Current self-training regime

Here is my current self-training regime. Beginning on January 1st, 2026.

Today, I will give no reps nor sets. I'm simply following necessity in each practice. Accordingly, each day's self-training runs between 90 minutes to 120 minutes. Sometimes slightly less, and oftentimes, slightly more.

Once again, I want to wish all my seniors, peers and students around here in Japan, and around the world, great health, productive training, and happiness.

    押忍！

AB

その場基本 (SONOBA-KIHON)

八字立ち (Hachiji-dachi)

1.　中段平行突き (Chudan heiko-zuki)

2. 中段直突き(Chudan choku-zuki)

3. 上段直突き(Jodan heiko-zuki)

4. 三本連突き(Sanbon ren-zuki)

八字立ちから前屈立ち (Hachiji-dachi kara zenkutsu-dachi)

5. 中段順突き (Chudan jun-zuki)

閉足立ち (Heisoku-dachi)

6. 中段前蹴り蹴上げ (Chudan mae-geri keage)

7. 中段横蹴り蹴上げ (Chudan yoko-geri keage)

8. 横蹴り蹴込み (Yoko-geri kekomi)

八字立ちから前屈立ち (Hachiji-dachi kara zenkutsu-dachi)

9. 上段揚げ受け (Jodan age-uke)

10. 中段外腕受け (Chudan soto uke-uke)

11. 中段内腕受け (Chudan uchi uke-uke)

12. 下段払い (Gedan-barai)

閉足立ちから後屈立ち (Heisoku-dachi kara kokutsu-dachi)

13. 手刀中段受け (Shuto chudan-uke)

前屈立ち (Zenkutsu-dachi)

14. 上段刻み突きから中段逆突き (Jodan kizami-zuki kara chudan gyaku-zuki)

15. 中段前蹴り蹴上げ (Chudan mae-geri keage) 

移動基本 (IDO-KIHON)

特に指定がない限り、前屈立ちと擦り足が使用される。(The stance is zenkutsu-dachi and the unsoku is ‘suri-ashi’ unless otherwise specified).

1. 中段順突き (Chudan Jun-zuki)

2. 上段揚げ受けから中段逆突き (Jodan age-uke kara chudan gyaku-zuki)

3. 中段外腕受けから寄り足(騎馬立ち)腕同じで中段横猿臂 (Chudan soto uke-uke kara yoriashi [kiba-dachi] ude onaji de chudan yoko-enpi)

4.　(後屈立ち)手刀中段受けから中段縦四本貫手 ([Kokutsu-　dachi] Shuto chudan-uke kara chudan tateshihon-nukite)

5. (後屈立ち)中段内腕受けから上段刻み突きそして中段逆突き([Kokutsu-dachi] Chudan uchi uke-uke kara jodan kizami-zuki soshite chudan gyaku-zuki)

6. 三本連蹴り(Sanbon-geri)

7. (騎馬立ち)交差擦り足中段横蹴り蹴上げ足を変えて横蹴り蹴込み ([Kiba-dachi] Kosa suri-ashi chudan yoko-geri keage ashi o kaete yoko-geri kekomi)

8. 回し蹴りから後ろ蹴り蹴込み (Mawashi-geri kara ushiro-geri kekomi)

9. 裏拳側面上段横回し打ち(騎馬立ち) (Uraken sokumen jodan yokomawashi-uchi [Kiba-dachi])

10. 手刀上段外回し打ちから手同じで手刀上段内回し打 (Shuto jodan sotomawashi-uchi kara te onaji de shuto jodan uchimawashi-uchi)

基本一本組手 (KIHON IPPON KUMITE)

左右両側で以下の5つの技を使って攻撃し、防御し、反撃する。すべての攻撃は追い技です (Attack with, and defend and counterattack against the following five techniques. Please note, all the attacks are ‘Oi-waza’ and both right and left sides are equally practiced).

① 上段順突き (Jodan jun-zuki)

② 中段順突き (Chudan Jun-zuki)

③ 中段前蹴り蹴上げ (Chudan mae-geri keage)

④ 中段横蹴り蹴込み(Chudan yoko-geri kekomi)

型 (KATA)

A. One of the 平安 (Heian), 鉄騎 (Tekki), 順路 (Junro) or 常行         (Joko);

B. Either 十手 (Jitte) or 半月 (Hangetsu); and 

C. One of the 浅井派松濤館流の古典型 (Asai-Ha Shotokan-Ryu Kotengata).

      © André Bertel. Oita City, Japan (2026)

Renshusei from Szczecin, Poland (Part Three): Brief Summary

 As stated in previous parts, Pawel Karpow Sensei and Arsenij Karpow Sensei—both Sandan (‘Klub Karate Pomerania Szczecin’), —completed eight days of Renshusei here in Oita City, Japan. Today here is a generic summary of their time here in the Dojo as 'trainees'.

