Conclusive trainings of 2024

As we come to the end of 2024, I'd like to wish EVERYONE - friends and foes alike - a VERY HAPPY AND HEALTHY 2025.

A special thanks to my seniors, peers and students here in Japan, and also around the world. 2025 International Seminars will be announced soon.

The last quarter of 2025 is also now open for Renshusei to book and Seminar negotiations. I hope that we can also have a seminar outside Japan sometime in October or November. We are on a mission to spread old-school Shotokan as Budo/Bujutsu, also Asai Sensei's karate knowledge unspoiled. Again, as always, we must operate on a 'first-in-first-served' basis. Therefore, to secure your training, please book early so everything is in concrete; that is, "days and hours, owned by you".

Insofar as my training is going. From now until the end of the year, I'm going through all of the high-level kata in detail. Also, I'm doing the most basic Shotokan-Ryu. For example, mae-geri from heisoku-dachi and stationary zenkutsu-dachi; kizami-zuki kara gyaku-zuki; oi-zuki; shuto-uke; etc... Very simple and detailed training. To quote Asai Sensei "BASICS INSIDE OF BASICS".  

2025 will be a very big year for IKS. For the time being, here in Japan, we still have four more days of training to conclude 2024.

押忍!

André

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

"HAVE THREE KATA"

 Often, I'm asked the question "What's your favorite kata?" While this question may seem somewhat shallow, it's actually a very important question that everyone (who practices karate as budo) must constantly ask themselves.

This is not only asking oneself in their thoughts and reflections, but also in their physical training.

One system I use for myself and recommend to senior graded black belts and instructors is: 

"HAVE THREE KATA!" 

Of course, you can do more but at least have these three!

The FIRST KATA is the kata which is the BEST FIT for your physique, physical attributes and fighting style. Moreover, it will feel to be the most natural for you to execute. You might 'hate' this particular kata aesthetically, but it is the best for you.

For this kata, you will need to thoroughly investigate and train its KIHONWAZA (Fundamental Techniques); OYO (Applications); and its respective 'character'. In sum, you need to make a deep dive into it. It cannot merely be a 'solo technical form', but a FIGHTING FORM. 

The SECOND KATA is a kata YOU JUST REALLY LIKE. This kata might totally not suit you at all. This doesn't matter. What matters is that it motivates you -- as you think it's cool -- so you really enjoy practicing it. This is the metaphoric 'desert' of your karate training. Please have fun here!!

The THIRD KATA is RANDOM (INSTINCTIVE); that is. you work on something for any particular time, then change it. This can be going through all the kata you know, or perhaps 'secondary tokui-gata', etcetera. There are no rules here, you merely follow your instincts. This is important as it will most probably result in the discovery/establishment of a new 'FIRST KATA' over time. This can be fun but, even if not, it's refreshing and inquisitive. 

Following this simple formula, over time one will acquire high-level kata performance, deep understanding and highly effective functional application. Furthermore, these three kata will seamlessly produce better kihon and improve one's capacity in jiyu-kumite.

I wish you the very best in your training.

André 

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

TRAIN PROPERLY

At present I am working on the integration of technical variations of the various kihon-waza; thereby, acutely focusing on 'comparing and contrasting (in the physical sense) and, of course, training to make them even more effective 'reactively'.

In IKS (International Karate Shotokan), the objective is literally developing each "waza" to achieve 'ichigeki-hissatsu'. Not merely, 'doing the moves' up and down the dojo, nor training to snatch points, nor just doing kata as an empty performance art. This is the normal karate in most dojo now, just a sport and general recreation. However, for us, karate is not a game. It is technically BUJUTSU, with a philosophy steeped in BUDO.

TRAIN, TRAIN, TRAIN!!! 

And more importantly, train PROPERLY.

押忍 

André Bertel

\

Migi uraken jodan yokomawashi uchi captured at full speed.

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

Trainee from Kumamoto: Ryo Shimizu

 Last weekend, Shimizu Ryo San (Nidan), from Kumamoto, came as a renshusei/trainee. The focus was on the core kihon, three kata and jiyu-kumite.

The kihon was 'kata-centric'. Bassai Dai and Sochin were reviewed in detail. Furthermore, I taught him UNSU, which I believe is ideal for his physique and fighting style.

The jiyu-kumite practice was to build up his existing skills and expand on them. I utilized a common drill we use in IKS. This is 'soft jiyu-kumite'. This training method is playful and, with a good training partner, is safe and builds skill rapidly. Skill not only for Shotokan style 'Shobu Ippon Kumite', but also base skills for self-defense (reactivity, distancing and timing, etc..). 

Unsu Kata

Fuse mawashi-geri: Unsu

Kensei-waza, Henka-waza, and so forth (from Unsu Kata) could be tested, evaluated and practiced in the jiyu-kumite practice. Most importantly, adherence to the kihon (the fundamental techniques of Karate-Do).

