CHANGES IN KIHON (AGE & ADVANCEMENT): A Japan Professional Karate Coach's Perspective

基本稽古 (Kihongeiko — Foundational Training) must change not only as one ages, but as they advance in technical skill. It is critical to note here that this doesn’t mean ‘kihon practice’ becomes a predominantly cerebral activity—this can never be the case (regular physical karate training is utterly imperative); however, one must certainly train smarter as their journey progresses.

 

What I mean by this, is for two primary purposes:

 

(1) You KEEP IMPROVING in karate skill.

 

(2) You AVOID INJURY and avoid aggravating existing injuries—as much as possible.

 

 

Both of these result in LONGEVITY in karate. The first provides purpose, satisfaction and motivation from ADVANCEMENT/SET GOAL ACHIEVEMENTS. The second requires adaptability, innovation and self-awareness for HEALTH.

 

Quality repetitions of the kihonwaza is a critical point. To be honest, high repetitions are something I only require of myself (and those who request such practice). This is because I can’t ‘listen' to other people's bodies. My maxim as an instructor is that “pushing really hard must be guided by each individual”.

 

To be frank, repetitions are only positive if they are ‘quality reps'. If increased speed and power is the aim, impact training, calisthenics and resistance training are 'time better spent' for more experienced karateka.

 

What I’m trying to emphasize here is that both その場基本 (Sonoba Kihon—Stationary fundamentals) and 移動基本  (Sonoba Kihon—Fundamentals on the move) should “…be quality training, more than quantity”. It is absolutely obvious that ‘high repetitions of incorrect form is counterproductive for one’s skill’ and, quite potentially, one’s health. That being said, if one’s skill is sufficient (and health permits) pushing oneself to the limit is good training and motivational. But, again, this depends on each individual’s self-health evaluation on any given day. Everyone must weigh-up the pros and cons in relation to what they wish to achieve, and the danger factor(s).

 

Ironically, in the pre-competition era of karate, the training was more specific to each individual. This is something I returned to doing over ten years ago with trainees. And the result has been far more awesome than I expected! Following this way, karateka really maximize their time in their karate practice and optimize their technical skill. Quite simply, this is because: "training in this way is harmonious with their daily individual physical condition/health." This applies not only to the very young karateka, and the older practitioners, but also with world-level karate athletes in their prime. And IKS has had success, in all of these cases.

 

This is the 空手道 (Karate-Do) I advocate as a professional instructor, and it’s a universal way which: (a) allows each individual to safely maximize their personal skill developments—‘kihon, kata and kumite’—irrespective of where they are ‘now’ on their respective journey; (b) optimizes health through their practice; and (c) results in really enjoying training in the art—as it truly becomes ‘their karate’.

 押忍

アンドレ  バーテル

 © André Bertel. Oita City, Japan (2024).

卍受け (上段内受け同時に下段受け)

Overview: 

上段内受け同時に下段受け (Jodan uchi-uke doji ni gedan-uke) is often simply referred to as 卍受け (Manji-uke). I need to clarify that often 側面  (Sokumen) is added to both of the receptions, when they are delivered to both sides. Furthermore, instead of 受け (Uke), 構え (Kamae) is utilized… Indeed,this  is the case in Gankaku and many of the kata passed down to us from Asai Tetsuhiko Shuseki-Shihan.

 

Manji-uke (Jodan uchi-uke doji ni gedan-uke) appears in ten of 26 standard 松濤館流  (Shotokan-Ryu) kata and 25 times in total. These points alone verify that this karate-waza has important 応用 (Oyo).

 

To be specific I will list each of these ten kata and the number of times the waza is executed in each of them.

 

1. 平安五段 (Heian Godan): Movements 21 and 23.

2. 抜賽大 (Bassai Dai): Movement 25.

3. 観空大 (Kanku-Dai) Movements 18 and 23.

4. 慈恩 (Jion): Movements 18, 20, 26 and 28.

5. 十手 (Jitte): Movements 19 and 20.

6. 岩鶴 (Gankaku): Movements 15, 16, 17, 25, 29 and 33.

7. 抜賽小 (Bassai Sho): Movements 10 and 11.

8. 観空小 (Kanku-Sho): Movements 23 and 25.

