Seehausen, Bavaria Seminar: Confirmed for July 16th/17th, 2022.

 Greetings from Japan. The seminar in Seehausen, Bavaria, is all go! 

To reserve a place you should contact the organizer, Mr. Punito, via the email at the bottom of the poster.

See you in Deutschland, OSU.

                                                     © André Bertel. Oita City, Japan (2022).

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It’s that simple and from there you can easily comb through 15 years of articles here on the site. 

Emails: Still, if you have any questions you are welcome to email me at: andrebertelono@gmail.com I tend to receive a large amount of emails each day, so I can’t physically answer them all. It would literally be impossible. That being said, when ‘a specific theme becomes requested enough’, I will usually answer via an article. An example of this is the recent Heian articles.

 

Of course, when possible or deemed necessary, I also answer people and groups back personally: via email.

 

Overall, I hope that this post allows you to better navigate the site. I’d also like to thank the thousands of Budo Karateka, here in Japan and around the world, who have supported and followed this site. There are lots of great things to come and many projects in the works.

 押忍 ― André 

© André Bertel. Oita City, Japan (2022).

平安五段 (Heian Godan)

Said by seniors to be Nakayama Sensei's closest follower, Abe Keigo Sensei.

Introduction and commentary:

With 23 movements 平安五段 (Heian Godan) completes this series of kata and, like Yondan, is a summary of the fundamentals found in Nidan, Shodan and Sandan; moreover, an extension of these to deal with alternative situations in unarmed self-defense. Accordingly, it features flinch responses/striking; responses upon connection to the opponent(s); gatame-waza (locks); and nagewaza (throwing techniques).

 

An important lesson from this formal exercise is to avoid blurring techniques; that is, when renzokuwaza are used (and there are many in this short kata) you make each action fully with kime.

 

Movements one to six feature an application principle on both sides and can be used according to the position of the opponent. The wind up and weight drop with uchi-uke dropping into kokutsu-dachi must be maximized. Likewise the snatch and tsuki followed by tai-sabaki and zenwan mizu nagare no gamae, which functions as an ude-gatame (arm lock).

 

Once again, remnants of yondan are found in movement seven by the use of an advancing kokutsu-dachi and the execution of chudan morote-uke. This is occurs again one more later in the kata (movement 20), albeit in a different stance (migi ashi zenkutsu), which is  a telltale.

 

Movements eight to twelve involves ryoken gedan juji-uke follow by ryosho jodan juji-uke, ryosho juji chudan osae-uke, follow rapidly by nobashi-zuki (uke-zuki/hiji suri-zuki) flowing immediately into chudan oi-zuki. This sequence also involves locking and impacting. Be sure that ryosho juji chudan osae-uke drops directly downward as opposed to being brought closer to your body.

 

On movement 13 which is migi sokumen gedan-barai there are two ways. One with and one without fumikomi. I personally still do the ‘Best Karate’ version with the stamp, which is consistent with movement 26 of Bassai Dai; however, both ways are equally effective. In this case, I advise everyone to experiment with the best version for themselves when applying this waza in Oyo Kumite and the other essential forms of 'kata based goshin-jutsu practice'.

 

Movements 14 to 16 involves trapping the opponent then impacting with mikazuki-geri then pulling them into an enpi. Kick chudan in solo Kate training but, in application, make a big slap to the opponents inside thigh or groin to fold them in half; thereby, chudan becomes jodan with your elbow. This is a very powerful and reliable sequence which very little fine motor skills and accuracy. Just focus "...on a relaxed and snapping swing of the leg and sharp and soft shoulder to deeply plant the tip of your elbow".

 

Movements 17 to 19 conclude with the first high jump in the Shotokan Kata, however, this is literally throwing oneself when practicing Godan as a solo routine. These three movements are, in fact, the set up and execution of 背負い投げ (Seoi-nage).

 

Once again chudan morote-uke is applied again here in movement 20 (as mentioned above) but this time in the straight lined zenkutsu. By this stage the karateka must be well versed "that as this waza (within Heian), is always in isolation"; hence, it is always a simultaneous defense and attack.

