霞の剣 (Kasumi no ken)

Deceive the opponent with a forward pressure, telegraphed arm movements and a 'must block' action.

 This is an example of the HAZE...

Attention taken,and the center of gravity high, also the balanced knocked sideways KUZUSHI is achieved by easily sweeping both legs. This is the SWORD.

Finish the opponent by making a tsuki or keri to the temple, jaw or neck. I used this combination many times with great success in kumite competition. This is the KIMEWAZA.

The term 霞の剣 (KASUMI NO KEN) literally means translates as the ‘HAZE OF THE SWORD’. This does not only relate to swords, but all other weapons as well; and indeed, this includes 体の武器  (karada no buki: ‘the weapons of the body’). Here it’s appropriate to consider the 15th precept of Funakoshi Gichin Sensei: 人の手足を剣と思へ  (Hito no teashi o ken to omoe: “Think of one’s hands and feet as swords”).

Kasumi no ken in all forms of budo/bujutsu is “…the methodology of concealing movements which telegraph one’s actions”. This can: (1) be in the form of how one moves, via higher refined kihonwaza (fundamental techniques); (2) one’s kamae (guard); unsoku (footwork/leg movements); (3) in the form of kenseiwaza (feinting techniques); and (4) psychological domination, thereby, interfering with their judgement in responding to your techniques.

Indeed, all four of these—or any mix of them—can be done simultaneously or staggered, depending on your technical objective and your opponent(s).

According to Nakayama Masatoshi Sensei, Asai Tetsuhiko Sensei was the JKA’s greatest master of this skill in Jiyu-Kumite. He was “the master of unpredictability”; hence, his nickname 雷嵐 (Kaminariarashi, ‘Thunderous Storm’). This made up for his small physical stature, especially in comparison to his peers such as Kanazawa Hirokazu Sensei, Enoeda Keinosuke Sensei et al.

Again, let’s consider Master Funakoshi’s wisdom, from his 13th precept” 敵に因って轉化せよ (Teki ni yotte tenka seyo: “Make adjustments according to your opponent”).

The founder of our style SHOU-TOU-KAN-RYU, and the father of modern-day karate: Funakoshi Gichin Shuseki Shihan.

霞の剣  (Kasumi no ken) also applies to the naming of 雲手型 (Unsu Kata). To quote Nakayama Sensei, from ‘Best Karate Volume 10’: “In Unsu, there are constant transformations, signified by the name meaning “Cloud Hands.” All parts of the body are used as weapons, with feints and provocations leading to unique combination techniques and multi-directional kicks.”

Deceiving the opponent via a technical and/or psychological ‘hazing’ of their senses/perception is clearly an important skill in the execution of kihon, kata and kumite; therefore, it is an integral aspect of 護身術 (Goshin-jutsu: ‘The art of Self-Defense’.

The name UNSU represents 霞の剣 (KASUMI NO KEN).

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

TRUE KARATE - CLASSICAL BUJUTSU: OLD SCHOOL SHOTOKAN RYU

順路初段 (Junro Shodan) Kata at my self-training today.

One of things that contemporary karate has widely lost is what I call ‘the generic perspective’ of techniques. What I mean by this is rather than seeing all the different individual waza (techniques), tachikata (stances), unsoku (leg movements/footwork) etcetera; instead, understand and train them as variations.

As an instructor, over the years here in Japan, I’ve had tremendous success following this ‘old school’ way. Not only with instructors who I coach, but also with the world's best competitors.

Here’s one example, instead of separating choku-zuki, oi-zuki, gyaku-zuki and so forth, train and understand them as various forms of ‘linear thrusts'. Simply impacting the opponent with fists or open hands in a straight line. From this perspective one naturally practices to purely to make them more effective in strength and tactically. Distancing, angles, speed and power take precedence.

What’s more, one then develops instinctively what foot work and hip action is optimal in any given moment. See! What happens here is that, in this case, the ‘tsuki’ used is determined by external situation as opposed to ‘selecting a technique’. Interestingly, this is not only far superior for self-defense and jiyu-kumite, but also aids one’s kihon and kata precision.

This is because the ridiculously high focus on ‘perfect movement’ is taken away. I need to stress here that I’m by no means against ‘training to move precisely’; nevertheless, too many people actually restrict their personal karate development by being obsessed by precision. One of my sayings is “Precision—Yes! Limitations—No!”

Ironically, this obsession results in ineffective karate in the real world as everything becomes too prescribed; furthermore, it actually hinders the individual’s technical growth as it mentally puts them into metaphoric box.

Let me provide one simple example. I saw one famous Japanese instructor (who I will not name) correcting a very talented young champion. He was making sure that the elbow of shuto chudan-uke was one fist-width from the body. While this very true for beginners, Shodan and below, as one advances it is critical to adjust techniques for ‘optimal functionality for oneself’. I’m not talking about radicle nor bizarre changes to kihon but, rather minor adjustments. In the case of the young lady mentioned before, the adjustment made by the instructor was wrong.

Her positioning was clearly optimal for her arm length, height, speed and power.

This is a good example of making karate less effective due to ‘organizational standardization’ as opposed to the ‘bujutsu efficiency of the individual karateka’.

Forgive me for repeating myself from a past article but this is why in IKS if you raise your knee in movement one of Bassai Dai or you don’t, we don’t care, as long as you know why. That is the oyo (application). We accept all the variations of Shotokan kata taught by the various masters. In fact, I encourage senior grades to “…experiment with all the variations and find the best way for themselves”.