To begin I need to say From ‘Klub Karate Pomerania Szczecin’, they practiced each day with great karate spirit and etiquette; furthermore, each day they prepared numerous well thought out questions, which helped me shape each days practice more specifically for them.

Accordingly, they have much new knowledge to take back to their dojo, and Poland.

I will not detail what I taught, that is for them to share; however, I will say that we covered: 

— Traditional 基本 (Kihon);

— The standard 松濤館型 (Shotokan Kata);

— 古典型 (Koten-gata)… Kata handed down directly to the IKS       

     from Asai Shuseki-Shihan;

— The different forms of 組手 (Kumite); and 

— Traditional 応用 (Oyo), the classical practical ‘applications’ of 

     karate)

Outside of the training, we also enjoyed great times together.

I want to wish Pawel Sensei and Arsenij Sensei a pleasant journey home; furthermore, I want to my greetings from IKS Japan to all the members of their dojo in Szczecin.  

押忍！

© André Bertel. Oita City, Japan (2026).

Renshusei from Szczecin, Poland (Part Two): 武道空手の間合い (BUDO KARATE NO MAAI)

One aspect of my karate, which many Renshusei want to study, is 武道空手の間合い (BUDO KARATE NO MAAI); that is, the distancing in Budo Karate.

In the International Karate Shotokan, this MAAI is the only methodology we study.

This applies to:

① 五本組手 and 三本組手 (Gohon Kumite and Sanbon Kumite);

② 基本一本組手 (Kihon Ippon Kumite);

③ 自由一本組手 (Jiyu Ippon Kumite);

④ 返し自由一本組手 (Kaeshi Jiyu Ippon Kumite); and 

⑤ 自由組手 (Jiyu Kumite).

Needless to say, this also applies to all other types of Kumite  drills and partner exercises; however, these constitute the five main forms.

So what exactly is Budo Karate distancing?

It is the correct MAAI to inflect maximum damage with one’s waza.

To reiterate, CONTROL is to arrest the waza without impacting-even though it's in the right range to cause maximum damage. 

This means the hips are fully committed. Accordingly, the control is not fully extending the impacting limb but, rather stopping on, or near the surface of the target.

I need to clarify this.  In Budo Karate “…reaching tagging the opponent is the same as missing them”. There are no arbitrary ‘points’.

In sum, each waza must be executed for ‘full contact’; that is, should you decide to hit with maximum impact, you always can. Anything else is not real karate and has no relationship to Budo/Bujutsu. 

Yes, in dojo kumite and competition don’t harm your training partner/opponent, but every waza must have the capacity to do so—if you do not arrest it. This is BUDO KARATE NO MAAI.

In the IKS (International Karate Shotokan) we do not PLAY KARATE, we practice it as TRADITIONAL BUDO/BUJUTSU. Therefore, our training of MAAI must always be seeking the objective of Ichigeki Hissatsu. Anything less, is not true Karate-Do as it deviates from the origin of the art, which is the original tradition and technical purpose.

To conclude I'd like to thank Pawel Karpow Sensei (3rd Dan) and Arsenij Karpow Sensei (3rd Dan) who are featured in the images of this article.

Again, as the article stated, the maai is optimal for a full power impact; furthermore, the CONTROL is arresting the waza without harming the training partner.

押忍！！

© André Bertel. Oita City, Japan (2026).

中段内受け同時に下段払い

The waza 中段内受け同時に下段払い (Chudan uchi-uke doji ni gedan-barai) is featured 18 times within six of the standard 26 Shotokan Karate Kata.

It is found four times in 平安三段 (Heian Sandan); once in 慈恩 (Jion); three times in 半月 (Hangetsu); four times in 鉄騎三段 (Tekki Sandan); once in 珍手 (Chinte); and five times in 慈陰 (Jiin).


With the exception of Hangetsu in which gedan-uke is Shuto and chudan-uke is Haito, closes fists are utilized. In this way Tekubi, Kentsui, Uraken, and Ganken can be used to impact.


