Back to the roots of karate in Okinawa. This report shows the original and pure Karate styles in the presence of Okinawa with their heritage. A human body becomes the ultimate destructive weapon with its mysterious divine techniques. Karate is a martial art far beyond your imagination. It can only be mastered with years of continuation and practice to reach the state of true self-consciousness.
Okinawa Karate: Volume 1
Okinawa Karate: Volume 2
Motobu Chōki (1870 – 1944) was an Okinawan karate master and founder of Motobu-Ryu. He was born into a branch of the Ryukyuan royal family, and at the age of 12, he and his older brother Motobu Chōyū invited Ankō Itosu to learn karate. Chōyū was also a noted martial artist.
Motobu also studied karate under Sakuma, Matsumura Sōkon, and Kōsaku Matsumora. He excelled especially in kumite and was already known throughout Okinawa in his twenties. As he grew up, he came to be regarded as the best in Okinawa in terms of practical karate techniques. He is reported to have been very agile, which gained him the nickname Motobu no Saru (“Motobu the Monkey”). He distanced himself from the modernization trend in karate, focusing only on kata Naihanchi and concentrating on kumite practice.
Find more information about the basic kata Naihanchi-Tekki of Motobu-Ryu.
Kamae is in the heart, not a physical manifestation.
Everything is natural, and changing.
One does not have to take care to block every single attack by an oppenent with weak stricking power.
One must develop the ability to deflect an attack even from behind.
In a real confrontation, more than anything else one should strike to the face first, as this is the most effective.
Karate is Sente (Here, sente means the initiative, or the first move; Karate ni Sente Nashi – there is no first move in karate).
The position of the legs and hips in Naifuanchin no Kata (Naihanchi/Tekki) is the basics of karate.
Twisting to the left or right from the Naifuanchin stance will give you the stance used in a real confrontation. Twisting ones way of thinking about Naifuanchin left and right, the various meanings in each movement of the kata will also becom clear.
One must always try and block the attack at its soure (i.e. block not the attacking hand, but deeper on the arm).
The blocking hand must be able to become the attacking hand in an instant. Blocking with one hand then countering with the other is not true bujutsu. Real bujutsu presses forward and blocks and counters in the same motion.
One cannot use continuous attacks against true karate. That is because the blocks of true karate make it impossible for the oppenent to launch a second attack.
I still do not yet know the best way to punch the makiwara (note: this statement was made when Choki was over 60!).
It’s interestin, but when I just think about performing a kata, when I’m seated, I break a sweat.
When punching to the face, one must thrust as if punching through to the back of the head.
When fighting a boxer, it is better to go with his flow, and take up a rhythm with both of your hands.
It is necessary to drink alcohol and pursue other fun human activities. The art (i.e. karate) of someone who is too serious has no “flavor”.
It is OK to take two steps forward or back in the same kamae, but over three steps, one must change the position (facing) of their guard.
When I fought the foreign boxer in Kyoto, he was taller then me so I jumped up and punched him in the face. This is effective against people wo are taller than you.
I started having real fights at TsuJi when I was young, and fought over 100 of them, but I was never hit in the face.
Bassai translates as “destroy the wall” or “storm the fortress”. Accordingly, the kata should also be performed powerfully. It is said to have been created by Matsumura Sōkon and can be traced back to the Okinawan Tōde-Katas. It is believed that it was taught in its original form by Chinese masters as early as the late 13th century and came to Okinawa as a result of trade relations. Today it is no longer possible to determine how far today’s Bassai Dai still corresponds to its ancient origin.
Bassai Dai belongs to the group of Shorin kata, whose training focus, in addition to the techniques to be executed, is to train the karateka’s speed. The main characteristic of the kata is that the individual techniques are performed very quickly and powerfully. It contains many defensive block and leverage techniques and comparatively few leg techniques. With about 40 individual techniques, Bassai Dai is one of the longer katas. Therefore, it is one of the katas that are very often performed both in Dōjō and in kata competitions.
“In karate, hitting, thrusting, and kicking are not the only methods, throwing techniques and pressure against joints are included … all these techniques should be studied referring to basic kata”
gichin Funakoshi
Find more content about Bassai Dai here.
Mixed martial arts champion Erik Paulson from @CSWAssociation tests ancient Karate techniques from Okinawa. These bunkai (kata applications) are found in Bubishi – the Bible of Karate.
What is MMA?
MMA stands for Mixed Martial Arts and is a full-contact combat sport that combines techniques from various martial arts and combat sports. MMA allows a variety of techniques from boxing, kickboxing, Muay Thai, wrestling, jiu-jitsu, judo and karate to be effective both in standing combat and on the ground.
Prohibited techniques in MMA include attacks to the back of the head, spine, eyes and genitals, kicks or punches to the head of an opponent lying on the ground, headbutts, biting, hair pulling and unsportsmanlike behaviour such as holding on to the cage.
Further applications and examples of self-defence can be found here under the heading Bunkai Videos.
“Winning Kumite” is a karate training video showcasing practical and innovative techniques from South African team coach Keith Geyer.
