30th Anniversary since first coming here to Japan

Kumite with my dear friend, the late Morgan Dilks Sensei. 

This month marks my thirtieth year since I first came to Japan to study Shotokan Karate-Do. 15 of those years, I've lived and trained here daily. This ranged from several three months stays; a three-year stay; and now, an over ten-year stay.

More importantly I have been personally mentored by many of 'The  JKA Shotokan Greats'. Especially, of course, Asai Tetsuhiko Sensei. But also, the likes of Osaka Yoshiharu Sensei, Nakamura Masamitsu Sensei, and others
.

Learning from the very best in the world, in this environment, and for so many years, is: (1) the foundation of my own karate; and (2) the foundation and content of what I teach/pass on to Renshusei (Trainees) here at my dojo and in Technical Seminars: here in Japan and abroad.

My efforts in learning from these great masters, over these years, has not only been to improve my own karate, but to also build up the best Shotokan karateka in the world. Furthermore, to preserve this knowledge internationally, which has not been openly taught outside of Japanese karate inner circles. 

押忍, André

© André Bertel. Oita City, Japan (Novembe2023).

Karate 'Trends'

Old school Unsu Kata. Not as polished, but with every waza executed with effective intent.

One major piece of advice—to those seeking 武道空手 (budo karate)— that ‘I can’t emphasize enough’ is: “…to follow the 伝統的基本 (traditional kihon) as opposed to ‘trends’”. This especially pertains to sports kata and sports kumite.

 

This does not mean that technique does not evolve but, rather, (traditionally) it has and continues to evolve based on improved effectiveness/efficiency. Indeed, and needless to say, many waza have reached their optimum form. In these cases, increases or maintenance of form and/or explosive power will be the objective in training.

 

Also, for higher level karateka, the kihon changes in form based on their individual physiques and a multitude of inevitability variable attributes. One such example is the foundational ukewaza. Depending on say, the length of a person's arm, they might alter the distance of their elbow from their body.

 

While the usual form is having the elbow one fist width from the body, this should be slightly altered by Dan grades if a more effective form can be used.  Otherwise, the standard version “the reference form”, should be kept. Such an alteration by higher ranks must be evaluated through kumite and impact training.

 

Some instructors have very ‘set’ ideas about what is right or wrong. This is because their understanding is only basic. Everyone should know that here in Japan there are two versions of karate within large organizations. The ‘general version’ where everything is set, which they make the masses do. And the ‘elite version’, which is done by the professional instructors and personalized/adapted for them individually.

 

This is the first reason why you see differences between the different famous instructors. Yes, they teach the ‘general version’—and teach it as gospel; however, they themselves practice in the ‘elite’ manner.

 

The second reason you see differences is “the original research that each instructor does”, but this is a natural continuation of the ‘elite version’. In fact, the ‘personalization of kihon for the individual’ fuels optimal research.

 

A danger in these regards is where one begins researching without sufficient budo skill; thereby, resulting in the practice/training and (in the case of those instructing) teaching of ineffective karate.

 

For karateka who come for my training, I do not teach the ‘general version’; instead, everyone I teach receives specialized training unique for them—based on the tradition passed down to me here in Japan. This methodology functions to optimize the karate skill of trainees immediately and bolster their long-term improvement. Ironically, this has bought our training back to the way karate was original taught in Okinawa, whilst not deviating from the improvements made through the evolution of Shotokan-Ryu.

 

To reiterate, if you follow the trends like ‘the latest way of moving in tournaments’, you will inevitably move away from the traditional way; that is Budo Karate.

 

Two concrete examples from kata:

Movement 42 of 観空小 (Kanku Sho)

挙動   右前屈立   左手首後方中段掛受   右拳右腰    左脚立 左掌に右中段三日月蹴   回転飛び   右脚前屈   腕立て

Migi zenkutsu dachi, Hidari tekubi koho chudan kake uke, Uken migi koshi, Hidari ashi dachi, Hidari sho ni migi chudan mikazuki geri, Kaiten tobi, Migi ashi zenkutsu, Ude tate

 

This jump is often done high or even with a tobi yoko-geri kekomi added! This MUST be low and sharp to be optimally applicable.

 

 

Movement one of 岩鶴 (Gankaku)

右後屈立   両甲上段側面合わせ受

Migi kokutsu dachi, Ryoko jodan sokumen awase uke

 

This waza has dropped to chudan by the majority of competitors, and in doing so has lost all of its meaning. And let’s not get into all of the 上段横蹴り蹴込み (jodan yoko-geri kekomi) replacing the 蹴上げ (keage), which again, invalidates the original intent and corresponding effectiveness of these waza sequences (in correspondence with uraken jodan yokomawashi uchi).

