Private kata training for Ohtsuka Shohei

Today I had a trainee from Usa-Shi, Ohtsuka Shohei Kun. He wanted to study a budo version of Unsu, which he could also exhibit in competition. He wants to compete in both budo karate (JKA) and JKF: and demonstrate true Karate-Do. This, to me, is very good, as kata is not an aesthetic game but the foundation and time capsule of traditional Japanese budo/martial arts.    

He has had many wins in competition but is seeking more pure karate. Again, for a young man of 23, I really admire this; moreover, with hard work he has the capacity to do extremely well. He has speed, power and talent in abundance; nevertheless, here in Japan the level is so high, so the climb is very-very steep. One of my top goals is to support JKA Oita Prefecture as much as possible. I really want to give as much as I can to Oita.

In addition to Unsu I also corrected his Enpi and Jion. He was very receptive and excited when he felt the difference in his execution of kata and then experienced the oyo (applications). Overall, it was great to see him lift his execution of the kata covered and, indeed, his understanding. Ganbatte Shohei!!!

                                                       © André Bertel. Oita, Japan (2016).

Renshusei from England: Michael Barr

Michael Barr recently came to Japan to be a renshusei (trainee) at my dojo. During his time here in Oita he completed ten hours of one-on-one practice. I’d like to congratulate him on completing this training and clearly improving his technical ability. OMEDETTO GOZAIMASU!

This year I will once again be teaching Karate-Do Seminars in Europe:

• Ahrensburg (GERMANY)—July 23/24;

• Poulton-le-Fylde (ENGLAND)—July 30/31; and

• Venice (ITALY)—August 6/7

I'm reiterating this here as Michael has organized, and is hosting, the England portion of my Europe Tour. For those wishing to book a place on the Technical Seminars (July 30/31) in Poulton-le-Fylde, please contact him directly at: barrme@icloud.com. 

Lastly, for those interested in Michael’s karate training experience here in Japan (beyond the photos featured in this post)—please click on the following link, which features a written report: www.wyrekarateijka.blogspot.co.uk

© André Bertel. Oita City, Japan (2016).

Nishi Fuyuhiko: Movie Director and creator of ‘Kuro Obi World’

This weekend I met movie maker Nishi Fuyuhiko at the JKA Oita Seminar, in Hiji, (which was conducted Hashiguchi Yuji Sensei).

Photo courtesy of Nishi Fuyuhiko.

He made a video of my karate in addition to the seminar. So he got to experience Asai Sensei's karate first hand. I appreciate this. Thank you very much Mr. Nishi.

Osu, André

© André Bertel. Oita, Japan (2016).

Oita Prefecture Seminar with Hashiguchi Yuji Sensei

On the weekend I attended Hachiuchi Yuji Sensei’s Seminar—hosted by the JKA Hiji branch—here in Oita Prefecture. The seminar, like Hashiguchi’s classes, was packed with technical details.

Photo courtesy of Nishi Fuyuhiko.

Kihon included that required for the first few kyu exams, where Sonoba-Kihon is tested. From there, we moved on to correct koshi-no-kaiten practice with partners, followed by the Ido-Kihon for the current Shodan and Nidan examinations. Special focus was placed on ukewaza; in particular, shuto chudan uke, jodan age-uke, and the wind ups for chudan soto-uke and chudan uchi-uke: ukewaza was a theme that continued across the five hours of  practice.

Kata covered in depth included Heian Shodan, Heian Nidan, Heian Sandan, Heian Yondan, Heian Godan, Tekki Shodan and Kanku Dai.

Photo courtesy of Nishi Fuyuhiko.

© André Bertel. Oita, Japan (2016).

The Six Sections of the Trunk

In Karate-Do, in harmony with the limbs (arms, legs and neck)—and the power derived from terra-firmer—we must correctly control and utilize the six parts/sections of the trunk.

Before I jot down these six sections and briefly explain their basic usage/coordination, it is important for me to stress that “…while they—are essential—they are still ‘physically secondary’ to the power derived from the ground”; in particular, via ‘kakato-chushin’. It is very obvious that this grounding, essentially based on the laws of gravity, is the origin of the term  ‘base’ or ‘basic’: the foundation is at the ground. Hence, the kahanshin (lower body) is the focus in Shotokan. Nevertheless, after the building (and maintenance) of a solid foundation, what is built on top of it cannot be arbitrarily understood and used. So that brings us to the specific question of: “what are these sections/structures in your trunk?”: Well, in my own terminology, they are as follows:

一 The Left Chest and Left Upper Back

二 The Right Chest and Right Upper Back

三  The Left Abdomen and the Left Central to Lower Back

四  The Right Abdomen and Right Central to Lower Back

五  Frontal Lower Abdomen

六  Central Lower Back

 Before I go on, please note that this is my simplification: While there are some small variations—description-wise (amongst the senior Shotokan instructors here in Japan)—I designed the above simplified list for my ‘English-only-speaking’ deshi (students) and renshusei (trainees). In addition to this, I’ve avoided using the medical/anatomical terms for body parts. My rationale behind this was, and is,  to optimally clarify this imperative breakdown; moreover and more importantly, to physically understand/apply this knowledge. With this in mind, I’d like to explain how the six parts/sections of the trunk are used.

