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| To supplement this article, the images are from my self-training today: January 27th, 2026. |
What is a common and important weakness in westerners Kihon?
Before reading on, please keep in mind that this article is from a ‘positive perspective’; that is, not to bash western karate practitioners but, rather, to encourage the further lifting of technical standards. The information I’m about to present is ‘basic knowledge' here in Japan—amongst senior Japanese instructors (in all of the 'traditional styles')—for ‘physically understanding’ higher level karate movement and optimal application.
With these points in mind, I hope that this article will assist in this process and encourage deeper inquisition into traditional Japanese Budo Karate.
So, let’s begin!
Before reading on, please keep in mind that this article is from a ‘positive perspective’; that is, not to bash western karate practitioners but, rather, to encourage the further lifting of technical standards. The information I’m about to present is ‘basic knowledge' here in Japan—amongst senior Japanese instructors (in all of the 'traditional styles')—for ‘physically understanding’ higher level karate movement and optimal application.
With these points in mind, I hope that this article will assist in this process and encourage deeper inquisition into traditional Japanese Budo Karate.
So, let’s begin!
A weakness for many karateka, which seriously limits their technical development, is not properly applying ‘the two-tiered approach’ in Kihon practice. Please allow me to expand on this point.
Each kihonwaza in Karatedo, and in Budo in general, has two forms: firstly, the standard form—that is, the precisely prescribed version; and, secondly, the specificly modified version—which utilizes ‘the standard form’ as a baseline, and is then optimally customized for the individual.
Before I explain this, I need to point out that an elite-level karateka needs both.
Now, from the baseline of standard technical form, which must be solidly mastered—the actual meaning of attaining the Shodan, one needs to alter each waza so it is optimal for oneself.
This includes tachikata, unsoku, uke, tsuki, keri, uchi, nagewaza, katamewaza, shimewaza, and so forth.
The specifically modified version of techniques is precisely why different masters appear different. This is due to differing physiques, strengths and weaknesses, etcetera.
For example, many people think that the certain way different Japanese karate experts is like some sort of karate gospel. What’s problematic for people’s technical development is when they ‘teach their modifications’ as ‘the only way’ or ‘the best way’. Another problem is when instructors restrict their students—above Shodan—from anything away from the standard form. Unfortunately, this is very common in many organizations.
This robotic, and ultimately, dogmatic approach to Kihon has particularly disadvantaged western karateka.
Consider a kihonwaza like jodan age-uke and think of couple of Shotokan legends. For example, my late mentor, Asai Tetsuhiko Sensei, and say, the late instructor, Enoeda Keinosuke Sensei.
Both men were born in same year; both lived and trained at Takushoku Daigaku; were primarily students of Nakayama Masatoshi Sensei; both did and graduated the JKA instructors' course together; both were both JKA Japan champions in the 1960s; both sent abroad to spread Shotokan karate; and both dedicated their lives to karate…
Yet their Kihon was very different. Why?
The answer is different body types, and different physical attributes such a speed, power and flexibility.
Asai Sensei was small but had disproportionately long reach for his stature. He was super-fast and highly elusive, and unbelievably flexible. But he lacked mass and muscular power.
Enoeda Sensei on the other hand was, compared to most Japanese men of his generation, a big relatively built fella, and was very extremely strong. He was also quick and flexible.
Clearly, these two contemporaries naturally moved in different ways; hence, their Kihon was different. Yes, both understood and had perfected ‘standard classical kihon’. Indeed, from this base, they adjusted their form for maximum effect.
Think of ukewaza at the beginning of one's karate life. The classical standard for jodan age-uke, gedan-barai and the three common chudan-uke (soto, uchi and shuto-uke) is one fist-width. Age-uke, the wrist is one fist-width from the head, and the other four waza, the elbow is one fist-width from the torso.
When progressing in kyu one solidly perfects such set points. However, after attaining sufficient skill in the fundamental techniques, again—which is the benchmark to attaining Shodan—to maximize defensive and offensive actions, one must seek optimally optimally effective Kihon.
Quite simple, the difference between karate master's is what makes them masterful. Moreover, it’s natural and it is the traditional way.
Many karateka do not understand this point, and resultingly, greatly limit their karate skill.
This particularly is bad when people merely copy external actions as opposed to understanding what they are doing, and why are they doing it, then seeking optimal effectiveness with this in mind.
In sum, as a professional instructor I often find that people’s Kihon is more of a visual art, or athletic performance, as opposed to budo or bujutsu.
To use another example of a legend, I’ve seen many karateka externally copy Tanaka Masahiko Sensei’s kizami-geri. Often, they appear sharp, nonetheless, they merely possess the motion. Just by imitating the kick, one has not mastered it by any means. Yes, we need sharpness, but we also need, what I call ‘adaptive reliability’; that is to be able make the technique cause maximum damage, in any circumstances. This means reliable effective application against a non-compliant opponent or opponents.
Needless to say, making a technique one’s Tokui waza is a massive understating. This again highlights the importance of the two forms of Kihon.
After Shodan, beware of instructors who proclaim ‘one way’ for any waza. Such ‘tunnel view’ teaching has nothing to with real combat arts. Rather, it is a control method, which is not traditional. Such standardization after Shodan opposes the critical element of making techniques work for oneself.
To reiterate, the two-tiered approach in Kihon practice, only applies to those at Shodan and above.
Much like the kata passed down from Asai Sensei, first must have a strong base in the standard Shotokan kata; in particular, Heian, Tekki and at least one of the Senteigata.
Likewise, effective jiyu kumite requires a strong base in the various forms of yakusoku kumite. Keep in mind Nakayama Sensei’s words. He stated, “No matter how much something resembles karate, without kime, it is a mere imitation”.
Keep in mind, kihon and kata are for kumite; that is jissen-kumite. And Jissen-kumite for those who follow Karate-Do, is based on Funakoshi Gichin Sensei’s maxim: “Karatedo ni Sente Nashi”. There is no first attack in karatedo, thus, karate is only used for self-defense.
Self-defense is not merely a term, it can mean life or death, being seriously maimed, and legal implications. Therefore, it must not be treated lightly.
This is why our Kihon must be developed to be as effective as possible, which after Shodan intrinsically requires specific modifications to the standard base form.
I’d like to conclude my answer to this question by stressing the importance of Ichigeki-Hissatsu in budo karate. Many misunderstand this concept. The idea to kill the opponent with a single blow comes from Bushido, in particular, Nihon kenjutsu. We can still see this concept most vividly in contemporary Iaido.
In budo karate, to maximize our development, we must constantly aim to finish the opponent in each action. Aiming to achieve a killing blow at all times allows us to maximize seeking increase explosiveness, impact power, timing, distancing, adaptability and precision. Overall, without the constant aim of Ichigeki Hissatsu, we reduce our karate to a mere sport, where mediocrity is the norm, and achieving one’s maximum potential will be unattainable.
Taken as a whole, the two tiers of kihon and ichigeki hissatsu are critical aspects underpinning authentic budo karate. This is the Kihon and Shotokan karate we inherited from Asai Tetsuhiko Sensei and, indeed, the other students of Funakoshi Sensei and Nakayama Sensei.
押忍
アンドレ バーテル
