It is daily to see around us practitioners who after some years of training reach their desired and recognized black belt. A goal longed for by many that represents the triumph of that career in the Dojo.

How many times do we see these karate fighters abandon their teaching, understanding that they have finished with that color?. However, nothing is further from reality.

At the moment that your Sensei indicates that it is now when the road begins, and that all of the above was a set-up to start it, they change their faces with a state of disappointment that leads the vast majority to surrender. A few words that could be a motivation to overcome and unfortunately on many occasions, a barrier to the individual psychology of each.

Those who persevere in their practice and study, with the right time they get new degrees that will add up. Possibly goals to achieve that satisfy that insatiable self, but in its essence, a natural path to follow that bears fruit in the turns we walk.

Once the Godan is reached, the next step by its nature is a special grade; a degree that opens a new door to mastery and is thus recognized with a difference in the color of his belt.

We are going to deal with this new state, but first we must know a little about the origin to better understand its evolution.

We know that the label in karate is very marked by the experience of the master Gichin Funakosi when he performed in 1917 his frustrated first exhibition at the Butokuden in Kyoto, where he understood that an art should have order, methodology and label. It was the great teacher Jigoro Kano who showed him a system of degrees used in Judo and that later, in 1935 expanded with the colors we know today. This art is where Karate was influenced for its label and graduation system, and this is how over time the range scale has arrived from white to tenth dan.

Although it is true that in Judo they have assimilated the red-white ribbon from 6th to 8th dan, and the red one for 9th and 10th dan, in karate we see that many teachers can carry it or not, and such reason makes us think that showing the officiality of the belt is at the mercy of the individual in question.

But following the thread of the topic to be treated, once they reached the gates of the Rokudan, that color change reflects something else.

We go back to the flag known by the name of Nisshoki (disk shaped sun flag) o Hinomaru (solar disk), that the empire of Japan established in 1870 with white background and red circle in its center. These colors symbolize the sun and the moon. They both represent Yang and Yin, the full and the empty; very special colors in the Japanese mentality.

Before this and based on the same colors, there was one that symbolized the rising sun during the Edo period (1603-1868) and that today they continue to use in their navy as a military flag. There is no doubt the similarity with the Rokudan degree and that we will clarify later.

Nisshoki o Hinomaru

Rising Sun



After seeing these flags, we found that there is a parallelism between the respectful concept towards life (Sun and moon) as a whole within the circle, and the flag that the Ming dynasty used (1368-1644), where the kanjis of these elements coincidentally appeared. A curiosity that moved to Okinawa as a symbol of the Meibukan in Goju Ryu and that Shito Ryu also used in part in its emblem.

Ming dynasty (Sol Luna)

Menbu Kai

Shito Ryu


In the same way, are influenced by Japanese colors and circular shapes, the emblems that Shotokan will later take, the well-known JKA or our well-loved AEKA to name a few examples.






After seen, the change in color from Rokudan is probably also encouraged by the vast period that the black belt has been hanging around our waist since we were Shodan. A period where time has worn its threads and revealed a white background as if we were scratching the painting of a painting, revealing the whiteness of the canvas. It is time to give a relief to this colleague who has accompanied us in thousands of hours of training and on that outcropped white background, capture strokes of red; the color of love and passion for this art; the color of courage and fire; the color of mastery and knowledge.

Red is a highly prized color in Japan. Attract energy and health; that is why healing powers are attributed to it.

The white soothed with red represents honor and perseverance in a long and intense journey where human strength and will have been captured.. A lifetime of learning to form body and mind in a single ME full of values.

Once a karate fighter asked his sensei: "What is the difference between a man of the Do and an insignificant man?”.

Su Sensei replied: “When the insignificant man receives the first Dan, he runs quickly to his house yelling at everyone the fact. After receiving his second Dan, climbs the roof of his house and yells at everyone. By getting the third Dan, he will tour the city telling how many people he meets ”, and continuing his explanation he continued: "A man of the Do who receives his first Dan, he will bow his head in gratitude; after receiving his second Dan, will bow his head and shoulders; and upon reaching the third Dan, will bow to the waist, and in the street, will walk by the wall, to go unnoticed. The bigger the experience, skill and power, greater will also be his prudence and humility. ”

Now that we understand a little better the meaning of red on white, we can imagine the greatness of the AKA OBI, or red belt reserved for deities from the ninth dan.