The overarching categories of trunk control: To begin with, in regards to controlling these ‘sections’, there are several variations; however to avoid confusion, they are best grouped into four
 overarching categories: 1. 縦 (Vertical);  2. 横 (Horizontal--forward and back); 3. 丸 (circular on an even plain); 4. 円 (like a 'ball').

The basic coordination of each section—the apartment analogy: Next let's look at the basic coordination of each section… I often describe this to karateka by using the analogy of “…different but adjacent apartments, on the same floor, of three story apartment complex”. Let’s do this in the reverse order, from the top down. Please keep this ‘reverse order’ in mind…

• ‘The third floor’ includes the ‘left chest and right chest’ in correspondence with each other via: (a) the three vertical axises (central axis, left axis, and right axis); (b) their degrees of horizontal tilting; and furthermore (c) their direct correspondence with the left and right upper sides of the back. 

• Likewise and needless to say, this also fully applies to ‘the second floor’: the two separate sections of the abdomen (left and right upper to lower abdomen) and the lower side of the back (left and right central to lower sides of the back).

• And, indeed, what applies on the third and second floors also applies on the ‘first floor’ of the apartment complex: the frontal lower abdomen and central lower back.

A contradiction? ‘Base-up’ or top-down’? So, you may be asking yourself (or perhaps you were questioning before, as a result of my prompt) why I started from the top down, as opposed from the base up? Isn’t this in contradiction to my aforementioned statement of ‘starting from the ground-up’—or ‘base power’—being of primary importance. Well, in simple terms, yes. However, in regards to thinking and applying the three vertical axises, the most natural/easiest way is literally from the top-down. Moreover, and not un-coincidently, this elucidates an important point in Karate-Do: the next phase in technique above the basic ‘one-directional (‘support foot/feet to the impact weapon’) source of power’. This secondary, advanced method, generates power from the centre in two directions: (1) from the centre, directing power down to the support foot/feet (to the ground); and (2) simultaneously with ‘1’, from the centre, directing power to the impact weapon. There is a third, highly advanced generation of power, but this transcends the scope of this article.

A broad perspective of using the six sections of the trunk: The main thing to understand is that perception of the axises are easier from the top down; also, in relation to these vertical lines (and horizontal tilting), is the coordination of the six sections of the trunk. Last but not least, these sections are used (1) together (as described above), (2) separately/in isolation, (3) vertically, (4) horizontally and (5) in various combinations of areas, directions and order.

A concrete example of using the trunk correctly in isolation: To provide a concrete example of what I have described in this article, let's consider one kihonwaza, say ‘hidari sokumen hidari chudan uchi-uke’ in ‘migi kokutsu-dachi’ (Movement one of Heian Sandan and Heian Godan respectively). To keep things focused I will only describe two aspects of ‘trunk usage’ (how these sections coordinate) to contribute towards an optimum uchi-uke. 

Example of two points with Chudan uchi-uke:

1. During the wind up of chudan uchi-uke the left and right sides of the chest are contracted/closed and, simultaneously, the left and right sides of the upper back are expanded/opened.

2. Next the reverse occurs as the chudan uchi-uchi is executed: The left and right sides of the chest are expanded/opened and, simultaneously, the left and right sides of the upper back and contracted/closed.

Certainly we could expand on this, especially in regards to the central lower back in coordination with the abdomen, however, I think the point I’ve been trying to make has already been made, which is, "the the entire body is used in Karate-Do, nevertheless, the coordination and order of using these bodily sections change; moreover, exist in various degrees." 

Irrespective of everything technical, the main physical point of technique (in Budo Karate) is to be able to optimally control oneself both physically and mentally; moreover, to be able to do so in the context of self-protection or the protection of others. Technique and bodily control is meaningless: if only useful in a karate context (the dojo, competitions, or demonstrations). In order to have optimal effectiveness, in the real world, we need to fully—and optimally—control ‘the limbs’ (arms and hands; legs and feet, and neck); the shoulders and hips (‘the connectors’ of  limbs to the trunk); and the six sections of the trunk. Best wishes from Japan.