This video was created to help prepare for the 2000 8th World Shoto Cup in Japan. It follows team member Johan La Grange, who made it to the kumite final. Keith Geyer has represented South Africa internationally for 14 years and has won the South African kumite championship six times. The training techniques in this video are useful for karate practitioners of all styles who want to improve their kumite skills (Source: JKA SKA Australasia www.jka-skc-australasia.com.au).
Meitatsu Yagi sensei, International Meibu-Kan Gojyu-Ryu Karate-Do Association.
Master Meitatsu Yagi shows how effective karate techniques can be applied. Everything is based on the best possible efficiency, between technique, power and intuition.
The goal is to use as little energy as possible and with simple and targeted movements to incapacitate the opponent. Because there is never a second chance to correct a mistake.
In simplicity lies success, if you look behind the technique.
André Bertel is a prominent figure in the world of traditional Shotokan karate. Known for his dedication to the teachings of Master Tetsuhiko Asai, Bertel has achieved international recognition for his technical expertise and deep understanding of karate principles. He holds a high Dan rank and is often sought after for seminars and workshops worldwide. His approach to karate emphasizes precision, fluidity, and the integration of traditional techniques with modern training methodologies. Bertel’s contributions to the martial art continue to inspire karate practitioners globally, maintaining the legacy of his mentor while advancing the practice of Shotokan karate.
Kime (Focus)
Maximize power at the moment of impact.
Hara (Center of Gravity)
Use core muscles for balance and stability.
Kinetic Chain
Coordinate body parts to generate power.
Proper Breathing
Exhale sharply at impact for energy focus.
Oizuki (Lunge Punch)
Drive from the back foot, rotate hips, snap punch.
Mae Geri (Front Kick)
Thrust hip forward, snap kick, retract quickly.
Gyaku Zuki (Reverse Punch)
Rotate hips/shoulders, back heel grounded, punch.
Mawashi Geri (Roundhouse Kick)
Pivot, swing leg using hips, contact with instep/ball.
Age Uke (Rising Block)
Step forward, drive arm up with body momentum.
Stance and Footwork
Stable stances and precise footwork.
Hip Rotation
Use hips to add power.
Relaxation and Tension
Relax before impact, tense at contact.
Visualization
Visualize target and technique path.
From the archive: Martial Arts Gala 1994 of the “Kampfsportschule Aarau”.
Karate demonstration by Dieter Lüscher and Sivathana Samedy. This gala was organized by the Aarau Martial Arts School. 2500 spectators were present in the packed Aarau hall.
You can find more videos of this type under “Demonstration Videos“.
The Heian (peaceful mind) kata are derived from the older Okinawan Pinan kata (which also means peaceful or calm mind). Sensei Gichin Funakoshi changed the name of these and many other Shotokan kata when he took karate to Japan in the early 1920s in a bid to make them more accessible to a Japanese consumer base. An interesting karate history fact is that the kata we know today as Heian Nidan was originally the first of the Heian kata until in the 1930s, Funakoshi switched Nidan with Shodan. Some styles still practice it the original way around though what Shotokan karate calls Heian Shodan is arguably a lot easier than Nidan, which is probably why they were switched in the first place.
Tatsuya Naka demonstrates the shotokan heian (pinan) katas with his personal bunkai explanations.
They are practiced and seemingly designed so that students can learn increasingly difficult techniques as they progress in the art of karate and they were developed by Okinawan Master Anko Itosu at the turn of the twentieth century. However, the Heian kata probably have their origins in much older forms from China known as Channan or Kushanku (Kanku Sho and Dai may also originate from these kata). Legend has it that Master Itosu (or perhaps an older teacher, Tode Sakugawa) learned a kata called ‘Chiang Nan’(pronounced Channan in Japanese) from a Chinese diplomat and Kung Fu expert who lived in Okinawa called Kung Hsiang Chun. Though the original kata is lost, it is believed that it was very long so Itosu divided it into five as they would be easier to learn.
Another theory is that Itosu, who took the previously secretive martial art into the schools in Okinawa, found that children had difficulty learning kata so he devised the Pinan kata group to aid this. It is believed by some that he took moves from the Bassai and the Kanku sets in particular and arranged them so they gradually got more difficult through the various Pinan kata.
Learn what pioneers like Funakoshi Gichin, Mabuni Kenwa and Motobu Choki thought about the practical applications of karate kata, bunkai, throws and joint locks. Their words paint a picture very different from modern sports Karate.
We must avoid treating Karate as a sport. Your fingers and toes must be like arrows, your arms must be like iron. If you kick, try to kick the enemy dead. If you punch, punch to kill. This is the spirit you need to progress in karate.
Chibana Chōshin (1885-1969)
Once a kata has been learned, it must be practiced repeatedly until it can be applied in an emergency. Knowledge or just the sequence of a form in karate is useless.
Gichin Funakoshi (1868-1957)
We should open karate to the public and receive criticism, opinions and studies from other prominent fighting artists.
Chojun Miyagi (1888-1953)
The techniques of kata have their limits and were never intended to be used against an opponent in the arena or battlefield.