Daniel Tchey

6º dan RFEK


From well started in our walk along the path of Karate, We learned to relate the KATA concept to the FORM meaning, understanding such definition as a set of pre-established technical movements that carried out in a certain provision, interpret the battle before one or more imaginary opponents.

This definition, not lacking in truth, offers an a priori interpretation that can satisfy the curiosity of the initiate. Sin embargo, KATA is a concept whose breadth can be transposed into various experiences of our day to day.

KATA is order. We have commented on the preset movements. So is, since improvisation is not contemplated in traditional Japanese culture. This is the order that we can glimpse, without looking away at the beauty that the same procedure and its established ordination entail.

KATA is feeling. Expressing with our actions what we internalize is to open the door of the internal self so that others can enjoy what has developed in the mind and heart of the executor.

KATA is good to do. Mixing order and feeling results in a beautiful work, at least that will be the intention of the maker; show something good that borders on excellence. Try to turn the mundane into art; ordinary.

We could add multiple definitions that reinforce the idea that I want to express, However, I think these are sufficient to understand the direction the text intends to take..

Based on the exposed references, we could well extrapolate the KATA to other arts that come to mind and that I will slightly list some as examples:

IKEBANA (flower arrangement art), where an ascending direction of its flowers and branches is looked for while they are grouped in 3 sets (heaven, earth and man) forming a scalene triangle; a ceremony performed in the strictest silence.

HIAKU (poetry art), composed of poems by 17 syllables ordered in 3 verses of 5, 7 y 5 syllables respectively that refer to a season of the year.

SHODO (calligraphy art), practiced with a brush, an inkwell and ink bar with great precision required to write in a pre-established order on each stroke.

HOW MUCH DO YOU WANT (tea ceremony) that not only takes care of the selection of a certain kind of tea, it encompasses knowledge of appropriate gestures and postures, traditional costume, frases que se deben utilizar o forma apropiada para hacer y tomar el té, añadiendo para purificar, agua en el camino que conduce al lugar de celebración donde seguidamente se entrará de rodillas. Todo envuelto en un entrono tranquilo que facilite el espíritu de la ceremonia para unificar los 5 elementos: el metal de la tetera, la madera del carbón, la tierra de la cerámica, el fuego que calienta al agua como último elemento convertido en el objetivo final.

KYUDO (arte del tiro con arco). Presta especial atención a cada momento y cada gesto, desde el material con el que está confeccionado el arco y la flecha, hasta el modo de respiración necesario. Todo ello consecuencia de un repertorio de ejercicios mentales que desembocan en los últimos 8 pasos actuantes: abrir piernas, fijar postura, fijar flecha, elevar arco, estirar cuerda, fijar objetivo, soltar flecha y postura final.

Es indudable que los ejemplos expuestos tratan de ceremonias. Todas ellas y muchas más, son ejemplos de KATAS y tienen comunes denominadores donde la concentración integra el cuerpo con la mente, de forma que la consciencia del YO observador, ese YO que busca la perfección y el cómo, se abstraiga para dejar paso al vacío, despojándose del fin en favor de alcanzar la no-consciencia. Dejar de ser dos objetos opuestos para fundirse en una única realidad. Es así como el buen karateca se convierte en KATA. Es así como el florista se convierte en centro floral, el poeta en poesía, el calígrafo en kanji, la anfitriona en té o el arquero en blanco. Un ejercicio más bien espiritual que físico.

Sin embargo, no es del imperio del sol naciente la exclusividad del KATA tal como lo hemos presentado. Lo tenemos alrededor nuestro y seremos nosotros mismos quienes tendremos la opción de transformar lo cotidiano en arte, lo informal en solemnidad, lo habitual en extraordinario.