分解 (Bunkai): It a simultaneous chudan uchi-uke (middle-level inside reception) and gedan-uke (lower-level reception). From a double lapel grab simultaneously impact both of the opponents arms with the exact trajectory and form of the uke.


応用 (Oyo): Simultaneously receive the opponents middle or low attack whilst at the same time counterattacking with the other hand/arm.


Also, when applying techniques from kata we must also practice them in combination with other waza. While the oyo might be the waza in isolation, often strung together with other waza makes them more effective. 


For example, movements 11–14 of Chinte Kata: “… impacting with shuto-uke, followed by a mae-geri to the groin, grabbing and impacting with ‘Chudan uchi-uke doji ni gedan-barai’ then applying a guillotine” etcetera.

There are numerous ways to do this technique; however, the way I use comes from Osaka Yoshiharu Sensei, who taught me to launch from the center. In simple terms, he stresses the compression of the chest and expansion of the back, followed by the compression of the back and expansion of the chest. 


This is best achieved by tightly crossing the arms horizontally—and tightly— across the center of the body, then snapping the arms out and forward. It is very important to not only make an outward action but also to project energy forward.

Setting the elbows of both arms is also essential in this action. Depending on the length of one’s arms the distance of the elbows from the torso is between one and two fist widths. Furthermore, both uke must be completed in the correct positions. The gedan-uke must be straight in line with the outside edge of the body. The top of the fist, of the uchi-uke, must be approximately in line with the corresponding shoulder, with the fist angled slightly outward.

I also add to this my late teacher, Master Tetsuhiko Asai's use of JUNANSEI to further maximize speed/snap. While this is in Osaka Sensei's 'ultra precise Shotokan', Asai Sensei's methodology allows for more adaptable actions. Hence, for me, combining these two masters ways is very useful.

Stationary and moving actions: Chudan uchi-uke doji ni gedan-barai is executed: (a) advancing and raising up into into heisoku-dachi; (b) stationary in heisoku-dachi; (c) stepping back into zenkutsu-dachi; (d) turning 180 degrees into hangetsu-dachi; (e) advancing in hangetsu-dachi; (f) stationary in kiba-dachi; (g) stepping rearward with a reversed uke into zenkutsu-dachi; (h) reverse uke in stationary zenkutsu-dachi; (i) reverse uke in stationary kiba-dachi; and (j) turning into kiba-dachi.

To conclude I’d like emphasize that 空手道の基本技 (Karate-Do no Kihon)—the fundamental techniques of Karate-Do are not only the basis of the art, but characterize each kaiha/ryuha.

© André Bertel. Oita City, Japan (2026).

Renshusei from Szczecin, Poland (Part One)

Renshusei from Szczecin, Pawel Karpow Sensei (3rd Dan) and Arsenij Karpow Sensei (3rd Dan) arrived in Japan. 

Whilst here in Oita they will complete eight days of private training (two hours each day), the first of which was completed today. 

Already in the first session, many improvements have been made due to their focused study and well prepared technical questions.

In sum, the Renshusei Training is an instructors class based on the development of technical skill and knowledge: specifically catered for the level and aims of each individual karate.

Accordingly, I look forward to seeing Sensei and Pawel and Arsenij's 'Level Up' in the coming days of Keiko.

押忍!

© André Bertel. Oita City, Japan (2026).

Choku-zuki (Part Three... Five Years, one month and one day later)!

Assisting my late teacher, Asai Tetsuhiko Shuseki-Shihan (10th Dan).

Today I'd like to share a few points about choku-zuki and its training. This article is by no means 'covering everything' about this waza. Nevertheless, it does focus on several aspects I hope both instructors (and all karateka in general) will find useful. I'll begin with a basic introduction then move on to some aspects of training, and, finally some aspects which are often neglected, and/or technically misunderstood. 

Keep in mind, as always on this site, this article is coming from a 武道空手 (BUDO KARATE) PERSPECTIVE. Furthermore, that my style comes directly from Master Asai and the old school JKA-style Shotokan Karate.

直突き (CHOKU-ZUKI: 'straight thrust') also sometimes referred to as the その場突き (sonoba-zuki) is generally the first 突き技 (TSUKI-WAZA) taught in Karate-Do.