Choki Motobu (1870-1944)
The karate that has spread to Tokyo is incomplete. Those who believe that karate consists only kicks and punches, and think throws and joint locks are exclusive to judo or jujutsu, have been misinformed. We should have an open mind and strive to study the complete art.
Kenwa Mabuni (1889-1952)
My old ways of karate was not accepted by everyone. Maybe my training methods were too hard or severe. Whatever it was, it was the way I learned and thaught. It was only later, when the Americans came, that I changed my ways.
Hohan Sōken (1889-1982)
There is no place in karate for differen styles, I’ve heard myself and colleagues refferred to as the “Shotokan” school, but I strongly object this attempt at classification. My belief is that all styles should be amalgamated into one, so karate my orderly progress into man’s future.
Gichin Funakoshi (1868-1957)
It is necessary to drink alcohol and pursue other fun human activities. The karate of someone who is too serious has no flavor.
Choki Motobu (1870-1944)
Kata must be practised diligently, but you must not be constrained by them. You must withdraw from the kata to produce forms with no limits, or else it becomes useless.
Hironori Otsuka (1892-1982)
Karate does not have any styles. It molds an individual to be the object of defense or offense and, through this process, karate teaches you the fundamental concept of self protection.
Kanken Toyama (1888-1966)
A kata is not fixed or immoveable. Like water, it’s ever changing and fits itself to the shape of the vessel containing it. However, kata is not some kind of beautiful competitive dance, but a grand matrial art of self-defense, which determines life and death.
Kenwa Mabuni (1889-1952)
Karate was never meant to be used against a single opponent. Rather, it’s a method of avoiding injury by using the hands and feet, should one happen to be confronted by a vilian or a thug.
Anko Itosu (1831-1915)
You may train for a long time, but if you merely move your limbs and jump around like a puppet, learning karate is not very different from learning a dance. You will never have reached the heart of the matter; you will have failed to grasp the quintessence of Karate.
Gichin Funakoshi (1868-1957)
Nothing is more harmful to the world than a martial art that is not effective in actual self-defense.
Choki Motobu (1870-1944)
Karate has no philosophy. Some people think it came from the Buddhism and has a connection with the space and universe, but I don’t belive in that. My philosophy is to knock my opponent out with a single blow!
Mikio Yahara (1947)
Do not fall into the trap of thinking that just because a kata begins to the left, the opponents ist attacking form the left.
Kenwa Mabuni (1889-1952)
In the past, roughly three years were required to learn a single kata, and usually an expert of considerable skill would only know three, or at most five katas.
Gichin Funakoshi (1868-1957)
Techniques should not be practised merely so they can be performed in a kata. Since karate is a fighting art, each technique has its meaning. You must consider their meaning, how and why they are effective, and practise accordingly.
shigeru egami (1912-1981)
Many karate instructors today teach a watered down style – no hip and shallow punching. It’s easy to say that these teachers have no dept to their knowledge.
Yuchoku Higa (1910-1994)
There are many kinds of postures in karate. While learning these postures should not be totally ignored, we must be careful not to overlook that they are just forms or templates. It is the function of their application which needs to be mastered.
Choki Motobu (1870-1944)
Punching, striking and kicking are not the only methods in karate. Throwing techniques and submissions holds are included. All these techniques should be studied in basic kata.
Gichin Funakoshi (1868-1957)
Regardless of how many kata you know, if your training is inadequate they will be useless.
Kenwa Mabuni (1889-1952)
In Gichin Funakoshi’s book “Karate-do Kyohan”, as translated and edited by Tsutomo Ohshima, there are nine throws drawn from Shotokan kata.
Karate with Lionel Froidure – practical applications. In karate, or any other martial art, you can intervene in several different phases. In karate, these are called: go no sen, tai no sen and sen no sen.
Karate with Lionel Froidure online https://www.lionelfroidure.com/
He attacks Oi Zuki, I block and strike after his attack. I absorb his movement, strike and come back out. We could also do a Go No Sen by pivoting, striking and coming out. It’s still a go no sen. I intervene after the strike. He throws, I block and strike. So it’s in 2 steps.
Tai No Sen, it’s the body that moves, the 2 bodies move at the same time. When he attacks, I also attack at the same time, but I step out of his line of attack. I’m in a form where the 2 bodies move, I pivot but attack at the same time. There’s no longer any blocking, just an exit.
I must return during the attack. I attack his attack. I have to have a perfect reading to be able to leave at the slightest fault he makes. As soon as he starts to move, I intervene. Even with just peripheral vision, you can do it. As soon as you see something moving, you attack. You have to be under power to move instantly. If you’re behind, you can’t get away. You must attack his attack: Sen No Sen.
In the last sensation, we’re more in a self situation, for example. He’ll think about attacking me. He pushes me and the situation escalates. The attack is imminent. Instead of letting him attack me, I attack first. I attack his intention. I attack before he launches his attack. It’s Sensen No Sen. I attack not an attack, but his intention to attack. I intervene even earlier in time.
So before he attacks, it’s Sensen No Sen. When I attack his attack, it’s Sen No Sen. Tai No Sen, I take out the body. Go No Sen, I absorb, block and strike.