 

To conclude movements 21 to 23 apply a take down and, alternatively arm lock and neck wrench on both sides. This also trains "hip work and transitions from zenkutsu to kokutsu-dachi in harmony with the shuto gedan uchikomi and classical Shotokan ‘manji’ formations" (which was a vast technical improvement on the Okinawan version, which was allegedly masterminded by Master Funakoshi and/or his son).

  

Here are the 17 different waza featured in Heian Godan:

 

1. Chudan uchi-uke(Kokutsu-dachi).

 

2. Chudan gyaku-zuki (Kokutsu-dachi).

 

3. Zenwan mizu nagare no gamae (Heisoku-dachi).

 

4. Migi chudan morote-uke (Kokutsu-dachi).

 

5. Ryoken gedan juji-uke (Kokutsu-dachi).

 

6. Ryosho jodan juji-uke (Zenkutsu-dachi).

 

7. Ryosho juji chudan osae-uke (Zenkutsu-dachi).

 

8. Chudan oi-zuki (Zenkutsu-dachi).

 

9. Sokumen gedan-barai (Kiba-dachi).

 

10. Tekubi sokumen chudan kake-uke  (Kiba-dachi).

 

11. Chudan mikazuki-geri (Ichi ashi dachi).

 

12. Mae-enpi (Kiba-dachi).

 

13. Sokumen chudan morote-uke (Kosa-dachi).

 

14.   Uho tsuki-age (Renoji-dachi).

 

15. Tobi-komi kara ryoken gedan juji-uke (Kosa-dachi).

 

16. Chudan morote-uke (Zenkutsu).

 

17. Jodan nagashi-uke doji ni shuto gedan uchikomi kara sokumen jodan uchi-uke doji ni sokumen gedan-uke (Zenkutsu kara kokutsu-dachi soshite heisoku-dachi).

 Some additional important aspects to conclude my overview:

 Before I should go on, I need to point out that while their are17 different waza are in this kata, making it the most diverse Heian, many find it easier than Yondan (in the solo training of the kata). In saying that, in oyo (application), it easily stands out as the highest level kata in the series. With this fact in mind, and originally Nidan being the first taught, and we can see a logical advancement through these five formal exercises. This, in particular, highlights that if kata are only performed superficially—as solo athletic routines with kihon based ‘bunkai’—the order of progression through the five Heian would be illogical. Really speaking, absolutely and utterly non-sensical!

 

From the many tegumi-waza (grappling techniques) in the ‘basic’ Heian we can see and learn “… a complete system of self-defense. This, as opposed to ‘impacting/striking arts’, and ‘grappling arts’, being separated/compartmentalized”. Indeed, before competition Karatedo (and, of course, competition Judo, as well) budo was bujutsu. Hence, for the traditional karateka: "...in unarmed self-defense, striking and grappling are absolutely inseparable entities".

 

Once karate practitioners, get through to practicing Heian Godan and have sufficient physicality in all five Heian kata, it is important that they are well into flow drills dealing with realistic self-defense scenarios; moreover, this training cannot be merely an occasional novelty but, rather, included in daily practice. Allow me to quote Asai Tetsuhiko Sensei here: “Kata can teach you how to fight, but not by merely doing them”. What he meant was "just doing the moves is not enough. With that in mind, I’ll now move on to a generic overview of Heian Godan.

  

                           HEIAN GODAN OVERVIEW

REI (Musubi-dachi).

 

YOI: Ryoken daitai mae (Hachiji-dachi).