Below is a direct link to YouTube to some of the kumite training, which I base on Vygotsky’s 'ZPD'; also, before that, here's a brief article from 2011 which underpins my coaching methodology: https://andrebertel.blogspot.com/2011/06/zone-of-proximal-development.html

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

Current 基本 (Kihon) Self-Traning

 My present kihon practice, in my daily self-training, is as follows. In addition to what I’m doing now,

I’ve also added some supplementary commentary. 押忍 — AB

1. 自由な構え: 追い突き

Jiyu na kamae: oi-zuki

From the freestyle kamae and stance drive forward into zenkutsu-dachi (shomen) with seiken oi-zuki. Practice targeting both the jinchu and suigetsu.

2.自由な構え: 逆突き

Jiyu na kamae: gyaku-zuki

From the freestyle kamae and stance drive forward into zenkutsu-dachi (shomen) with seiken gyaku-zuki. Practice targeting both the jinchu and suigetsu. Initially train the right side the practice on the left. Train weaker twice with twice as many repetitions.

3. 自由な構え: 刻み突きから三本連突き

Jiyu na kamae: kizami-zuki kara sanbon ren-zuki.

From the freestyle kamae and stance drive forward into zenkutsu-dachi (hanmi) with jodan kizami-zuki targeting the jinchu. Without any pause flow into fumidashi, stepping through with the rear leg, to execute sanbon ren-zuki. This is the classical jodan oi-zuki attacking the jinchu followed by two consecutive middle level thrusts on the spot (chudan gyaku-zuki and chudan maete-zuki). Open the hips to make jun-kaiten then make gyaku-kaiten to make the final thrust into a locked shomen.

4. 自由な構え: 前蹴り蹴上げから横蹴り蹴込み、回し蹴り、後ろ蹴り蹴込み、裏拳横回し打ちそして中段逆突き

Jiyu na kamae: Mae-geri keage kara yoko-geri kekomi, mawashi-geri, ushiro-geri kekomi, uraken yokomawashi uchi soshite chudan gyaku-zuki.

From the freestyle kamae and stance drive forward with mae-geri keage followed by yoko geri-kekomi, mawashi-geri, ushiro-geri kekomi, uraken yokomawashi uchi and gyaku-zuki. Each time kick with the rear leg and practice various targets gedan, chudan and jodan. In all cases the knee must be raised high and aimed through the respective target. Note that the mawashi-geri is the full contact style when you go through the target; thereby, spinning and flowing naturally into the ushiro-geri. Retract the leg and recover into zenkutsu-dachi with uraken yokomawashi uchi targeting the temple and gyaku-zuki to the jinchu.

The karada no buki (weapons of the body) applied are josokutei, sokuto, josokutei, kakato, uraken and seiken. Rather than thinking of this exercise as a literal renzokuwaza for jiyu-kumite, it is simply refining each of the individual keriwaza and using the body ‘ever-more efficiently’.

5. 前屈立ち、下段払い: 上段揚げ受けから中段逆突き、中段外受け、中段逆突き、中段内受け、中段逆突き、下段払い、中段逆突き、手刀中段受け(後屈立ち)そして中段縦四本貫手逆突き(前屈立ち)

Zenkutsu-dachi, Gedan-barai: Jodan age-uke kara chudan gyaku-zuki, chudan soto-uke kara chudan gyaku-zuki, chudan uchi-uke kara chudan gyaku-zuki, gedan-barai, chudan gyaku-zuki, shuto chudan-uke (kokutsu-dachi) soshite chudan tateshihon-nukite chudan gyaku-zuki (zenkutsu-dachi).

From zenkutsu-dachi with gedan-barai (kamae) advance forward with fumidashi with jodan age-uke rotating into hanmi followed by counter-rotating into shomen with chudan gyaku-zuki. Following this by three more advancing steps with soto-uke, uchi-uke and gedan-barai each having a gyaku-zuki behind them. Conclude by advancing into kokutsu-dachi with shuto-uke followed by transferring into zenkutsu-dachi applying nukite. Also practice this sequence rearward and starting from both hidari and migi zenkutsu-dachi for balanced practice. It is essential to not rush each ukewaza but, rather make sure each has full ‘kime’. In this regard, treat each of the five ‘uke’ as attacks. Also pay special attention to exact fumidashi, drive of the rear to sharply rotate the hips and keeping the sokuto of the rear foot pressed onto the floor. Furthermore, it is critical to maintain perfect shisei (posture) and rotate at the correct axis’s. From hanmi to shomen this is from the lead shoulder straight down through the lead hip. And from shomen to hanmi this is from the rear shoulder straight down through the rear hip.

6.  前屈立ち、下段払い: 上段前猿臂から中段縦手刀、中段前猿臂、上段縦猿臂、中段縦手刀、中段縦猿臂、中段横猿臂 (騎馬立ち)、回転しながら上段後ろ猿臂 (前屈立ち)、回りながら下がって横揚げ猿臂 (前屈立ち) そして落とし猿臂 (不動立ち)

Zenkutsu-dachi, Gedan-barai: Jodan mae-enpi kara tate-shuto, chudan mae-enpi, jodan tate-enpi, tate-shuto, chudan tate-enpi, chudan yoko-enpi (kiba-dachi), kaiten-shinagara jodan ushiro-enpi (zenkutsu-dachi), mawari nagara sagatte yoko age-enpi (zenkutsu-dachi) soshite otoshi-enpi (fudo-dachi).