9. 壯鎮 (Sochin): Movements five and ten.

10. 慈韻 (Jiin): Movements two and three.

 

Categorical Variations:

 •  平安五段 (Heian Godan) involves firstly turning 180 degrees to delivering the waza then switching sides and repeating—on the opposite side—in the same direction.

 

•  抜賽大 (Bassai Dai) utilizes a 180 turn with sasho jodan sotonagashi-uke doji ni migi shuto gedan-uchikomi, which is rapid, followed in the same count by slowing making manji-uke via pulling back into heisoku-dachi.

 

• 十手 (Jitte), 抜賽小 (Bassai Sho) and 慈韻 (Jiin) are all the same. Single waza repeated on the left then right side (Migi kokutsu-dachi followed by pivoting on the spot 180 degrees into hidari kokutsu-dachi).

 

• 慈恩 (Jion) and 観空小(Kanku-Sho) share the same aspects, turning and making sideward actions with the uke, all followed by ‘move-in counterattacks'.

 

• 観空大 (Kanku-Dai) utilizes manji-uke after executing jodan mae-geri keage and whilst turning 180 degrees. This is immediately followed by sasho jodan sotonagashi-uke doji ni migi shuto gedan-uchikomi; thus, is reversed version of movement 25 in Bassai Dai.

 

• In 壯鎮 (Sochin) the waza is firstly delivered with a 90 degree turn then a 180 degree turn. However, in both cases the follow is the ‘Muso Gamae’ followed by tateshuto and two consecutive ‘Tsuki’. In sum, a flurry of ‘continuous attacks’.

 

• The kata, which features this waza the most (six times)—and with the most variations—is obviously 岩鶴 (Gankaku). This includes two single (directly advancing) Manji-uke; one advancing and spinning followed by a drop; and three as a Kamae balanced on one leg. Each of these three are initiated jodan sotonagashi-uke doji ni shuto gedan uchikomi, and followed with a simultaneous yoko-geri keage and uraken yokomawashi uchi, then concluded with a ‘tsuki’ (once ‘oi-zuki’ and twice ‘sokumen-zuki’.

 

 分解 (Bunkai) vs. 応用 (Oyo):

I need to apologize in advance for explaining this point again, but this is important in Shotokan Karate as 武道 (Budo)/武術 (Bujutsu).

 In our style, 分解 (Bunkai) is analysis—not ‘application’; that is, its to learn the exact movements, trajectories and completed positions. It is only for the initial learning phase of each respective kata and as a reference for ensuring your actions and positioning are correct. One problem here is that many instructors and organizations only know and teach this.

 

A vivid example of this is simultaneous attack with a chudan mae-geri from the front and a jodan oi-zuki from the rear. There obviously is zero realism in such a scenario, but this perfectly represents the trajectory and completed positioning of manji-uke.

 

応用 (Oyo), on the other hand, is “practical application” of the movements—single waza and sequences in the kata. These tactics/applications for rudimentary self-defense.

 

Conclusion:

As outlined above manji-uke is executed in several different ways—especially in regards to body shifting/footwork/transitions (and with various initiations and follow-up waza). While this may seem complicated, it isn’t. The oyo is always natural and takes into account the variables in unarmed self-defense. In the case of manji-uke, depending on its use, can be applied as a simultaneous joint attack and choke, double arm cover then counterattack, a simultaneous defense and counter or a takedown. Note how striking, grappling and a mix of both are all included. This is because, in the real world, they obviously cannot be compartmentalized/separated.

 

Again, and unfortunately, many instructors practice and organizations teach a form of Shotokan which is utterly ineffective outside of the karate world. Bunkai is the rule of thumb, and it even challenges the attackers more than the defenders to attack correctly’ in order to ‘help the respective waza to work’. For such people and groups, the Manji-uke ‘bunkai’ above might as well be their application. Taken as a whole, if an application requires a cooperative partner to work, it is not Oyo. Likewise, if application requires a specific response from an opponent, it is not the Budo/Bujutsu application of kata. Keep in mind these two points, that I always tell my students and trainees: “…minimal fine motor skills and reliable effectiveness are the constant/intrinsic traits of Oyo.”

