playing around trying to tag each other or engaging in some lame form of boxing'. Whilst jiyu-kumite is controlled, unless the control is there to stop seriously hurting the opponent, it is counterproductive practice. Jiyu kumite must be perfectly reflective of kihon, kata, kihon kumite, jiyu ippon kumite & its various forms such as kaeshi ippon kumite. Therefore, all forms of kumite, including competition kumite, must be geared towards karate as an effective martial art of self-defence.

© André Bertel. Christchurch, New Zealand 2011.

Christchurch Earthquake Update: Train harder!

The earthquake has resulted in the Shirley Boys High School Gym to be 'red stickered' therefore the dojo will have to move. We will update you ASAP on this situation. Regardless, please keep up your self-training!

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My practice area at home is available for private lessons, however these must be booked in advance. My email is: andre.mizuho@hotmail.co.jp

All the aftershocks should make you train harder. OSU!!!

© André Bertel. Christchurch, New Zealand 2011.

OI-ZUKI

Oi-zuki (chasing punch) is often referred to as the `lunge punch’. Oi-zuki along with the gyaku-zuki (reverse punch) and mae-geri (front kick) are the core offensive techniques in Shotokan style karate. Without the mastery and on-going `sharpening' of these foundational techniques, everything else is irrelevant. Oi-zuki is of particular importance as even in its most basic form develops fundamental koshi no kaiten (hip rotation) and tai no shinshuku (the compression and expansion of the body).
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In addition to these points, relaxation to achieve superior snap, and various timing is developed in relation to the punch and propulsion of the stance. This eventually takes the technique away from being `merely oi-zuki’ (I.e - a subtle change in timing can easily turn it into oi-komi gyaku-zuki etc). Keeping the hips in hanmi, only rotating strongly into shomen at the end (timed with the stance completion, hiki-te etc) is the most powerful method. However, timing 'the movement and the arm' is hardest to defend against. All types must be practiced and employed according to the situation.

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Use all forms of yakusoku-kumite, jiyu-kumite and the sandbag (or makiwara) to maximise your development. Don’t settle for mediocrity, but rather seek ichigeki-hissatsu with all of your techniques. Of the three core kihonwaza of Shotokan, oi-zuki IS SUPREME as it contains the support leg drive/stretch of mae-geri and gyaku-zuki, and has gyaku-zuki within its timing. Oi-zuki therefore remains the most important technique in karate-do.

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© André Bertel. Christchurch, New Zealand 2011.

Christchurch Shotokan Karate INSTRUCTORS CLASS

Here are some photos from instructor training with Lyall Stone Sensei today. These highly technical and intensive sessions are the only Japan-style Shotokan karate instructors classes in the Canterbury region. For more please visit the Christchurch Shotokan Karate Club's website: http://christchurchshotokan.blogspot.com/2011/03/christchurch-ijka-instructors-class.html

© André Bertel. Christchurch, New Zealand 2011.