岩鶴 (Gankaku)

I was asked to write a brief overview on Gankaku. So here you are. 押忍!!

Tanaka Masahiko Sensei's Gankaku: Movement one:
 Ryoko jodan sokumen awase-uke (Migi kokutsu-dachi).

This kata was originally known as ‘Chinto’ after its Chinese innovator (who allegedly ended up on Okinawa due to a shipwreck).

 

The funny part of the tale is that he was apparently stealing people’s crops to survive. Eventually Matsumura Sokon was sent to give the naughty Chinaman a lesson but found him to be an excellent martial artist.

 

After which, for a time, Chinto was ‘invited’ to teach his style of Chinese boxing in the Tomari area (probably as a pay back for all the fruit and vegetables he pinched).

 

The more descriptive and eloquent name 岩鶴 (Gankaku)—later adopted Funakoshi Gichin Sensei—literally translates as ‘rock crane’. This typically poetic label ‘from Shoto himself’ brings to mind ‘a crane boldly standing on a rock’ as opposed to ‘a fruit and vegetable thief from across the ditch’.

 

With 42 movements, this Tomari-te kata follows the 一字形演武線 (Ichi ji gata enbusen). This is where the performance line is linear, just like the kanji for ichi; moreover, relates to training space and indeed the potentiality for a narrow environment for application. The kiai are applied on movements 28 and 42 respectively both waza of which are migi chudan oi-zuki

 

Nakayama Masatoshi Sensei wrote that “…the nucleus of this kata is the mastery of balance, rotation, and the simultaneous use of yoko keage and uraken”. Notice there’s no mention of using the Manji Kamae to grab a farmers apple, then rip it out of distance for a high fructose snack…

 

On a serious note... It is standard to utilize yoko-geri keage in this kata, but the older sideward mae-geri keage is also acceptable; however, other variants are not (in Budo/Bujutsu Karate). 

Please forgive me for quoting my June 24, 2010 article: 'Hangetsu, Jitte and Gankaku'

"Asai Tetsuhiko Sensei was infuriated by the changing of yoko keage to yoko kekomi (amongst many sports karate competitors). His belief was that the yoko keage in Gankaku was a refined/improved side kick from the original (which was a mae geri to the side, still found in many styles today). He explained that "the yoko keage means you kick the opponents testicles, who is next you without having to turn your body at all. The upward trajectory of yoko keage, and the distancing with this kick, means that uraken uchi can easily be used offensively or defensively."

 

Gankaku overview 

(Official stance and action per command count and 'a few AB practice tips')

 

1. Ryoko jodan sokumen awase-uke (Migi kokutsu-dachi). Note - this is JODAN if you like your front teeth! Many sports karateka do this waza lower to make it faster and easier. This has no meaning, only for speed and looks. Please reference Tanaka Sensei's above and compare it to sports karateka.

 

2. Ryosho juji chudan osae-uke (Migi kokutsu-dachi).

 

3. Saken chudan-zuki (Migi kokutsu-dachi).

 

4. Migi chudan gyaku-zuki (Migi kokutsu-dachi).

 

5. Kaiten shinagara migi sokumen migi gedan-barai (Kiba-dachi).

 

6. Kaisho jodan juji-uke (Hidari zenkutsu-dachi).

 

7. Ryoken mune-mae (Hidari zenkutsu-dachi).

 

8. Nidan-geri kara gedan juji-uke (Hidari zenkutsu-dachi).

 

9. Gedan juji-uke (Hidari zenkutsu-dachi).

 

10. Uken gedan-uke, saken migi koshi mae kamae (Hidari kokutsu-dachi).

 

11. Hidari shuto gedan-uke, migi shuto hidari koshi mae kamae (Hidari kokutsu-dachi).

 

12. Ryosho chudan kakiwake-uke (Migi zenkutsu-dachi).

 

13. Ryosho chudan kakiwake-uke (Kiba-dachi).

 

14. Ryoken ryogawa gedan-kakiwake (Hachiji-dachi).

 

15. Migi sokumen jodan uchi-uke doji ni hidari sokumen gedan-uke (Migi kokutsu-dachi). This is Manji-uke/Manji-gamae. Load with te-nagashi-uke doji ni gedan shuto uchikomi and when making the waza use a power ratio of 7:3.