 

One concrete example from kumite:

間合 (Maai)

Sports Karate ‘multiple point sparring’ distancing comes primarily to mind. The 間合 (Maai) is not related to real karate as it is not optimal for delivering blows with maximum impact.

 

By merely reaching the target one can get a point, furthermore, this also allows the attacker to ‘escape being scored on’ more easily. In sum, the Kumite becomes not Kumite but a highly athletic game of tag. The major problem with this is that it programs karateka to fight worse in a real fight which is, (needless to say and not understatedly) highly problematic. Actually, this is most probably the main reason why some people disregard karate as an effective martial art: and rightfully so, in regards to sports karate ‘tag’ (whoops… I meant ‘kumite’). Overall, and on top of sport karate being useless, it also severely sucks as a sport for spectators.

 

Now here’s another problem due to trends… Even if clubs and individuals don’t compete, they often still follow the trends of this ‘fighting style’. Unless it is old school JKA style Shobu-Ippon, it has no relationship to reality. Sports karate kumite is not only a boring sport with no relationship to budo, but embarrassing for karate as a whole. 

 

Of course, there is nothing wrong with competition (traditional competition is great, again, i.e. - old school JKA rules); nonetheless, and even in such quality competitions, one must avoid sacrificing budo karate kihon and following the trends of sports karate. Allow 'the traditional budo karate kihon' and 'effectiveness (through testing)' to guide you. In this way, rather than aimlessly following trends you will be a trailblazer and maximize your karate skill and ongoing technical development. You will also, without trying, achieve the Japanese look of techniques, which will set you apart from (what I call) the ‘plastic form’, which is all-to-common now.

 

Some may choose to follow the ‘sports karate’ path and all the ‘latest trends’ it spreads; however, this road goes in a different direction from the way of 武 (Bu)—both 道 (Do) and 術 (Jutsu). In my case as a practitioner and teacher—and for the International Karate Shotokan—"BUDO/BUJUTSU KARATE IS THE ONLY KARATE". Some claim they can simultaneously walk both paths; nevertheless, I’ve never met anyone who has done this and optimized their skills. Nor had Asai Tetsuhiko Sensei, Osaka Yoshiharu Sensei, Nakamura Masamitsu Sensei, et al. This is because these ‘WAYS’ are technically like oil and water. 

This doesn’t sit well in this current world where ‘everything must be accepted’. In this regard, I adamantly believe that budo karate shines a light on past values and understandings which are no longer ‘the trend’.

 

押忍！ — André

© André Bertel. Oita City, Japan (2023).

Supplementary sessions

In addition to regular dojo training, I have always recommended (for those wishing to maximize their karate development): supplementary training. This is simply reviewing what has been covered in dojo-keiko. I also use these practices for 'base strength training'.

These sessions require: (a) minimal space; (b) any amount of time (even a few seconds or minutes, here and there, is very beneficial); (c) can be done anywhere you are comfortable to do them. 

Furthermore, these supplementary sessions can be done in any apparel (you don't need to be in your dogi/obi). Training equipment can be used such as weights, heavy bag or makiwara, but it totally depends on your personal aims and situation at the time.

For example, you might be in a suit and necktie and simply want to review a small part of a kata that you constantly get wrong. In your office you can do this part of the kata ten times, here and there through the day. Small practices like this can lead to making your weaknesses your strengths! 

Do such supplementary practice at your own leisure and enjoy the holistic health benefits they provide. Also, watch your karate  really improve!!!

押忍!! — AB

Freestyle HIDARI GYAKU-ZUKI

Ura mawashi-geri: Safety style for competition. I don't practice this.

Ura mawashi-geri: REAL -- axe with kakato.

Base strength training.

                                  © André Bertel. Oita City, Japan (2023).

Official Poster for 2024 NEW ZEALAND Seminars

I just received the official poster, from the organizers, for my 2024 seminars in New Zealand. 

See you in Christchurch (South Island) and the Kapiti Coast (North Island) next February.

OSU,

André

 

© André Bertel. Oita City, Japan (2023).

空手に先手無し (Motobu's Perspective)

 Motobu Choki’s commentary about the traditional teaching of 空手に先手無し (Karate ni sente nashi — “There is no first attack in karate”) are pragmatically valuable. I certainly agree with this, coming from a security background where I had a lot of real fights. Accordingly, I decided to share Motobu's view today.

Ironically, it is an understatement to say: 'Motobu and Funakoshi Sensei did not like each other very much'. Nevertheless, and irrespective if this, "...we must not disregard accurate knowledge due to any interpersonal matters", which have nothing to do with us.

 

押忍!!