From zenkutsu-dachi with gedan-barai make fumidashi forward with jodan mae-enpi. On the spot execute tateshuto with the rear opposite arm then deliver chudan mae-enpi. Advance again attacking on the other side with jodan tate-enpi. On the spot, again, make tateshuto with the rear opposite arm the deliver chudan tate-enpi. From this position advance and twist into kiba-dachi executing chudan yoko-enpi. Following up by spinning forwards into zenkutsu-dachi with jodan ushiro-enpi. Reverse spin to make yoko age-enpi. Finally advance dropping into fudo-dachi to conclude with otoshi-enpi.

For all elbow strikes the junansei ‘softness’ of the shoulders in coordination with the correct use of the hips is paramount; furthermore, keeping the striking elbows fist at the optimal position, which is usually close to the body. Common targets are the jaw, temple, chin, sternum, and spinal column; however, impacting the opponent's hands, limbs and feet are also standard applications.

7. 前屈立ち、下段払い:  裏拳上段横回し打ちから拳槌中段内回し打ち (騎馬立ち) 、手刀上段外回し打ち (前屈立ち)、回転しながら手刀上段内回し打ちそして背刀上段外回し打ち

Zenkutsu-dachi, Gedan-barai: Uraken jodan yokomawashi uchi kara kentsui chudan uchimawashi uchi (kiba-dachi), shuto jodan sotomawashi uchi (zenkutsu-dachi), kaiten-shinagara shuto jodan uchimawashi uchi soshite haito jodan sotomawashi uchi.

Foundational attacks with uraken, kentsui, shuto and haito—including tenshin—are practiced in this drill. What matters most is expressing full and proper technique and body mechanics in each action. After a rapid uraken with fumidashi, reserve the hips by remaining as long as possible in shomen, before twisting into kiba-dachi with kentsui. On the spot transfer back into zenkutsu-dachi making a large-scale outside roundhouse strike with shuto. Note that kakato-chushin must be fully applied here. Spin to make an inside outward strike with shuto, immediately flowing into haito. 
In sum, aim to make each waza finish the opponent.

8. 直突き

Choku-zuki

From tate shuto kamae (in either heiko-dachi or kiba-dachi) practice any form of linear tsuki, singular or ‘renzokuwaza. Also, stationary and/or with any form of footwork. In particular, as always, I’m constantly referencing Asai Sensei’s personal teachings.

                                   

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

Visitor from France: Eric Souffleux

Yesterday, Eric Souffleux (4th Dan) from France came to train. He had several requests, which I covered primarily referencing the fundamental techniques and their respective applications. I won't go into the specific details taught--these are for Eric; nevertheless, here is a brief overview.

KIHON: Initially the practice focused on subtle details of Choku-zuki, Oi-zuki, Kizami-zuki and Gyaku-zuki. Also, Sokumen-zuki and 'tsukiwaza with tenshin'.

Heian Shodan was utilized to focus on proper shomen, hanmi and koshi no kaiten—in relation to exact kakato-chushin.

Sections of Heian Shodan, Nidan and Yondan; furthermore, Hangetsu, Gankaku, Sochin' and Unsu were used to increase skill and understanding of ‘te-ashi onaji’ and 'strong stability/balance'.

For KUMITE Eric requested work on his Sen No Sen, so I did this with both oi-zuki and gyaku-zuki. Practice of kizami-zuki with taisabaki and nagashi-zuki wrapped up this section.

Insofar as KATA was concerned, Enpi, Unsu and Gojushiho Dai were covered.

 Lastly, I wish Eric all the best in the advancement of his Karate. 

OSU!

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

Asai Tetsuhiko Sensei: overcoming size will skill and fighting spirit

 One skill I learned a lot about, from my late mentor Asai Tetsuhiko Sensei, was to draw the opponent: then take them out on the way in. This takes not only technical skill, timing and explosiveness, but also courage (KIHAKU - 'Fighting Spirit'). Over the years this skill helped me out in 'many kumite domains'.

In sum, these points epitomize GO NO SEN and the optimal use of DEAIWAZA.

Kanazawa Hirokazu Sensei referred to my teacher as a 'speedy technician'. Shotokan's greatest trainer, Nakayama Masatoshi Sensei, in his 'Best Karate' publications went further by saying "He probably has no equals".

Mastering this ability in both Jiyu Kumite and in Jissen-Kumite is absolutely essential for smaller karateka. He always stressed to me "GO IN" and "DON'T GO BACK". At only 'Five Feet Nine' and '165 Pounds', all of that certainly applied to me: in any form of fighting, dojo and otherwise.

The following sequence from competition in the early 1960s shows Asai Sensei's prowess, in these regards, At the time he was in his late 20s. And, yes, he was much physically smaller than me. Yet, with such a small stature, he still became the JKA All-Japan Champion.

A karate LEGEND in the truest sense.

OSU

André

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