 

16. Hidari sokumen jodan uchi-uke doji ni migi sokumen gedan-uke (Hidari kokutsu-dachi).

 

17. Migi sokumen jodan uchi-uke doji ni hidari sokumen gedan-uke (Migi kokutsu-dachi).

 

18. Gedan juju-uke (Hidari ashi mae tatehiza-dachi: Migi ashi orishiki hidari hiza-tate).

 

19. Ryoken chudan kakiwake-uke (Kiba-dachi).

 

20. Ryoken ryogawa gedan-kakiwake (Hachiji-dachi).

 

21. Ryoken ryokoshi-kamae (Hachiji-dachi). Do not stop on this movement; instead, move immediately into movement 22 and 23.

 

22. Migi furi-enpi (Hidari zenkutsu).

 

23. Hidari furi-enpi (Migi zenkutsu).

 

24. Ryoken chudan kakiwake-uke (Migi ashi mae kosa-dachi).

 

25. Migi sokumen jodan uchi-uke kamae doji ni hidari sokumen gedan kamae (Migi tsuruashi-dachi). If you are well trained, straighten the sasae-ashi. 

 

26. Migi ryoken migi koshi kamae (Migi tsuruashi-dachi). Complete the kamae by compressing by slightly bending the sasae-ashi.

 

27. Hidari sokuto yoko-geri keage doji ni hidari uraken jodan yokomawashi-uchi. If you understand, 'hybrid action'.

 

28. Migi chudan oi-zuki (Migi zenkutsu-dachi) —KIAI!

 

29. Hidari sokumen jodan uchi-uke kamae doji ni migi sokumen gedan kamae (Hidari tsuruashi-dachi).

 

30. Hidari ryoken hidari koshi kamae (Hidari tsuruashi-dachi).

 

31. Migi sokuto yoko-geri keage doji ni migi uraken jodan yokomawashi-uchi.

 

32. Saken migi sokumen chudan-zuki (Kiba-dachi).

 

33. Migi sokumen jodan uchi-uke kamae doji ni hidari sokumen gedan kamae (Migi tsuruashi-dachi).

 

34. Migi ryoken migi koshi kamae (Migi tsuruashi-dachi).

 

35. Hidari sokuto yoko-geri keage doji ni hidari uraken jodan yokomawashi-uchi.

 

36. Uke next hidari sokumen chudan-zuki (Kiba-dachi).

 

37. Migi shuto zukami-uke (Migi ashi zenkutsu). I personally do this the old way, however, the newer version used by the JKA is just effective. I recommend testing both methods in self defense practice and establishing what works best for you (outside of exams and competitions where organizational norms must be followed).

 

38. Hidari jodan tate-enpi usho-ate (Migi ashi zenkutsu).

 

39. Sasho-uken hidari koshi (Migi ashi zenkutsu).

 

40. Kaiten shinagara ryoken koshi kamae (Migi tsuruashi-dachi). As everyone knows, this is an arm break. Roll kaisho jodan juji-uke similar to Heian Godan, above the head, descending into ryoken koshi kamae. Spin and compress the stance for maximum control of COG in perfect harmony with the upper body rotation and arm/hand actions. This is te-ashi onaji at the highest level within the 26 standard Shotokan kata, as this is most demanding action for precise balance. As such, train with these utmost points in mind (in regards to this waza; thereby, making it an easy task. 

 

41. Hidari sokuto yoko-geri keage doji ni hidari uraken jodan yokomawashi-uchi.

 

42. Migi chudan oi-zuki (Migi zenkutsu-dachi)—KIAI! Always remember, CHUDAN attacks often become JODAN because of the previous action or actions. This point is very important in the application of the Shotokan kata and cannot be elucidated enough.

© André Bertel. Oita City, Japan (2021).

五本組手 (Gohon Kumite): An extension article 19 years later

 五本組手 (Gohon Kumite) is unique to Shotokan Karate and some of the derivatives of it. It is generally the first form of Kumite (‘the meeting of hands’ or, more explicitly  described in English, ‘sparring’. That being said, my methodology focuses on the original purpose of ‘the basic Gohon drill’, which is ‘kihon practice with a partner’.

 

Before I move on, I’d like to offer this rationale as it is based on the real achievement outcomes of this form of ‘kumite’. Firstly, I want to stress that the basic Gohon Kumite will not make you into a great fighter. That’s hopefully obvious and, accordingly, it shouldn’t become a pseudo form of ‘sparring against one’s partner at the expense of technique’. Though, it certainly provides a baby step towards Kumite, for beginners, by putting an ‘opponent’/‘training partner’ in front of them as opposed to doing ‘air karate’.