André

Motobu stated, “There is a saying in the martial arts, ‘karate ni sente nashi’, which is often literally interpreted as meaning ‘no pre-emptive strike’. Unfortunately, this phrase is terribly misunderstood, especially by those who interpret it literally and, often, teach according to this misinterpretation. Actually, attacking first is not wrong; however, in the same breath allow me to also say that it’s not budo spirit to ever attack anyone without just cause. Moreover, I believe that almost everybody agrees that this is our priority in both physical and psychological training. Therefore, ‘Karate ni sente nashi’ is a phase that should remind us all (karate practitioners) to never unscrupulously strike or harm anyone without just cause; furthermore, to maintain physical, mental and emotional control at all times.”

 

Also, in these regards, he pointed out: “When you fight you must do so fiercely, otherwise you risk death or serious harm. Therefore, once it’s been established that a fight is about to ensue, the most important thing is to win. There is no other alternative in a desperate situation. Understanding this rationale places the saying in a different light and allows us to see why attacking first is both a valuable and necessary tool. Think about this mindfully”. 

Motobu only practiced one kata: Naifanchi (TEKKI). While it is very useful to practice an array of different kata, it is essential to 'MASTER' between one and three: This is the traditional Budo/Bujutsu way, and is reflected in our IKS Grading Syllabus.

© André Bertel. Oita City, Japan (2023).

松濤 (“Shoto”)

Funakoshi Gichin Sensei’s nephew, Giso, recalled a conversation with his uncle from 1942 during which he explained the reason for choosing the nom de plume of “Shoto” on reaching maturity. He explained that during frequent visits to the island of Onoyama, during his childhood, he had been captivated by the movement of the many pine trees growing there as they moved gracefully under the influence of the wind. As they swayed back and forth they seemed to emulate the waves of the ocean, so he chose this for his pen name, the name 松濤 (“Shoto”, literally ‘Pine Waves’). In regards, please note the extension of Shotokan kata in the likes of 浪手 (Roshu ‘Wave hands’), 青柳 (Seiryu ‘Blue willow’), 落葉 (Rakuyo ‘Falling leaves’) and others.

 

My seniors here in Japan, some who have passed and many who are now elderly have stressed that we (IKS) not only retain the old style of Shotokan as Budo/Bujutsu, but also embrace and preserve Asai Tetsuhiko Sensei’s karate in this process. In sum, to make a full unbroken circle back to Funakoshi Sensei’s “Shotokan” in both philosophy, technique and practical application.

 

押忍,

André

Concluding my daily 'dojo review practice': October 21st, 2023.

© André Bertel. Oita City, Japan (2023).

燕飛 (Enpi): Overview

燕飛 (ENPI)

Movement one of Enpi.

Enpi has 37 movements and is particular focused on renzokuwaza (continuous techniques). Originally known as Wanshu, the characters in its name indicate the flight of swallow. The label of Enpi therefore represents the quick changes of direction; furthermore, rising and descending movements. Like my late teacher, Asai Tetsuhiko Sensei, Enpi is my favorite formal exercise out of the four Sentei-gata. This is not due to its external pattern but, rather, because (like him) it best suits my body, physical attributes and fighting style. It is one of 'the seven core Shotokan kata' and was prioritized by Funakoshi Gichin Sensei in his refined teaching system. The kiai are placed on movements 15 and at the height of the jump on movement 36. This waza is the throw 'Kata-guruma', which is one of the traditional 44 throws of Judo. Correct practice of this kata aids quick reactions, and both explosive defensive and offensive abilities. Also, of particular importance is the waza 'age-zuki'. This waza contests the standard linear line eluding to the technical adaptability needed in actual self-defense. Lastly, this kata stresses muscular lightness and softness, along with the correct use of the joints, to achieve the aforementioned technical attributes. This, in turn, can be applied to all other technical aspects of one's karate. - André Bertel. 

Overview of Enpi Kata

礼                           結び立

REI:                       Musubi dachi

 

用意                      閉足立 左掌右拳左腰

YOI:                      Heisoku dachi, Sasho uken hidari koshi

 

第1挙動           右脚折敷左膝立て        右前腕下段払  左前腕水月前構

Migi ashi orishiki hidari hiza tate, Migi zenwan gedan barai, Hidari zenwan suigetsu mae gamae

 

第2挙動           八字立 (歩幅やや広め)               両拳左腰構

Hachiji dachi（hohaba yaya hirome）Ryo ken hidari koshi gamae

 

第3挙動           右脚前屈           右下段払

Migi ashi zenkutsu, Migi gedan barai

 

第4挙動           騎馬立 左前腕水流れの構        右拳右腰

Kiba dachi, Hidari zenwan mizu nagare no gamae, Uken migi koshi

 

第5挙動           左前屈立           左下段払

Hidari zenkutsu dachi, Hidari  gedan barai

 

第6挙動           左前屈立           右上段揚突

Age-zuki is the main thrust in Enpi kata and is featured four times.

