Here I am performing the kata 青柳 SEIRYU slowly during my warm-up at training yesterday (June 26th, 2024). Therefore, the point of this video is not to impress but, rather, to show the correct actions.
国際空手道松濤館 INTERNATIONAL KARATE SHOTOKAN
This site is based on my daily practice of Shotokan Karate-Do here in Oita City, Japan. More than anything else, unlike the majority of other karate websites, this page is primarily dedicated to Budo Karate training itself; that is, Karate-Do as a vehicle for holistic development.
Here I am performing the kata 青柳 SEIRYU slowly during my warm-up at training yesterday (June 26th, 2024). Therefore, the point of this video is not to impress but, rather, to show the correct actions.
押忍!!
André
© André Bertel. Oita City, Japan (2024).
Daily self-training - Saturday, June 15th, 2024. |
In sum, and to quote Abe Sensei, "...each waza must at least be able to break a board". What was meant by this was rather literally 'breaking something' that maai is not merely surface level. This is a definitive difference between sports karate and karate as bujutsu.
This is an important technical characteristic of the IKS (International Karate Shotokan).
押忍!!
André
© André Bertel. Oita City, Japan (2024).
I was asked “what is the Japanese terminology for the oi-zuki with intentionally high shoulder?”
Tanaka Masahiko Sensei from the book 'Hasha'.
It is important to understand that the classical form
‘kihon-waza’ are the base of the freestyle ‘jiyu-waza’; however, by themselves
will not make one’s karate ‘reliably effective’ in reality, that is, outside
the dojo—for self- defense.
One must work on the classical techniques as a basis, “a
foundation”, then work them ‘as you will use them’ in an actual altercation—the
ADAPTABLE ‘freestyle waza’. Besides all the physical training and technical
attributes, the ‘classical kihon’, also provide a baseline for
variations/adaptability. ‘Variation’ via ‘instantaneous adaptability’ in
budo/bujutsu is a key point, as one’s techniques—in reality—must automatically
change according to the circumstances.
Returning to the question about oi-zuki above, in the classical
‘baseline’ kihon (like other linear ‘tsuki’) the shoulder is relaxed and down,
in addition to many other points that ‘make the classical form correct’.
However, in application, from this ‘baseline’ version, adaptations are made.
Certainly, the tsuki arms shoulder can be raised to protect the head from being
hit and/or change the angle/trajectory of the blow.
This is no different than raising up on the ball of the foot
in freestyle, as opposed to being tightly restricted in the classical version.
It’s comparable to a 100-meter sprinter training with some form of resistance.
Of course there are numerous other variations, but think this example is enough
to clarify what I’m coveying here.
The freestyle version of all the waza in karate is for one
thing: ‘to make it work’ and to do so optimally in that particular moment. If
one is limited to classical form, their karate may work but there will be a
huge question of its reliability.
Effective adaptability, which is autonomous and optimal in any given moment, is
an imperative aspect of karate as a form of 武術
(Bujutsu).
To conclude, throwing a “tsuki”, oi-zuki or otherwise with
high shoulder, is an important adaptation. Such methods which ‘break the
classical rules’ can be used for superior defense and unpredictable attacks.
Such technical variations must be practiced by senior grades to develop
adaptability and, in doing so, better utilizing the classical kihon, kata and
yakusoku-kumite.
押忍
アンドレ バーテル
The 'classical kihon' oi-zuki/jun-zuki.
© André Bertel. Oita City, Japan (2024).
Today Asai Tetsuhiko Sensei would have been 89 years old. After teaching, and before self-training, I reflected during a walk around the remains of Funai Castle, here in central Oita City.
My thoughts are with the Asai family today, and all others who continue to practice Asai Sensei's Karate here in Japan, and around the world. I'll conclude this post with some photos I took as I walked around Funai-Jo.
Life is short and unpredictable. Accordingly, we need to make the most of our ultra small time here. Following our dreams is scary, but then we can have no regrets. Clearly, Asai Sensei did that with his life.
Migi tobi yoko-geri (Mt, Cook, New Zealand), circa 2004. |
While techniques like the tobi yoko-geri above have their place in certain (but rare) applications, and certainly for physical practice (for younger practitioners), if taught to a competent gymnast, they would be mastered (form-wise) quickly, easily and spectacularly.
However, teach the same gymnast, say an oi-zuki, and they will need as much training as anyone else to perfect it. I have personally witnessed this first-hand a few times (and let's not get into the aspects of making such a waza functional through kumite and impact training).
So, if you can't do such movements like high kicks, and so forth... Just remember, they are not very important for technical excellence nor for oyo (application), which run hand-in-hand (in Budo/Bujutsu Shotokan Karate).
In sum, the depth of the core KIHON has no short cuts, and separates the beginners, the intermediate, the advanced and the elite practitioners of karate. Understanding this highlights that Karate-Do is LIFETIME budo: as the most important waza are the most seemingly simple and don't require athleticism.
Again, techniques such as the jumps in the various kata, and other gymnastic waza certainly have their place. But their importance is less than the base tachikata, unsoku and kihon-waza. Yes! The 'core kihon' is at the heart of karate excellence. OSU! - AB
Hidari shuto sokumen jodan uchimawashi uchi (Meikyo Nidan Kata). |
© André Bertel. Oita City, Japan (2024).
National Treasure: Matsue-Jo (one the 'Big 5' castles here in Japan). |
Since coming to Japan 31 years ago for the first time, this was my first time to see the NIHON KAI (the Sea of Japan). |
Kanmon Bridge: our connection to Honshu. |