押忍, アンドレ

© André Bertel. Oita, Japan (2016).

Visitors from Australia

Over the weekend we had the pleasure of having Natsuko Mineghishi Sensei, her students (and their family members) from Melbourne, Australia: Shotokan Karatedo International Federation – Karyukai Dojo.

Briefly in sum, the two 2-hour practices were focused on key underpinning aspects (shisei, koshi no kaiten, tai no shinshuku, shime and junansei) to generate maximum power. By combining the points taught on both days, these sessions will provide a springboard for long term advancement; in particular, in regards to maximizing impact power—in the context of self-defense.

Outside of the dojo it was also lovely to spend time with Natsuko Sensei and her team. We wish you all a safe and enjoyable journey home to Australia. 押忍!

© André Bertel. Oita City, Japan (2016).

Hiki-te: ‘two hands are better than one’

The hiki-te (pull hand) of karate has two main points. Today, I will briefly outline both of these; furthermore, which of these two "...must be prioritized, in training, to maximize effectiveness".

The first main point of hiki-te, as the title of this brief article states, is that ‘two hands are better than one’; that is, using the hikite purely to increase the ‘ballistic effectiveness’ of the opposite wrist/hand/arm. This aspect of hikite is firstly ruled by form (initiation, trajectory, completion and correct use of the body) and secondly ruled by physical prowess (speed, power and subconscious re-activity).

The second main point of hiki-te is the destabilizing an opponents balance—and positioning them ideally—for your technique (and/or placing them “…where their ability to attack you is neutralized or mitigated”). This aspect of hikite is ruled by application.

So what is the most important of the two? Probably surprising for some who read this, whilst application is ‘the objective’, it is even more important to be able to execute ones hiki-te both correctly and sharply. This is because application knowledge/understanding—more often than not—will be useless without sufficient technical skill and physical prowess. It is like ‘knowing how to win a Formula One race and knowing the moves to get around the track'; nevertheless, not having a car with 'an engine reliable enough' to do so. This illustrates a very-very important point, which goes far beyond the topic of hiki-te’: “...Effective application, first and fore-mostly, requires  form and physical prowess”. 

© André Bertel. Oita, Japan (2016).

ANDRE BERTEL: ITALY SEMINAR 2016

Featured above is the official poster for my seminars in Venice, Italia: August 6th and 7th, 2016. For details, please click on the poster. For those who are going, see you there! Osu, André.

By the way, here is a YouTube video link for the upcoming seminars in Europe 2016. Please feel free to leave a comment.

 

© André Bertel. Oita, Japan (2016).

HANGETSU KATA

Today I thought I’d offer some advice on Hangetsu kata. To initiate this process, I will firstly (1) give brief overview of Hangetsu; secondly (2), I’ll list the techniques in the kata—a technical overview  (following the official command count); and thirdly (3), I will provide some selective tips, via bunkai (analysis)—surface level points; namely, common errors/aspects of caution. I will not cover oyo-jutsu (applications) today but, instead, focus on the correct form of Hangetsu.

(1) A brief overview of Hangetsu: The original name of Hangetsu was Seishan. Funakoshi Gichin Sensei renamed the kata, like many others, to provide a name with more relevance in mainland Japan. 半月 (Hangetsu) literally translates as ‘Half moon’, which Funakoshi Sensei chose based on all of the crescent like steps and actions in the kata; furthermore, the half moon shape formed by the feet ‘inside of the stance’. 

Hangetsu consists of 41 movements with the kiai applied on the 11th and 40th techniques. It takes approximately one-and-a-half minutes to complete. Elucidating its technical significance Hangetsu is amongst the 15 kata that Funakoshi Sensei specifically selected for his system. It is worth noting that some instructors such Oshima Tsutomu Sensei, who was a direct student of Master Funakoshi, insist in only practicing these 15 formal exercises.  

A key point of Hangetsu is the coordination of waza (technique), unsoku/ashi-hakobi (footwork/leg movements)— te-ashi onaji—and kokyu (breathing). It is important to note here, insofar as breathing is concerned, that Hangetsu does not encompass ‘ibuki’ style breathing that is audible; like, for instance, Sanchin kata. Nevertheless, some instructors have incorporated this element into Shotokan-ryu (often via Hangetsu). That being said, it is claimed that “...the original version  of this kata, in Okinawa, did not feature audible breathing” but, rather, the breathing was done in a stealthy manner. This method is what is maintained by the JKA.