 

1. Hidari sokumen hidari chudan uchi-uke (Migi kokutsu-dachi).

 

2. Uken chudan gyaku-zuki (Migi kokutsu-dachi).

 

3. Hidari zenwan mizu nagare no gamae (Heisoku-dachi).

 

4. Migi chudan uchi-uke (Hidari kokutsu-dachi).

 

5. Saken chudan gyaku-zuki (Hidari kokutsu-dachi).

 

6. Migi zenwan mizu nagare no gamae (Heisoku-dachi).

 

7. Migi chudan morote-uke (Hidari kokutsu-dachi).

 

8. Ryoken gedan juji-uke (Hidari zenkutsu-dachi).

 

9. Ryosho jodan juji-uke (Hidari zenkutsu-dachi).

 

10. Ryosho juji chudan osae-uke (Hidari zenkutsu-dachi).

 

11. Saken chudan nobashi-zuki (Hidari zenkutsu-dachi).

 

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

 

13. Migi sokumen migi gedan-barai (Kiba-dachi).

 

14. Hidari tekubi hidari sokumen chudan kake-uke (Kiba-dachi).

 

15. Sasho ni migi chudan mikazuki-geri (Hidari ashi dachi).

 

16. Sasho ni migi mae-enpi (Kiba-dachi).

 

17. Migi sokumen chudan morote-uke (Migi ashi mae kosa-dachi).

 

18. Uken uho tsukiage (Hidari ashi mae renoji-dachi).

 

19. Tobi-komi kara ryoken gedan juji-uke (Migi ashi mae kosa-dachi)—KIAI!

 

20. Migi chudan morote-uke (Migi ashi zenkutsu).

 

21. Sasho jodan nagashi-uke doji ni migi shuto gedan-uchikomi (Hidari ashi zenkutsu) kara migi sokumen jodan uchi-uke doji ni hidari sokumen gedan-uke (Migi kokutsu-dachi).

 

22. Jotai-sonomama (Heisoku-dachi).

 

23. Usho jodan nagashi-uke doji ni hidari shuto gedan-uchikomi (Migi ashi zenkutsu) kara hidari sokumen jodan uchi-uke doji ni migi sokumen gedan-uke (Hidari kokutsu-dachi).

 

NAORE: Ryoken daitai mae (Hachiji-dachi).

REI (Musubi-dachi).

 

 General summary of the Heian Series

 To directly quote the writings of late Master, Masatoshi Nakayama Sensei: “Heian and Tekki are the foundational kata in karate and are, therefore, indispensable”. The fact that Heian make up 'one third of the core Shotokan kata elucidates their importance for Master Funakoshi'. While I never had the opportunity to train with Nakayama Sensei, let alone (and obviously) his teacher Funakoshi Sensei, I’ve had much time (over three decades) with many of his very best students here in Japan. Technically speaking, for me, Osaka Yoshiharu Sensei is synonymous with Heian, not only due to his demonstration of them in the ‘Best Karate’ books and videos, but from my personal experiences of them in his utterly superb classes; moreover, personal corrections and advise over many years.

 

In fact, it’s not an overstatement to say that 'Osaka Sensei almost references Heian for everything else in karate' which, again, elucidates their criticality for us Shotokan practitioners. While not 'mind boggling spectacular' like Osaka Sensei (in external performance of his kata) I also enjoyed Abe Keigo Sensei’s teaching style. Moreover, it is said by many of my seniors that "...Abe Sensei’s Karate  was closest to Nakayama Sensei": at least ‘teaching-wise’. Needless to say, anyone who can break things down into simple parts, and make it accessible for everyone, is an expert teacher. I admire that he could teach kihon and kata that way, even though his fame came from being a ferocious kumite man. His waza of choice were uchiwaza and keriwaza, both of which were feared. In addition to his bushi lineage, he really had Samurai spirit. Accordingly, in light of this, I can’t help but think of Abe Sensei’s exceptional budo teaching skill in addition to his background and karate specialties.

 

It’s interesting to consider that with the Heian combined, the total number of official movements is 117, which is significantly longer than any other kata (standard Shotokan or Koten-gata). Maybe this point is trivia, but for me, unless only focusing on one Heian, I tend to do them all in succession followed by the oyo (applications). In this way, the consistent themes and progressive extensions of these can be practiced in a systematic manner. Needless to say, before this approach can be done, one must have good knowledge of the 基本技 (Kihonwaza) in all five. This highlights a very important point: “One can know all the applications, but without sufficient physicality (as alluded to above in this article), this also will have no meaning.” Consequently, balance in training is utterly imperative.