 

In this regard, keep in mind that “…when ‘fighting better is the aim’ train specifically for that”. Some specific examples of such fighting training include uchikomi (i.e. – line work); impact work; explosive strength training; and, of course, various forms of jiyu-kumite including the training of newaza etc).

 

So why bother with Gohon Kumite? Why not just get straight into freestyle? Well, if fighting is one’s only goal, that’s a fair point. Let's face it, in that case, you can then drop kata as well. However, if one wishes to have the prime characteristic of karate in freestyle (for something to BE karate), which is kime, the basic for Gohon Kumite is an excellent basis.

 

One of the reasons for this is that 'it’s actually a difficult drill'. This difficulty comes from its simplicity “…which provides an extremely revealing template for oneself (and an insight into others as well)”. Excellent, correct or incorrect use of the feet, legs/stance, hips, upper torso/backbone neck and head position can be immediately (and uncompromisingly) assessed. This also applies, indeed, to the shoulders, forearms, wrists and fists.

 

How is movement conducted? How is the hikite utilized, in addition to its form? How the center is moved/used and the posture is made? Chikara no kyojaku? The psychological state in both defense and attack? Kihaku without compromising form? Correct Kiai (not the bellowing sports karate sound, but a short and sharp kiai that aids explosive power to achieve kime)? Zanshin?

 

One thing I want re-emphasize today is the main point of stance work between Gohon Kumite and the next stage of training 基本一本組手 (Kihon Ippon Kumite). I will do this in reverse…. In ‘Kihon Ippon’ you drop your weight (where you are, direct, angular or rotational) in order to be immediately effective with your counterattack. This is more difficult, because even though there are more options, you have only one chance. If your waza has no 'potential penetration' of the target (where, if not literally controlled, will cause optimal damage) your karate is incorrect. In fact, practice done incorrectly in this regard will help to make your karate less effective. Unfortunately, many people practice for years—or even decades—and never know, or strictly follow this imperative point of Kihon Ippon Kumite practice. Such aspects have contributed to many karateka having ineffective real fighting skills. It's so sad, but true.

 

Going back to Gohon Kumite. It has a very different approach. Instead of dropping the weight on the spot (nor using conveniently evasive angles, in Gohon, defense must follow the line) the point of unsoku is “…to not be there!” Yes, use zenkutsu-dachi to escape the opponents attacks with each respective ukewaza as a secondary cover. Yes, the ukewaza must be utilized, but ‘making distance’ is the main point; that, is, until final attack. Beginners will be usually out of distance after the fifth step. In this cases, it’s no problem. They must keep their stance and posture, and counter into the air with good form. Remember, this is obviously not a real fight, it’s a basic training drill. That being said—after attaining competence in Kihon Ippon Kumite, later in their training—they should then adjust their final defensive step to make the perfect distance for their hangeki-waza. That is, the last step basically becomes kihon ippon. I hope that makes sense and laces these two drills together over the respective timespan.

 

You can now see how, partner kihon, and different forms of ‘the control of maai’ in relation to: (a) tachikata, shisei and unsoku; (b) kihon waza—namely trajectory and form; and indeed, (c) the inherent psychological aspects—correlate and contribute towards the advancement of skills without compromising the foundational waza. 

 

In sum, “…the basic form of Gohon Kumite is not a drill that advanced practitioners NEED to do everyday”, but it’s periodic practice for self-evaluation and refinement is extremely valuable: especially pertaining to the core fundamental techniques. If you’d like to read more on this topic, please check out my 2002 article here (published here on this site in July of 2007: https://andrebertel.blogspot.com/2007/07/gohon-kumite.html). These two articles together give a good overarching understanding of the basic form of Gohon Kumite. If there is enough interest, I will write about more advanced forms in the future. Best wishes and best training. — 押忍! André

 © André Bertel. Oita City, Japan (2021).

The HOUSE of SHOTO

Funakoshi Gichin Sensei was, of course, the founder of modern-day Karate-Do; furthermore, the founder of what became known as Shotokan-Ryu. More than these points, he was the first master to officially introduce Tode/Karate to mainland Japan from Okinawa. This name came from the masters pen name 松濤—‘Shoto’—meaning ‘Pine waves’, which was also used to label his first full time purpose built dojo facility: the Shotokan—‘the House of Shoto’.

