ISKF KARATE-DO IN BC I've taken on this book to give the members of ISKFBC my point of view of Karate as I see it after 37 years of training and over 30 years as a student of Sensei Y. Yaguchi, one of the most senior Karate-ka alive and teaching today. I thank you in advance for forgiving any errors or omissions. Joe Dixon Technical Director ISKFBC of Canada
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For ISKFBC members and anyone with an interest in ISKF Shotokan Karate-do.
2 Foreword It is my pleasure to introduce this important work by Sensei Joe Dixon. He has researched, collected and organized a comprehensive body of work that captures the history of Shotokan karate and its introduction to British Columbia, Canada. In a style that is engaging, Sensei Dixon relates history and human interest stories that explain how Shotokan karate, the ISKF, and ultimately ISKF B.C. has grown into an organization of major import in Canada and around the world. His support and dedication to the ISKF and both Master Okazaki and Master Yaguchi has never wavered. Sensei Dixon’s account of the spread of martial arts throughout the world and around the province is substantiated by his own travels throughout B.C. to spread the technical principles to B.C. branch dojos. His headquarters dojo in Port Moody has hosted many seminars, examinations, and Instructor classes, when the ISKF Masters travel through Canada. His friendly and inclusive personality makes training and visiting his dojo a memorable event. Sensei Dixon’s book will ensure that the history of ISKF Karate in B.C. is recorded and available to everyone
Sensei Cathy Cline 8th Dan Chief instructor, ISKF North West region Member of ISKF technical committee
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The M aster s Shi han G. F un akoshi Shi han T . Okazaki Shi han Y. Ya guchi Pictur e cour tesy of Sensei Tony and D ann y Tam
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Sensei Yaguchi and myself , gr adi ng at Por t M oody, B.C. Doj o
"I have learned more about Karate since I turned 70, then in all the time before." Shihan Y. Yaguchi
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The more I learn, and the more I understand, the more I realize I'm just beginning Joe Dixon I thank my students for teaching me, and a special thanks to my Sempai, Sensei Cathy Cline for her years of pushing me, and her help within this book. Oss! Special thanks must go out to Patricia Schick, a student and friend. She has taken the time to edit this book, and as a school teacher found an unlimited number of grammatical errors. Thanks for your time and effort and may this book help you with your own instructor training.
6 Karate history of Joe Dixon I began training in Karate in 1976, in the town of Mackenzie, in northern BC. I had just left the Navy and taken a job up there. My wife went down and joined the newly started Karate club taught by Sensei Jim Hamilton from Prince George. His style was Wado ryu, and at this time He was a Sandan. He or his senior student, Sempia John Hallam, came to Mackenzie twice a week. This was a drive of 250 miles return, so they were very dedicated instructors. I went down to the Dojo one day to pick up my wife and watched as Sensei Hamilton did roundhouse kicks to the cement walls. The whole building would ring with each kick. I immediately knew this was for me even at the old age of 29. I joined up at the next class and found out how difficult it was to do Karate and smoke two packs of cigarettes a day. After being repeatedly sick at each class both my wife and I quit smoking. I have never smoked since, so perhaps Karate has already saved my life. After training in Mackenzie for about 8 months I moved to Coquitlam and joined the Shotokan club in Port Moody in October 1977. Sensei Gary Johnson was running a part time club out of Coronation school on Mondays and Wednesdays plus another club out of Surrey on Tuesdays Thursdays. Iand trained every class in Port Moody and tried to make as many as I could in Surrey. In 1979 Sensei Johnson started up another club in Maple Ridge and I went out there as His assistant. At this time I was a purple belt and we had just joined the JKA under Sensei Nishiyama. I graded up to 1st Kyu under His training.
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In 1983 we joined the ISKF and Karate completely changed for me. I was the first Black belt graded by Sensei Yaguchi in BC. We went down to Denver camp that year and I watched in amazement at the Black belts. They were years ahead of us, and I knew that I was given my belt to help build up BC, not because I was the same caliber as Sensei’s students. I look back now and realize that I was at the level of a 3 kyu from BC now. But we grew and trained harder and within 4-5 years were equal to the rest of the world and better then some. This has given me the insight on how to build up a club that is just starting out. Move slow and with a lot of patience. I took over the Port Moody dojo from Sensei Johnson in 1993, with 34 students and a $1800. a month rent. We grew quickly and soon averaged 100 students, with an even mix of men and women and juniors. I had some of the best students in BC. Not just for their Karate but for their organizational abilities. If I wanted to have a tournament or special training my seniors would do the job, and I got all the glory. DANrank examiner date certificate no. – Shodan Yaguchi 11-26-83 A-3598 Nidan Okazaki 12-13-86 A-1592 Sandan Yaguchi 4-02-89 A-0591 Yondan Yaguchi 6-25-94 IS-CAN-4-0027 Godan Okazaki 8-04-01 IS-CAN-5-0019 Rukodan Yaguchi 03-28-09 CAN-6-0017
8 Coach NCCP
12-02-86
CC198022
Canadian Instructor C Oct/87 B Oct/89 Canadian Judge
D Oct/87 C Oct/89
International Judge D Oct/98 C Oct/99 B Oct/02
3IC-4 BC5IB 3JD-3 BC02JC D-04-1098 CJ-134 BJ-134
International Instructor D C B
June/02 June/08 June/10
DI-134-02 CI-134 BI-134
International Examiner D C B
June/02 June/08 June/12
DE-134-02 CE-134 BE-134
I became Technical Director of JKA/BC in 2002, with Sensei Yaguchi taking over the job of Chief Instructor from Sensei Johnson. Keep Training Joe Dixon Director Technical ISKFBC
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Content
Title
page
ISKFBC and Karate-do
10
Masters
19
Martial arts
52
Stances
58
Blocks
79
Punches and strikes
88
Kicks and Knee smashes
106
Body movement and power
116
Breaking posture
134
For the instructor
138
Bibliography
195
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I SKF Kar ate-do in B .C. Canada There are hundreds of books and video's to help the new, and even the experienced student, to train in Karate. Some of these are produced by great teachers, while others are suspect in their theory and srcinality. This book is for the students of ISKF Karate in the province of British Columbia, Canada. It contains my thoughts on Karate-do and its techniques which we have learned from two of the greatest Masters of modern time. I want this book to be simple enough for the new student to understand and get a good grasp of ISKF Karate. It will not go into great detail on most subjects, but has references, (in par enth eses - go to bibli ogr aphy ), to find the best of these and other resources to progress in their studies of Karate-do. ISKF Karate in B.C. is based on the teachings of Sensei Gichin Funakoshi, the man who introduced Karate to Japan, and subsequently became the founder of his own style called Shotokan. We have two of his srcinal students to teach and guide us in our studies. These gentlemen are Sensei Teruyuki Okazaki, 10th Dan, Chairman of ISKF, and Sensei Yutaka Yaguchi, 9th Dan and Vise-Chairman ISKF. Sensei Yaguchi is also the chief Instructor for ISKF of B.C. In order to understand what you are learning it is a good idea to have a brief history of the art and its development. The style of martial art which you are studying has a history going back many generations, arriving here after development throughout Asia.
11 Ok, what is Karate? Let's keep it simple. Karate is an oriental form of martial art with its srcins coming from northern China and the island of Okinawa, Japan. The word Karate as we use it today comes from two words, the first, kar a means empty or void, such as to empty the mind of fear or anger. The second part,te, means hand. So the modern word has come to mean empty hand. The main objective of Karate as a fighting art is to disable your opponent as quickly as possible with the least loss of energy. The ability to do this comes through extensive training of the body, to use all parts as weapons, while maintaining control of balance and power. Modern Karate has developed from these fighting principals, but has also become a method of physical fitness, and a sport. The modern day Karate-ka (those who study karate) can use these fundamental techniques to both enhance their physical well-being and protect themselves if attacked. As a sport, Karate is just coming of age, and with the development of tournament rules the speed and devastation of karate can be appreciated by practitioners and spectators alike. From a physical perspective karate is the incorporation of the entire body into a “mechanically coordinated system so that power which has been created at different points of the body is finally channeled into a single area with tremendous force.” (5-Kanazawa-p8 ).
12 Karate also has a psychological side to it, which allows the student to come to terms with his own weaknesses and allow him to understand his own abilities. Karate, if used properly should enable the practitioner to understand his opponent’s thoughts and body language which allows him to anticipate the reactions of his opponent. To summarize, I believe that in its simplest form the definition of karate is "a fighting art which uses all parts of the body to defend and attack with enough force to deter further violence while maintaining the ability to recover to a natural posture." One of the best books out with an explanation of what Karate truly is, was written by Sensei Gichin Funakoshi called (4 - Kar ate-D o, M y way of l if e) This book gives the true concepts of Karate without saying one style is better than another. Sensei Funakoshi knew only Karate, not any style of Karate. The men of his generation practiced a form of self-defense based on the practical, not the theoretical.
13 So now you know what Karate is, let's see where it comes from. The Oriental culture developed over several thousands of years, but during this time the class system has remained paramount in the structure of all the major National centers. This class system gave rise to both warrior and religious groups who plied for political superiority. The Martial Arts as we know of them today are a direct result of the differences and commonalties between these two factions. The history of the Martial arts has been clouded by claims of both physical prowess’ that are beyond human capability, and Spiritual capabilities which can’t be proven. These claims come from the exaggeration of soldiers and priests, no doubt to enhance their standing amongst the general population. Both the Military and religious groups were founded upon strict rules and traditions. As the martial arts developed, a strong sense of discipline and strict codes of action were also tied to the training methods of each of the schools as they developed. The schools of the different Martial Arts keep their techniques secret from each other, and so developed along slightly different lines. These lines followed the teachings of the head instructor, and would have been tightly tied to the instructor's background, either soldier or priest. The Oriental soldier was dedicated to his feudal Lord and was sworn to live and die by his pledge of servitude and his individual honor. This feeling of
14 dedication can now be seen within the various Karate schools around the world. Most students feel honored to be taught by their respective Masters and have a feeling of respect for them, which has all the traditional concepts of the Asian culture. The Priests of the Orient had a tradition of poverty, and lifelong servitude to their respective sects. This can be seen in today’s Martial Arts, the wearing of the traditional white gi, or suit, by Karate and Judo practitioners comes from the tradition of everyone being of one class, the poor or peasant dress. Also the Karate-ka must have an understanding that his training is life long, and as an art is never complete. Did the Martial Arts come from the Oriental culture or did the culture arise from the use of the martial arts. They are so tightly interwoven into the very fabric of the Orient that each has influenced the other from the very beginning. The Orient has a long history of warfare, yet their Martial Arts are based on making peace. This is the way of the soldier and the priest.
15 The history of Karate-do has long been shrouded in legends, as most of the techniques were passed from teacher to student verbally, with little written down. The earliest known practice in Asia goes back to the sixth century China, when an Indian monk named Bodhidharma came to China to teach Zen Buddhism at the Shaolin temple. He found that the Chinese monks were physically unable to keep up with his rigorous discipline. (Picture’s from the Shaolin temple by Brian Wolfe) So he developed a physical and mental exercise regime. These exercises became known as the Shaolin kempo and over the centuries moved throughout the Orient. Many of today’s stances and kata are shown in the Shaolin temple statues and some of the techniques are also used in Yoga practice, which also srcinates in India. Around the fifteenth or sixteenth century forms of these Chinese kempo were brought to Okinawa on the Ryukyu Islands, south of Japan. There it was mixed
16 with the Okinawan indigenous fighting forms to become known as both kara-te (Chinese hand) and To-te (mysterious hand) and later as Okinawa-te. The forms went underground with the outlawing of weapons on the Islands, so many of the teachers only had one or two students to pass their knowledge on to. This possibly gave rise to a lot of the legends surrounding the karate-ka and their abilities to do great physical feats, some of which are humanly impossible. During the late nineteenth century a young boy named Gichin Funakoshi began studying under two of the masters of the time. This young man became a school teacher, and using his professional background helped bring Karate out of hiding and into the modern world. The first Japanese physical education exposition was held in 1922, and Sensei Funakoshi was invited to give a demonstration of this little known fighting style. The demonstration was a great success and Sensei Funakoshi was asked to stay and teach in Japan.
17 He soon realized that this was to be his mission in life. He started teaching in the Universities and to develop books on the subject, and was instrumental in changing the name of Karate from Chinese hand to Karate-do, its modern name of the "empty hand way". Karate as we know it today comes from Sensei Funakoshi’s teachings, and his main objective was that the art should continue to grow and develop. Sensei's senior students started calling His teachings of Karate by his pen name "Shoto". Sensei was also a calligrapher who used the name "Shoto" to sign His works. Thus training with Him was to train at the house of Shoto or Shotokan. To this end organizations such as the Japan Karate Association and the International Shotokan Karate Federation were created. Karate is an ongoing, continuously developing art form whose place in history is still being made. Sensei Funakoshi was the main instrument for the development of Karate into Japanese society, but He had further expectations for it to become an international art form. Due to His age He only saw the beginning of this movement and it was left to his senior students to move his Karate out into the world at large.
18 One of the most successful of these students was Sensei Masatoshi Nakayama who helped form the Japan Karate Association (JKA). He was also instrumental in developing rules for tournaments and the JKA instructor training program. It is the coaches and graduates of this program who have become the most famous of the Karate-ka of modern times. We hear names such as Nishiyama, Okazaki, Kanazawa, Mikami, Yaguchi, Mori, Asai, Shirai, Enoeda, Ochi and others who went out of Japan to teach all over the world. The srcinal instructor trainee coach was Sensei T. Okazaki, who under the watchful eyes of Sensei Nakayama was given the task of completing the first reports and practical studies which led to the curriculum that all future instructors followed. Sensei Funakoshi is called the father of Modern Karate, so Sensei Nakayama must be considered the distributor of Sensei Funakoshi's ideals of Karate-do or the art of Karate. Nakayama Sensei made Shotokan a worldwide concept that all other Martial arts have followed over the last fifty years.
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For further history of previous Karate masters please read the inserted paragraphs published on the internet by Darryl Garrick. (page 23 - 48)
Heroes of Shotokan Karate Tode Sakugawa (1733 – 1815)
Peichin Satunushi Sakugawa is the first teacher in the lineage of Shotokan Karate, who made specific contributions to the karate we study today. His martial technique was very different from ours, based on White Crane Chu’an fa, but his ideas about teaching martial arts were very modern.
20 Sakugawa was born about 40 years before the American Revolution (March 1733). His father, after being beaten up by some drunken bullies, died of internal bleeding, when Sakugawa was only a teenager (about 1750). His father took several hours to die, and according to various accounts, spent the time in agonised conversation with his family. He exacted a promise from his grieving teenage son, that he would never allow himself to be a hapless victim of violence. After his father was buried, Sakugawa sought expert instruction in the martial arts. He found a Buddhist monk, Peichin Takahara, who was an expert in Tode. Takahara was an Okinawan noble who worked as a surveyor and mapmaker at Shuri Castle. He accepted Sakugawa as an apprentice, and the teenager studied with Takahara for six years He was a very enthusiastic and talented student. We probably would like to think of our karate ancestors as being well-mannered men of wisdom, but even wise men begin as passionate and foolish youths. Sakugawa was very daring and mischievous at twentythree, and one night contrived to push a visiting Chinese dignitary into a stream for the fun of it. But, the Chinese Kong Su Kung used his own martial arts knowledge to turn the tables on the young prankster. Sakugawa was shamed and humiliated, and was forced to humble himself and apologise. In his mercy and wisdom, Kong Su Kung invited Sakugawa to become his student and study “White Crane Chu’an Fa” with him. Along with the enthusiastic support of Takahara, Sakugawa accepted the invitation. At the time,
21 the White Crane system was a new and exciting development, and Takahara probably expected to learn about it through his student. Sakugawa studied the system for another six years. While he studied under Kong Su Kung, Sakugawa was introduced to the principle of “hikite”, the pulling back of the hand (like we use in karate today). Sakugawa is credited for the creation of the first “Dojo Kun,” the rules of behaviour for the karate-ka. Sakugawa was also well known in kobudo circles (a traditional Okinawan fighting system that uses farming implements as weapons), and became honoured as the inventor of the most famous Bo kata “Sakugawa no kon.” At the age of seventy-eight, Sakugawa was introduced to a troubled fourteen-year-old named Sokon Matsumura, who had a great ambition to become the greatest fighter in Okinawa. He wanted to study under Sakugawa, probably to apprentice as the royal bodyguard. Though, at first Sakugawa hesitated to take on the new student, he eventually became impressed with the boy’s spirit and decided to give him a chance. Important things to remember about Sakugawa are that he invented the dojo training system and the srcinal Kushanku Kata (Kanku Dai, and Kanku Sho as it is known today), and was the first teacher of Matsumura. Sakugawa did not make the leap into the raw power of linear karate. Instead he relied heavily on more circular (or soft) techniques and grappling. Tode Sakugawa died on August 17th, 1815, at the age of eighty-two, after training Matsumura for only four years.
22 Sokon “Bushi” Matsumura (1792 – 1887)
Sokon “Bushi” Matsumura is one of two central characters in the history of karate. Linear karate apparently did not exist before Matsumura, but it became modern within the
next generation to follow him. Matsumura represents the second generation before Gichin Funakoshi. He was the commander of Shuri Castle barracks for fifty years. It seems clear that Matsumura was a prime mover in the development of linear power technique, yet it is hard to prove that this is the case. The reason is that Matsumura was intelligent, creative, ambitious, and above all ruthless
23 and deceptive. He was a driven man who embraced the martial arts with over-enthusiastic dedication. At fourteen he was determined to become the greatest fighter in the kingdom. At twenty-five he was widely acknowledged at having achieved his goal. Here are two stories about Matsumura, which provide an insight into the type of person he was. In the first story, Matsumura as a young man was walking home late at night after having a little too much to drink. A masked figure suddenly attacked him using a pair of sai. The attacker threw the sai at Matsumura, who dived to the ground to avoid it. Then Matsumura drew a tessen (or iron fan) from his belt and returned the attack. The attacker ran away with a broken wrist. There are two important points to this story. The first is that Matsumura avoided a thrown sai by diving to the ground as one does in Kanku Dai (this was the kata that was passed on to Matsumura from his teacher and then passed down to us through Matsumura himself). The second point is that Matsumura defeated his attacker by using a tessen that he carried in his belt. The tessen is a truncheon disguised to look like a folding fan. Apparently in skilled hands it is a lethal weapon, and can be used to give a man a fighting chance against an assailant with a sword. The following story concerns King Sho Ko, the first of three kings Matsumura served as a bodyguard. Sho Ko was well known as a lunatic. This is often a problem with
24 hereditary kings, and it led to his early retirement when the Satsuma overlords decided he wasn’t reliable. Shortly after his retirement, Sho Ko announced a spectacle for his own entertainment. His bodyguard, Matsumura was to fight a raging bull with his bare hands. You can probably imagine the look on Matsumura’s face when he learned of this. There was no way that he could decline without losing face. He had to fight the bull. Matsumura faced the bull, but there was no fight. He met the bull in the middle of the arena, and fixed his gaze on the animal. The bull apparently lost its nerve and ran away, much to the delight of King Sho Ko that he awarded Matsumura with a royal degree, and granted him with the title of “bushi” (warrior). Matsumura is rumoured to be the creator of ‘Patsai’ (Bassai) Kata, but according to Bruce D. Clayton in his book “Shotokan’s Secrets: The Hidden Truth Behind Karate’s Fighting Origins,’ his love of keeping things as a secret makes this very hard to prove. However, several of his students practiced and taught this kata, and called it “Matsumura Patsai.’ If Matsumura is indeed the original creator of Bassai Dai, than the kata tells us a little more about him. Bassai Dai is the brown belt 2nd kyu kata of Shotokan Karate (black belt in some clubs and organisations). The kata is irregular, powerful, and brutal and there comes the strong feeling of impatience whilst practicing it. According to legend Patsai means ‘to break into a fortress,’ and that it turns any disadvantage into an
25 advantage. It is very interesting that Matsumura defended the Shuri fortress, and he did so from a position of extreme disadvantage Matsumura was the focal point of a revolution in combat technique in the middle 1800’s. Due to the Shuri Crucible, he had a different set of combat precedence's than his predecessors. His discovery of exponential impact gave him a new tool to exploit. It seems as if he developed most of the high impact techniques that are used in Shotokan Karate today. Matsumura made several trips to China and Japan to study their fighting styles, including a trip to the famous ‘Shaolin Temple,’ and supposedly brought back several kata
including early forms of Naihanchi (Tekki), Seisan (Hangetsu), and Gojushiho, amongst others. Most accounts agree that he created the kata Chinto (Gankaku) using techniques that he learned from a shipwrecked Chinese martial artist in Tomari. Some accounts also say that he was the srcinal author of the kata we know as Heian Nidan (Pinan Shodan), a kata that now forms the core of Shotokan Karate. Matsumura is also well known in kobudo circles for his mastery of the Bo, Sai, and Eku. He is said to have created kata for all three weapons. Finally, Matsumura spent over 50 years as the chief military officer of Shuri Castle, from the mid 1820’s until 1879. It’s no wonder that his style became known as ‘Shuri-te.’
