Karate is like language

The elements which make up karate can be compared to the main components of language. Consider phonology (sounds), morphology (words), syntax (sentences), semantics (the study of words and their meaning) and pragmatics (use).

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Phonology: Phonology is like the state of the body, control of breath and emotional control, posture and visual focus, all of which need to be fully applied if even the most fundamental technique is to be maximised.
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Morphology & syntax: The actual kihon-waza are like words, and renzokuwaza are like sentences. Taking this further, and if you string enough sentences together, you create paragraphs, and eventually essays and books. Needless to say, these are comparable to kata.
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Semantics (or the study of words and their meaning) runs parallel with our study of karate techniques and their respective meanings. We must therefore work to explore karate, searching for deeper understanding. Whilst being academic, this study, like semantics, is not only cognitive play, but rather "to do things better".
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And finally pragmatics which is how we use kihon and kata, how to apply it, which is expressed in kumite and goshin-jutsu (the methods of self-defence).

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Analysing karate in this way and we can see why we have "The Three K's" - Kihon, Kata & Kumite. Over the years I've heard about some people absurdly claiming to be kumite or kata specialists. This is fine, if people play karate as a sport, but is totally inadequate for those wishing to follow karate, as effective budo (martial arts). In many ways karate is now dead, and this is because most people either practice it watered-down, or simply the `parts they need' to win tournaments.

© André Bertel. New Zealand, 2010.

Distance & Body Power

Kicking at close range is an important skill just like punching from long range. This is because regardless of the maai (distance) in all cases `body power' must be maximised, not merely the striking limb.

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A very important tip for all karateka is to study how to best transfer bodyweight into a target via tai no shinshuku (contraction & expansion of the body), koshi no kaiten (hip rotation) and snap. Practice this by short and long range tehniques at various distances, and without compromising the full use of one's full body power.

© André Bertel. New Zealand, 2010.

Natsukashii desu

There were two seperate Matsuno JKA (Japan Karate Association) groups in New Zealand throughout the 1990's. One in Auckland under Abe Sensei, and my dojo in Christchurch under JKA Chief Instructor Tetsuhiko Asai. When I returned from Japan in 1993 there were already leadership issues & Asai Sensei didn't want me or my affiliated clubs to merge with the `Abe group'. It was a hard time for me as I was merely a young JKA 4th Dan.

This photo from 1990's was recently given to me and is from this time. It features a young Lyall Stone Sensei, now chief instructor of the CPIT Karate Club, and me without the grey hair, when I was the chief instructor of Asai Sensei's JKA New Zealand/Tetsubukan group.

Honto ni natsukashii desu!

PS - I was asked by members to put up a current photo of Lyall Sensei & me now. This is from instructor training last week and is courtesy of Song Gwang Hoon.

© André Bertel. New Zealand, 2010.

The Sankaku-tobi

In this photo I am performing the sankaku-tobi (triangle jump) at the end of the first Meikyo kata. This technique when done correctly turns disadvantage into advantage, via a three point aerial change of position. It is not a complicated movement, however, if done correctly will allow one to maximise momentum, body weight and the element of surprise. After perfecting this technique one can utilise many variations such as that depicted below by my late teacher Shuseki-Shihan Asai Tetsuhiko (10th Dan).

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The Sankaku-tobi according to Asai Sensei is "the basis of all jumping attacks in dentotekina (traditional) karate-do." I can't tell you how many times he had me practice this waza and variations of it. I have over 40 in my notes... That might not seem like a large number, but imagine going through each `multiple times' with Asai Sensei wildly swinging a shinai at you! Needless to say, Asai Sensei helped me to refine my tobi-waza.

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The sankaku-tobi is a karate technique which is advanced, but its advanced nature comes from its application (and its numerous variations). This point is very important to think about when considering karate-do, as it reveals an unspoken element of the art.

© André Bertel. New Zealand, 2010.

Keeping Traditional Shotokan Karate Alive in Christchurch-City, New Zealand.

Some photos from today's four hour practice with instructor Lyall Stone (4th Dan).

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The training comprised of impact work, kata (Wankan, the Junro series and Chinte) and the essential kihon oyo-kumite. These practices are crucial for the development of Shotokan Karate in Christchurch City, and the South Island of New Zealand in general, as they result in improved instruction/training methods. We invite everyone who is serious about studying authentic Shotokan to attend the open trainings at the Christchurch Shotokan Karate Club: www.christchurchshotokan.blogspot.com. As this club is  the only group in the South Island providing international class Shotokan tuition.

 

OSU!

© André Bertel. New Zealand, 2010.

Mou ikkai

One term you will hear a lot in Japanese karate dojo is "Mou ikkai" or "One more time". However, you'll soon realise to ignor it! Consider weight training… A foundational routine includes three sets of 8-12 repetitions of an exercise. So, if say looking at a 'preacher curl', that works out to be 24-36 repetitions per arm (48-72 in total).
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Taking this into account, and applying this to karate technical training as the Japanese do, and it is easy to see that most Western karate schools fall far short of these repetitions. In most traditional dojo in Japan, the start of the class typically features 50-100 stationary chudan gyaku zuki or jodan kizami-zuki kara chudan gyaku-zuki, followed by the 30-50 stationary mae-geri each leg. I think that alone answers the 'magic question' (within many karate circles), “Why is the average Japanese karateka typically better?” It is certainly not because of their nationality, physique etc.., and this is proven by the many talented non-Japanese karateka all over the world. It is ‘how they train’, and this has three core dimensions: (1) The quality of training they receive (easier access to high class/gifted coaches) and greater larger pools of high quality training partners; (2) the cultural aspect of `just doing, not questioning’, whilst coming up through the grades (right up to and including the middle dan ranks). This is what I call the “Just shut up and train mentality”; and last, but certainly not least (3) "Mou ikkai"... The repetitions! Imagine the average `recreational’ Japanese karateka doing their 60 gyaku zuki per night (training say, a modest four nights a week). That’s 240 a week… 960 per month! This point cannot be overlooked.