Hidari zenkutsu dachi, Migi jodan age zuki 

第7挙動           右足前交叉立  右拳左肩前上  左拳下段突

Migi ashi mae kosa dachi, Uken hidari kata mae ue, Saken gedan zuki

 

第8挙動           左膝屈 右下段払           左拳左腰

Hidari hiza kutsu, Migi gedan barai, Saken hidari koshi

第9挙動           左前屈立           左下段払

Hidari zenkutsu dachi, Hidari  gedan barai

 

第10挙動         左前屈立           右上段揚突

Hidari zenkutsu dachi, Migi jodan age zuki

 

第11挙動         右足前交叉立  右拳左肩前上  左拳下段突

Migi ashi mae kosa dachi, Uken hidari kata mae ue, Saken gedan zuki

 

第12挙動         左膝屈 右下段払           左拳左腰

Hidari hiza kutsu, Migi gedan barai, Saken hidari koshi

 

 

第13挙動         左前屈立           左下段払

Hidari zenkutsu dachi, Hidari  gedan barai

 

第14挙動         騎馬立 左掌左斜前上

Kiba dachi, Sasho hidari naname mae ue

 

第15挙動         左脚立 右手首左掌打 (気合)

Hidari ashi dachi, Migi tekubi sasho uchi (KIAI)

 

第16挙動         騎馬立 左縦手刀中段受                             右拳右腰

                                Kiba dachi, Hidari tateshuto chudan uke, Uken migi koshi

 

第17挙動         騎馬立 右拳中段突       左拳左腰

Kiba dachi, Uken chudan zuki, Saken hidari koshi

 

第18挙動         騎馬立 左拳中段突       右拳右腰

Kiba dachi, Saken chudan zuki, Uken migi koshi

 

第19挙動         左前屈立           左下段払

Hidari zenkutsu dachi, Hidari  gedan barai

 

第20挙動         左前屈立           右上段揚突

Hidari zenkutsu dachi, Migi jodan age zuki

 

第21挙動         左後屈立           右手刀中段受

Hidari kokutsu dachi, Migi shuto chudan uke

 

第22挙動         右後屈立           左手刀中段受

Migi kokutsu dachi, Hidari shuto chudan uke

 

第23挙動         右後屈立           右拳中段突       左拳左腰

Migi kokutsu dachi, Hidari shuto chudan uke

 

第24挙動         左後屈立           右手刀中段受

Hidari kokutsu dachi, Migi shuto chudan uke

 

第25挙動         左前屈立           左下段払

Hidari zenkutsu dachi, Hidari  gedan barai

 

第26挙動         左前屈立           右上段揚突

Hidari zenkutsu dachi, Migi jodan age zuki

 

第27挙動         右足前交叉立  右拳左肩前上  左拳下段突

Migi ashi mae kosa dachi, Uken hidari kata mae ue, Saken gedan zuki

 

第28挙動         左膝屈 右下段払           左拳左腰

Hidari hiza kutsu, Migi gedan barai, Saken hidari koshi

 

第29挙動         左前屈立           左下段払

Hidari zenkutsu dachi, Hidari  gedan barai

 

 

第30挙動         左前屈立           右底掌中段押揚受        左拳左腰

Hidari zenkutsu dachi, Migi teisho chudan oshi age uke, Saken hidari koshi

 

 

第31挙動         右前屈立           右底掌中段押揚受        左底掌中段押え受                       

Migi zenkutsu dachi, Migi teisho chudan oshi age uke, Hidari teisho chudan osae uke

 

 

第32挙動         左前屈立           右底掌中段押揚受        左底掌中段押え受                                                        

Hidari zenkutsu dachi, Hidari teisho chudan oshi age uke, Migi teisho chudan osae uke

 

 

第33挙動         右前屈立           右底掌中段押揚受        左底掌中段押え受                       

Migi zenkutsu dachi, Migi teisho chudan oshi age uke, Hidari teisho chudan osae uke

 

 

第34挙動         寄足気味に左後屈立   右拳下段構       左拳左腰

Yori ashi gimi ni hidari kokutsu dachi, Migi ken gedan gamae, Saken hidari koshi

 

 

第35挙動         寄足右足前不動立        右掌下段左掌上段つかみ受

Yori ashi migi ashi mae fudo dachi, Usho gedan sasho jodan tsukami uke

 

 

第36挙動         左回転飛           左後屈立           右中段手刀受  (気合)

Hidari kaiten tobi, Hidari kokutsu dachi, Migi shuto chudan uke (KIAI)

Movement 36 of Enpi, where the kiai is applied. 

第37挙動         右後屈立           左手刀中段受

 Migi kokutsu dachi, Hidari shuto chudan uke

 

 

直れ                     閉足立 左掌右拳左腰

NAORE: Heisoku dachi, Sasho uken hidari koshi

 

礼                           結び立

REI: Musubi dachi

© André Bertel. Oita City, Japan (2023).