26 All branches of linear karate descend from Sokon ‘Bushi’ Matsumura, most of them through his student, Yasutsune Itosu. Itosu ‘Anko’ Yasutsune (1831 – 1915)
Itosu Anko was born in Yamagawa Village in Shuri. He is a legend in Okinawan Karate. He was taught by the legendary Matsumura Sokon (Bushi) at a very early age. He is also said to have studied under Shiroma and a Chinese man who was living in Tomari. Itosu grew up to be a very powerful man and had superior strength in his arms, hands and legs – it was said that he could crush bamboo with his vice like grip. However, several of his students have since said that he was a very kind, but strict master who not only invented the
27 ‘corkscrew punch’ (what we use in karate today), but excelled at it. He is alleged to have practised striking and punching the stone walls of the imperial tombs that he passed daily in his
work. Itosu, held the position of Secretary to the Administration Office for Sho Tai (King of the Ryu Kyu Islands). He was an educated man, well versed in Chinese classics, Japanese classics and was an exceptional writer. His position was terminated in 1879 when the Ryu Kyu monarchy dissolved. He once said, “A man of character will avoid any quarrels and loves peace. Thus, the more a karate-ka practices, the more modest he should be with others. This is the true karate-ka.” These words have guided many masters throughout the years and are supposed to have influenced masters such as Gichin Funakoshi. In April 1901, Itosu introduced karate to the physical training syllabus at the Shuri Jingo Elementary School. Years later, he became the karate teacher for the Prefectural Dai Ichi College and the Prefectural Teacher’s Training College. In 1908 he wrote a letter (now referred to as the Ten Articles of Karate) to the Prefectural Education Department that led to the introduction of karate to all Okinawan schools. Itosu is credited for simplifying Matsumura’s kata (apparently there is no plural). Itosu split the Pinan (Heian) kata into Pinan Shodan, Pinan Nidan, and Pinan Sandan. He was also credited for creating Pinan Yondan, and Pinan Godan. He also took the Naihanchi
28 (Tekki) kata and broke it into three kata: Naihanchi Shodan, Naihanchi Nidan, and Naihanchi Sandan. His prominent students were Yabu Kentsu, Funakoshi Gichin, Hanashiro Chomo, Kyan Chotoku, Chibana Choshin, Tokuda Anbun, Oshiro Chojo, Mabuni Kenwa, and Gusukuma Shinpan. All of who, would influence karate-do for years to come. Below is a letter that was written by Itosu in October of 1908 (Ten Articles of Karate). This letter apparently preceded the introduction of karate to Okinawan schools and eventually the Japanese mainland. "Tode did not develop from the way of Buddhism or Confucianism. In the recent past Shorin ryu and Shorei ryu were brought over from china. They both have quite similar strong points, so, before the changes become many, I would like to write these down." (Tode was the srcinal word for Okinawan Karate .) 1. Tode is primarily for the benefit of health. In order to protect one’s parents or one’s master, it is proper to attack an enemy regardless of ones' own life. Never attack a lone adversary. If one meets a bad character one should not use Tode but simply parry and step aside. 2. The purpose of Tode is to make the body hard like stones and iron; hands and feet should be used like the points of arrows, hearts should be strong and brave. If children were to practice Tode from their elementary school days, then they would be well prepared for military service. When
29 Wellington and Napoleon met they discussed the point that tomorrow’s victory will come from today’s playground. 3. Tode cannot be learned quickly. Like a slow moving bull, that eventually manages to walk one thousand miles, if one studies seriously every day, in three or four years one will understand what Tode is about. The very shape of one’s bones will change. Those who study as follows will discover the very essence of Tode. 4. In Tode, hands and feet are very important, so they should be trained thoroughly on the makiwara. In so doing drop your shoulders, open your lungs, take hold of your strength, grip the floor with your feet and sink your inherent energy to your lower abdomen. Practice with each arm one or two hundred times. 5. When practicing Tode stances, make sure that your back is straight, drop your shoulders, take your strength and put the inherent energy into your lower abdomen. The top and bottom of which must be held together tightly. 6. The external techniques of Tode should be practiced, one by one, many times. Because these techniques are passed on by word of mouth, take the trouble to learn the explanations and decide when and in what context it would be possible to use them. Go in counter, release; is the rule of Tode.
30 7. You must decide whether Tode is for cultivating a healthy body or for enhancing your duty. 8. During practice you should imagine that you are on the battlefield. When blocking and striking, make the eyes glare, drop your shoulders and harden the body. Without hesitation, block the enemy’s punch and strike! Always practice with this spirit so that, when on the real battlefield, you will be prepared, naturally. 9. Watch your step and, do not go beyond yourself during your practice because the intrinsic energy will rise up, your face and eyes will turn red and your body will be harmed. 10. In the past, many who have mastered Tode have lived to an old age. This is because Tode aids the development of the bones and sinews; it helps the digestive organs and is good for the circulation. Therefore, from now on, Tode should be the foundation of all sports lessons from elementary schools onward. If this is put into practice, there will be many men who can win against ten aggressors. "The reason for stating all this is that it is my honest opinion that all students at the Okinawan Prefectural Teacher’s Training College should practice Tode, so that when they graduate, they can teach the children in the schools exactly as I have taught them. Within ten years Tode will spread all over Okinawa and the Japanese mainland. This will be a great asset to the militaristic
31 society. I hope you will carefully study the words that I have written." The vision of Itosu is now realised as the Okinawan Prefectural Government estimate, that as many as 40 million people now practice karate worldwide (that estimate was nearly ten years ago)
32 Yasutsune Azato (1828 – 1906)
Peichin Yasutsune Azato is a very intriguing character, because very little is actually known about him. Gichin Funakoshi called Azato the greatest karate master he had ever met. This is a high praise considering the 20 years that Funakoshi spent with Itosu. But, like his best friend Itosu, Azato is one of the grandfathers of modern karate. Azato himself was another direct student of the formidable Bushi Matsumura. His role in the Shuri government was “military attaché” and foreign advisor to the Sho Kings. He was the between hereditary lordand of the villagea of Asato, was located Shuri Tomari, little northwhich of Naha. Azato was Funakoshi’s first teacher, and Funakoshi was Azato only student, at least at that time. In his book, ‘Karate-do: My Way of Life,’ Gichin paints an amusing picture of his training under Azato, which was conducted in the courtyard at Azato’s house, secretly after midnight.
33 Azato trained Funakoshi in the Naihanchi (Tekki) kata, over and over for three solid years. Apparently most sessions consisted of Funakoshi performing the kata by lamplight, and Azato sipping tea and muttering, “Do it again.” Rarely did Azato unbend and grunt, “Good.” Azato and Itosu were close friends, often found in each other’s company. They were almost the same age, shared similar names; similar heritage, similar employment, and they both loved the martial arts. They were best friends throughout their lives. In Azato we have yet another legendary martial artist and Shotokan forefather in daily attendance with King Sho Tai at Shuri Castle. He was part of the inner circle, like Matsumura and Itosu, and often advised the king in questions of international politics. Funakoshi says that Azato used his influence to get Itosu the position of secretary to the king. It’s also likely that Matsumur a had something to do with that as well. Apparently, Azato was a highly trained swordsman, horseman and archer. He was an expert in jukendo, a form of bayonet fighting in which you jab your opponent with the padded end of a carved wooden rifle. He regarded hands and feet as deadly weapons. However, he was not impressed with Itosu’s ability to withstand heavy blows, as that kind of strategy would be disastrous in a swordfight. Azato felt that a true martial artist should step out of the way (of the sword or bayonet) and thus avoid being hit. He was therefore an expert at lightning fast Tai Sabaki.
34 It is said that Azato, once tested his abilities to the extreme by challenging a sword master to a match. Azato fought Yorin Kanna, a master from the Jigen-ryu school of the sword in Satsuma. Kanna had a sword; Azato used his bare-hands. The story says that Azato deflected Kanna's strike “with his arm” and immobilised the master not once, but several times. Unfortunately, Azato drops out of the history of karate at about the same time as King Sho Tai was forced to abdicate and move to Tokyo. Rumour has it, that he may have gone into exile with the king, several other nobles, and court officials. Funakoshi says cryptically that Azato served as ambassador to Tokyo for many years. It is also said that Azato died in 1906 at the age of 78.
35 Gichin Funakoshi (1870 -1957)
Gichin Funakoshi Sensei was born in Shuri, Okinawa in Yamakawa-cho district on November 10, 1868. The official district records, however, show that his birth took place in 1870, but in fact he falsified his own records in order to be able to take the Tokyo Medical School entrance examination. In spite of passing the exam Funakoshi sensei never did become a member of the medical profession. Born a frail child, many members of his family felt that he was destined for a short and uneventful life. Little did his family know just how long, and how important his life would really be.
36 It was during his early primary school years that he was first introduced to the study "To-de" or "Chinese Hand" under Master Anko Azato, as his family felt that by studying the art of karate it might help to strengthen him physically and thus improve the quality of his life. A good student Gichin Funakoshi flourished under the tutelage of Master Azato to whose home he travelled each evening to practice karate. Later Master Asato would introduce him to another important teacher under whom he would also study, Master Anko Itosu. It was these two men more than any others, who would have the greatest impact on his life. No longer interested in entering the medical school it was while studying karate that Gichin Funakoshi decided to become a school teacher, and so after passing the qualifying examination, he took charge of his first primary school class in 1888. It was a profession he was to follow for more than thirty years. A high point in Gichin Funakoshi's karate took place on March 6, 1921 when he had the honour of demonstrating the art of "Okinawan te" to than Crown Prince Hirohito during a visit he made to Okinawa. Then, in the spring of 1922, Gichin Funakoshi traveled to Tokyo where he had been invited to present his art of Tode at the First National Athletic Exhibition in Tokyo, which had been organized by the Ministry of Education. After the demonstration he was strongly urged by several eminent groups and individuals to remain in Japan, and indeed he never did return to live in Okinawa. He lived in a small room beside the entrance and would clean the dormitory during the day when the
37 students were in their classes and work errands as a gardener too. At night, he would teach them karate. After a short time, he had earned sufficient means to open his first school in Meishojuku. Following this, his Shotokan in Mejiro was opened and he finally had a place from which he sent forth a variety of students, such as Takagi and Nakayama of Nippon Karate Kyokai, Yoshida of Takudai, Obata of Keio, Shigeru Egami from Waseda (his successor), Hironishi from Chuo, Noguchi of Waseda, and Hironori Ohtsuka (Otsuka). It is known that in his travels in and around Japan, while giving demonstrations and lectures, Gichin Funakoshi always had Takeshi Shimoda, Yoshitaka (his son), Egami and Ohtsuka accompanying him. His main instructors in the thirties and forties were T. Shimoda and Y. Funakoshi. As it had in Okinawa, the educational system of Japan was to become a major factor in the spread of karate. By 1924 Gichin Funakoshi had started to introduce karate to several of the local universities, first at Keio, followed by Chuo, Tokyo, and Waseda to name but a few. It was through these universities that he was able to reach a much larger audience and this contributed greatly to the growing popularity of karate. Master Funakoshi was finally able to establish the Shoto-kan dojo in 1936, a great landmark in the history of karate. Funakoshi sensei was not only a genius in martial arts, but he was also a literary talent, and he signed all of his works "Shoto" which was his pen name. Hence, the dojo where he taught came to be known as
38 "Shoto's school" or "Shoto's kan" which was ultimately adopted as the official name for his style of karate. Funakoshi sensei had combined the techniques and katas of the two major Okinawan styles to form his own style of karate, as a result, today Shotokan karate-do includes the powerful techniques of the Shorei style of karate, as well as the lighter more flexible movements of the Shorin style of karate. The martial arts world in Japan, especially from the early Twenties and up to the early Forties, was an ultranationalist moment in history, and they looked down their noses at any art that was not pure, calling it a pagan and savage art. Funakoshi overcame this prejudice and finally gained formal recognition of Karate as one of the Japanese martial arts by 1941. Needless to say, many karate clubs flourished on mainland Japan. In 1924, karate was introduced in Keio University as the first Karate Club. Others include: Chuo, Waseda (1930), Hosei, Tokyo University (1929) among others. Another club was established in Shichi-Tokudo, a barracks situated in a corner of the palace grounds. Gichin Funakoshi visited the Shichi-Tokudo every other day to teach. One day, when Ohtsuka was teaching at the Shichi-Tokudo, a student, Kogura, from Keio University who had a san-dan degree (3rd-degree black belt) in kendo (Japanese fencing) and also a black belt in karate, took a sword and faced Ohtsuka. All the other students watched to see what would happen. They felt that no one could face the shinken (open blade) held by a kendo expert. Ohtsuka calmly watched Kogura and the moment he made a move with his sword, Ohtsuka
39 swept him off his feet. As this was unrehearsed, it attested to his skill. It also bore out Funakoshi's philosophy that kata practice was more than sufficient in times of need, and just as importantly to Master Funakoshi's great ability as a teacher and Karate technician. In 1927, three men, Miki, Bo and Hirayama decided that kata practice was not enough and tried to introduce Jiyu kumite (free-fighting). They devised protective clothing and used kendo masks in their matches in order to utilize full contact. Funakoshi heard about these bouts and, when he could not discourage such attempts, which he considered belittling to the art of karate, he stopped visiting the ShichiTokudo. Neither Funakoshi nor Ohtsuka showed up ever again. It was after this event that Gichin Funakoshi prohibited sports sparring (the first competitions did not appear until after his death in 1958). When Gichin Funakoshi came to mainland Japan, he taught 16 kata: 5 pinan, 3 naihanchi, kushanku dai, kushanku sho, seisan, patsai, wanshu, chinto, jutte and jion. He kept his students on the basic ones before they progressed to the more advanced forms. Actually at least 40 kata were included in the curriculum, these were later included in the limited edition but monumental work by Shigeru Egami "Karate-do for the Specialist". The repetitious training that Master Funakoshi instituted paid back very well; his students went on to produce the most precise, exact type of karate taught anywhere. Jigoro Kano, the founder of modern judo, once invited Gichin Funakoshi and a friend, Makoto Gima, to perform at
40 the Kodokan (than located at Tomisaka). Approximately a hundred people watched the performance. Gima, who had studied under Yabu Kentsu as a youth in Okinawa, performed the Naihanshi shodan, and Funakoshi performed the koshokun (kushanku dai). Jigoro Kano sensei watched the performance and asked Gichin Funakoshi about the techniques involved. He was greatly impressed. He invited Funakoshi and Gima to a tendon (fish and rice) dinner, during which he sang and made jokes to put Funakoshi at ease. Irrespective of his sincerity in teaching the art of true karate, Funakoshi was not without his detractors. His critics scorned his insistence on the kata and decried what they called "soft" karate that wasted too much time. Funakoshi insisted on hito-kata sanen (three years on one kata). Gichin Funakoshi was a humble man. He preached and practiced an essential humility. He did not preach the humility of virtue, but a basic humility of a man who is rooted in the true perspective of things, full of life and awareness. He lived at peace with himself and with his fellow men. Whenever the name of Gichin Funakoshi is mentioned, it brings to mind the parable of "A Man of Tao (Do) and a Little Man". As it is told, a student once asked, "What is the difference between a man of Tao and a little man?" The sensei replies, "It is simple. When the little man receives his first dan (degree or rank), he can hardly wait to run home and shout at the top of his voice to tell everyone that he has obtained his first dan. Upon receiving his second dan, he will climb to the rooftops and shout to the people. Upon receiving his third
41 dan, he will jump in his automobile and parade through town blowing the horn, telling one and all about his third dan". The sensei continues, "When the man of Tao receives his first dan, he will bow his head in gratitude. Upon receiving his second dan, he will bow his head and his shoulders. Upon receiving his third dan, he will bow at the waist and quietly walk alongside the wall so that people will not see him or notice him". Funakoshi was a man of Tao. He placed no emphasis whatsoever on competitions, record breaking or championships. He placed emphasis on individual self-perfection. He believed in the common decency and respect that one human being owes another. He was the master of masters. He died in 1957 at age 89, after humbly making the largest contribution to the art of 'Karate-Do.
42 Masatoshi Nakayama (1913 -1987)
Masatoshi Nakayama Sensei was born in Yamaguchi Prefecture Honshu Japan in 1913. In 1937 he graduated from Takushoko University and went to Peking to study Chinese. While there he studied various styles of Chinese fighting. He was a prominent student of Master Funakoshi Gichin, the Father of Modern Karate Do and for some 27 years, until Funakoshi's death in 1957; he closely associated with
43 the master assisting him with instruction and demonstrations. In doing so, he took a unique opportunity to assimilate not only the physical techniques, but also the philosophical aspect of Karate-do from the pre-eminent authority. When Funakoshi Sensei passed away, Nakayama Sensei became the 2nd Chief Instructor of the JKA and in turn, passed this knowledge on to his students. He was responsible for the global dissemination of Karate throughout the 1960's and 1970's where graduates of his elite Instructor Program were allocated assignments to establish and develop Karate overseas. Nakayama Sensei is also credited with setting up the rules of Shiai (competition). At the time, (the late 1950's) the move to introduce a competitive aspect to a fighting art was controversial, however it was done under the supervision of Master Funakoshi who was initially very resistant to the idea of competition in any form, feeling that it could be contradictory to the true nature of Karate-do, and liable to cause students to lose focus on what was important. Nakayama Sensei gave a wider Karate audience access to Master Funakoshi's ideas when he wrote a series of instructional books, including the famous Dynamic Karate and later the Best Karate series. He also produced films and videos providing detailed technical and practical information on Kata, Kihon and Kumite. These works were based on an in-depth study of the principles of Kinesiology, Anatomy and Physiology and made Karate techniques and explanations globally accessible.
44 Although his residence was in Japan, as Chief Instructor of the Japan Karate Association, Nakayama Sensei travelled extensively, giving instruction and presenting demonstrations of his art. He continued to do so until his death. Masatoshi Nakayama Sensei passed away on April 15th, 1987 at the age of 74. He held the grade of 10th Dan. He is remembered by those who trained with him as a very fair but demanding, instructor, who showed natural courtesy and respect to everyone he met.
45
(From the Masters visit to Vancouver and Port Moody Dojo.)