 

With this mind, whilst the meaning of the characters 平安 in Chinese (Mandarin) means ‘SAFETY’—referring to self defense mastery so one is 'safe'; whereas, the Japanese reading of the kanji is interpreted as ‘PEACEFUL’. It is important for me to say here that the Japanese reading is also essential for complete knowledge. This relevance is related to having ‘a calm mind’ and a ‘relaxed body’ in order to optimally use it in self-defense. Taken as a whole, this indeed gives “…a complete understanding of the name PINAN/HEIAN” and, more usefully for one’s daily training, “what the core physical objectives of these five kata are”. It also shows the intellectual genius of the formulator of these kata: Itosu Anko Sensei. 押忍 ―  André

  © André Bertel. Oita City, Japan (2022).

平安四段 (Heian Yondan)

Yahara Mikio Sensei, Heian Yondan Kata.

 Introduction and commentary:

 The forth Heian kata is the longest in the series with 27 movements. The kiai are on movements 13 and 25 (uraken tatemawashi uchi and hiza-tsuchi respectively). This kata and the fifth and final Heian kata summarize the first three ‘base forms’, moreover, contain more variations of self defense responses. These applications deal with varying circumstances and are more sophisticated; thus, require higher skill levels to utilize.

 

That being said, as Funakoshi Gichin Sensei emphasized: “… with mastery of the five Heian kata one can have confidence in their ability to defend themselves”; furthermore, “…the name 平安 in Mandarin literally translates as ‘safety’, which specifically elucidates this fact”.

 

An outstanding feature of Heian Yondan is an extensive amount of keriwaza. There are six leg attacks including three jodan mae-geri keage, two yoko-geri keage, and hiza-tsuchi.

 

While the kicks are practiced higher in training that is primarily for ‘solo form training’. With a training partner these waza are low kicks and are done in relation to where the opponent is to you. Yoko keage is the product of improved karate; that is, improved karate for practical self-defense. Rather than turning the hips to kick the opponents testicles—who is at your side—instead ‘keage’/‘kick up’ from directly where you are. This requires less ‘fine motor skills’ as sokuto is used, which requires less accuracy for impact and also produces what I call a ‘bulk action’.

 

Another stand out point is the large use of double arm techniques. Think about this for a moment. In total there are the two opening actions followed by juji-uke then chudan morote uke. And it doesn’t stop there! Finally, ryoken koshi gamae—movement five—concludes the double arm actions, but not for long. After the simultaneous uraken and yoko keage enpi is impacted onto to an open hand. Then of course is double arm open handed actions which conclude with sword hand attack and simultaneous jodan kamae.

 

Not long after this in movement 14 and 17 Chudan kakiwake uke is utilized, then the second to fourth advancement with chudan morote uke, in kokutsu dachi, are executed. Last but not least, on the 25th count, there is a cover and double handed head pull to impact with hiza-tsuchi.

 

Overall, we can readily see lessons from Kanku Dai in this form but, indeed also other kata such as ‘reverse engineering’ from Jion.

Notice the absence of Kiba-dachi after its extensive use in Heian Sandan? That's not a coincidence and is dictated by jiku/seichusen training.

 

A key technical aspect in Heian Yondan is te-ashi onaji, which is most notably challenged in the first two movements. Originally, these two waza were performed rapidly; however, Funakoshi Sensei increased its technical difficulty to more precisely be able to utilize in application.

 

Here are the 14 different waza featured in Heian Yondan:

1) Haiwan sokumen jodan yoko-uke doji ni zenwan hitai mae yoko-gamae (Kokutsu-dachi).

 

2) Ryoken gedan juji-uke (Zenkutsu-dachi).

 

3) Chudan morote-uke (Kokutsu-dachi).