One of my Japanese students, who is in IKS but also a member of a large organization here in Japan, now does his Enpi (Kata) with elements of several groups versions inside of it. He has rightly discovered what is technically best for him for generating optimal power and in actual application. Needless, all advanced karate—if they want to maximize their karate—MUST DO THIS!

Again, this also reflects my opening point about having a ‘the generic perspective’ of techniques. And yes, this certainly applies to Kihon, Kata and Kumite. Why is that? Because for one to attain optimally effective karate—as a unique individual—they must practice in accordance, and in harmony, with their individual attributes.

Also, as I stated earlier, ‘obsession with precision’ must not obstruct the individual’s development. I can’t stress this enough, as too many people—especially in major organizations—get caught up in this mentality.

I’d like to end with one more point, which is essential for those seeking karate beyond a mere sport. Prescribing techniques for specific situations is a very limited and ineffective training methodology. Rather, one needs to respond to the situation at hand, and instantaneously with the optimal technique. The first way, is obviously important for beginners, however, I find the majority of karateka never leave this approach. And while they may have beautiful and sharp techniques, kata and kumite, it is limited to the dojo and karate shiai-jo.

When one understands techniques as ‘variations’ the numerous waza of karate shrink down into, what I call “a manageable toolbox”; moreover,  if one one doesn’t have “a manageable toolbox”, they will have too many tools. This not only weighs one down with too many options, but also seriously hinders spontaneity/reactivity. This is fine in dojo kumite and karate tournaments but is extremely unreliable for self-defense.

In sum, this understanding and practice underpins traditional karate; that is, karate as classical bujutsu.

押忍!! 

AB

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

Asai-Ha Shotokan-Ryu: The extension of 'JKA-style' Shotokan

Asai Tetsuhiko Sensei personally told me that the additional kata were like ‘blank canvases’ when he taught people. He particularly stressed relaxed and fluid motions as opposed to the post WW2 ‘hard styled karate’. He explained that this style was not bujutsu but, rather, ‘spirit building training’; furthermore, competitions popularized this stiff movement. In sum, 柔軟性 (Junansei) is the priority.

Allow me to explain a handful of waza commonly found in Asai Sensei’s extension of Shotokan karate. In doing this, I’ll also add some corrections in relation to them.

The wind up or chambering of 上段払い (Jodan-barai) is important in itself. It’s actually an impact with seiken—like a ‘hook’ or ganken sotomawashi uchi. This can also be applied as an uke thereby making jodan-barai as an attack. So defense and attack or two attacks.

手刀掛け受け (Shuto kake-uke) and 手首掛け受け (Tekubi kake-uke) are both common ukewaza in the kata I learned from Asai Sensei. It is important to understand that they are ukewaza from 白鶴拳(Hakutsuruken, White Crane Fist). The defense is actually with the elbows not primarily with the hand or wrist.

Sensei was highly skilled with elbow and leg defenses in combination with head movement and ‘tenshin’ which I’ll get to later. I literally suffered a lot of pain from Asai Sensei's elbow and leg receptions! Others who experienced them first-hand will certainly also say this.

刻み前蹴り(Kizami mae-geri) is used a lot in the various 古典型 (Kotengata), mostly they are practiced to chudan; however, in application these kicks are lower, especially to the opponent's groin. While kicking with the lead leg has less power, it is quicker and (if correctly done) is harder for the opponent to read and defend against. Needless to say, '...the low kick is useful for opening the head and face to attacks".

Another technique, which Asai Sensei taught a lot was 上段外受け (Jodan soto-uke) flowing into gedan-barai. In fact, many people miss this, and simply do gedan-barai. For example, there is no direct gedan-barai in 青柳型 (Seiryu Kata). Standard gedan-barai is simply not in this kata!

Asai Sensei emphasized many 体の武器 (karada no buki/weapons of the body) which are illegal in competition; moreover, should only ever be used when needing to protect oneself from an unprovoked and violent assault. Why? Because they are too dangerous and require a 'do or die' scenario.

Emphasis is primarily on close-range waza, which also elucidates the focus on practical self-defense, as opposed competition-based 間合 (Maai).

It is for this reason that Asai Sensei highly emphasized 転身 (tenshin, rotation) in Kihon, Kata and Kumite. This in addition to 鞭拳技 (Muchikenwaza) or ‘whip fist techniques’ are the technical core of his karate and superior for optimally effective karate. These elements maximize centrifugal force and transcend mass and muscle power. Consequently, one can defeat much larger and stronger opponents.

One thing which I need to point out is that the 順路 (Junro) and 常行 (Joukou) kata are not ‘kotengata’, rather, they are ‘fundamental training forms’ designed by Asai Sensei. In his words, “…they are to trick you into doing more kihon”. Taken as a whole, they are to boost one’s fundamental techniques. Perhaps interestingly for you, some of my students I recommend them, others I don't.

Conversely, the kotengata are 武術型 (Bujutsu Kata)—for actual fighting techniques, strategies and applications. Ironically, the movements in these kata are more natural than the standard Shotokan kata; thus, generate more power with less stress on the joints, tendons and ligaments. Lifetime karate! I recommend these kata to everyone who really wants to get good and greatly improve from where they are right now!!! And, yes, 100% of the time they get immediate and long-term tangible results.

Last, but not least, the additional kata and introduced by Asai Sensei require a strong base in 'JKA style' Shotokan. Hand in glove, so to speak. Therefore, the additional kata enhance one’s Shotokan skill and inspires deeper and more meaningful karate practice. And, obviously, for those who are ‘technicians’ they’re fun to learn and practice!

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

48th Birthday Training, no comments, just images (unedited). OSU!!

 Big things to come in 2025!!! OSU!!!

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