46 Our Sensei's- I have been asked, have you ever trained in
Japan, my answer is why, their teachers are here? Okazaki Sensei Chairman and Chief Instructor ISKF
Yaguchi Sensei Vise Chief Instructor ISKF chief instructor ISKFBC
Recently I was given a copy of a magazine article called “the history of Shotokan Karate” In this article was a reference to the fact that the JKA had boycotted Sensei Funakoshi’s funeral because Sensei Nakayama had not been picked to head up the arrangements. This seemed totally out of character with the view that I had of Sensei Nakayama. Having trained with Him on two occasions, and being privileged to go to dinner and having conversations with Him, and having heard many stories about Him from His senior students, Sensei’s Okazaki and Yaguchi. In order to get the truth I asked Sensei Yaguchi about this story and He became very upset. So this is the
47 truth of that day as told to me by Sensei Yaguchi, and confirmed by Sensei Okazaki. The death of Sensei Funakoshi was a great sadness throughout the Karate world, not just by Shotokan students but by all the styles and all the Masters of that time. Sensei Yaguchi speaks highly of all the organizations that took part in the ceremonies, especially Wado Ryu and the University clubs. So many people participated that each organization and University took several steps carrying the coffin, than, the next group moved in and took their turn. The procession moved onward until it came to the dais where the senior instructors from all the styles waited. This included Master Nakayama, and a more junior instructor of the JKA who had broken His leg and was unable to help carry the coffin, that was Sensei Okazaki. At the ceremony there were a number of demonstrations to honor Master Funakoshi, the JKA gave a demonstration which featured one of its senior members, Sensei Nishiyama and a young JKA instructor trainee named Yutaka Yaguchi. Sensei Yaguchi spoke with some pride, saying that on this day's demonstration He was killed (demonstration) three times by Sensei Nishiyama. The history of those young years of the JKA and Shotokan Karate has yet to be written by the Men who lived it. I asked Sensei Okazaki if the time was coming for this to happen. He feels that the truth should be told. I hope that it happens soon.
48 We in ISKFBC have had the opportunity to hear many of the stories from this time first hand, from the Men that lived it. It was a time of trial and error, of innovative thinking. Modern Karate as we know it was born. All the Masters from all the styles were involved in this journey. They respected each other and shared their ideas. Master Funakoshi was the first to go the Japan, and as such held a place of honor among them all. They didn’t have time for the petty jealousy that we sometimes see today. Of course great people are too busy building rather than wasting time trying to tear something down. The history of Sensei Nakayama can best be followed in His own words which are written in (21 - " Conver sation wi th the M aster " wri tten by M r . Randa ll H assell.) Sensei Yaguchi has recently published His own memoirs in MIND AND BODY - LIKE BULLET. In it he describes in His own words the story which we discussed above. A comprehensive history of Karate is well written and explained in a book written by Sensei Okazaki's senior student, and one of the first 8th Dan from North America, Mr. Robin Rielly. The name of His book is ( 13 - " Complete Shoto kan Kar ate" .) An excerpt from His book has been modified below to show the linage of Karate from which ISKFBC belongs.
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52 To most people, the Martial arts are considered more of a sport than a method of warfare. If we go back into history we find that there is a great difference between the two. Martial arts came into being with the first humans as a means of protection from wild animals, and other family groups who entered their territories. The use of weapons for hunting and self-defense can be dated back to the early cave dwellers and absrcinal peoples of all continents. Having control over the easier to attain food and shelter areas and possibly the group or individuals survival, was directly related to the ability to use one ’ body and weapons better than the next group. In order to become proficient with their weapons a method of practice would be developed, and in order to teach their children, a game would be used to stimulate their interest. This type of practice and games are still prevalent in South American and South Asian tribes who have had little contact with modern man. As Man became more dominant and his numbers grew, larger settlements developed and we started to see City States rising on all the continents. It was at this time that competitions between these cities were organized. The contests were based on methods of warfare, but the killing of the opponent was not always allowed. This brought rules into play and the martial arts were used as a foundation for Sports.
53 Almost all Sports of today are related in some aspect to parts of warfare, even running goes back to the time of the Greeks as a method of sending information as fast as possible during battle. Modern man has greater amounts of free time and with this his attention turns more to Sports for pleasure, and possibly to fulfill an instinct for survival. Martial Arts to modern man have become more to develop the mind through the use of physical stress, and to bring a harmony to the body and mind. The martial arts developed as a necessary method of survival, and the Sports developed from the Martial Arts, as a necessary diversion, which may check Man's instincts to fight. But Karate-do is a fairly recent form of Martial art, particularly the way we study it. So what are the differences between sports and Karate-do? In order to appreciate the differences between Sports and Karate-do we should first look at the meaning of each. Sports are defined as "a physical activity engaged in for pleasure ", and "a source of diversion" (9 – Webster’s dictionary ) The main concept of Karate-do is in the meaning of the word "DO" which sets Karate apart from just a method of self-defense. The word "DO" represents the ideal of a road or way (10 – U mezawa– pp15). The closest western man can explain this is to call it an art form.
54 Karate-do therefore is described as an Art form which means, "A skill acquired by experience, study, or observation"(9 – Webster’s dictionary) Even though Karate-do has a Sports aspect to it, which manifests itself in Karate tournaments, it also has an aesthetic value which allows for the development of the humanitarian growth of its practitioners. Karate-do is used for the complete development of a human being, where as a Sport is to develop a person on a physical plane only. A Sport generally has an end to the game, with an award given to the best participants, and is generally for the pleasure of the practitioners and an audience. Whereas Karate-do has no ending and the reward is the participation itself, the main purpose is to develop the mind and body as one and is often practiced alone and without spectators. Plus Karate has no limitations due to age or physical ability. The r ewar d is th e pr acti ce itself . In karate we have a sports aspect which is taken advantage of by about fifteen percent of practitioners. This makes karate fun, especially for the younger members, but true Karate is a martial art and so great care must be taken by instructors not to get caught up in the idea of winning contests but in training all students in the fundamentals. All the winners of tournaments have good foundation in the basics. Without this their technique will fail. Unlike combative sports, Karate, due to its nature as a martial art, uses all parts of the body. Karate may have to be used against another unarmed person or a person with a variety of weapons or multiple attackers. So it becomes
55 apparent that all parts of the body must be used for defense and attack. The organizing of Karate techniques is essential to allow the student and the teacher to compare different techniques with each other and thereby understand how Karate techniques are similar and varied from each other. Techniques are organized into categories based upon similarities of motion (snap and thrust), target area, distance to the target, arm and hand techniques, leg and foot techniques, upper, middle and lower body areas. It is these similarities which allow the instructor to build one technique onto another, and also allow the student to understand the functions of each technique and how they relate to each other. Another factor that is of great importance to the teacher is the organization of techniques in accordance of their student’s skill level. It could be detrimental to a student’s development to learn techniques that are beyond their comprehension or ability to perform. When teaching a student new techniques it is best to use techniques that cover a large area and use large muscle groups to perform. It is easier for a new student to comprehend and use inside forearm block as compared to chicken head block. The student should have a thorough understanding of a basic punch prior to learning the more complex techniques such as spear hand or one knuckle punch. When combinations of techniques are used, the organization of these techniques becomes readily apparent. For the instructor to use both long distance and close
56 distance techniques in combination without body motion to change the distance to the target, plus the appropriate stance for the technique, will only confuse the student as to which techniques are for what purpose. As the student progresses in their understanding of Karate more numerous and technically advanced techniques can be explained to them, and by fitting into already understood organization of techniques they are easier to learn and relate to previously learned functions of Karate. An excellent example of this is the learning of Kata. Heian Shodan is perhaps the hardest lesson learned by a beginner, usually taking three to four months to grasp its basic form. Yet using the skills learned in Heian Shodan the next Kata is usually picked up within one to two months. As in Kata, basis techniques are best learned by one building upon the other. Without organization of techniques both the teacher and student quickly become lost within the complexity of Karate and its many aspects.
57 The following chapters deal with the techniques of Karate as explained by myself. Being only a "kyoshi" (instructor), I don't confess to knowing all the complexities of each technique. I will therefore pass on how I have comprehended them from my teachings by a number of "hanshi" (expert) and a few "shihan" (master) instructors I have had the privilege of training under. For a more definitive outline of the techniques I would suggest that the Karate-ka invest in at least one if not all of the following books. 1/ Dynamic Karate by M. Nakayama - 1966 2/ Karate the art of "empty hand" fighting by H. Nishiyama - 1960 3/ textbook of modern karate by T. Okazaki - 1984
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The Stances In order to use the different parts of the body as strong weapons they must be supported on a stable platform. These platforms are called stances and are the most important part of your training. With a weak stance all techniques will fail. The purpose of any stance is to give stability, balance and mobility. Stance also allows the changing of body posture to defend or attack using rotation of hips, body shifting and vibration. Stances can be broken down into three basic categories: 1/ Natural stances, Shizen Tai 2/ Basic stances, Kihon-dachi 3/ Sparring stances, Kumite-dachi The descriptions following are of stances in a relaxed state, neither attacking, nor defending. All stances change within themselves due to muscle action as attack or defensive use of a stance is made. Each stance will have subtle changes at different times during their application, preparatory to attack, moment of attack and recovery. Shizen Tai, th e natur al stances: -
There are seven specified natural stances in Karate. The basic similarities of these stances are in the height of the hip joint, which is that of the body in a relaxed standing posture, and the width of the feet, which is never greater than the widest part of the body, i.e. the shoulders or hips. The natural stances can be divided into three groups, the formal, informal and angled postures.
59 1/ formal posture or feet together stances (a) Heisoku-dachi is the attention stance where the heels and toes are touching (b) Musubi-dachi is the at ease stance where the heel touch but the toes are facing outwards at about 45 degrees
Both of these stances offer poor stability and are seldom used to make techniques from, but are good stances to use as a starting point to move into other stances or practice quick recovery of balance from applied techniques.
60 2/ informal posture or feet open stances (a) Hachiji-dachi is the most natural of stances, with the feet about shoulder width apart and to the sides of the body. The feet point naturally outward at about 35 degrees.
61 (b) Heiko-dachi is similar to Hachiji-dachi but the feet are parallel to each other and pointing straight ahead.
62 (c) Uchi hachiji-dachi is the inward pointing form of Hachiji-dachi but with the feet pointing inward.
All of these stances allow for greater hip rotation than the formal stances, and thus allow for stronger techniques to be applied. The main differences between these stances is the position of the feet, which is that of the three basic postures that humans will take when standing naturally with the legs open to the sides i.e.- outward, parallel and inward or pigeon toed.
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3/ angled posture- front to back (a) Renoji-dachi or L-stance has the feet positioned at right angles to each other with the rear foot pointing to the side and the front foot in line with the rear heel, distance between the heels is about hip width, toes to the front. This stance offers good mobility to the front, especially for kicks, but has little sideways stability
. (b) Teiji-dachi or T-stance has the feet positioned at right angles to each other with the rear foot pointing to the side and the front foot in line with the instep of the rear foot at about hip width, toes to the front. This stance offers greater stability to the rear than Renoji-dachi but is even less stable to the sides. The angled stances are called left or right, according to which foot is to the rear. (3-Okazaki-p65-66 )
64 Kihon-dachi, the basic stances There are ten specified basic stances in Karate; these stances are the training stances used in both basic training and in Kata training and are the foundation for the fighting stances. The basic stances are divided into two groups, the inside and outside knee tension stances. All of the following stances are described in a relaxed state, prior to applying a technique or body movement. 1/ Kihon-dachi, the outside stances The outside stances are generally used to project the body’s power outwards towards an opponent who has remained a great distance away, i.e. long, open fighting distances. The pressure on the knees and feet are in an outward direction with the feeling of pressing the outer edge of the foot into the ground but keeping the sole of the foot fully in contact with the ground. (a) Kiba-dachi, straddle stance or horse stance
65 Kiba-dachi gives great support to the sides, but remains weak to the back and front. The placing of the feet is directly to the sides at about two shoulder widths with equal weight distribution. The toes and the knees should face directly forward with the knees bent towards the toes so that a plumb line from the outside of the knee falls close to the big toe. Pressure of the knees outward, with the feeling of driving the feet into the ground, should be maintained. Kiba-dachi will fail as a stance unless close attention is given to the upper body posture, the back must remain straight and the buttock kept over the center point of gravity. (b) Zenkutsu-dachi, or front stance
Zenkutsu-dachi allows for a strong foundation to the front and when set properly gives quick mobility in a forward direction. This stance can be used to effectively block or attack from, and has two postures to achieve this. The open posture (hanmi) which places the hips and
66 shoulders at an angle of about 45 degrees from the front and the closed posture (shomen) which places the hips and shoulders square to the front. The placing of the feet in this stance should be about two shoulder widths to the front and about one shoulder width side to side. When taking this position it is important to insure that both feet are flat on the ground and pointing towards the front as much as possible. The weight distribution is such that about 60 percent of the body weight is on the front foot. In order to do this, the knee of the front leg, should be positioned over the foot so that the angle made by the ankle and knee is forward of the apex of the arch created by the foot and knee. As an outside stance the knees should push outwards with the feeling of driving the outside cutting edge of the foot into the ground, but also keeping the entire sole of the foot pressing downward. There are two other slight variations to this stance. One is to shorten the distance from front to back in the reverse hanmi posture. This allows for the knee of the front leg to be forward of the ankle on people with tight hips or knees. This is demonstrated in Heian nidan kata. The other variation is that used in some kata where quick motion is required to the side followed with a change of body center position. The hips and stance stay narrow as in Kiba Dachi and tension should be to the inside. This is seen in the kata Bassai Dai.
67 (c) Kokutsu-dachi, back stance:-
As the name implies the back stance has great support to the rear and also gives support to the front but not as great as Zenkutsu-dachi. This stance allows one to make distance on an opponent without moving away, simple by shifting the body center to the rear. The loading of the rear leg like a spring also allows for quick motion to the front after a defensive move and allows for rotation away from the opponent. Kokutsu-dachi uses the rear leg to support about 70 percent of the body weight, and the feet are placed about double shoulder width from front to back but with the heels in line or slightly inward, similar to Renoji-dachi or Teijidachi. It is important to maintain the upper body perpendicular as there is a tendency for the hips to shift forward which will make the stance unstable. Another point to watch is the
68 tendency to put pressure on the front heel, make sure that the front foot remains flat on the ground with the knee slightly bent and the rear foot pressed strongly down by the bending of the rear knee over the toes. (d) Shiko-dachi, Sumo stance or squat stance:Shiko-dachi is similar to Kiba-dachi as the feet are positioned to the sides at about double shoulder width. The back and hips are kept over the center of gravity and both stances are strong to the sides. It’s the positioning of the feet which separates these two stances, with Shiko dachi the feet are pointed outward at about a 45 degree angle from center. This positioning of the feet makes Shiko-dachi stronger to the front and allows the hips to be lowered to a point where the thighs are parallel to the ground. The main disadvantage to this stance as compared to Kibadachi is it doesn’t allow for quick changes to other stances, which inhibits mobility.
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(e) Fudo-dachi, rooted stance (Sochin dachi)
If we take the strength in the forward direction of Zenkutsu-dachi and combine it with the power and flexibility of Kiba-dachi we end up with a very powerful, stable stance called Fudo-dachi. The feet are placed about two shoulder widths from front to back as in Zenkutsu-dachi. The distance between the feet side to side is the width of the shoulders or slightly wider depending on body type. Both feet are at an angle from the front of about 30 degrees. The upper body is turned towards the front and the hips are lowered to allow for both the front and rear knees to press outward over their respective foot. The main points to remember when one is in Fudo-dachi stance are to keep equal pressure to the front and back, keep the body perpendicular and the hips low.
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(f) Kosa-dachi, cross leg stance Kosa-dachi is unlike the other outside stances in that about 90 percent of the body weight is on the support leg with the other leg crossing over either the back or front of the support leg. This stance is usually used to stabilize the body when moving quickly from one stance to another or jumping in close to an opponent and breaking his balance. In the 13th movement of Kata Heian Yondan the body is shifted forward over a distance greater than a normal shifting action, so going into a forward Kosa-dachi maintains balance with the knee of the support foot still moving forward as in Zenkutsu. In the Kata Heian Godan, movement #17, the body is shifted to the side from Kiba dachi to Kosa-dachi, the power is generated to the side to break balance of opponent, hips and upper body moving as one, and the support foot remains sideways as in Kibadachi. This stance also allows for the hips to remain low and the lower body to be protected by the crossed legs.
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2/ Kihon-dachi, inside stances The inside stances allow for close and intermediate distance fighting, with the pressure of the knees inward to protect the groin area. The closer one gets to his opponent, the closer the feet move from front to back inwards towards the center of the hips, while maintaining about hip width side to side. When very close to your opponent it is difficult to protect the lower body with the arms so keeping the legs tight and close to center makes for good defense. (a) Hangetsu-dachi, half-moon stance
Hangetsu-dachi is a medium distance stance whose name comes from the movement of the feet when taking the stance. The foot motion is through the center line of the body and then sweeps outward to shoulder width, thus describing an arc in a half moon fashion. The distance between the feet from front to back is about one and a half shoulder widths or slightly shorter
72 depending on the karate-ka. The distance side to side is about one shoulder width and weight is distributed evenly. The feet are positioned with the front foot turned inward at about 45 degrees and the back foot towards the front at about 10 degrees. This allows the knees to be flexed inward towards the groin, and still gives the body good flexibility for movement. (b) Sanchin-dachi, hourglass stance
The Sanchin-dachi is similar to Hangetsu-dachi, in the fact that the knees are flexed inward for protection, but this stance so is generally used at close distance opponent, the feet are closer together frontto to the back with the front heel in line with the back toes side to side. The distance side to side is about shoulder width with the front foot pointing inward at 45 degrees and the back foot straight to the front or slightly inward.