Yes, while it is true that choku-zuki is 'isolation practice' of impacting straight, it also an 'applied waza'. This is why it is 

is found in ten of the standard 26 型 (Kata), a total of 26 times. To summarize: Bassai Dai (twice), Kanku Dai (twice), Enpi (five times), Gankaku (twice), Bassai Sho (twice), Unsu (once), Gojushiho Dai (three times), Gojushiho Sho (three times), Jiin (twice) and Tekki Sandan (four times). 

Its foremost practice is from 八字立ち (hachiji-dachi) and 体の武器 (karada no buki) is 正拳 (seiken), which is the ‘fore-fist’ impacting with the knuckle tips of the index and middle fingers.

That being said, it is practiced in many other 立ち方 (tachikata) and with various karada no buki also. 

Insofar as stances are concerned, it is often executed in 騎馬立 (kiba-dachi). Other examples include 平行立ち (Heiko-dachi), 閉足立ち (Heisoku-dachi), 三戦立ち(Sanchin-dachi), 交差立ち (Kosa-dachi), 座湾立ち (Zawan-dachi), etcetera.

And in regards to the karada no buki there are many variations: 縦拳 (tate-ken), 一本拳 (ippon-ken), 中高一本拳 (nakadaka ippon-ken),  四本貫手 (shihon-nukite), 虎口 (koko), 青竜刀(seiryuto), and so on.

In all cases make sure each ‘weapon of the body’ is correctly formed. As an instructor, I advise to be particularly aware of correct wrapping the thumbs with fist formations and correctly bending and placement of the thumbs in open handed weapons.

It is also critical in Budo Karate to know the respective targets for one’s ‘tsuki’ based on 間合い (MAAI) and the karada no buki being applied. The basis of targeting in solo practice is structured around three generic target areas: 中段 (CHUDAN), 上段 (JODAN), and 下段 (GEDAN). Without an opponent or target in front, one references their own body. Chudan is aimed at ones own 水月 (suigetsu, which is the solar-plexus). Jodan at ones own 人中 (jinchu, the phitrum). And Gedan is aimed at the 明星 (the myojo, which is about an inch below the navel).

In 松濤館流 (Shotokan-Ryu) it is important to note that, in basic solo practice—unless otherwise specified—the ‘inside edge’ of the respective karada no buki is directly next to, but does not cross, the 正中線 (seichusen).

While choku-zuki is stationary thrust, it is not only directed to the front, nor with inactive stationary movements. My late mentor, Asai Tetsuhiko Sensei, always also used to teach 斜め突き (naname-zuki—making your ‘tsuki’ diagonally to the front and twisting diagonally to the rear) and 側面突き (sokumen-zuki—making your ‘tsuki’ 90 degrees to the sides.

Furthermore, he stressed practicing choku-zuki with various degrees of 転身 (TENSHIN), which was one of his specialities. This included 九十度回転 (kyujudo-kaiten: 90 degrees rotation), 百八十度回転 (hyakuhachijudo-kaiten: 180 degrees rotation), 

二百七十度回転 (nihyakunanajudo-kaiten: 270 degrees rotation) and 三百六十度回転 (sanbyakurokuju-kaiten: 360 degrees rotation).

Add to, and combine with these actions: 逆回転 (Gyaku-kaiten: ‘reverse rotation’); 寄り足 (Yori-ashi); 蹲踞 (Sonkyo: ‘formalized crouching’; 飛び技 (Tobi-waza: ‘jumping techniques’), etcetera. 

Like all the waza of Karate-Do, it is essential to optimally make full use of ground power and the proper kinetic chain when making your choku-zuki. This means generating power from the floor/ground into your target, or generating power from the your 中丹田 (CHU-TANDEN) simultaneously downward to the floor/ground and to your target. In any case, it is imperative to maximize 踵中心 (Kakato-chushin).

柔軟性 (JUNANSEI or ‘softness’/‘flexibility’) is essential to relax and `snap` your tsuki—as opposed to using muscular tension. This underpins all of Asai-Ha Shotokan-Ryu.

Accordingly, exact 腰の回転 (KOSHI NO KAITEN), 肩を伸ばす (KATA O NOBASU), 腕の捻 (UDE NO HINERI), and 呼吸(KOKYU) must be used—if high level technical skill is to be attained.

In PART FOUR I will talk about the 引き手 (Hiki-te) and the 応用 (practical application) of choku-zuki. 

 

© André Bertel. Oita City, Japan (2026).