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My advice is to never do less than 30 `good repetitions’ of anything when you are seriously practicing kihonwaza (fundamental techniques). Obviously this can also be applied to technique/sequences from the kata, such as the mawashi-geri from the ground from Unsu, chudan morote-uke in Heian-godan and nami-ashi from Tekki-shodan. Of course this even more so applies for kumite (sparring) and goshin-jutsu (self-defence) as the elements of distancing, timing, psychological control, and so forth, are added to the equation.

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If a technique, kata or application is giving you trouble, just train until you get it right. Keep practicing and the answer will come, and if not, during your recovery times, seek advice and study. However, drop the `Western mindset' that study and mental understanding is training, because IT ISN'T. Everything understood by the mind most be done repetitively by the body. That is, to be effective, the motivation of the study/advice seeking must originate from physical training. Once mentally understood, it is put into physical practice (= REPETITIONS). This is the cycle of development in karate, but never forget, that repetition is the pedalling, and without pedalling, the wheels on the bycycle will not move. "Mou ikkai!" "OSU!!!"

© André Bertel. New Zealand, 2010.

The Dojo Kun

I thought I'd share with you the last Dojo-Kun that Asai Sensei wrote for me. He gave me several over the years, however this one is very special, because besides it being the last, he also `painted it' right there in front of me (at his company office, in Shimbashi).

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THE DOJO KUN TRANSLATED:

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1. Hitotsu: jinkaku kansei ni tsutomuru koto (One: Strive to complete your character).

2. Hitotsu: makoto no michi wo mamoru koto (One: Protect the path of truth).

3. Hitotsu: doryōku no seishin wo yashinau koto (One: Cultivate a spirit of effort).

4. Hitotsu: reigi wo omonzuru koto (One: Prioritise etiquette).

5. Hitotsu: kekki no yū wo imashimuru koto (One: Guard against impetuous courage).

© André Bertel. New Zealand, 2010.

Karate Master

One idea which is regularly thrown around in karate circles and the martial arts in general, is that of `masters’. But really speaking, who actually is a master? And more importantly, what constitutes becoming a karate master?_________

Dr. John Church of the University of Canterbury brilliantly described `mastery’ in his 1999 publication Basic Learning Processes. He explains “Mastery refers to a level of skill of which the behaviour of interest can be performed sufficiently accurately and sufficiently quickly for it to be of use in most of the settings where it will need to be of use” (Church, J. 1999).

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Sorry to recapitulate so mundanely but according to this very precise definition, it is clear that what matters is `the sufficient accuracy and speed of skills, in the setting where they are needed’. This point is certainly worthy of much thought, as it removes the majority of people claiming to be `karate masters' as their skills in reality are only useful in a karate setting... Needless to say, this is not mastery.

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© André Bertel. New Zealand, 2010.

Kibaken

The Tekki and Kibaken kata are not only very hard on the kahanshin and shisei, but also enhance a physical understanding of muchiken. Not to mention their very effective close range applications for self-defense, and tanden training, which in Okinawa is compared to Sanchin kata in Naha-te (from a Shuri-te perspective).
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In Italy earlier this year I enjoyed privately teaching Kibaken-shodan to my friend and Shotokan karate colleague Silvio Cannizzo at his home. This kata is very beneficial for long-term technical development much like the five Junro. Today I spent an hour (prior to teaching the small adult class at St. Chad's) sitting continuously in kiba-dachi focused on the Tekki and Kibaken series. Definitely time well spent for technical training. Advice to anyone... Don't be put off these kata by the shameful renditions on the internet. The jelly-legged kiba-dachi of most people doing Tekki & Kibaken is literally disrespectful to such `grounded' kata. My question is "Why is it that so many people have crap fundamentals?" Why does someone do kata when they have yet to learn basic stances properly and control of their COG (centre of gravity)?

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Kiba-dachi in Shotokan-ryu is a kihon tachikata, and must be done properly, regardless of the context... If kiba-dachi cannot be made strongly as its name translated suggests, one is not ready for the Tekki kata, and therefore even more unfit for Kibaken.

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Tomorrow morning will be focused on the bunkai/oyo-jutsu of these kata, and going by "the burn" tonight, I'm really looking forward to the 'Early Birds' training. OSU!

© André Bertel. New Zealand, 2010.

WHEELCHAIR KARATE

As an instructor of Wheelchair Karate, as developed by my late teacher Shuseki-Shihan Tetsuhiko Asai (10th Dan), I regularly receive emails and phone calls asking questions about it.
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The main point I would like to emphasise is the fact that Kurumaisu (Wheelchair) karate is technically very-very difficult and is useful for all practicing karateka. Wheelchair karate taught me (and many of my senior students) how to make `soft shoulders' which results in the dramatic improvement of snap, thus intensifying impact power.

One of my students, who was wheelchair bound, developed such incredible shoulder snap, he would put to shame many of the world's top karate exponents. This in itself illustrates that kurumaisu karate is easily on a par with what is incorrectly considered to be `normal karate'. The fact is Wheelchair Karate is right up there with all other forms of budo (martial arts), and its practitioners often have superior technical skills making up for any disadvantages they may or may not have.

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Personally I don't see wheelchair karate and able bodied karate, rather I see good karate and not good karate.

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For more information on Wheelchair karate please click on the following link: http://andrebertel.blogspot.com/2009/07/asai-wheelchair-karate.html

© André Bertel, New Zealand 2010.