73 The feet form a box or hour glass shape and body weight is distributed equally around the hips. This stance is very good for close range fighting as it gives good cover to the groin and allows for good body power for techniques such as elbow strikes. (c) Neko ashi-dachi, cat stance
Neko ashi-dachi allows for good flexibility and movement, while giving cover to the body’s center. The stance places about 90% of the weight on the back leg so stability is poor and dependent on how low the hips are placed by bending the rear leg. Foot position is made by bending the back leg with the foot at about a 45 degree angle, and bringing the front foot towards the center of gravity so that the heel of the front foot is in line with the heel of the back foot and at toe distance front to back. The front foot is than raised so that only the ball of the foot is touching the ground and the thigh of the front leg is
74 pressed towards the knee of the supporting leg. Neko ashidachi is a good stance from which to kick with the front leg, and then quickly shift out of range much like the slashing movements of a cat. It can also be used as a sweeping technique, using the heel to pull the attackers leg forward and breaking balance. (d) Sagi ashi-dachi, crane stance This stance is one of the least stable stances because all the weight is on one foot. Therefore the stance is generally used to set the body in readiness for further movement. The retracting leg is pulled to center with the foot hooking to the back of the supporting legs knee joint, and the thighs pressed together. This would be a good way of protecting the retracting leg from an attack, than countering by moving backwards or to the side or kicking to the side. **There is one other non-specified stance used in Karate Kata which probably fits within the definition of the inside stances, and that is Orishiku-dachi, the kneeling stance, which is used in the kata Empi, movement #1 and Gankaku movement #18. This stance is taken by bringing the knee of the rear leg down to the ground near to the supporting leg's heel at about hip width or less. It is important when taking this position that the inner thigh muscles are flexed inward to control the movement to prevent damage to the knee joint, the knee should not hit the ground. The hip joint must be fully involved with the motion, with full rotation when
75 going down and coming back up. When rising, the rotation of the hip should have the feeling of screwing out of the center, straight up. Orishiku-dachi is a good close range defense against a low level kick or to get under a punch or kick to the middle or upper levels, and allows for grasping and throwing techniques from the ground. 3. / Kumite dachi, fighting stances All of the natural and basic stances can be employed in the fighting stances, the difference lies in the individual Karate-ka’s experience and body type. In general the kumite dachi are held a little higher than the basic stances to allow greater flexibility and speed, while the basic stances are slightly lower for more stability and building of strength. It can be noticed during kumite that the individual stances vary within themselves during different times in the fight. For instance a front stance may be seen to be light on the feet with the body evenly distributed prior to an attack, while the same stance is low and wide during contact with the target, then returning to a high fluid position upon completion of the attack. All stances in Karate must use natural body positions and movements to be properly used. The stance is the platform on which the whole body sits and therefore is of great importance in the delivery of all techniques. The purpose of any stance is to give stability, balance and
76 mobility to allow the changing of body posture to defend or attack using rotation of hips, body shifting and vibration. In order to move from one stance to another there are necessary conditions for stances in accordance with principles of dynamics. The definition of Dynamics is “a branch of Mechanics that deals with forces and their relation primarily to the motion but sometimes also to the Equilibrium of Bodies.” (9- Webster’s dictionary) A fundamental aspect, which is inherent in all stances, is that they have the center of balance for the body within the area projected by the stance. This area is much like a platform. As the legs project force towards the ground an equal amount of force is projected back along the lines of the leg muscle and bone, towards a central position. If this force is brought to the bodies’ center of Balance no motion is allowed to happen and the body becomes stable. The lower the center is, the greater the ability to remain motionless, thus giving equilibrium to the Stance. In order to move, one of two things must happen, both of which require rotation of the hip joint. 1/ the force towards the ground becomes greater than the force returning, such as to kick off or sudden flexing of the muscles, or 2/ the center of balance is moved quickly towards one side of the stabilizing platform or outside of it completely.
77 The greater the force, along with a quicker acceleration of the center of balance, will define how fast a person can shift from one stance to another. The ability to regain the equilibrium of the next stance will determine the power of any technique used and the ability to move again. The ability to maintain your center of gravity within the platform made by the stance gives the body balance. An athlete who can control his balance while moving his body from one stance to another will be able to perform extremely well. This is paramount in fighting, especially against multiple opponents. When moving from one stance to another it should be noted that you should pass through a secondary stance. This allows for an immediate change in direction half way through an attack or defensive move, which can be life or death in a fight. An example is moving from front stance to front stance. One should pass through cat stance, this brings the knees together and maintains the hips low throughout the motion and allows for an immediate change in direction if needed. An example of the platform areas can be found in (1-D ynami c K ar ate page 42 ) If you use these diagrams for your own stances and take a plumb line from the center of your hips and move it outside the platform you will find your balance broken. The further outside you go the faster you fall.
78 Weapons f or defense and attack
“Even though the arms and legs are the most common parts of the body used in Karate, any part may be effectively used under certain circumstances. The use of a
head butt, or a body slam to break balance, even a bite to break a hold, when fighting for your life, everything is fair. In tournaments we only have one opponent, who may be a friend, so most of the deadliest techniques are not allowed!” In Karate all parts of the body can be used either to punch, strike, block or unbalance an opponent. It is through extensive training and knowledge passed down from generation to generation that the appropriate body part is used when needed. In a fight for your life the first objective is to save yourself, or arrest your attacker's initial technique. This is shown in the Kata as the first application. All Kata start with a defensive action to the left, this is Yin and Yang. Before you can attack you must defend yourself, therefore blocks account for 60% of all Karate techniques. The body, standing in a natural position, places the arms at the side and slightly forward of the hips, palms facing backwards. This is the natural defensive posture for a human, and all blocks can be made from this position. If one moves the arms into a middle and lower blocking position from this natural posture, the distance side to side should remain the same, but the elbows move forward to make distance to the target.
79 F or a mor e i n- depth u nder standi ng of t he techn iques descr ibed below pl ease r ef er to B ibl iogr aphy books 1, 2 and 3.
Blocking techniques Bl ocki ng T echni ques
Blocking techniques are the most numerous of all the techniques used in Karate, and are further proof that the development of Karate was more to protect the user than to attack the enemy. Blocks are divided into two main categories: 1/ Arm Blocks 2/ Leg Blocks
1/ Arm Blocks – Arm blocks account for the greatest number of all blocks and are used to protect all areas of the body, from all stances and using both oi and gyaku forms. The arm blocks are divided into three main categories according to the area of the body to be protected. a/ Upper area – shoulders, neck and head. – (jodan) b/ Middle area – from the hips to the shoulders. - (chudan) c/ Lower area – from the hips downward to the knees. (gedan) a/ The upper area is protected by arm movement from: 1/ Down to up – shoulder area upward 2/ Outside inward – 3/ Inside outward –
80 b/ The middle area is protected by arm movement from: 1/ Up to down – shoulder downward 2/ Down to up – waist upward 3/ Outside inward – 4/ Inside outward – c/ The lower area is protected by arm movement from: 1/ Up to down – hips downward 2/ Outside inward – 3/ Inside outward – The down to up blocks are again divided into groups by the area of the arm which does the blocking. These can be either the forearm or one of a number of hand techniques. The general principles of the basic rising block can be used to describe how to make upper level blocks and will be used as the basis to explain them. Age Uke – Rising block The rising block, starting from a natural posture, is initiated by a squeezing of the elbows towards the center of the body and the arms moving towards the solar plexus and crossing in front of the chest. At this point it is important that the shoulders don’t rise, and energy is directed inward. The blocking arm should be kept to the outside of the two arms as they move together and cross the body center at about solar plexus level. The blocking arm rises upward with the area of the forearm just above the wrist moving vertically with the center of the body. The support arm moves from the center of the chest
81 towards the side of the body, maintaining contact between the body and elbow as much as possible. The blocking arm rises with palm of the fist towards the face until contact to the attacking arm is made, at which point a strong rotation of the forearm is made until palm is facing towards the opponent's center. This enables the blocking arm to maintain connection with the body and allow full power to be delivered to the block. At the same time that the blocking arm makes contact and rotates, the support arm should rotate strongly towards the side of the body with palm upward to give maximum support to the block. The position of the blocking arm at the end of the block should be about one to two fists away from and just above the forehead. The elbow is bent at about sixty to sixty-five degrees. The rising block can be made with both oi and gyaku forms, and with the rotation of the hips, is effective moving both forward and backwards. The outside inward blocks are again divided into groups by the area of the arm which does the blocking. These can be either the forearm or one of a number of hand techniques. The general principles of the basic outside forearm block can be used to describe how to make middle level outside inward blocks and will be used as the basis to explain them.
82 Soto ude uke - Outside inward forearm block From a natural stance, the blocking arm is raised to the outside of the body, with the elbow level with the shoulders and bent at about an eighty to ninety degree with palm towards the front. The support arm should be raised in front of the body at about solar plexus height, palm down and arm extended to make cover. The blocking arm is brought towards the front of the body in a circular motion from outside inward using hip rotation. This motion allows for adjustment to different distances to the target as it moves towards the body. As the blocking arm moves, the support arm rotates to palm upward position with the elbow supporting the side of the body. When the blocking arm makes contact with the target, the forearm is rotated fully so that the palm is towards the blockers face and centered on the opponent and blocker's centerline. At this point the support arm should be fully rotated and tight to the side opposite the block with the feeling of touching the spine with the elbow, and wrist tight to the side of the body. The feeling of a forearm block to the middle area should be to cover from the hips to the shoulders at one time. The Inside outward blocks are again divided into groups by the area of the arm which does the blocking. These can be either the forearm or one of a number of hand techniques. The general principles of the basic inside forearm block can be used to describe how to make middle level inside outward blocks and will be used as the basis to explain them.
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Uchi Ude Uke - Inside Outward forearm block The inside outward block from a natural stance is started with a squeezing action of the elbows towards the front center of the body and the blocking arm crossing the center of the body to the opposite side with palm down. The support arm is directed to the front with palm down and to make cover. At this point the feeling should be of bringing power to your center, but not raising the shoulders. The blocking arm moves across the body from inside outward using a rotating action of the elbow and hip. The hand rises from the side towards the center of the chest and should finish at shoulder height with palm facing the blocker. The support arm moves directly to the support side with the elbow close to the body and rotating so that the palm is up. The up to down blocks are again divided into groups by the area of the arm which does the blocking. These can be either the forearm or one of a number of hand techniques. The general principles of the basic lower sweeping block can be used to describe how to make middle and lower level up to down blocks and will be used as the basis to explain them. Gedan barai – up to down sweeping block Gedan barai can be used to make cover on both middle and lower levels of the body. Most blocking techniques used against lower level attacks from kicks use
84 a sweeping action rather than a stopping or jamming action due to the greater power delivered by a kicking leg. From a natural stance, the blocking arm is brought across the chest till the fist is at ear level with palm side of the fist or hand towards the ear and elbow bent so the hand is almost touching the side of the head. The support hand is directed towards the target, under the blocking arm with palm downward and if possible the elbow joints should come to the center of the chest to protect the solar plexus. One of the main problems seen with beginners in practicing the gedan barai block is lifting the shoulders and losing the connection with the body. The instructor should give particular attention to this. The blocking arm is moved across the chest while straightening the elbow joint. At the moment of contact with the target the forearm is rotated fully till palm is facing downward. The arm should be stopped about one to two fists from the knee and close to the outside edge of the body. Care should be given that the arm doesn’t travel past the body and open it to further attacks. The retracting arm is brought directly back to the side of the body, with palm up, and forearm parallel to the ground. Gedan barai can be used in both the Oi and Gyaku postures.
2/ Leg Blocks Leg blocking techniques use the lower leg, heel or sole of the foot to block or redirect an attack. The area of the body that can be protected by leg blocks is only limited by the flexibility of the blocker.
85 The lower leg, from the knee to the ankle, can be used to sweep an attack to the side from either the inside out or the outside inward. Uchi Ashibo Kake Uke uses the inside of the leg with a hooking motion and strong rotation of the body. If the ankle is used to hook the target, this technique is called Uchi ashikubi kake uke. The inside to outside version is called Soto ashibo kake uke. The heel can be used to block by bringing the foot over the attack from either the inside or outside, in a roundhouse motion than dropping the heel onto the target with a striking feeling. This can cause damage to the target as well as redirect away from center. These blocks are called Mawashi Otoshi Kakato uke, outside inward, and Gyaku mawashi kakato uke for inside outward. The sole of the foot is the more common area to use in a leg block and can be seen in a number of Kata’s. The Mikazuki geri uke is used to sweep the attack away from outside inward, and is shown in Bassai Dai and Heian Godan. Nami gaeshi is shown in the Tekki Shodan kata, and can be used to protect the lower front area or escape a low attack from the side towards the lower leg. To summarize blocking techniques we must first realize that they are mainly used to protect the body from attack. After this, the blocks can be developed in such a way that they can also be used to bring damage to the attacking area of the opponent, and make chance for a counter attack to take place. When making all blocks the
86 hand posture should be made immediately and held throughout the motion. An example of this is the first move in Heian Yondan. The hands are opened into shuto or knife posture before arm movement starts. If your opponent moves quickly you can still make an open hand technique. The position of the elbow should be the same distance from the centerline of the body for all blocks. ( see best K ar ate book 2 page 92 )
Further it should be noted that the arm motion is always coordinated with hip rotation. This usually requires lot of practice to develop full power.
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A Master Nakayama special can be found on http://www.youtube.com/watch?v=W1mTsFa2K48
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Punches and Strikes The most natural part of the body to use is the Hands and Arms, as these are the parts used in everyday life. can be and usedbones in both thebe open and closedto state,The but hand the muscles must strengthened handle the shock made on contact. This can be achieved through regular Karate practice and with extra work on a heavy bag and makiwara. The open hand is the hardest to use but allows for greater speed and distance to a smaller and more vulnerable target and gives one the ability to grasp the opponent at the end of the strike. The closed hand allows for greater force to be applied and makes for easier connection to the center of the body. The forearm and elbow may also be used to strike and enable the Karate-ka the ability to fight in close quarters. In order to make a proper punch or strike, it ’s important to understand the joints and muscular movement of the hand. The hand is one of the most complex parts of the human body and has more bones in it for its size than any other part of the body. The hand is divided into three parts, the fourteen finger bones or phalanges, which are used in spear hand techniques, the five palm bones or metacarpal which are used in sword hand and punching techniques, and eight wrist bones or carpal which are used in palm heel techniques.
89 The wrist joint and forearm are designed to allow for rotation of the hand in a greater than 180 degree arc which lets the hand face both palm upwards and palm downwards. This is important in Karate in that it allows for focusing of varied hand techniques to the center of the body. The muscles of the hand are joined to those of the forearm, which gives greater strength to the hand than the smaller hand muscles could provide by themselves. One of the amazing things that the hand can do, which is important in Martial arts, is the ability to have a greater range of passive motion than that of active motion. This means that the hand can move in a greater degree of motion than the muscles can move it. This allows the hand, when used as a striking object, to flex and absorb great amounts of shock. The bone and muscle structure of the hand allows it to become multiple types of weapons. The fist, palm, back or either side of the hand can become weapons which when used with the expansion and contraction of the joints of the arm and shoulder can become extremely fast and give off great amounts of energy upon impact, despite a small area of contact. The hand is the main weapon of the martial artist, with over eleven different postures, ranging from the onefingered punch to the straight punch and using all areas, from the palm heel and bent wrist, to the fingertips. Please refer to ( 3 Okazaki – M oder n K arate ) for a complete list of punches and strikes
90 PUNCH I NG TECHN I QUES
Punching in Karate usually means to thrust the hand outward from the body's center towards the target with speed and power. The most common part of the hand used is the clenched fist with the two top knuckles of the index and middle fingers as the striking area. Other parts of the hand are also used, such as the middle knuckle of the fingers used individually, or the ends of the fingers in an open hand punch. These latter hand techniques are usually used for special target areas of the body, but the courses of the punches are the same. Punches are divided into two basic groups, a/ the one handed punch b/ the two handed punch. These two groups are further divided as either reverse or straight punches. For our purposes all techniques will be explained from a natural open leg posture. ONE HANDED PUNCHES 1/ Choku Zuki - straight punch 2/ Tate Zuki – vertical fist punch 3/ Ura Zuki – close punch 4/ Age Zuki – rising punch 5/ Kizami Zuki – short punch 6/ Nagashi Zuki – flowing punch 7/ Kagi Zuki – hook punch 8/ Mawashi Zuki – round house punch
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There are a number of specialty punches such as ippon ken and nukite which are not included here, but are explained in the Master Okazaki's book, described above. TWO HANDED PUNCHES 1/ Awase Zuki – U punch 2/ Yami Zuki – Mountain punch 3/ Heiko Zuki – parallel punch 4/ Hasami Zuki – scissor punch A/ ONE HANDED PUNCHES 1/ CHOKU ZUKI The straight punch is the most commonly used, and most powerful of all the punches. It can be readily applied from both reverse (gyaku) or straight (oi) sides while remaining in stance or moving from stance to stance. To initiate a punch from a natural stance the punching arm is pulled back to the side of the body with the palm side of the fist upward. The fist should be brought close to the center line of the body's side, with the feeling of keeping the elbow close. The forearm should be parallel to the ground and the shoulder relaxed. The other arm is brought to the front of the body and is extended outward, at arm length, at solar plexus level. The fist should be palm downward and the shoulder relaxed. The punch is initiated with the retraction of the front arm, with an immediate rotation of the forearm and the movement of the retracting elbow towards the side of
92 the body. This initial movement transfers energy to the opposite side of the body with centrifugal force through the hip area. At the instant that the front arm starts to move, the punching arm is thrust forward towards the target, while keeping the elbow close to the side of the body and the forearm remaining palm upward. As the punching arm moves forward towards the target the retracting arm moves to the side of the body. When the punch is about half way to the target, both arms appear the same, with the elbows tight to the sides and fists with palms up. The retracting arm is now pulled straight back to the side of the body with the fist at the center of the side and elbow tight towards the spine. The punching arm extends outward with palm up until it reaches a point close to full extension of the arm and the shoulder starts to rise. It is at this point that the forearm is rotated so that the fist is in a vertical position, palm towards the body centerline. As the fist travels further full rotation of the forearm is required to keep control of the power of the punch, with the fist turned palm down and the tensing of the back, shoulder and stomach muscles to make the connection to support the finished punch.
93 2/ TATE ZUKI Tate Zuki is a variation of Choku Zuki. The punch is started the same as Choku, but doesn’t extend to the full reach of the arm and shoulder. Near the end of the punch, as the shoulder first begins to rise, or separate from the body, the fist is turned to the vertical plane, with the thumb up. The retracting arm is pulled fully back, and the muscles across the chest and shoulders are quickly tensed to make support. Tate Zuki is a good medium range punch and allows for adjustment in distance from Choku Zuki. 3/ URA ZUKI Ura Zuki is another variation on Choku Zuki based mainly on the distance to the target. The fist moves towards the target as in Choku, as the elbow comes in contact with the side, but before the feeling of separation of the shoulder from the body, contact is made with the target. The fist is held palm upward and the punch is delivered prior to any requirement to rotate the forearm. The distance that is covered by Ura Zuki is from the side of the body to the extreme arm movement prior to the required rotation of the forearm. To make this an effective punch the stomach muscles must be fully contracted along with the muscles of the back and side together with body vibration.
94 4/ AGE ZUKI Age Zuki gets its name from the fact that the fist moves from a low to upper target level as the punch moves outward from the body. The punch starts out the same as Choku Zuki but as the elbow passes the centerline of the side of the body the forearm starts its rotation. The arm is fully rotated and rises to finish at the target using the center or tips part of the striking knuckles. This type of punch is effective as a surprise attack, or as a combination block and attack. The usual target area is under the chin. 5/ KIZAMI ZUKI Kizami Zuki is the Karate equivalent to the boxers Jab punch. Kizami means short, which means the shortest and most direct line towards the target. The punch starts from a protective posture with the arms towards the front of the body, normally in a fighting stance. The punch is delivered with the rotation of the hip and a snapping of the elbow towards the target. Upon contact the elbow is relaxed to allow the arm to return to the ready position so that consecutive punches can be used if required. Kizami is often used in combination with reverse Choku Zuki, but is effective on its own, especially when used as a surprise attack, but requires full use of the hips and contraction of the upper body.
95 6/ NAGASHI ZUKI Nagashi Zuki is similar to the short punch in that the fist moves directly towards the target, but in Nagashi the hips are rotated at about a 45 degree angle to the line of attack in either a forward or reverse direction. This gives the feeling of the punch as flowing from the center of the body and allows the technique to block and strike in one motion. The punch ends with full expansion of the upper body and extension of the arm as in Choku Zuki, without the snapping back of Kizami Zuki. 7/ KAGI ZUKI Kagi Zuki is the hook punch and gets its name from the position of the arm at the end of the punch. As the punch starts from the side of the body it resembles all the other punches, but as the arm and elbow pass the centerline of the body’s side the forearm begins to rotate from a palm up position to a palm down position. At the same time that the arm is rotating, the fist is hooked across the center of the front of the body, finishing with the arm directly across the chest at about two fists outward distance. Care must be taken to insure that the shoulder of the punching arm stays in a natural posture, as there is a tendency for beginners to shrug the shoulders thus losing the connection and power of the punch. A usual method of using Kagi Zuki is to shift the body sideways while applying the punch. This can be seen in the Tekki Katas.