 

4) Ryoken koshi-gamae (Migi/Hidari ashi dachi).

 

5) Sokuto yoko-geri keage doji ni uraken jodan yokomawashi uchi (Migi/Hidari ashi dachi).

 

6) Mae-enpi (Hidari zenkutsu-dachi).

 

7) Shuto gedan-barai kara jodan-uke doji ni shuto jodan sotomawashi uchi (Hiza kutsu).

 

8) Jodan mae-geri keage.

 

9) Te osae-uke kara uraken jodan tatemawashi uchi (Kosa-dachi).

 

10) Ryoken chudan kakiwake-uke (Kokutsu-dachi).

 

11) Chudan oi-zuki (Zenkutsu-dachi).

 

12) Chudan gyaku-zuki (Zenkutsu-dachi).

 

13) Ryoken hiza ryogawa doji ni hiza-tsuchi (Hidari ashi dachi).

 

14) Chudan shuto-uke (Kokutsu-dachi).

 

 HEIAN YONDAN OVERVIEW

 

REI (Musubi-dachi).

 

YOI: Ryoken daitai mae (Hachiji-dachi).

 

1. Hidari haiwan hidari sokumen jodan yoko-uke doji ni migi zenwan hitai mae yoko-gamae (Migi kokutsu-dachi).

 

2. Migi haiwan migi sokumen jodan yoko-uke doji ni hidari zenwan hitai mae yoko-gamae (Hidari kokutsu-dachi).

 

3. Ryoken gedan juji-uke (Hidari zenkutsu-dachi).

 

4. Migi chudan morote-uke (Hidari kokutsu-dachi).

 

5. Ryoken migi koshi-gamae (Migi ashi dachi).

 

6. Hidari sokuto yoko-geri keage doji ni hidari uraken jodan yokomawashi uchi (Migi ashi dachi).

 

7. Sasho ni migi mae-enpi (Hidari zenkutsu-dachi).

 

8. Ryoken hidari koshi-gamae (Hidari ashi dachi, Okuribashi).

 

9. Migi sokuto yoko-geri keage doji ni migi uraken jodan yokomawashi uchi (Hidari ashi dachi).

 

10. Usho ni hidari mae-enpi (Migi zenkutsu-dachi).

 

11. Hidari shuto sasho gedan-barai kara sasho jodan-uke doji ni migi shuto jodan sotomawashi uchi (Hidari hiza kutsu).

 

12. Migi jodan mae-geri keage.

 

13. Sasho osae-uke kara migi uraken jodan tatemawashi uchi (Migi ashi mae kosa-dachi)—KIAI!

 

14. Ryoken chudan kakiwake-uke (Migi kokutsu-dachi).

 

15. Migi jodan mae-geri keage.

 

16. Uken chudan oi-zuki (Migi zenkutsu-dachi).

 

17. Saken chudan gyaku-zuki  (Migi zenkutsu-dachi).

 

18. Ryoken chudan kakiwake-uke (Hidari kokutsu-dachi).

 

19. Migi jodan mae-geri keage.

 

20. Saken chudan oi-zuki (Hidari zenkutsu-dachi).

 

21. Uken chudan gyaku-zuki  (Hidari zenkutsu-dachi).

 

22. Hidari chudan morote-uke (Migi kokutsu-dachi).

 

23. Migi chudan morote-uke (Hidari kokutsu-dachi).

 

24. Hidari chudan morote-uke (Migi kokutsu-dachi).

 

25. Ryoken migi hiza ryogawa doji ni migi hiza-tsuchi (Hidari ashi dachi)—KIAI!

 

26. Hidari chudan shuto-uke (Migi kokutsu-dachi).

 

27. Migi chudan shuto-uke (Hidari kokutsu-dachi).

 

Naore: Ryoken daitai mae (Hachiji-dachi).

 

Rei (Musubi-dachi).