Por poner un ejemplo aclaratorio, el proceso de levantarse por la mañana hasta que salimos de casa para dirigirnos al trabajo, bien podría considerarse una ejecución de KATA si cada día realizamos las mismas pautas y con el mismo proceder: levantarnos, afeitarnos, ducharnos, vestirnos, desayunar, coger las llaves y portafolios, salir de casa.

Cambiando de tercio, hablo ahora en primera persona por expresar mis propias vivencias y emociones, y equiparar aquí el concepto KATA que tanto he ingerido en mi vida como karateca, con otras facetas de las que plenamente disfruto.

He nacido en Valencia, y a mis 53 años continúo amando mi tierra, su olor de azahar y luz mediterránea. Amo sus costumbres y tradiciones, y sin intención alguna de frivolizar, la paella. Hasta tal punto que un día decidí aprender el modo de hacer una paella tradicional a leña. Dicen, que en el mundo de las paellas, es la más complicada de realizar y fue ese un reto que me invitó a gestar esta empresa.

Para iniciar un KATA (me refiero ahora al arte del Karate), se debe serenar el alma, pues de ello dependerán los movimientos y técnicas que se realicen a continuación, los cuales expresarán a ojo del buen entendedor, tu estado de ánimo. El inicio de la paella requiere afrontar con serenidad la responsabilidad de contentar a los comensales con paladares exquisitos, y será necesario calmar tu interior para proceder a la acción.

La etiqueta es fundamental. Arréglate bien el karategi, tu obi deberá presentar un correcto anudado, tus cabellos limpios y bien peinados, tus manos y pies en perfecto aseo. Así procederemos con el recipiente metálico, limpio, equilibrado y sudado en aceite de oliva, troceada la carne y verdura en tamaños idóneos para su cocción, tomate fresco en pulpa rallado, arroz especialagua calcárea en proporción 4 a 1 respecto al arroz, delantal culinario planchado, útiles y leña colocados en adecuado lugar.

Entramos en el tatami y con solemnidad nos colocamos en espacio correcto para no interrumpir el embusen; en musubi dachi realizaremos el saludo inicial. El aceite de oliva sobre el recipiente a dos tercios de la orilla. Salpicar el borde con sal para evitar quemar el recipiente. La leña estará dispuesta. Las cortas que prendan fácil, debajo, y sobre ellas alguna de naranjo más gruesa de la que obtengamos un fuego uniforme. Comienza a arder y el aceite a calentar.

Iniciamos los primeros movimientos, las primeras técnicas, unas pausadas con suaves ritmos respiratorios, como el lento y paciente sofrito de carne; verduras que acompasan después; tomate y pimentón que doran el espectáculo. Otras vivaces, con potentes desplazamientos y explosividad sin parangón que nos llevarán al kiai y podremos liberar tensión que aportará un momento de desahogo. Es la hora de cambiar de llama. Introducir maderos de fácil combustión que eleven la temperatura, que hagan gritar los elementos introducidos para sacarles su ki. Y entonces el agua vendrá y acallará esos sonidos de efusión para volver a la paz.

Pero el KATA continúa, y después del corto pero intenso kiai, viene otra avalancha de técnicas. El fuego se aviva y el agua comienza a bullir. La verdura salta y el azafrán se une a la fiesta.

Nuevos ritmos en el KATA obligan a bajar intensidad, moderar movimientos y así se reduce el nivel del agua mientras mezclan sus sabores los presentes del caldero.

Medimos bien nuestras fuerzas para que la ejecución no decaiga en su transcurso y calculamos simultáneamente el agua restante dejando evaporar solamente una cuarta parte de la introducida.

Llega el momento crucial. Todo puede venirse abajo con un simple desequilibrio: el salto. Si es prematuro, queda fuera de compás; si se ralentiza, pierde vivencia. Es la hora de introducir el arroz, que gracias al cálculo anterior, será en el momento donde falten dieciocho minutos para el consumo total del líquido restante. Antes quedará un grano pasado; después, crudo.