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8/ MAWASHI ZUKI Mawashi Zuki is unlike any of the other Karate punches due to the fact that the elbow is allowed to separate from the body at the beginning of the punch. The starting position is the same as in Choku Zuki, but the elbow drives the fist in an arc away from the center of the body in a half moon shape, than using hip and shoulder rotation the fist is directed back towards the target. The fist strikes the target after complete rotation of the forearm, with the thumb facing downward and the palm of the hand towards attacker. This punch is used mainly against the side of the head, and is good to get around a block or upper level cover action of the opponent. B/ TWO HANDED PUNCHES 1/ AWASE ZUKI This is a combination punch using both arms at the same time. The upper area is attacked with one arm as in Choku Zuki, while the lower area is attacked with the other arm as in Ura Zuki. Normal targets for this combination are the face and solarplex. The main drawbacks, to using a combination of two punches at the same time is the close proximity to the target while both arms are in use, which makes for difficulty to protect against a counter attack.
97 Attention to balance must be foremost in the attacker's mind, with particular attention to the positioning of the hips, shoulders and head. 2/ YAMI ZUKI Yami Zuki is similar to Awase Zuki in that the fists are directed towards an upper and middle level. The main differences are in the direction of application and body posture at contact. The arm directed to the upper area moves in an arc from the side of the body towards the target. As it moves upward there is rotation in the forearm so that the palm is facing down and the head is between the two arms. The lower arm moves directly to the target as in Ura Zuki. The trunk of the body leans into the technique, and the upper arm gives the posture of the mountain, elbow slightly above the fist. 3/ HEIKO ZUKI The parallel punch is another combination punch, but the target area is at the same height for both arms. The power for this punch is greatly enhanced by stepping forward into a strong front stance. Usually a full range of arm movement is used, such as in Choku Zuki. This punch can be very surprising to an opponent when used in Ura Zuki or double Kizami Zuki format.
98 4/ HASAMI ZUKI The scissor punch is similar to a combination of middle level roundhouse punches. The two fists leave the side at the same time travelling on a course like Ura Zuki, but as the elbows pass the center of the body they move outwards from the side and drive the fists inward in a closing motion. Power for this punch comes from the rotation of the forearms and tightening of the chest muscles
Punching is the most common form of attack used by Man. The use of the fist and hand to strike another person was probably the first assault ever made. The punch has developed into an extremely powerful technique in Karate. Of all the members of the great apes only Man has the ability to form a closed fist!
Sensei Y. Yaguchi special #1 http://www.youtube.com/watch?v=5JJz1FCA2w Sensei Y. Yaguchi special #2 http://www.youtube.com/watch?v=u40ntd irXlI
99 STR I KI NG TECH NI QUES
Striking techniques are those using a lateral arm motion, and the snap action of the elbow joint supported by the shoulders. The strike can be compared to the slashing action of a sword, and due to this motion, can be effective as either an attack or blocking technique. Also included in the category of strikes, or “Uchi”, are the Elbow strikes, even though they are more representative of the smashing techniques (ate-waza) as described in Master Nakayama’s book Dynami c Kar ate, p120 . The Striking techniques used in Karate are divided into three basic groups according to the area used to make contact with the target. These three areas are as follows, 1/ Fist strikes – Kobushi Uchi 2/ open hand strikes – Kaisho Uchi 3/ elbow strikes – Hiji (Empi) Uchi Fist Strikes – Kobushi Uchi Fist strikes are further divided into 2 classifications based on the area of the fist used. a/ Back Fist – Uraken b/ Hammer (Bottom) Fist – Kentsui 1/ Back Fist – Uraken The striking area is the back of the fist supported by the two knuckles of the middle and index fingers. There are two methods of delivery a/ outward (Soto) – from body center outward.
100 b/ downward (Otoshi) – in line with body center from up to down. 1/ Outward back-fist strike – Soto Uraken Uchi Soto Uraken is one of the most versatile techniques in Karate and is used frequently in the Katas. This technique is used both to attack and defend with, and is used mainly against hard parts of the body such as the side of the head or joints like the elbow or wrist. Power is generated by the snap action of the elbow. 2/ Downward back-fist strike – Otoshi Uraken Uchi Otoshi Uraken is used mainly to attack towards the front using a strong overhead circular action. The main areas of attack are the center of the face and the solar plexus.
When making the back fist strikes it is important to keep the shoulders relaxed and to use full rotation of the forearm. The arm should be kept flexed until the elbow is pointing directly at the target, than the forearm is snapped outwards to full extension. Upon striking the target the forearm is relaxed and snapped back to the starting position. 2/ Hammer Fist – Kentsui The striking area is the bottom of the fist next to the little finger. There are four methods of delivery, a/ Downward – Otoshi - in line with the body center from up to down. b/ Outward – Soto – from the inside outward, palm down c/ Inward – Uchi – from the outside inward, palm up
101 d/ Double (scissors) – Hasami – both arms from outside inward. 1/ Downward Hammer-fist Strike – Otoshi Kentsui Uchi The performance line of this strike can vary depending on the stance taken and distance to the target. From a natural stance the fist is raised over the head in a circular motion with the elbow crossing the centerline of the body. The fist is then brought down vertically onto the target. If the distance to the target is close the fist can be raised only to the shoulder of the opposite side and brought to the target with a rotating action of the forearm. From a gyaku posture the fist is brought down from above the head, but the arm doesn’t cross the body. 2/ Outward Hammer-fist Strike – Soto Kentsui Uchi The outward strike moves from across the centerline of the body to the outside. The forearm is rotated until the palm is pointing downward and we have full extension of the elbow joint. This technique gets its power from the rotation of the striking arm and the full retraction of the opposite supporting arm. 3/ Inward Hammer-fist Strike – Uchi Kentsui Uchi
The inward strike starts from a position outside the line of the body with the fist at about shoulder height palm towards the target. As the fist is brought to the target the forearm rotates so that the palm is facing upwards upon contact. Power is generated with the rotation of the forearm and the rotation of the hips.
102 4/ Double Hammer-fist Strike – Kentsui Hasami Uchi The double Hammer fist strike is similar to a combination of two Inward strikes but a large circular action is made to the outside before rotating the arms inward. The power for this technique comes from forearm rotation coupled with a strong squeezing of the front of the body trunk using contraction of both the stomach and chest muscles. 2/ Open Hand Strikes – Kaisho Uchi Open hand strikes are further divided into three categories based on the area of the hand used. a/ Sword hand – shuto b/ Ridge hand – haito c/ Palm heel – teisho 1/ Sword hand – shuto uchi The striking area is the edge of the hand between the wrist and lower knuckle of the small finger. This area is relatively weak, with small bones and little muscle for protection. Extreme care must be given in teaching new students the proper way of making Shuto. Points of major concern are 1/ keep fingers close together, 2/ support the other side of the hand with the thumb, 3/ extend the little finger away from the wrist while keeping the palm flat. Methods of delivering the sword hand are similar to the bottom fist, except the starting position is from above the shoulders and in a downward direction to the target.
103 The target areas are usually in the upper torso or neck, so using the full snap action of the arm, plus rotation of the hips, makes this strike one of the deadliest blows in Karate. 2/ Ridge hand – haito uchi The ridge hand uses the opposite side of the hand to the sword hand. The hand is formed in the same manner as the sword hand but the thumb is moved under the index finger to allow the ridge of the hand from the wrist to the last knuckle of the index finger to be the striking point. There are two methods of delivery, 1/ inside outward (uchi) – from under the support arm, outward to the target, starting with palm down and ending with palm up. 2/ outside inward (soto) – using the full movement of the arm outward then swinging inward to the target, the palm is up at the farthest motion of the arm and rotates to a palm down position when striking the target. The main target is the upper torso and neck area. 3/ Palm heel – teisho uchi The palm heel uses the area of the hand composed of the base of the thumb and the meaty part of the hand directly ahead of the wrist. The fingers are moved out of the way by flexing the wrist backwards. As the area used to strike with has a large muscle pad the palm heel is equally effective against bony structures such as the head and joints.
104 The methods of delivery are, 1/ outside inward – uchi – where the arm is extended outward, then brought inward with a snapping action of the wrist and elbow at the moment of impact. 2/ rising – age teisho uchi – where the arm is extended outward and upward towards the target with the snapping action of the elbow and forward motion of the hip. 3/ dropping - otoshi teisho - where the arm is extended above the shoulder and brought down with a snapping action. Elbow strikes – hiji (empi) uchi Elbow strikes are further broken down by the direction of application. 1/ Front - Mae empi uchi 2/ Roundhouse – mawashi empi uchi 3/ back – ushiro empi uchi 4/ rising – age (tate) empi uchi 5/ downward – otoshi empi uchi 6/ side – yoko empi uchi Elbow strikes differ from the other strikes, as there is no snap action of the joint. The elbow is thrust towards the target and the body is used to give greater force to the technique. The area of the elbow used in each technique varies with the direction of the blow. 1/ Lower elbow region is used in roundhouse, and rising strikes and initial contact of front elbow strikes.
105 2/ Upper elbow region is used in side, downward and initial contact of back elbow strikes. 3/ The tip of the elbow is used as a finish to both the front and back strike, but initial contact is made with either the lower or upper areas, thus providing protection for the nerves and bone located at the joint of the elbow. Striking techniques can be used in all stances, with both oi or gyaku forms. (A gain for a mor e compr ehensive and pi ctori al cover age go to bi bli ogr aphy 1, 2 or 3)
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Kicks and Knee smashes Lower body area The feet and legs are used extensively in Karate and are excellent weapons keephis andistance opponent a distance, or to attack before he can to close to at you. The legs are on average six times as strong as the arms and with their greater length can strike out with deadly power. The areas of the lower body that are used to strike an opponent are the foot, shin and instep, Knee and hip. The foot has the same structure as the hand and care must be taken to avoid injuries due to the force of the leg on the small bones of the foot. In general we use the ball of the foot for forward strikes, the heel for backward and downward strikes and the sword foot, which is the side of the foot supported by the ankle, for side strikes. The instep and sole of the foot used mainly in round kicks.
107 The knee and shin areas are used for in-close fighting and the hip can be used to break your opponent’s balance and as a fulcrum to throw. The legs are not used as much as the arms in everyday life so extra training and stretching must be put into their training. To use the legs properly we should know the joints and muscular Movement of important foot techniques. The foot contains twenty six bones which make it the most complex part of the body next to the hand. “In most animals the weight is distri buted among four feet. As humans adopted a bipedal posture during evolution, the foot took on a difficult double function: bearing the weight of the entire body, and performing the complex movements necessary for walking, running, etc.” (12- Calai s-Ger main – p235) Dorsal flexion is movement of the top of the foot towards the anterior tibia, or shinbone. This action is important for Mae Geri techniques as it allows the toes to bend upward so that the ball of the foot can strike the target. Plantar flexion is the movement of the top of the foot downwards away from the tibia. This is important for kicks using the instep, such as Mawashi geri jodan. Both of these actions are made by the ankle joint which moves over a bone structure called the talus. This action is moved by a muscle group called the tibialis anterior which is in the front of the lower leg bone for dorsal flexion, and the gastrocnemius which is in the back
108 of the leg attached to the Achilles tendon for plantar flexion. The foot has limited sideways flexion, so in order to make stomping or thrusting actions using the sole of the foot or the heel a combination of motion is used. This action of directing the foot in abduction and dorsiflexion is called Eversion. This action is used in front thrust kicks. Another combination of movements is adduction and dorsiflexion, which is, called Inversion. This is a common position of the foot for side thrust and side snap kicks. The foot is supported by a number of ligaments which are extremely strong, as the foot is required to support the body's weight, plus the forces produced by jumping and running. The tendons and ligaments are so strong that usually the bones will break before they tear. This strength of bone and tissue makes the foot an extremely powerful weapon when combined with the power of the legs. KI CKI NG TEC H NI QUES
Kicking techniques are those that use the legs for attacking or blocking. The advantages of these techniques are greater distance, more power and surprise of attack. Kicks can also be used in all directions and against every part of an opponent’s body. The only limitation is on the physical abilities of the Karate-ka.
109 Areas of contact are: 1/ ball of foot 2/ instep 3/ heel 4/ sole of foot 5/ outside edge of foot 6/ knee Appli cation o f ki cks:
1/ snap - close to medium distance 2/ thrust - medium to long distance The Snap kicks can be generalized as kicks where the knee is moved in the direction of the target and quickly followed by the foot. Immediately after contact with the target the foot is retracted to the start position. Thrust kicks can be generalized as kicks in which the knee is raised through the line of the target and the foot is pointed towards the target. The foot is moved to the target using the thrust of the knee and hip together and upon contact the leg is locked out to allow full penetration. The foot is then retracted back to center while maintaining srcinal height of the knee.
1/ front 2/ side 3/ back
Cl assif icati on of ki cks accor din g to dir ection :
110 1/ front kicks: a/ front snap kick, mae geri keage Using either the ball of the foot or the instep to strike with, the knee is raised directly up front along the centerline of the body in the direction of the target. The heel should rise back towards the buttocks at the same time, so that the muscles at the back of the leg are contracted and the muscles at the front are fully expanded. When the knee reaches full extension towards the target, the foot is snapped forward to strike the target at full extension of the upper and lower leg. To complete the action, the foot is snapped back to its start position while the knee remains at srcinal height. After full retraction of the foot, the knee is lowered to start position. This kick is used mainly for targets directly to the front and mainly from groin height and upward. Snap kicks are for close to medium distances. b/ front thrust kick, Mae geri kekomi Using either the ball of the foot or the heel, to strike with, the knee is raised up the centerline of the body, heel back and full dorsal flexion of the foot. The foot is then driven towards the target by the thrusting action of the knee and hip. At completion of the trust, the leg is locked out straight to the target. Retraction should be exactly the opposite from the extension, than lowered to the start position.
111 This kick is mainly used on targets to the front and waist height downward, it is very effective for attacking the knees. Thrust kicks are for medium to far distances. c/ roundhouse kick, mawashi geri Using either the ball of the foot or the instep to strike with, the knee and foot are raised directly to the side of the body parallel to the ground with the knee fully bent and heel back tight to the thigh. Knee motion is then directed towards the target using the rotation of the hips and upper torso. As the knee comes in line with the target the foot is snapped to the front to make contact. Retraction of the foot is directly back to the thigh with a snap action and knee is rotated to the side or lowered to the front to step forward. This kick is used mainly towards targets to the front, but which are partially protected. The circular route of the kick is effective in getting around guards. Originally this was a close distance kick, but has developed into a multiple distance technique. d/ crescent kick, Mikazuki geri Using both the ball of the foot and the sole to strike with, the knee moves directly to the front towards the target. The foot is held back to the thigh with full dorsal flexion. As the knee rises towards the target the angle of the lower leg increases to the side and the foot snaps to the target in a crescent or semicircular movement.
112 Bringing the knee back towards the chest and snapping the heel back to the thigh makes the retraction. This kick is very effective as a guard and blocking technique towards the front. e/ reverse roundhouse kick, gyaku mawashi geri Using the ball of the foot or the instep to strike with, the knee must be raised to the front and across the body center, the foot coming in front of the supporting leg. The kick is directed to the front in a semicircular motion from inside the body center line outward. Retraction is back in the same course as the kick with the knee remaining in front for protection. This kick is very effective as an attack or guard towards the front, especially at groin level. f/ knee kicks, shittsui geri All front kicks can be used as knee kicks for close range attack and defense by keeping the knee fully flexed and the foot held tightly to the thigh. Knee kicks require the full range of motion from the hip joint to allow for forward thrust or circular motion. These kicks are very effective against an opponent at close distance. 2/ Side kicks: a/ side snap kick, Yoko geri keage The side kick uses the sword foot, the outside edge of the foot that is supported by the heel and instep.
113 In the side snap kick the knee is raised diagonally to the body center towards the target. The foot is kept in full dorsal flexion with the toes turned towards the front as much as possible, and the foot should remain within the centerline of the body close to the support leg as long as possible. As the knee moves to its farthest extent towards the target, the foot is snapped sideways to strike in an upward sweeping action. b/ side thrust kick, Yoko geri kekomi Using the sword foot as a striking area, the knee is raised directly up through center, foot parallel to the ground. The foot is moved towards the target with the feeling of stepping onto the target. The power of the kick is generated by the thrusting action of the knee and hip joint. The kicking leg should be completely straightened and connected to the support leg at the moment of impact. c/ Cutting kick, fumikiri geri This kick is basically the same as the side thrust kick, but the target is the knees or lower leg. The higher the knee of the kicking leg is raised to start the thrust, the greater the force of impact. d/ stamping kick, fumikomi geri Using the sole of the foot in a crushing technique, this kick is similar to the side thrust but the target is usually the instep, or an opponent who has been thrown to the ground.
114 e/ side roundhouse, yoko mawashi geri Using the back of the heel or the sole of the foot to strike the target, the side round house is delivered from a ninety degree angle from the target by thrusting the leg straight out to the front of the body and then using the rotating action of the hips and upper torso, the extended leg is brought sharply towards the target. This kick can prove valuable for muscle development. In order to use the leg to make cover in a full ninety degree arc from the center front all the way back to the side of the body the central core must be strong. 3/ back kicks: a/ back snap kick, ushiro geri keage Using the back of the heel to attack the target, the kick starts from the same position as the front kick, but is moved through center towards the back. As the foot is extended towards the target the heel is snapped back towards the thigh muscle to catch the opponent with the back of the heel. This kick is usually used against an opponent who is close behind or grabbing from behind. b/ back thrust kick, ushiro geri kekomi Using the bottom of the heel to attack, the kick starts the same as the back snap kick but is thrust directly back through center and is fully extended to bring the power of the supporting leg into play.
115 The higher the kick the further the karate-ka must lean forward at the waist due to the lack of flexibility to the back by the spine. c/ back roundhouse kick, ushiro mawashi geri Using the back of the heel to strike the target, the leg is raised to the side with the knee and foot at the same level. Using the rotating action of the spine and hip joint the leg is brought past the target then the heel is snapped back towards the thigh. Kicks have developed from a method of keeping an opponent at a distance or breaking his balance into an effective projection of the body equal to the hand techniques used by Karate-ka. The kick is still in a developmental stage and we see greater variation developing every year at tournaments. High kicks are becoming into greater use now that your opponent isn't holding onto a 3 foot sword, covering his upper body.
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Body movement and Power Now that we have the weapons of the body situated on a firm and stable platform we must move them outwards from center to make contact with the target. As a biped animal we have limitations on how we can make power. There are three methods, 1/ Body rotation 2/ Body shifting 3/ Body vibration 1/ Body rotation allows the power of the large muscle groups of the hips and legs to be projected onto the upper body, and to assist in greater speed in the lower body. The rotating motion of the body trunk causes the extremities to move outward from center by centrifugal force. The faster the rotation, the greater the force, and by using muscle control, the arms or legs are redirected in a straight line towards a target. The energy of the rotation, coupled with the accelerating speed transferred to the extremities, gives greater force to the technique than with the arms or legs alone. An example of this principle can be seen in other sports such as Baseball and Golf. If the practitioner were to try to hit the ball with just the force from the arms alone there would be very little distance to the drive. When the rotation of the hips is added to this motion, great distances are achieved. Power is the work done over a period of time. If the same amount of work, or release of energy, happens in less time, greater power is released. This is also true in Karate.