These commonly known facts aside, Funakoshi Sensei did something else, which was a major evolution in the development of karate. He established training methods, systems and evaluations—based science and the other forms of budo already established in Honshu—in-conjunction with the karate he brought with him from Okinawa. This included improving the power of various movements by more efficiently using the body; in particular, utilizing the legs and hips for much stronger impact.

 
Talking with seniors here in Japan, there may be a little bit more to this than meets the eye. Funakoshi Sensei’s body was very small, even by Japanese standards at the time. Accordingly, it is said that he sought methods to increase the power and range of techniques to overcome his physical shortcomings. 

Ironically, one saying here in Japan is: “Everyone’s kata is different (meaning the different ryuha/kaiha). One can tell what style a person is from their kihon and kata. However, everyone looks like Shotokan when engaging in kumite”.

 

I’d like to conclude by saying that while Shotokan, and all the traditional styles are great, it is not enough to merely train without conscientious self-evaluation alongside the daily physical practice/training. To practice karate as budo/bujutsu we must seriously and constantly train and test our waza with ichigeki-hissatsu fore-mostly in mind.

To do this, we can look back to the approaches of Funakoshi Sensei and trace that to the present time. What has been lost? What have been gained? And how we make the most of ourselves through practice? ‘Using the knowledge of the past’, ‘making the most of the present’, and ‘always aiming for future improvement’. Yes, simple words, but truthful and well worth being mindful of!  

In recent times I’ve heard some criticism of Shotokan. This criticism is unfounded. In saying that, we must also be critical thinkers, in regards to our training; moreover, this must be used to improve our physical capacity via physical training. 

 

Obviously in my mid 40s I had no relationship with Funakoshi Sensei, nor, sadly, Nakayama Sensei; however my main instructor Asai Tetsuhiko Sensei did. Furthermore, my other instructors and seniors here in Japan did also. I really believe that we must appreciate what’s been handed down from the past and use this knowledge for future gains, not only for ourselves but also for the next generation.

Accordingly, Funakoshi Gichin Sensei will always be an important figure in the karate world, especially to us who practice ‘The House of Shoto’ style.

 Osu,  André

 © André Bertel. Oita City, Japan (2021).

抜塞小 (Bassai Sho)

 Bassai Sho (抜塞小) Kata, in contrast with the overtly powerful Bassai Dai, is more subtle in its use of strength; furthermore, Bassai Sho utilizes smaller scale waza to undermine one’s opponent. Mindful of these points, the name Bassai (‘Penetrate the fortress’ or ‘Storm the castle’) should be understood—via the contrasting uses of power and scales of waza—within the two Shotokan versions of Bassai.

In the process of completing RYOSHO CHUDAN TSUKAMI-UKE.

Certainly, bo-jutsu cannot be overlooked when analyzing Bassai Sho, Kanku Sho, Meikyo, Jitte and, indeed, other kata featuring various ‘bo uke’. In saying that, more often than not, the waza in these kata are primarily empty handed applications against an unarmed assailant. That being said, many of the waza work more efficiently with executed with the feeling of holding a staff; in particular, when applying the various joint locks. This is a major commonality between the teachings of Kase Taiji Sensei and Asai Tetsuhiko Sensei. But I will not go into that topic here today.

 

In all of these regards what’s most interesting is the difference between bunkai and oyo. When learning the ‘kata movements’ the understanding of correct actions (trajectories and positions), in Bassai Sho, are most readily learned using a bo. This is BUNKAI in Shotokan. It’s not realistic, and realism is not the purpose. The aim is ‘correct movements and positions when learning the kata’. Please think of Nakayama Sensei’s books and videos here. Do you really think he believed that the bunkai demonstrated in these publications would be effective in the real world? Those who think so, are really stupid. Just image two guys attacking you at the same time, one from the front with a chudan mae-geri and the other from the rear with jodan oi-zuki—“oh, yes, (you think), a perfect opportunity to use my manji-uke”…

 

Of course, after learning the kata, bunkai (as termed in Shotokan) has no purpose. The focus then turns to OYO (actual 'APPLICATION'): this is the actual fighting techniques and principles to be derived from the kata—for real world self-defense.

 

I hope that this post on Bassai Sho clarifies these points.

 

In sum, we have a very ‘directly applicable style’ that is second to none: via the power from our kihon, which literally remains unsurpassed.

Osaka Yoshiharu Sensei fine tuning my sokuto gedan-kekomi. 