 

In sum, all of these, when understood—and practiced correctly and consistently—it clearly elucidates why  ‘卍受け (上段内受け同時に下段受け)’ appears so many times in the standard 26 Shotokan Kata.

 

© Andre Bertel. Oita City, Japan 2024.

Some points on 回し蹴り (Mawashi-geri)

Kizami mawashi-geri in 'Jiyu kumite no kihon-renshu'

 For the IKS  初段 (Shodan) examination at least two forms of mawashi-geri are always featured in the kihon portion of the test: the first is the snapped mawashi-geri and the second is ‘follow through’ version. The third, which is sometimes “requested” by the examiners I’ll get to later. 

The snapped mawashi-geri is 回し蹴りから中段逆突き (Mawashi-geri kara chudan gyaku-zuki). The ‘follow through’ rendition is 回し蹴りから後ろ蹴り蹴込み  (Mawashi-geri kara ushiro-geri kekomi).

 

In both cases the head of the kicking kneecap goes (is aimed at) to the opposite side of the target; thereby, if not controlled will be ‘full-contact round kick’. Needless to say, aiming to merely reach the target is not only ineffective, but also actually grooving a bad habit. However, this is a common error, especially amongst sports karate-centric practitioners. In stark contrast with the sports karate approach, the techniques of Budo/Bujutsu karate are always practiced for optimal effect in and outside of the dojo.

 

Obviously the ‘follow through’ mawashi-geri, by nature, is the full contact kick. It literally, when missed or when practiced without a target, spins the respective kicker right around. The momentum of this type of mawashi-geri naturally flows into a kaiten-waza. In the case of ushiro-geri following it (like in the Shodan Exam), the ‘circle and line’ principle is applied, which is, of course, a fundamental attacking tactic.

 

More subtle is the snapped mawashi-geri, which is the 'common practice'. Again, the key here is "correct maai positioning of the kicking knee". We not only aim through the respective target but we also ‘axe’ this kick in combination with kicking snap. This requires that the trajectory of mawashi-geri is a high arc and that tai no shinshuku of the jiku-ashi/sasae-ashi is properly applied. The hiki-ashi and rapid recovery of the tachikata into shomen is also critical in kihon-renshu: with or without a follow-up technique and orchestrated accordingly.

 

The karada no buki (weapon of the body) is primarily Josokutei/Koshi (“the ball of the foot”), however, Sune (“the shin”) is also used.

 

In some instances, as mentioned at the start of this article, 刻み回し蹴り (Kizami mawashi-geri) is also featured in the Shodan exam. This is requested instead of Kizami mae-geri (in the combination of Shuto chudan-uke kara kizami-geri soshite nukite). Nonetheless, in this case, the examiner clearly states ‘Kizami mawashi-geri’. Furthermore, the aforementioned points in the ‘snapped’ rear leg mawashi-geri still apply. A major factor in lead leg kicks is a concerted drive of the support leg and one’s bodyweight going into the target (as opposed to going rearward).

 

It is worth stating here, for those lacking flexibility or who are injured, that kicking high is not necessary. Loss of form, and because of this—loss of effectiveness— is incorrect/counterproductive karate practice/training.

 

Accordingly, one should: (a) only practice kicking to the height which form is not sacrificed; and (b) to where power is enough to potentially finish the opponent.

For example, I have seen many karateka with great form and flexibility kick jodan seemingly perfectly, yet when kicking the pads or sandbag with their waza, lack sufficient impact power. In this case, test the kick at lower targets, and then do strength work to build up extra muscularity to effectively execute them at whatever targets are possible for you as an individual. DON'T BE A STANDARD SYLLABUS KARATEKA!!! Maximize yourself!!!

 

Needless to say, gedan mawashi-geri is a very effective waza and must be in everyone’s repertoire. Like other gedan-keriwaza it is strong, swift, close, harder to see and defend against, is less dangerous for the user (balance-wise) and opens the opponent head/face for an instant upper body attack.

In sum, irrespective of the waza, Mawashi-geri or otherwise, in Budo/Bujutsu Karate, the main point is always training effective waza for a real altercation. This is the base of IKS Kihon, Kata and Kumite practice.

© André Bertel. Oita City, Japan (2024).