117 If the energy to move our fist, or foot is released in a shorter time span, than greater Power is created. So the speed of the rotating action of the hips causes greater power at the extremities, which releases more energy. The rotation of the body gives speed to the techniques, and it also transfers the power of one muscle group to another. To get the greatest benefit from body rotation, the trunk should be perpendicular and the rotation should start before the extremities are moved. Hip rotation is just one of three ways to make power, but it brings into play the largest muscle groups in the body. Use of the hips also allows the body to quickly align itself to make motion in the proper direction. 2/ Shifting action of the body transfers energy from one position to another, through body movement, by stepping, jumping or sliding from one stance to another. The purpose of body shifting is to reposition the body to either attack or defend, but the power created by this shifting action is of great use to the Karate-ka when He develops the ability to transfer it from one part of his body to another. The faster the Body is moved, the greater the power at the end of the motion. As the body accelerates, the mass of the body, plus its speed, multiply together to form energy. The arms or legs are projected out from this energy and the speed of the motion, and the mass of the body are added the arms or legs. This gives them greater speed and mass than can be achieved by the arms or legs alone.
118 The power of these motions can become even greater if the timing of body shift and the motion of the Arm or Leg is such that they reach maximum velocity together; at the moment contact is made with the target. One of the greatest drawbacks to shifting the body is the loss of balance, which can occur unless care is taken to maintain the center of gravity over top of the hips throughout the motion. This usually requires lots of practice, and large, dynamic motions shouldn’t be tried until the Karate-ka is comfortable with the basic motions learned through training in Kihon and the Heian Katas. It is very important for beginners to learn their stances properly before learning to move from stance to stance. A slow progression in the complexity of movement should be followed. Motions as described in Okazaki Sensei’s book, (3-Okazaki-p89 ) are of great assistance to Instructors in leading their students from basic motion to complex motions. The power generated by body shifting can also be enhanced with the use of body vibration and body rotation. In fact most motions in Karate are a combination of at least two of these methods of generating power. The shifting action will create power, but the important thing in Karate is to bring this power to one point at precisely the right time. If the shifting action is not controlled, the timing may be off, or balance lost. If this happens the energy projected from the body by the shift could be used against you.
119 Body shifting or tai sabaka is the ability to move from one position to another, and may be done in any direction, laterally or vertically. The Dynamics to cause these motions are dependent on the direction, distance to be covered, and application of technique during or at the end of the motion. The objectives of body shifting as stated in the “ Textbook of M oder n Kar ate ” are – “1/ to maneuver around a real or imaginary opponent. 2/ to close with or move away from an opponent. 3/ to provide optimal distance when blocking or attacking actions are carried out.” (3 – Okaz aki – p87) In order for the body to shift we must use our Muscular and skeletal systems together. To create motion, muscles must contract or expand in length and shorten or lengthen the angle between two or more bones across a joint.
An interview with Shihan Okazaki on power distribution http://www.youtube.com/watch?v=O7SlrTm Kldw On the following pages are some exercises for practicing body shifting.
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Karate footwork is ashi-sabaki in Japanese. From Sensei Yaguchi class, written by Joe Dixon for ISKFBC.
suri-ashi, Yori-ashi,
tsugi-ashi,
ayumi-ashi,
Fumi dashi ashi
hiraki-ashi
Kae ashi
Suri-ashi - (Kizami zuki) Suri-ashi is the way we perform most karate footwork. It is a sliding movement. In karate, we, most of the time, slide/glide. In Kizami only the front foot moves. First, we have to acquire the sliding movement. In the basic stance, Zenkutsu, our right foot is the front foot and the left foot is the back foot and the left heel is slightly lifted up. However, when we move, it is much easier to lift both heels up slightly. How slightly do we have to lift our heels up? Just enough to put a piece of paper between your heels and the floor. Have the feeling that you are pushing marbles out of your way. If you step on them you will slip and fall.
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Yori-ashi
–
(both feet)
This is the most important karate footwork or ashisabaki .
In the basics, the right foot is the front foot and the left foot is the back foot. And lift the left heel slightly up.
122 When we want to go forwards, we move the front foot first.
When we go backwards, we move the back foot first. So in the basics, we move the right foot to move forwards and the left foot to move backwards. In Yori-ashi, the back foot never passes the front foot. It doesn't matter if the right foot is the back foot or the left foot is the back foot. The back foot cannot pass the front foot and vice versa.
123 Some Important Points * It is very common that the beginners drag their feet, specially the back foot, when they perform this ashisabaki. No dragging in karate footwork. Never!
Tsugi-ashi In the basic Karate footwork ( Yori-ashi), the front foot must move first. But in this footwork, tsugi-ashi, the back foot moves first and it stops before it passes the front foot. If the back foot passes the front foot, it is called ayumiashi, which is described below.
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Ayumi-ashi In ayumi-ashi, we can actually cross our feet like we are walking, but as in suri-ashi (sliding). It is walking with sliding, only lift the feet paper thin above the floor.
Fumi dashi ashi 1/ Same foot motion as in Ayumi ashi, but driving in strongly as in Heian nidan.
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Hiraki ashi
–
(side shift)
Similar motion to Yori-ashi for side shift, when stepping across, make kosa dachi, then step sideways. Best form is stepping in front as this keeps hips square.
Shiho Ashi-sabaki ( Yori ashi Hiraki ashi combination)
–
Shiho means four directions. We take a step forwards, backwards, to the right and to the left respectively.
126 Before we learn this, we should breifly practice Yori-ashi, then Hiraki ashi to the right and left.
Mawashi-ashi
This ashi-sabaki is to It change direction bybut pivoting on one foot. shouldthe be body acquired slowly definitely as one improves his/her karate skills. 1. From the basic stance, take a step diagonally onto the right foot followed by the left foot.
127 2. Move to the left diagonally onto the left foot followed by the right foot. But the right foot becomes the back foot.
3. Go to the right as in 1.
4. Repeat 2. and 3.
Kae-ashi 1/ change front and back foot position, using a rotating action of the hip. 2/ Body center should remain in position, as if rotating around your opponent’s center.
128 (Please
refer to Best Karate #2, page 60 – 80 for training methods.) In Karate, to move the body from one point to another also requires maintaining a stance at the end of the motion. The most effective way to move is by going from one stance to another through a secondary stance to retain posture and balance. An example of this is the movement from one front stance to another. The legs should move through center as if going into cat stance, but the motion is not stopped but carried through to completion of the next stance. This use of a secondary stance also allows the Karate-ka the ability to change the direction of the body shifting action part way through the motion. 3/ Body vibration is a method of creating power from the body’s center outward to the extremities. The concept of making power from vibration is similar to that of a tuning fork. The energy from tapping the tuning fork is vibrated back and forth on the forks at a frequency dictated by the size and rigidity of the material used to make the forks. The human body is made up of bone, muscle and tendons; all of which are fairly soft materials and on their own would absorb any vibration in the body. In order to create vibration in the body, all the major muscle groups have to be contracted fully, and at the same time. It is very difficult to maintain this contraction for any length of time, so the vibration of the body is extremely fast and the energy is transferred through the
129 muscle and bone from the center of the body outward in a quick burst of energy. The use of vibration to create power is complex and usually only developed in more senior students. When used, this vibration allows the practitioner to make very short and powerful techniques, as can be seen in the Tekki kata. The main muscle groups used to create vibration are those surrounding the hip joint. A quick, short motion of the hips from center position and back starts the action. When the hips return to the start position the muscles around the hip must be contracted first, followed by the remaining muscle groups moving from center outward. Upon completion of all muscles contracting the body must fully relax in order to recover for the next movement. Vibration is used extensively with the other methods of making power, shifting and rotation. In most cases the vibration comes at the end of the shift or rotation and adds to that power source. Vibration allows for all muscles to be used in one action, and is the main reason for the amazing power at close distances and when using narrow stances such as Kiba dachi to the side and Sanchin dachi to the front. All Karate techniques should contain Vibration. The ability to move and produce power from the body is directly related to the ability to expand and/or contract the proper muscle groups at the right time and in the right order. Expansion:
130 Body expansion allows energy to move from the body’s center outward to the extremities. As the technique on one side of the body moves outwards to the target, the muscles are controlled in such a way that a connection is maintained between the striking part of the body, normally the hand or foot, and the bodies center or trunk area. If this expansion isn’t controlled the joints of the extremity will open and act as a buffer to the strike. This would lead to a weak attack and possible loss of balance and recovery time. In tournament Karate the objective is to score a point, not destroy your opponent. This means that speed of technique is of greater importance than power, so a somewhat shorted expansion can be used. In Karate, as a Martial art, it becomes a matter of life or death as to how many times you must strike your opponent to subdue him. Therefore a stronger and slightly deeper form of expansion is used. This takes a little longer to make, i.e.; milliseconds, but has a greater effect. Contraction: In our example of expansion it should be noted that we talked about one side of the body in motion. In order to gain the greatest amount of power from our center we must use an equal and opposite force to make balance in the trunk area. This force is contraction, which means to bring the muscle power of the extremities towards center as a stabling factor. This allows the trunk muscles to tighten fully in order to support the attack.
131 The main muscles to contract are those closest to the center, which are the muscles that protect the abdomen and buttocks. The tighter these muscles are at the moment of impact, the greater the force from center. Again it should be noted that speed to gain points is important in sports Karate, so sub maximal contraction should be used. This creates a movement similar to a whip action, which can leave a mark but is unlikely to kill. To make the technique full power again, a small amount of speed is given up for full contraction of the muscles. This is Karate as a Martial art. It is important for an instructor to understand these subtle differences in expansion and contraction, and to be able to teach both, as some students wish to go into competition and others require self-defense training. In order to maintain body balance and posture during fighting it is important to keep our center of gravity inside our stance platform. This is easy to do if there is little or no body motion. We tend to attack or defend ourselves with quick and powerful arm and leg motions. The very nature of these thrusts is to move our centers away from our platform, and to break our balance. To counter these destabilizing factors we naturally make the opposite side of the body react in a motion in opposition to the applied force. This can be seen in the natural arm swinging motion when we walk. As one arm moves towards the front, the opposite arm swings towards the back. The arm motions are generally opposite to the leg
132 motion on the same side. These actions and reactions help the body maintain balance. In Karate this reaction to motion is more pronounced due to the fact that the motion is very explosive in nature and usually comes to a sudden stop i.e.; contact with another person. In order to maintain posture the reactionary forces used are in opposition to action taken. Due to the power in Karate we also require the internal contraction of the large muscle groups supporting the hips and upper body as a reaction to most applications. According to the Webster’s dictionary reaction is described as the following, (9 Webster’s dictionary p979) 1/ reaction – the force that a body subjected to the action of a force from another body exerts in the opposite direction. 2/ reaction - resistance or opposition to a force, influence or movement. In Karate for every action there will be an equal and opposite reaction. An example is a punching technique where the main action is the motion of the arm and fist towards the target. To balance this, the opposite arm is retracted back to the opposite side of the body. The faster this arm is retracted, the greater the force and speed the punching arm has. In its best form, the retracting arm should be completely back prior to the full extension of the punching arm. To move our bodies, the action is to thrust our leg towards the ground, the reaction of the ground’s inability to
133 absorb this thrust propels the body in a direction opposite to the applied force and equal to the energy not absorbed. Gravity is a force that reacts directly with a mass in a vertical plane to the earth’s center. The greater the mass , the greater the effect of gravity and if an object has its mass distributed evenly around its center of gravity, it is said to be in balance. In Karate the body mass is supported by a platform made of the area under the body created by the position of the feet. The center of this platform is the center point of balance. The larger this area and the lower or closer to this point that the mass can get, the more stable the body. By positioning the body's center of gravity at the center of this platform, it becomes the easiest position to maintain balance. Therefore it can be said that perfect balance happens when the center of gravity and the center of balance are the same point. If the body’s center of gravity is shifted from the center of the platform area but remains inside the platform area, balance can be maintained but greater energy is required, i.e. more muscle control and movement. If by shifting the mass, the center of gravity moves outside the platform area, than balance can no longer be maintained and the body will fall. To correct this, one of two things must happen, the mass is quickly moved back into the platform area or the platform area is shifted under the mass, or a combination of the two.
134 This is most notable when kicking, as the platform is small i.e., one foot, and large masses are in motion, causing the center of gravity to leave the platform area. So the kicking leg must be retracted quickly or the body shifted in the direction of the kick to assume a new platform to maintain balance and the ability to recover stability. At the other end we have the stance called Fudo dachi, the rooted stance, which gives us the largest platform area along with one of the lowest centers. This makes it one of the most stable stances to fight from. Body posture is important in order to maintain balance and allow movement in any direction. Without good balance the application of techniques is either impossible or without power.
Breaking Posture As in all martial arts when an application or form is perfected, another application or form will be developed to counter the srcinal. Thus, if a good stance is required to make a strong technique, a method would have to be developed to break the stance or balance. In Karate we have many methods and techniques of breaking balance. When breaking an opponent’s balance both the physical and psychological concepts must be looked at. The idea of breaking balance is to make chance for an attack or escape to take place. By moving a person outside of their area of balance an attack can be stopped, and an
135 opportunity to attack can be found. This can be done through sweeping techniques or by breaking their concentration by unexpected motion or sounds. In kumite the most common method used for breaking balance is the leg sweep. The distance to the target, the leg doing the sweep, the leg being swept, and the motion of the combatants break the sweeps into different types. I.e. attacking or retreating. The purpose of the sweep is further divided into three basic categories based on the amount or degree of balance that is broken, 1/ 0 - 30 % changes direction, 2/ 30 – 70 % causes loss of control and 3/ 70 – 100% complete upset and falling. These leg-sweeping techniques come under the name of Ashi-barai and are described according to the part of the foot or leg doing the sweep. 1/ Teisoku ashi-barai – Sole leg sweep This is the most commonly used of the sweeps and can be from the outside inward, striking an opponent’s ankle and foot, sweeping it across their line of motion or from the inside outward, which allows the hooking of the foot and pulling it forward, breaking the balance. This is most effective as an opponent steps forward and the front leg is attacked just before the weight is on the front foot. The sweep is started with a circular motion to the outside of center and moving to a position about 30-40 degrees to the front. At this point the leg is snapped back
136 towards the supporting leg in a pulling upward motion. Either the front or rear leg can be used. 2/ Sokuto ashi-barai – Sword foot leg sweep The outer edge of the foot is used to cut towards the opponents’ foot in a semi -circular motion from the front to the back. This technique is best used when in close to the attacker and allows for a throwing technique to follow. 3/ Ushiro Kakato ashi barai – Back heel leg sweep The back heel sweep is applied in much the same manner as the sword foot sweep, but the heel is used to hook the lower leg and allows you to pull the opponents leg forward or sideways to break their balance. 4/ Soto Kakato ashi barai – Side heel leg sweep In the side heel sweep the foot doesn’t hook the foot of the opponent but tends to jam it towards the side and forward. To accomplish this the sweep is started by positioning your hips sideways to your opponents and sweeping forward and outwards in a circle. Psychol ogical br eaki ng of balance
This is less complex than sweeping and can be as simple as yelling at the attacker. Anything that breaks their concentration will do. Timing of this is more important than what is done, for the moment must be used to either escape or attack before the opponent recovers his composure. Breaking balance is to make chance, and whether total balance is broken or a moment in time is given, the
137 opportunity must be grabbed and a finishing technique followed up. The best examples of breaking balance were perfected by the late Sensei Enoeda.
Enoeda Sensei demonstration http://www.youtube.com/watch?v=v38XQJ gK7W0&list=PL78C2549390DB81C2
138
For the instructor: Teaching Karate; understanding Humanity, both the Physical and the Psychological.
Karate and Kinesiology Kinesiology is described as the study of the principles of mechanics and anatomy in relation to human movement. (9 – Webster’s dictionary) Karate can therefore be considered a subject of Kinesiology pertaining to human movement as a Martial Art. All actions taken in Karate must relate to natural body movement to be effective and must comply with the principles of mechanics of a human body or the motion can cause damage to the practitioner. The principles of mechanical motion in Karate conform to those of other sports and movements of the body at work or play. Two factors, which must be taken into consideration when making body motion in Karate, especially with the hands and feet, are speed of motion and compression of joints and tissue at completion of motion. The study of Kinesiology pertaining to Karate motions will allow the Instructor to better understand proper application of techniques, with less chance of injury to the student. Muscular action, both expansion and contraction, causes motion across a joint. This is a system of levers, the bones being the lever and the muscles being the applied force across a fulcrum point to create movement.
139 Muscle contraction or shortening is the main force to create motion, but the ability to relax the opposing muscle group is also a requirement. One of the main factors in Karate is speed, which is best accomplished by full motion of both expanding and contracting muscles. Forces external to the muscles, such as gravity, centrifugal force and elasticity, or bounce of the muscles are used to assist this motion if the motion is completed fully. The more an instructor studies Kinesiology the greater will be his ability to teach techniques to students of different sizes and ages with a lesser chance of the action causing injury. Each person has a different body type and if Karate is taught scientifically it will allow for these differences to be taken into account and allow each person to use and develop their natural style. Kata
Kata is sometimes called the essence of Karate. It is in every respect a form of fighting or sparring. Kata uses all the techniques of actual combat, but without an actual foe. The techniques are not hampered and can be used in their purest form. This allows the practitioner to teach the body and mind the proper method of making a defensive or offensive move. With enough practice the body will remember these actions and will perform them during actual combat, without the karate-ka having to think about the techniques. Kata falls into two categories, Shorei and Shorin. Shorei Kata are used to develop strength and power while Shorin Kata develop speed and flexibility.
140 The basic Shotokan kata used for Shorei development are Tekki, Jion, Jutte and Hangetsui. The basic Shotokan Kata used for Shorin development are Heian, Bassai, Kanku, Empi and Gankaku. All practitioners should use both types of Kata, as each style helps in the development of the other which creates a balance within the body and mind. The use of Kata in tournaments helps the Karate-ka to understand the underlying meanings of each Kata. The Kata are judged on the following elements 1/ Deportment – this is body language, which lets your opponent know that you are ready 2/ Posture – the ability to maintain balance, and face the proper direction to complete each movement 3/ Stance – the proper stance at the right moment gives stability and power to the techniques. 4/ Basic techniques – teaches application of the technique, also an understanding of the target. 5/ Application of power – Teaches how to control your opponent with the power required, too much gives an opening, and not enough means getting hit. 6/ Speed of techniques – Speed is of the essence in Karate, usually the first one in wins, but blocking to fast may create an opening, so speed must be controlled 7/ Expansion and Contraction – Full use of the muscles must be used to make proper motion and power. Other factors that are taken into account during tournaments are proper line of movement, rhythm, and interpretation.
141 Kata are an extremely valuable method of training which develop muscle and bone strength and enhance balance and fluidity of motion. The exact techniques used in the Shotokan kata vary from organization to organization. If a technique is slightly different from the way you have been taught that doesn't mean it's wrong, just different. The kata teach you how to make a technique, kumite is using the technique. Take what works for you and keep it, our method of kata is based on Sensei Nakayama's books, and are used so we all train together. Any technique that can save your life is a keeper! Over the last few years Sensei Okazaki has been giving a specific form of training which I call the ISKF Kihon Kata. These forms take into account most techniques and stances used in Karate and are a great training method. I personally would like to see these placed into our grading system in the future.
Another important interview with Shihan Okazaki
Sensei Okazaki and friends interview http://www.youtube.com/watch?v=jVDe056 ERMM
142
OKAZAKI SHIHAN ISKF KATA SETS Direction as clock face – \forward = 12:00
All stances based on main support foot – left front stance = left foot forward, left back stance =left foot back, cat stances same as back stance.
Front stance = zenkutsu dachi, back stance = kokutsu dachi Side stance = kiba dachi, square stance = fudo dachi Half-moon stance = hangetsu dachi, hour glass = sanchin dachi Cat stance = neko ashi dachi
OKAZAKI SHIHAN BASIC PUNCHING SETS LEFT LEG FORWARD 1/ step forward left leg to left front stance, down block then reverse punch – stomach level 2/ turn on right leg
step backwards into right front
stance, facing 10:30, make right outside forearm block, then change to side stance, and shift in making right elbow strike.