Lastly, like the aforementioned ‘three coordinated aspects’, “…the sequences in this kata come in threes”; which, application-wise, means ‘both sides (left and right) and an alternative’; however, today (as I've mentioned in the opening of this article)—rather than addressing applications—I will primarily focus on correct technique. OK, so let's move on to the technical overview…

 

(2) A technical overview of Hangetsu:

• Rei (Musubi-dachi).

• Yoi, Ryo ken daitai mae (Hachiji-dachi).

1. Hidari chudan uchi-uke (Hidari ashi mae hangetsu-dachi).

2. Migi chudan gyaku-zuki (Hidari ashi mae hangetsu-dachi).

3. Migi chudan uchi-uke (Migi ashi mae hangetsu-dachi).

4. Hidari chudan gyaku-zuki (Migi ashi mae hangetsu-dachi).

5. Hidari chudan uchi-uke (Hidari ashi mae hangetsu-dachi).

6. Migi chudan gyaku-zuki (Hidari ashi mae hangetsu-dachi).

7. Ryo jishi ippon ken ryo chichi shita (Hidari ashi mae hangetsu-dachi).

8. Ryo jishi ippon ken chudan morote-zuki (Hidari ashi mae hangetsu-dachi).

9. Kaisho yama gamae (Hidari ashi mae hangetsu-dachi).

10. Ryo te ryo gawa gedan kakiwake (Hidari ashi mae hangetsu-dachi).

11. Migi chudan uchi-uke doji ni hidari gedan-uke (Hidari ashi mae hangetsu-dachi). – KIAI.

12. Usho tsukami (Hidari ashi mae hangetsu-dachi).

13. Hidari chudan uchi-uke doji ni migi gedan-uke (Migi ashi mae hangetsu-dachi).

14. Sasho tsukami (Migi ashi mae hangetsu-dachi).

15. Migi chudan uchi-uke doji ni hidari gedan-uke (Hidari ashi mae hangetsu-dachi). 

16. Usho tsukami (Hidari ashi mae hangetsu-dachi).

17. Migi chudan uchi-uke (Migi ashi mae hangetsu-dachi).

18. Hidari chudan gyaku-zuki (Migi ashi mae hangetsu-dachi).

19. Uken chudan-zuki/Saken hidari koshi (Migi ashi mae hangetsu-dachi).

20. Hidari chudan uchi-uke (Yori ashi—Hidari ashi mae hangetsu-dachi).

21. Migi chudan gyaku-zuki (Hidari ashi mae hangetsu-dachi).

22. Saken chudan-zuki/Uken hidari koshi (Hidari ashi mae hangetsu-dachi).

23. Migi chudan uchi-uke (Yori ashi—Migi ashi mae hangetsu-dachi).

24. Hidari chudan gyaku-zuki (Migi ashi mae hangetsu-dachi).

25. Uken chudan-zuki/Saken hidari koshi (Migi ashi mae hangetsu-dachi).

26. Hidari uraken tatemawashi-uchi/Uken migi koshi (Migi kokutsu-dachi).

27. Migi ashi mae kosa.

28. Hidari chudan mae-geri keage/Saken migi kata.

29. Saken gedan zuki (Hidari ashi mae hangetsu-dachi).

30. Migi chudan gyaku-zuki (Hidari ashi mae hangetsu-dachi).

31. Hidari jodan age-uke (Hidari ashi mae hangetsu-dachi).

32. Migi uraken tatemawashi-uchi/Saken hidari koshi (Hidari kokutsu-dachi).

33. Hidari ashi mae kosa.

34. Migi chudan mae-geri keage/Uken hidari kata.

35. Uken gedan zuki (Migi ashi mae hangetsu-dachi).

36. Hidari chudan gyaku-zuki (Migi ashi mae hangetsu-dachi).

37. Migi jodan age-uke (Migi ashi mae hangetsu-dachi).

38. Hidari uraken tatemawashi-uchi/Uken migi koshi (Migi kokutsu-dachi).

39. Migi chudan mikazuki-geri/Sasho-ate (Hidari ashi-dachi).

40. Uken chudan-zuki/Saken hidari koshi (Hidari ashi mae hangetsu-dachi). – KIAI.

41. Ryo teisho gedan awase-uke (Yori ashi—Hidari ashi mae neko-ashi dachi).

• Naore, Ryo ken daitai mae (Hachiji-dachi).

• Rei (Musubi-dachi).

Zenkutsu-dachi is not featured in Hangetsu Kata.

(3) Selective bunkai (analysis/break down) of Hangetsu:

I have selectively outlined eight errors that are commonplace in the execution of Hangetsu kata. Whilst these are surface level points, they all relate directly to its oyo (applications) and overall technical efficiency. Needless to say, "you need the correct form to optimally apply the movements and sequences of the kata".