These points aside, I would now like to move on to each of the 27 movements of Bassai Sho.

抜塞小 (BASSAI SHO): OVERVIEW

  

Rei: Musubi dachi

 

Yoi: Heisoku dachi — Hidari shuto migi haito kafukubu mae

 

1. Ryosho juji jodan awase uke (Migi ashi mae kosa dachi).

 

2. Ryosho jodan bo uke (Migi kokutsu dachi).

 

3. Migi haito gedan sukui uke kara migi gedan barai (Heisoku dachi).

 

4. Ryosho jodan bo uke (Migi kokutsu dachi).

 

5. Saken migi haishu hidari koshi kamae (Ryo hiza kutsu—Heisoku dachi).

 

6. Migi sokuto chudan yoko geri keage doji ni haito jodan uchimawashi uchi (Hidari sagi ashi dachi).

 

7. Hidari tateshuto chudan uke (Kiba dachi).

 

8. Migi choku zuki (Kiba dachi).

 

9. Hidari choku zuki (Kiba dachi).

 

10. Hidari manji kamae (Migi kokutsu dachi).

 

11. Migi manji kamae  (Hidari kokutsu dachi).

 

12. Migi shuto chudan uke (Hidari kokutsu dachi).

 

13. Hidari shuto chudan uke (Migi kokutsu dachi).

 

14. Migi shuto chudan uke (Hidari kokutsu dachi).

 

15. Ippo sagatte hidari shuto chudan uke (Migi kokutsu dachi).

 

16. Ryo sho tsukami uke (Hidari ashi zenkutsu).

 

17.  Migi sokuto gedan yoko kekomi doji ni ryosho tsukami yose (Hidari sagi ashi dachi) —KIAI.

 

18. Ryoken chudan kakiwake uke (Migi kokutsu dachi).

 

19. Yori ashi ryoken jodan ura zuki (Migi kokutsu dachi).

 

20. Migi jodan soto uke kara ryoken hidari koshi soshite migi sokumen chudan morote zuki (Hidari sagi ashi dachi kara migi deashi barai soshite kiba dachi).

 

21. Hidari kentsui chudan uchimawashi uchi (Kiba dachi).

 

22. Migi chudan oi zuki (Migi zenkutsu dachi)—KIAI.

 

23. Migi jodan soto uke kara ryoken hidari koshi soshite migi sokumen chudan morote zuki (Hidari sagi ashi dachi kara migi deashi barai soshite kiba dachi).

 

24. Hidari jodan soto uke kara ryoken migi koshi soshite hidari sokumen chudan morote zuki (Migi sagi ashi dachi kara hidari deashi barai soshite kiba dachi).

 

25. Migi jodan soto uke kara ryoken hidari koshi soshite migi sokumen chudan morote zuki (Hidari sagi ashi dachi kara migi deashi barai soshite kiba dachi).

 

26. Ryosho chudan tsukami uke (Hidari ashi mae nekoashi dachi).

 

27. Ryosho chudan tsukami uke (Migi ashi mae nekoashi dachi). 

Naore: Heisoku dachi — Hidari shuto migi haito kafukubu mae

Rei: Musubi dachi

 

Catching up with Mr.Bassai Sho: Abe Keigo Sensei.

I was asked to comment on the conclusive movements of Bassai Sho, as taught by the late Kanazawa Hirokazu Sensei, which are more dramatic, via greater extension of the sweeping leg. For me personally, both ways are equal. More than just movement I advise all karateka to test each waza in jiyu kumite. If one method is obviously superior for that individual, use that. Likewise, if both fine, but one is more natural, use that one. A special point for me was relearning Bassai Sho from the late Abe Keigo Sensei, who insisted teaching all of the Shotokan kata exactly as Nakayama Sensei did. Of course, you will know that Abe Sensei demonstrated Bassai Sho in ‘Best Karate 9’. What's interesting about that is that Asai Tetsuhiko Sensei taught me quite differently, and Abe Sensei could tell what I was doing was from Master Asai, which actually impressed me a lot.

In my dojo, as long as the movements are effective, I do not correct technical differences; rather, I respect them! Likewise and accordingly, when testing karateka, I don’t mind the variation of form. The main point is form for functionality, which I always check and strongly encourage others to focus on as well. The key point, in this regard, as I said earlier, is that each karateka tests their waza for optimal effect as opposed to ‘inactively learning’.

Asai Sensei's Bassai Sho. as always unique and not to be copied; yet, to be emulated.