143 3/ from side stance make right back fist strike face level, turn into right front stance, still facing 10:30, make left reverse punch. 4/ in right front stance make rising block, then step forward into left front stance, make lunge punch. 5/ from left front stance, step back
with left leg into left
back stance facing 12:00, make right knife hand block. Stay back stance, reverse punch left hand. 6/ step forward into natural stance – finished. RIGHT LEG FORWARD 1/ step forward right leg to right front stance, down block, reverse punch – stomach level 2/ turn on left leg
step backwards into left front stance,
facing 1:30, make left outside forearm block, then change to side stance, and shift in making left elbow strike. 3/ from side stance make left back fist strike face level, turn into left front stance, still facing 1:30, make right reverse punch. 4/ in left front stance make rising block, then step forward into right front stance, make lunge punch. 5/ from right front stance, step back
with right leg into
right back stance facing 12:00, make left knife hand block. Stay back stance, reverse punch right hand. 6/ step forward into natural stance – finished.
144 RIGHT LEG BACKWARD 1/ right leg step back to left front stance, down block, reverse punch – stomach level 2/ turn on left leg step forward into right front stance, facing 10:30, make right outside forearm block, change to side stance, and shift in making right elbow strike. 3/ from side stance make right back fist strike face level, then turn into right front stance, make left reverse punch. 4/ from right front stance make right rising block, then step backwards into left front stance, still facing 10:30, make left straight punch face level, then reverse punch stomach level with right arm. 5/ from left front stance move right leg forward
into left
back stance, facing 12:00, make right knife hand block, then reverse punch left hand. 6/ step backwards to natural stance – finished. LEFT LEG BACKWARD 1/ left leg step back to right front stance, down block, reverse punch – stomach level 2/ turn on right leg
step forward into left front stance,
facing 1:30, make left outside forearm block, change to side stance, and shift in making left elbow strike.
145 3/ from side stance make left back fist strike face level, then turn into left front stance, make right reverse punch. 4/ from left front stance make left rising block, then step backwards into right front stance, still facing 1:30, make straight punch face level, then reverse punch stomach level with left arm. 5/ from right stance move left leg forward
make right
back stance, facing 12:00, make left knife hand block, then reverse punch right hand. 6/ step backwards to natural stance – finished.
OKAZAKI SHIHAN ADVANCED PUNCH SETS LEFT LEG FORWARD 1/ make fighting posture left leg forward 2/ shift into left front stance, reverse punch right arm stomach level, then left straight punch face level. 3/ turn on right leg
step backward with left leg into
square stance facing 10:30, right back fist strike face level, then left reverse punch stomach level. 4/right jab punch face level, step forward into left half-moon stance, left ridge hand strike face level, then right reverse roundhouse punch face level.
146 5/ shift left leg to side, make side stance facing 7:30, make left elbow strike stomach level then back fist strike face level, then right hook punch stomach level. 6/ using right leg as pivot point,
turn counter clockwise
with left leg facing 12:00, make right back stance with left arm inside to outside knife hand strike face level, then make stomach level right hook punch. 7/ from back stance, jab punch face level, then step straight back into right hourglass stance, then make right upper level rising elbow strike, then left middle level front elbow strike. 8/ Shift straight backwards make left cat stance with lower level double pressing palm heel block. 9/ step forward with right leg into natural stance – finished RIGHT LEG FORWARD 1/ make fighting posture right leg forward 2/ shift into right front stance, reverse punch left arm stomach level, and then right straight punch face level. 3/ turn on left leg
step backward with right leg into
square stance facing 1:30, left back fist strike face level, then right reverse punch stomach level. 4/left jab punch face level, step forward into right half-moon stance, right ridge hand strike face level, then left reverse roundhouse punch face level.
147 5/ shift right leg to side, make side stance facing 4:30, make right elbow strike stomach level then back fist strike face level, then left hook punch stomach level. 6/ using left leg as pivot point,
turn clockwise with right
leg facing 12:00, make left back stance with right arm inside to outside knife hand strike face level, and then make stomach level left hook punch. 7/ from back stance, jab punch face level, then step straight back into left hourglass stance, then make left upper level rising elbow strike, then right middle level front elbow strike. 8/ Shift straight backwards make right cat stance with lower level double pressing palm heel block. 9/ step forward with left leg into natural stance – finished RIGHT LEG BACKWARD 1/ make fighting posture left leg forward 2/ shift backwards with right leg into left front stance, left straight punch face level, and then right reverse punch stomach level. 3/ step forward with right leg into square stance facing 10:30 make right back fist strike face level and then left reverse punch stomach level. 4/right jab punch face level, then step backwards with right leg into left half-moon stance, left ridge hand strike face level, then right hook punch face level.
148 5/ shift right leg forward to 1:30 into side stance, make right elbow strike, then back fist strike face level, and then left hook punch stomach level. 6/ step backward with right leg
into right back stance
facing 12:00, make left inside to outside knife hand strike, then right close punch stomach level. 7/ from back stance, left jab punch face level, then step forward into right hourglass stance, make right rising elbow strike, then left stomach level elbow strike. 8/ shift straight backwards into cat stance, make double lower level pressing palm heel block 9/ step forward into natural stance – finished LEFT LEG BACKWARD 1/ make fighting posture right5 leg forward 2/ shift backwards with left leg into right front stance, right straight punch face level, and then left reverse punch stomach level. 3/ step forward with left leg into square stance facing 1:30, make left back fist strike face level, and then right reverse punch stomach level. 4/ left jab punch face level, then step backwards with left leg into right half-moon stance, right ridge hand strike face level, then left hook punch face level.
149 5/ shift left leg forward to 10:30 into side stance, make left elbow strike, then back fist strike face level, then right hook punch stomach level. 6/ step backward with left leg
into left back stance
facing 12:00, make right inside to outside knife hand strike face level, then left close punch stomach level. 7/ from back stance, right jab punch face level, then step forward into left hourglass stance, make left rising elbow strike, then right stomach level elbow strike. 8/ shift straight backwards into cat stance, make double lower level pressing palm heel block. 9/ step forward into natural stance – finished
OKAZAKI SHIHAN BASIC KICKING SETS LEFT LEG FORWARD 1/from natural stance left leg front kick then step forward 12:00 into left front stance, then right leg front kick, return back to left front stance. 2/ step backwards with left leg
into side stance facing
10:30, then right front leg side snap kick, place down to right front stance then left rear leg front kick, then back to front stance.
150 3/ from right front stance, right front leg round house kick, place back down, then left rear leg round house kick step forward into left front stance, the right rear leg front kick, place back into left front stance. 4/ step back with left leg
into left back stance facing
12:00, then front right leg side thrust kick to front, make right front stance, then left rear leg front kick, place back into right front stance 5/ step forward into natural stance – finished RIGHT LEG FORWARD 1/from natural stance right leg front kick then step forward 12:00 into right front stance, then left leg front kick, return back to right front stance. 2/ step backwards with right leg
into side stance facing
1:30, then left front leg side snap kick, place down to left front stance, then right rear leg front kick, then back to front stance. 3/ from left front stance, left front leg round house kick, place back down, then right rear leg round house kick step forward into right front stance, the left rear leg front kick, place back into right front stance. 4/ step back with right leg
into right back stance facing
12:00, then front left leg side thrust kick to front, make left front stance, then right rear leg front kick, place back into left front stance 5/ step forward into natural stance – finished
151 RIGHT LEG BACKWARD 1/ from natural posture step back with right leg into left front stance, then front kick with left front leg, return to left front stance then front kick with back right leg, return to left front stance. 2/ step forward 10:30
make right leg side snap kick
step down into right front stance, then left rear leg front kick, back to right front stance 3/ from right front stance front right leg round house kick, place back into right front stance, step back with right leg into left front stance still facing 10:30, then left front leg round house kick, place back down into left front stance then rear right leg front kick step back into left front stance. 4/ turning on left leg
make right side thrust kick to
12:00, then step down into right front stance facing 12:00, then rear left leg front kick, step back into right front stance 5/ step back into natural stance – finished LEFT LEG BACKWARD 1/ from natural posture step back with left leg into right front stance, then front kick with right front leg, return to right front stance then front kick with back left leg, return to right front stance. 2/ step forward 1:30
make left leg side snap kick step
down into left front stance, then right rear leg front kick, back to left front stance
152 3/ from left front stance front left leg round house kick, place back into left front stance, step back with left leg into right front stance still facing 1:30, then right front leg round house kick, place back down into right front stance then rear left leg front kick step back into right front stance. 4/ turning on right leg
make left side thrust kick to
12:00, then step down into left front stance facing 12:00, then rear right leg front kick, step back into left front stance 5/ step back into natural stance – finished
OKAZAKI SHIHAN ADVANCED KICKING SETS LEFT LEG FORWARD 1/Left leg forward make fighting stance, shift forward into left front stance then back right leg front kick, step back then front left leg front kick , return to left front stance. 2/ step back into right square stance facing 10:30,
then
front right leg side snap kick to front, make square stance then back left front kick, return to right square stance. 3/ from square stance front right leg round house kick, replace foot to front position, then rear left leg round house kick step forward into left half-moon stance, then rear right leg front kick , return to left half-moon stance.
153 4/ from left half-moon stance, front leg left side thrust kick to side,
7:30, then make side stance, rotate hips and make
right front snap kick at 7:30, then return to side stance. 5/ using the right foot as pivot point
turn counter
clockwise and make left back thrust lick to 12:00, place left foot forward and make right front kick, then place right leg back into right back stance facing 12;00. 6/ step straight back into right hourglass stance, then right leg, make lower level sweeping technique, return to right hour glass stance, back left leg front kick, then return to right hour glass stance. 7/ shift straight back into left cat stance, make right arm middle level hooking block, then front right foot snap kick, return to left cat stance. 8/ step forward into natural stance – finished RIGHT LEG FORWARD 1/right leg forward make fighting stance, shift forward into right front stance then back left leg front kick, step back then front right leg front kick , return to right front stance. 2/ step back into left square stance facing 1:30,
then
front left leg side snap kick to front, make square stance then back right front kick, return to left square stance. 3/ from square stance front left leg round house kick, replace foot to front position, then rear right leg round house kick step
154 forward into right half-moon stance, then rear left leg front kick , return to right half-moon stance. 4/ from right half-moon stance, front leg right side thrust kick to side,
4:30, then make side stance, rotate hips and make
left front snap kick at 4:30, then return to side stance. 5/ using the left foot as pivot point
turn clockwise and
make right back thrust lick to 12:00, place right foot forward and make left front kick, then place left leg back into left back stance facing 12;00. 6/ step straight back into left hourglass stance, then left leg, make lower level sweeping technique, return to left hour glass stance, back right leg front kick, then return to left hour glass stance. 7/ shift straight back into right cat stance, make left arm middle level hooking block, then front left foot snap kick, return to right cat stance. 8/ step forward into natural stance – finished RIGHT LEG BACKWARD 1/ make left fighting stance, then shift right leg back into left front stance, make front left leg snap kick, return to left front stance, then right rear leg make front snap kick return to left front stance. 2/ from front stance rear right leg make front side snap kick at 10:30,
then make right square stance, then rear left leg
155 make front snap kick to 10:30, then step back into right square stance. 3/ from square stance, front right leg round house kick, step down into square stance, then step backwards into left halfmoon stance, left leg round house kick, make left half-moon stance then right leg front snap kick return to left half-moon stance facing 10:30. 4/ from left half-moon stance, right leg make side thrust to 1:30,
step down into side stance, then rotate hips make
left snap kick to 1:30, step back into side stance. 5/ step backward with right leg into right back stance, then left leg side trust kick to front, 12:00, make right back stance, then back right leg snap kick to 12:00, then back to right back stance. 6/ step forward into right hour glass stance then make right leg lower level leg sweep, return to right hour glass stance, then left rear leg front snap kick, return to right hour glass stance. 7/ shift straight back into left cat stance, then right front arm make middle level hook block, then front right leg make snap kick return to left cat stance. 8/ step back into natural stance – finished LEFT LEG BACKWARD 1/ make right fighting stance, then shift left leg back into right front stance, make front right leg snap kick, return to right front
156 stance, then left rear leg make front snap kick return to right front stance. 2/ from front stance rear left leg make front side snap kick at 1:30,
then make left square stance, then rear right leg
make front snap kick to 1:30, then step back into left square stance. 3/ from square stance, front left leg round house kick, step down into square stance, then step backwards into right halfmoon stance, right leg round house kick, make right half-moon stance then left leg front snap kick return to right half-moon stance facing 1:30. 4/ from right half-moon stance, left leg make side thrust to 10:30,
step down into side stance, then rotate hips make
right snap kick to 10:30, step back into side stance. 5/ step backward with left leg into left back stance, then right leg side trust kick to front, 12:00, make left back stance, then back left leg snap kick to 12:00, then back to left back stance. 6/ step forward into left hour glass stance then make left leg lower level leg sweep, return to left hour glass stance, then right rear leg front snap kick, return to left hour glass stance. 7/ shift straight back into right cat stance, then left front arm make middle level hook block, then front left leg make snap kick return to right cat stance. 8/ step back into natural stance – finished
157 Kumite
Kumite is fighting. When done without an opponent we call it Kata, with an opponent we call it Kumite, which is developed through three basic steps. 1/ Basic one, three or five step Kumite – ippon kumite, sambon and gohon kumite 2/ Semi-free Kumite – jiyu ippon kumite 3/ Free Kumite – jiyu kumite 1/ Basic Kumite is used to teach an understanding of distance, target area, control and proper technique for the circumstances. The beginner starts with three or five step sparring, which helps to develop a sense of distance and control. The movements are usually in a straight line, which is easier for beginners to understand. As the beginner progresses we move to one step sparring which puts greater pressure on the student and teaches speed and control of technique. At this time the student is taught to move to the side, out of line of attack, and how to use the attacker’s body to protect himself. He also must learn to use the proper techniques for counters based upon his distance to the target. As an example, we sometimes see in grading at this level students using Haito or choku zuki, when a close distant technique such as empi would be better, or using Empi when a Kick would be best.
158 2/ Semi-Free Kumite lets the student learn to recognize openings in an opponent’s defense or posture and to attack decisively when the opportunity arises. Semi-free sparring teaches how to adjust for different distances and angles when attacking and defending. Even though your opponent knows what the attack will be, timing and making chance can give semifree sparring the feel of true combat and should be practiced only after basic one step sparring is mastered. In Semi- free sparring, the blocking technique is of paramount, as it teaches the student not only to protect himself but also to create an opportunity to recover and counter. 3/Free Kumite allows either side to initiate the attack and any and all Karate techniques may be used. Strategies must be developed to create openings in your opponent's defense. When an attack is made the ability to recover or make cover after the attack is paramount. The practitioners of free sparring must have developed control, distance and timing in order to prevent injuries. The main strategies to learn are Sen-no-sen and Go-no-sen. These represent the basic concepts of fighting. Sen-no-sen is the ability to attack immediately, without warning, and using speed to overcome ones opponent. Timing is of the utmost importance, as any opening in the opponent’s defense must be taken advantage of. Go-no-sen is the ability to create openings in your opponent’s defense, and the attack must be decisive, with
159 the timing such that the attack is immediately started as the opening is being made. To hesitate is to fail and possibly lose. I once had a conversation with Sensei Yaguchi about the first movement in Bassai-Dai, and the slight difference in his movement and that of Sensei Okazaki. His answer was that he fought with Go-no sen and Okazaki Sensei fought with Sen-no-sen and the difference can be seen in their kata and karate. As Kumite practice became more popular, Sensei Nakayama developed a method of Judging and controlling distance, which has allowed for the tournament Kumite to become practical. The tournament Kumite differs from the Martial Kumite in the fact that killing or disabling the opponent is not the ultimate goal. Scoring a point by striking the target area with great speed before your opponent can respond is the aim of tournament Kumite. This allows the contestants to concentrate on greater speed but with less focus and power. Both aspects of Jiyu-kumite should be studied, but don't forget that the true purpose of a martial art is not in winning put in survival itself. Kar ate and Self -def ense
Self-defense is the main purpose of Karate as a Martial art. The main training of Sensei Funakoshi was that Karate was to be used as a last resort, and never to strike first. This is also seen in the fact that the greater number of Karate techniques are those used as blocks to protect the
160 Karate-ka, as well as to disable but not destroy the opponent. The best form of Self-defense is to insure that you never put yourself in a position where an attack is inevitable. To walk down a dark alley in an area of any large city today is to place one’s self at a disadvantage. To defend one’s self, an awareness of your surroundings and any people near you is paramount. If after all other precautions are taken, and an attack has started, the first response must be to defend against the initial attack. This can take the form of a blocking technique, a diversionary tactic, such as yelling, or if possible escape by running away. Karate techniques are built around the premise of defending against an attack from one or more opponents. After the initial attack is defended against, an immediate feeling, or action, to make cover to protect the body from further attack should be taken. This can be accomplished by a quick counter attack, by making distance, or breaking your opponent’s balance. If after making cover an opening appears in your opponent’s posture an immediate attack should be made to stop any further aggression. Making cover again will enable you to escape or prepare for any further attacks from other opponents. In self-defense the steps are; 1- defend, or make chance 2- make cover 3- counter attack and, 4- make cover,
161 These will enable the defender to protect himself, whether he uses basic Karate techniques, or more refined techniques such as throws or grappling techniques. The above also works against weapons such as knives and clubs, but the Karate-ka must control his distance from his opponent. By maintaining a close proximity to the attacker you can control his body movement. This allows you to keep control of the arm holding the weapon, especially from the elbow joint. Self-defense is remaining calm and in control of your feelings under duress. Self-confidence developed through hard training accomplishes this. There are no short cuts. When the Japanese first viewed Karate, They were most impressed by the Physical development of the young men who had been training in this new Martial Art. The actual movements of Karate use every muscle in the body to their maximum expansion and contraction. This movement makes the muscles develop in a natural way, which produces firm strong tissue and helps in balance and flexibility. Training in Karate is based upon the concepts of speed and power together. This is shown in the Katas, which are divided into two major groups, Shorin and Shorei. Shorin is based on quick muscle flexion and speed is developed with its practice. Shorei is based on strong muscle contraction and is used to develop strength and bone density.
162 In Karate physical conditioning and endurance training go hand in hand through repetition of techniques under scientific guidelines. All the methods of Physical training are practiced during each class. Aerobic training consists of multiple combinations done over a period of time of about twenty minutes. The body metabolism is brought to a high rate and kept there for this time, this develops the cardio system. Anaerobic training is usually taught for about the same amount of time but the duration of each set should be a maximum of two minutes strong hard training followed by one minute of slower more relaxed motion. This will develop speed and power of technique. As a method of physical development Karate has few equals. Swimming is the only other exercise which uses the same amount of muscles but not with the same dynamics produced by Karate due to the support of the water. The Karate student usually can participate in other sports and activities with little problem adapting to the physical demands of those sports. Training is one method of developing the body, mind and spirit. When we think of training, the first thing that comes to mind is physical development training; either playing a sport as a team, or individually practicing basic skills. However, there is a non-physical development training that is very important. Non-physical development training engages the mind. It involves learning and studying rather
163 than motor skills and it is the complement to physical development training. Physical development training refers to muscle, bone and connective tissue strengthening activities. Different types of training give different results. Progressive resistance training uses weights to build up muscle fibers, and muscle groups. It is called progressive resistance because over time the weights used become heavier, thus exerting a greater stress on the muscle fiber. Endurance training improves the efficiency of the cardiovascular system, building up the heart, lungs and circulatory system. Endurance training is any training that is sub-maximal in intensity, non-stop, and carried on for at least twenty minutes. Reaction training exercises improve eye-hand coordination. This can be done with a partner, who either uses his own technique or an object such as a ball to stimulate your reflexes. They are very quick and become instinctive over time. Progressive resistance, endurance and reaction training are very physically demanding exercises that may incorporate Karate techniques to achieve their particular goals. Physical development training may take the form of a tournament competition or basic training with or without a partner. Non-physical development training uses the mind, Reading, studying, research and videos are all methods of non-physical development training.