 

To conclude I'd like to stress, yet again, that the Heian series were not designed for school children. However, they were used to introduce karate (into the Okinawa elementary school system) due to them being condensed variations of the classical forms, which were much less suited. Therefore, while they are not long kata, the applicative content they have is no less dangerous than their predecessors. This is why Master Funakoshi said what he did and should be closely noted. OSU!

© André Bertel. Oita City, Japan (2022).

Light training

Here's some images from my training today, which was a light one (as I’ve pushed myself particularly hard this week). I only did kata and had breaks between each. Also, I only spent just over an hour and 45 minutes in the dojo. Usually my daily self-training sessions are two hours in duration.

Movement 22 of Unsu Kata.

The kata I practiced were especially 平安初段 (Heian Shodan) and 平安四段(Heian Yondan),but also briefly on Heian Nidan, Sandan and Godan, 壮鎮 (Sochin), 雲手 (Unsu), 五十四歩小 (Gojushiho Sho) and 雷光 (Raiko).

Movement 25 of Heian Yondan.

In the fundamental sense, my technical focus was the jiku-ashi, sasae-ashi and use of the hips optimally coordinates to generate power in my techniques. In addition to this, I concentrate on ‘moving my center’ via rotation, thrust, ascension descension and diagonally. A key aspect of this by being use and move your hips like a ball, which I outlined thoroughly in the past.

Overall, it was both a fun and technical session. I personally believe that it is imperative to intermittently train with less intensity as it allows one to focus on different areas of skill development; furthermore, allows the body to stretch, rest and recover. What’s more, it can a be psychologically motivating, which results in more doing those extra sessions in the week even though one is feeling tired.

Osu and greetings from central Oita City, Japan.

アンドレ

© Andre Bertel. Oita City, Japan (2020).

カキエ

カキエ (Kakie) is an important practice method for developing sensitivity to one’s opponent. Commonly referred to as ‘Pushing hands’ or ‘Sticky hands’ it is predominantly found in the Chinese arts, such as Tai Chi and the various forms of White Crane Fist; accordingly, it naturally entered into the Tode/Karate of Okinawa. It is well known that Kakie became integral part of the classical Okinawan wrestling: 手組 (TEGUMI) / 無刀 (MUTO).

 It is actually said that, the refined punching, kicking and striking techniques entered karate later; nevertheless, based on humans fighting throughout history, percussive blows were certainly there: but possibly not so refined. Irrespective, of what came first, and what degree of sophistication everything evolved, one thing is clear: punches, striking and kicking were always mixed with grappling and, indeed, vice-versa. Kata irrefutably verifies this fact.

 

I need to clarify here that I’m not referring to the ‘bunkai’ (‘analysis’) that was largely put together after the Second World War but, rather, the pre-WW2/pre-competition bunkai: the OYO (which were/are practical ‘applications’)

 

What makes this basic understanding so important, is that it allows one to really understand and practice karate as a complete defensive art. That is, real fighting/self-defense has never been compartmentalized. Compartmentalization, by nature, has come from having rules; thus namely, from adaptations for ‘sports competition’. The purpose of this being: (a) to make the respective matches more entertaining for spectators; (b) safety; and (c) a combination of both of these.

 

Of course, on Okinawa, many styles still practice kakie and tegumi. Ironically, the Okinawan styles also benefit from the dynamic elements of ‘mainland Japanese karate’ when the emphasis is on budo/bujutsu (that is, to achieve ichigeki-hissatsu). These dynamic refinements—when not watered down into sports karate—demonstrate a positive evolution of the art. In sum, in regards to this: neither the karate of Okinawa nor that of mainland Japan are superior—that being said, “…there are, certainly superior ways to practice if the aim is to develop reliable karate for self-defense”.

 

For those in Shotokan wishing to decompartmentalize their karate and return it to the complete form, Kakie is certainly a good starting point; furthermore, a useful element of training irrespective of skill level and experience. Much like ‘Jiyu Ippon Kumite bridges to Jiyu Kumite’, Kakie connects us to the grappling techniques (and links this to striking). Osu, André

© André Bertel. Oita City, Japan (2020).