 

"What is the purpose of kihon and kata? The purpose is JISSEN KUMITE". - T. Asai.

To wrap up specifically, on Bassai Sho, and in relation to pragmatic functionality, ‘chikara no kyojaku’ (the use of power) cannot be overlooked. In fact, Bassai Sho provides an excellent template for perfecting lightness and relaxation for speed, smoothness, and accuracy. For me personally, besides fighting application, this is the most valuable technical gain from this kata.

 © André Bertel. Oita City, Japan (2021).

An insight

 Usually I do not detail my additional/supplementary daily practices, however, I decided to do that today, here in the office. My reasoning was to show how simple my non-documented self-training often is. BASICS INSIDE BASICS.

基本 (KIHON)

From migi zenkutsu-dachi with hidari seiken chudan gyaku-zuki practice the following four renzoku-waza. 

1.  (a) Load migi gedan-barai in shomen; (b) Migi gedan-barai into hanmi; and (c) Hidari chudan gyaku-zuki.

2. Repeat ‘1’ on the opposite side.

3. (a) Load migi jodan age-uke in shomen; (b) Migi jodan age-uke into hanmi; and (c) Hidari chudan gyaku-zuki.

4. Repeat ‘3’ on the opposite side.

5. (a) Load migi chudan soto-uke in shomen; (b) Migi chudan soto-uke into hanmi; and (c) Hidari chudan gyaku-zuki.

6. Repeat ‘5’ on the opposite side.

7. (a) Load migi chudan uchi-uke in shomen; (b) Migi chudan uchi-uke into hanmi; and (c) Hidari chudan gyaku-zuki.

8. Repeat ‘7’ on the opposite side.

 For these eight ren waza the focus is hand/waist timing; namely, connectivity and harmony of the johanshin and kahanshin to achieve kime (in each uke and tsuki). Very basic and not  directly practical, yet imperative for maximum power via koshi no kaiten. This practice came directly from Osaka Yoshiharu Sensei.

Assume heisoku-dachi loading migi shuto chudan-uke:

9. Step back into hidari kokutsu-dachi with migi shuto uke then return to heisoku-dachi loading hidari shuto-uke then step back into migi kokutsu-dachi with hidari shuto-uke. Repeat this alternately focusing on remaining shomen until the last moment each time to perfectly at koshi no kaiten with the completion of the tachikata and each ukewaza. Again, very simple yet critical practice to achieve maximum power in the fundamentals.

 This training perfectly relates to the previous practice with the exception of the ukewaza and tachikata.

 

 

型 (KATA)

10. 平安初段 (Heian Shodan):

Apply the previous fundamentals in Heian Shodan Kata; namely, timing of koshi no kaiten: (1) In and out with the hips in first movement using the guide hand to help; (2) In the third movement slide the right guide hand close to the body and decisively to get a full turn of the hips with turning 180 degrees; (3) Use the hips, by reserving rotation into hanmi, for kentsui tatemawashi uchi also;  (4) Keep the heel of the pillar leg planted and, for moving leg—use tsumasaki; therefore, when rotating into hanmi transfer the weight, rotate, and make jodan age-uke at the last moment; (5) Likewise, use the same transfer into shomen with the three oizuki advancing urashomen, however, make sure to conclusively vibrate the rear hip inward towards the pelvic girdle; lastly (6) When moving into kokutsu dachi with shuto uke squeeze the legs to compress and set the foot positions; moreover, make sure hands precede the stance, which is paramount for effective application.

11. 抜塞小: (Bassai Sho):

I will detail this I my next post, with some supplementary points.

  

組手 (KUMITE) 

12. 基本一本組手 (Kihon Ippon Kumite)

• Attacks: Jodan, Chudan, Maegeri, Yokokekomi, Mawashigeri.
• Defense and counterattacks: Jiyuwaza (Free/Random) -- Asai Tetsuhiko Sensei 'reflexive style'.

13. In relation to kumite I also blasted through all five of the Junro Kata, with special focus on Junro 

      Shodan in relation to the points practiced earlier in Heian Shodan and in correspondence with my 

      Kihon Ippon training. In particular, my focus 'attack timing'. In sum, Junro kata are 'kumite 

      exercises and kihon more than kata. If one has this understanding and puts this into practice, they 

      have great value: otherwise, no value, just movement. For most people, this is the case.

© André Bertel. Oita City, Japan (2021).