(1.0) The first major error I'd like to point out is the Hangetsu-dachi itself. Some teach/train this as a ‘long Sanchin-dachi’: this is wrong. Hangetsu-dachi should be thought as being half-way between Sanchin and Zenkutsu-dachi; furthermore, it is slightly narrower than Zenkutsu-dachi and the rear foot should foot/toes should attempt to point directly forward. The inversion of the legs should be natural, summoning centralized power, whilst the connection of the sokuto (outside edges, literally ‘sword feet’) must be consciously and somewhat unnaturally connected to the ground/floor.

(1.1) The second major error is the incorrect use of the legs; that is, when the hips rotate the legs should remain motionless. This characteristic is most obviously shared with Sochin. Consequently, this means that power is generated from the centre, in isolation, as opposed to primarily being initiated from the drive of the rear leg. (Please note however: - kakato chushin is still applied). In this way, the tanden is more utilized when transitioning between hanmi and shomen.

(1.2) The third mistake that stands out is superfluous actions, especially on slow movements i.e. – movements 1-10. The tendency is for people to ‘add fluff’ to their kata, which is the norm in `sports karate kata'. In actuality, simple movement is not only the most effective, but by far the most difficult to do. Moving directly and without waste is an imperative skill for those seeking the true way of karate. In this regard, rather than give specific examples, I suggest to simply check one’s own actions with brutal honesty—then do some pruning.

(1.3) My forth point might sound a little pedantic, nonetheless, I can’t resist making it. Be careful on movements seven and eight: make sure that ‘ryo jishi ippon ken ryo chichi shita’ and ‘ryo jishi ippon ken chudan morote-zuki’ have solidly formed ippon-ken; that is, the index finger is pressed from the side by the thumb. In this way, the index fingers are clamped between the thumb and middle finger to make strong fist. 

Migi chudan mikazuki-geri/Sasho-ate (Hidari ashi-dachi).

(1.4) The fifth issue I'd like to address is movement 11, where the first kiai is applied: ‘chudan uchi-uke doji ni gedan-uke’. This technique brings to light a number of technicalities, however, the combination of the following two aspects are often incorrect. Firstly, the pivot point is the axis of the front leg—not the seichusen—and the head remains set. Secondly, the winding up/chambering of the uke is tight and slightly precedes the movement; thereby, becoming  more ‘reactive’ as opposed to being passive to stimuli. It is worth mentioning here that this principle is imperative and fundamental in all Karate-do techniques; hence, this tip.

(1.5) Point six is another seemingly simple aspect, yet, often more cerebrally understood than physically applied. Keep the wakibara (the armpits) tight. In particular, return to point ‘1.2’ above and focus on your centre… Hangetsu-dachi and Hangetsu kata, as a whole, should take you on a journey to your seika tanden: usho tsukami and sasho tsukami (movements 12, 14 and 16 respectively) are particularly useful for evaluating (and then ‘further refining’) these foundational aspects.

(1.6) My Seventh correction is a pet hate. It is ‘the alternative’ of three actions, as eluded to above. Please note when making movement 17 (Migi chudan uchi-uke), when transitioning to the right side into migi ashi mae hangetsu-dachi, do not utilize yori-ashi but, rather, ‘direct step’. I guess I could go on and on, so here is one final point to wrap up…

(1.7) The final advice I'd like to give is about the gedan-barai following chudan mae-geri keage with the simultaneous fist raise to the shoulder (movements 28/29, and 34/35). These are not gedan-ukewaza but, rather gedan-zuki. Lastly, the final punch (movement 41) is uken chudan-zuki in hidari ashi mae hangetsu-dachi. It is not gedan-zuki in zenkutsu-dachi. It's important to note that zenkutsu-dachi does not feature in Hangetsu.



Ryo teisho gedan awase-uke (Yori ashi—Hidari ashi mae neko-ashi dachi).



To conclude, while I have not covered the oyo (applications), nor aspects such as waza no  kankyu (rhythm of techniques) and chikara no kyojaku (use of power in techniques), this article has generically outlined Hangetsu. Sometimes I believe it is better just to focus on 'form and corrections/refinements', other times 'applications in isolation', and yet other times 'form and applications together'. Aspects such as tempo/rhythm, use of power, and so forth, should also be the main focus in training sessions periodically. Doing this gives one differing vantage points for understanding and utilizing kata. I hope that this article has offered you something of use. Best wishes from Oita-Shi, Japan. - André.

© André Bertel. Oita, Japan (2016).

ANDRE BERTEL: ENGLAND SEMINAR 2016

© André Bertel. Oita, Japan (2016).