Por fin parece que lo más complicado ha pasado. El salto salió bien equilibrado y técnicamente correcto. No por ello la relajación debe hacer aparición. El arroz está en su sitio, pero deberemos ser vigilantes con el fuego que deberá dar tal poder calorífico para adecuar la llama en los primeros diez minutos y retirarla con suavidad y hacia los bordes en los últimos ocho.

Llegamos al final de nuestro ejercicio. Todo dentro de un orden y atención continua. Solo nos queda volver al inicio, saludar y cerrar así el inicial círculo abierto. Retiraremos del fuego la paella para dejarla reposar unos minutos y asentar mejor el grano.

Toda esta ceremonia, KATA y paella, parece haberse desarrollado de forma sistemática y normativizada. Sin embargo, en cada uno de los pasos mentados, en cada acción ejecutada, la inspiración de ese momento será junto con nuestro espíritu, las directrices que habrán obrado para tal magna ejecución, de forma que karateca y KATA sean uno; cocinero y paella, igual cosa.

Y de este modo, saldremos del tatami con la misma solemnidad y satisfacción que presentaremos nuestro plato a los llamados a la mesa.

Ahora queda disfrutar de esa sensación de haber hecho bien las cosas.

Este es mi KATA en Valencia. ¿Cuál es el tuyo?.


Daniel Tchey

6º dan RFEK.

Examen Rokudan Daniel Tchey

Presentation of the practical exercise based on the bunkai of Sochin applied to a third person with physical inferiority, following the line of the submitted thesis and alluding to the concept of protection.

By Daniel TCHEY for obtaining the 6th dan through the National Court Judges of the Royal Spanish Federation of Karate.

Held in Cheste 14 December 2019. Assistants: Benita Alvaro and Alma TCHEY.

Descargar Tesina Rokudan:  Descargar

graphic development of the practical exercise:




time ago, where a person's life was hanging by a moment, where every day could be the last, which it was daily assaults, conflicts and wars, KARATE was used as a self defense system to have any choice between life and death.

Over the years, society has evolved and circumstances around us have ceased to be so violent. KARATE evolved in parallel, adapting to the current needs of society and wanted to add the suffix DO represent the way, The Guide, a way of life.

This is how the KARATE, martial art used to stay alive, It becomes a martial art that adds ethical and moral values; that seeks to conduct its practitioners and an improvement in the formation of character.

This suffix means so many things that would be impossible to list them all without letting any in the pipeline.

Of all, I have one in particular predilection for highlighting. A concept which marks the line between the KARATE and KARATE-DO. I mean FORGIVENESS.

KARATE not fit in forgiveness, because it depends on giving a second chance to your enemy. It depends on your life and your family. Forgiving was synonymous with weakness and in these troubled times, They could not have frailties.

Hoy día, Karatedo teaches us to respect, to be better people, to commit ...

Forgiveness is not forgetting, but give a second chance to our neighbor, who see a gesture of humility and humanity on our part. It is to show that in life we ​​all make mistakes and we must not sentence. We are not judges; we are not executioners. We are partners of a walk together, must help the needy and who errs in his actions.

Who forgives enlarges your heart and that makes him grow as a person.

Forgiveness is turn the page to start over. It is restore life.


Autor: sensei Daniel Tchey Descargar


4th goshin give Javier Lazarus

Exercise Personal Defense Javier Lazaro prepared for consideration 4th dan. weekly: Catalan and Carlos Fernando Moltó.

Enpi Bunkai by Javier Lazaro

A personal vision of bunkai of Enpi by Javier Lazaro.

Team Kata synchronization exercise,es

Un ejercicio basado en realizar una serie de técnicas preestablecidas frente a un compañero. Uno las realiza a máxima velocidad y el otro debe ejercitar su reacción visual y ejecutarla con la mayor rapidez para llegar ambos a la vez.

Autores: Carlos Moltó realiza el inicio de la técnica y Daniel Tchey debe reaccionar al mismo tiempo.

Renzoku Waza,ja

Goshin 4º dan

Goshin work created by sensei Daniel TCHEY

Nijushiho Bunkai no Tchey

Bunkai created by sensei Daniel TCHEY