164 If physical training is impossible due to illness or injury than observing a class, reading a textbook, or discussing techniques can replace physical training. Imaging is a good method of non-physical training. The athlete performs the Kata or match in his mind, imagining each technique being done perfectly. This has been proven to help in development with Olympic athletes. Discussion of techniques and Kata sometimes gives a different perspective on the ways of doing them and sheds new light and understanding on the subject. This is especially true if you can talk to someone with greater knowledge on the subject than yourself. The advent of the home video camera may become our best method of expanding our understanding of our own body and how to increase our ability at Kata and Kumite. Watching one’s self allows you to see firsthand all the mistakes made, even those we have been told about, but can’t get our mind around. Both the physical and non-physical development of techniques are essential for the Karate-ka. The bringing together of both the mind and body gives greater physical strength to all techniques. Karate training sessions include Kihon or basics, Kata and Kumite or fighting. Kihon requires the student to imagine an opponent in front of him. Kata is a fight against multiple imaginary opponents attacking from all directions. Kumite training sharpens the Karate student’s ability to concentrate through the use of
165 actual opponents. Complete concentration is required during Kumite due to the explosive power of the techniques; a slip of the mind can have devastating consequences. A key element in achieving mind concentration is through eye position. During basics, the student should focus the eyes on a spot on the wall in front of them at about their eye level. The student must concentrate on the correct course of each technique so that the body will learn to do it naturally. The student practicing Kata imagines an opponent in the attacking position and concentrates fully on each opponent by quickly refocusing his attention through head and eye position. Each part of the Kata, or each imaginary opponent should be thought of separately, and each attack and defense brought to completion before going to the next move. This will help bring the mind and body together. We call this Zanshin, or perfect finish. During Kumite the concentration of the mind must be unmoving, trying not to think of anything but letting the mind be quiet. The ability to do this takes practice through training in Mokuso, or breathing exercises. If the mind can be controlled and kept quiet during a fight than you see all opening, as they come, and understand your opponent’s body language. If the mind is wandering, or fitful, than concentration is impossible and your ability to fight to your fullest potential is lost. Without the mind and body acting as one, true mastery of a martial art is incomplete.
166 The environment within which we train encompasses more than just the building we train in. By definition environment means “the circumstances, objects, or conditions by which one is surrounded” (9 -Webster’s dictionary). This also takes into account the social and cultural influences surrounding the training area and people. The physical environmental factors such as heat, noise, light levels, smells and size of the training area, plus the number of people training, all affect our training, sometime negatively, sometime positively. Heat, loud noise, humidity and a high density of people, affect people negatively. It is difficult to concentrate under the above factors, and care must be taken that the students don’t become dehydrated during training. Loud noise can lead to aggressive behavior. Tempers are short and patience is thin in the heat of summer. These environmental factors place an added stress on the individual who is struggling with an unfamiliar art. The physical layout and structure of the floor and even mirrors on the wall can affect a student’s concentration, the Dojo area should be kept as simple as possible to cause the least amount of distraction. The sense of teamwork that evolves within a class of Karate students can affect an individual performance. With a sense of comradery a student can go beyond his expected limits. The feeling or spirit of training becomes one of never giving up. The strength of the more senior people invigorates the new student into trying harder. The
167 Dojo is the greatest single environmental effect felt by all students. It is a direct result of the personality of the Sensei and his senior students. The instructor sets the general mood of the dojo; this mood can have a positive or negative influence. The students will react to the instructor’s mood, so if he is happy and outgoing a positive feeling will surround the dojo and the students will pick up points easier than if the mood is negative. Discipline is also a factor in making up the environment of the dojo. An undisciplined group has a hard time picking up techniques due to the lack of concentration. Discipline is of paramount importance in the training of children, as their ability to concentrate is easily broken by the behavior of those around them. A clean, well thought out dojo area with good lighting and ventilation gives the student a better chance of learning. The Instructor must give support in a positive way to his student's; even criticism can be given in such a way that the mental comfort of the student isn’t disturbed. The mind and body are inseparable. This is true in Karate, as well as in other Martial Arts and sports. The goal of Karate training is to defend oneself; this can be done both through techniques or understanding your attacker. Therefore, the psychological state of mind can affect both the body and technique in a favorable or unfavorable manner. Factors such as stress, fear, lack of confidence contribute to an unfavorable psychological state. Stress,
168 fear and anxiety cause muscular tension. This in turn slows techniques and hinders accuracy and kime. Timing, distance and reaction are also adversely affected by an unfavorable psychological state. Fear may be fear of failure, or fear of the unknown. Fear of failure is often times seen in competition where the threat of losing can cause a competitor to forget proper use of technique and to perform poorly. Stress that accumulates during the day may come from the work place, school or the home environment. This stress may be released in a favorable manner, where the student pushes to do better, or it may result in an unfavorable release. An unfavorable psychological state brought on by a bad day at work; school or home should be recognized by the instructor and dealt with accordingly. All humans encounter stress, and each individual reacts in their own way to these pressures. Karate tries to channel the reaction in a positive manner. Many students are able to work through their unfavorable psychological states by hard concentrated training. During hard training, the mind is not able to dwell on the events of the day thus this training tends to relieve stress. Favorable factors such as self-confidence, relaxation, concentration and a willingness to learn encourage a positive psychological state. The ability to relax and enjoy Karate increases concentration, which results in quicker, sharper technique, which leads to better focus and power. The Dojo itself can lead to a good psychological state, where the student feels comfortable
169 and at home. Some students soon come to realize that their greatest form of stress relief is a hard workout. A strong psychological state leads to stronger technique. A person who has faith in himself and in the techniques which he uses will have a better chance of increasing his abilities and pushing his techniques to a higher level. Reflex action is an involuntary, natural response to a stimulus. The central nervous system, consisting of the brain and spinal cord, control reflex actions. If you are stuck with a pin from behind, you will jump and yell, this is a reflex action. No thought has to take place; a survival technique takes over. The connection between psychological state and physical action occurs through electrical messages sent along motor neurons to the muscles. Therefore, the brain must be free of emotional and mental stress in order to respond spontaneously to a stimulus. To achieve a stress free environment, we practice meditation before each class. At the command, Mokuso, the Karate-ka must empty the mind of any thoughts and emotions that may linger from the day’s activities. This prepares the athlete for training. Psychological state is affected by emotions and intellect. When the Karate-ka is burdened with thoughts and ideas running through his head, the reflex action will be slower, or non-existent. An individual may become so preoccupied with thought that they are oblivious to outside stimulus. This may be dangerous in the case of Karate
170 training because the individual may be injured if unable to react to an attack. A clear mind allows the body to react instinctively to a stimulus or attack. By practicing techniques over and over the body learns to react on its own without thought. The reaction is processed in the brain and sent to the spinal cord and then to the muscles. This happens so quickly that the Karate-ka doesn’t have to think to react. Reflex action can be enhanced by repetition of technique and keeping the mind clear of outside thoughts during training. If the student learns to train with the ability to clear the mind, he will become one with the application of the techniques. To react without thought, but with the proper technique, at the proper time, is the ultimate aim of the Karate-ka. This can only be done when the mind is clear and the body well trained. A group is defined as number of individuals related by a common factor. At the Dojo that factor is Karate training. The functions of a group are to complete a task or achieve a goal. Karate students strive to achieve many different goals. Individuals may begin training as a method of physical conditioning, self-defense etc. If these remain the only goals of the student he will soon leave the group. The group in itself will become a social event and part of the individual's life. The growth and maturation of a Karate group or club is similar to that of individual growth. The group becomes more cohesive and develops an identity through years of training together. A sense of belonging
171 and a feeling of connection among group members are enhanced by a slow, gradual growth of the club. During the growing period the club is in a state of constant flux. Individuals come and go as the group seeks to instill common values and goals in its members. An ideal psychological state for group instruction exists when the students are willing to accept instruction with an open mind and have respect for the instructor. If the students perceive the instructor as a competent Karate-ka they will have a willingness to learn from him. The instructor has a duty to his students to upgrade and maintain a high standard of knowledge on Karate and related subjects. As well, the instructor should point out that all students could learn from each other. It takes a lifetime to learn Karate; thus we are all perpetual students of the art. An advantage of group training is the potential for a mutual exchange of ideas and as a group each student gains when everyone extends strong spirit during training. As each student becomes aware that everyone, regardless of rank wants them to succeed they put more of themselves into the group and into training. Being a part of a group is a fundamental Human trait. We all want to be part of a family, and we succeed easier when we have the support of our own group. Motivation is brought about by an intrinsic behavior such as finding something interesting or exciting. This is found in people who participate in something they are good at. Another form of motivation is extrinsic behavior such as
172 wanting a medal or ribbon or belonging to a team. This can apply to all people whether they are athletes or not. Extrinsic motivations are external, unlearned and common to all people. An outside force causes a reaction; this can be as simple as wanting something or fighting for survival when attacked. This is the need to sustain life and may be thought of as a primary drive. Therefore the motivation to sustain life is primary to man and when threatened the motivation is to preserve life at all costs. Karate training is geared towards saving your life when under threat, and therefore the motivation to train is as basic as survival in some people. Intrinsic motivation is internal and would include things such as curiosity, activity, exploration and manipulation. Activity can be a motivation to avoid boredom. This can cause someone to seek out an activity such as Karate. Curiosity and exploration motivate us by setting the goal of discovering the new and unknown. As ones skills at manipulating another person physically develop, we tend to understand that, the more about this skill we know, the safer we become. As a psychological manipulation, the ability to control or handle people with the force of character, rather than the physical force, comes from knowing that you can indeed control them physically if required. This self-confidence is felt by others. Achievement in Karate comes in many levels through the ranking system. Each examination relates to the achievement of a higher rank within the system and thus a
173 higher level of proficiency. One who is motivated by achievement can continue training and reach higher levels with each examination. This system of achievement may last a lifetime; thus the individual is constantly motivated. A great motivation in Karate is related to that of achievement. The higher the rank achieved, the more prestige a person has within the group, and the more the motivation is strengthened. Being within the group and achieving individual goals as well as helping others within the group reach their goals can be the greatest motivation for success in Karate. Supplemental training through equipment and health management In order to supplement Karate training, an array of equipment can be used to strengthen technique, increase speed, sharpen reactions, build endurance and improve timing and distance. These factors can be learned and enhanced through karate training, but the maximum potential may not be reached without the assistance of punching and kicking bags, Makiwara boards, weights, elastic exercisers and other more imaginative devices. The Makiwara board teaches the karate-ka kime, or focus, by hitting the target with all the muscles of the body at the same time. In punching technique, the power is directed through the large, first and second knuckles of the fist. Gyaku zuki enhances hip rotation and is reinforced when used with the Makiwara. The only way to execute gyaku zuki at maximum force is using hip rotation;
174 therefore punching the Makiwara improves hip rotation while bringing power directly to the target. It also strengthens the impact surfaces of the fist. Until the karate student actually makes contact with a surface while punching they cannot understand the essential body mechanics involved in a punching technique. The punching bag, or a lightweight bag, is used to improve endurance, speed and hand to eye co-ordination. It gives the practitioner an opportunity to practice and improve attacks, particularly to the upper body area. Because the punching bag is not fixed in one place its movements help condition the reflexes. The snapping technique of jabs and strikes can also be improved and sharpened with the light bag. Sensei Yaguchi used a ball on a string to enhance his kicking techniques. The heavy bag is used for kicking more than for punching and introduces the karate student to the weight and force encountered when hitting a large heavy object. The kicking bag helps teach follow-through, and if you don’t get your body behind each kick it will not be effective and could break the kickers' balance. Elastic exercisers are excellent for understanding the concept of body expansion and contraction, as well as balance. When you practice with the elastic you are placing a stress on one set of muscles as you cover distance going away from the body, and another set when you come back. As you punch you pull back the arm using the biceps, and extend the arm using the triceps. By facing in different directions both muscles can be exercised. The elastic also
175 forces you to use correct course of motion or the elbow will be pulled away from your side. Weight training is ideal for improving strength and muscle endurance, but care must be taken to use full joint motion. Large weights used to a maximum of twelve times will increase speed and strength, which is an advantage to the Karate-ka. Video cameras are now at a reasonable price and give the student the ability for self-criticism. To view your own Kata or Kumite can lead to a quick learning curve. Any object that helps you increase your power, speed, stamina or interest in training should be used. Something as simple as an old phone book, in place of a makawari, can be used to develop distance and timing. In order to practice Karate properly one must remain healthy, and the training itself should promote a healthy lifestyle. To manage health one must consider: 1) Physical conditioning 1) Nutrition 3) Rest Physical conditioning is a major consideration for the Karate athlete because without a fit, healthy body, it is difficult to train. An effective exercise program takes into account the condition of the individual and tailors the frequency, intensity and duration of exercise to that person. Training frequency is dependent upon the duration and intensity, but at least three times a week is suggested.
176 This will result in more improvement over a gradual period of time. Training every day can be done but the intensity should be varied. It has been found that a cyclic system is best. On the first day a basic workout, on the second a vigorous workout followed on the third and fourth days by another basic workout. The fifth and sixth day can be vigorous but then the seventh day should be restful. This routine allows for the body to recover. If you are running a part time dojo, than at least one class per week should be for endurance training. Intensity is the key factor in physical capacity and can be measured quantitatively by maximal heart rate or % of oxygen consumption. Intensity varies with age and level of condition and must be monitored accordingly. A study of the maximum heart rates of individuals by age should be done by all instructors. Duration of exercise must be at least twenty minutes to obtain cardiovascular benefit. The higher the level of fitness, the longer duration the cardio can take, but there is no evidence to say that cardio fitness will become better with a longer duration. But a reduction in frequency, intensity or duration will result in de-conditioning. Nutrition is an important part of athletic performance, as food is the source of energy for training. Fluid intake and hydration effect tolerance to heat, efficiency of energy, metabolism and onset of fatigue. An athlete’s diet must include the four food groups, which consist of fruits and vegetables, grains, high protein foods and carbohydrates. If these are incorporated into daily diet,
177 active individuals can be confident that they are receiving an adequate amount of all the essential nutrients. Rest is just as important for an athlete as training or exercise and nutrition. Rest is needed to allow the body to recover from exercise. After an intense training session the body may feel sore and tired. This is natural and is part of the tearing down and building back up of the body’s tissues. As in all things a balance between activity, food, and rest is the best way to remain healthy. Health management eventually becomes second nature to the Karate-ka. The importance of physical fitness is obvious to the advanced as well as beginner students. Due to the type of workout in Karate training injuries can present a problem for the instructor. The key word associated with injuries is prevention. If you prevent an injury from happening, you will not have to worry about treating it. The way to avoid injuries is to minimize the risks of being injured. Some of these factors are the environment, faulty equipment, following the rules of your sport and allowing your body to adapt to repetitive stress. The environment where you train should be free of unwanted obstacles, and have good lighting and visibility. Common sense would preclude doing exercise where there are objects that can cause injuries, such as broken glass. We sometimes overlook things like doing jumping techniques after a vigorous workout while the floor is still wet from perspiration. During the summer months it is common to
178 practice outside on a grassy field, but again care should be taken to inspect the area for sharp material, including rocks, broken glass and remember, wet grass is slippery. All these type of factors are part of your immediate environment, look around and do an assessment prior to training. Equipment use must be looked at in two ways, one, are you using the right equipment for the right muscle group and for the results you want, and two, is the equipment in good shape and usable. Using weights is a good method of complimenting any form of training, but as in any other training method get advice on the proper use and amount of weight to use. Excessive weights at the beginning of training can cause muscle strain and even chronic back problems. The use of heavy and light bags are common in Karate, knowledge of what their weight is and the material inside them should be acquired before striking the bags, some have settled with sand at the bottom. This is a great way of breaking the toes of the unsuspecting young student. Another training method used in Karate is the makawari board, which is a great way to increase the power and striking ability in the adult student. The instructor must remind children, under the age of 18, that the use of any
force on the growth nubs of the hands or feet can cause damage to growing bones, hitting hard objects or doing knuckle pushups should be done by adults only. The rubber elastic band is an excellent way to train for strength and proper course of technique, but again this should be inspected and replaced when cracks and wear show up.
179 Using equipment requires proper training and common sense. Every sport has rules of play; these rules have developed over a long period of time, usually to prevent injuries from happening or from recurring. In Karate the rules must be adhered to as not only injuries but also death could result in an accident. We train to attack specific target areas of the body; most are crippling or deadly. Even in tournaments at an international level certain areas of the body, such as the eyes, knees, and spine are not allowed as targets. The rules are there to protect us from our own folly, and the rules must be adhered to at all times. It is sometimes easy to allow some contact, but by doing so you place the whole art of Karate up for criticism. The most common injuries in Karate are due to improper preparation for training. During training start with a warm-up to raise muscle temperature, then stretching the muscles, ligaments and surrounding tissue. This also allows the heart and lungs to gradually increase their demand for oxygen and blood flow. After training a warm-down should take place to help the fluids that have moved out to the muscles to move back into the trunk. This will help decrease soreness and stiffness in the body. When working out it is important to know your body's limitations, not everybody trains for the Olympics, but we tend to try to beat the guy next to us even when we know he may be better, younger and in excellent condition. Pushing one's self is a great way to get better, but at certain
180 ages we must adjust our training to better our health, not to win competitions. Minor injuries such as cuts and scrapes can be treated locally, but any other injuries should get proper medical care. In Karate a great many techniques can cause deep muscle and organ injuries, even if the student feels all right after being hit hard they should be seen by a doctor. The instructor has a duty to see that his student’s train in a safe manner, and that all injuries are attended to by the proper level of expertise. Differences between students; personality The art of Karate seems to attract individuals displaying a full range of personalities. In an effort to define personality we go to the dictionary which states that “personality – the complex of characteristics that distinguishes an individual or group; esp: the totality of an individual’s behavioral and emotional characteristics.” ( 9 – Webster’s) The personality of a person can be simply defined as their psychological core, which includes basic attitudes, values, interests, and motives. In short, “it is the real you.” (13 – Richard’s p22) The personality of a person can be modified by our environment through social learning. We learn to behave in certain manners consistent with environmental constraints. Social reinforcement can mold the personality towards good or bad behavior. If the instructor gives praise to an individual for doing a difficult task, such as learning a new
181 Kata on his own, than that person will tend to press forward in a learning curve and will develop faster than his peers. If that same person is praised for fighting outside of the Dojo, or for using Karate techniques indiscriminately, than he will develop a tendency towards violence. These personality changes can be made easier on young students, so it is important that the instructor leads by example, and lets the students know what is expected of them as Karateka. Their personalities will be molded in this fashion. Another way in which personalities are classified is by traits, these traits are considered synonymous with predispositions to act a certain way. An example of this would be a person who is an achiever; this person would be more competitive and assertive in many situations. The assertive personality will tend to learn faster, but may tend to place their own ideas into their work. The Karate instructor must identify these people and lead their natural leadership abilities towards productive goals. They will likely question the way things like Kata are done. The instructor must explain the true meaning to be grasped by keeping the Kata as is and not letting the student make changes. A person with a trait towards introvert personality must be brought out by the instructor, and through social learning they will step forward and learn to lead in situations where their trait personality would push them into the background. Such training as having them lead the class in warm-ups can be a good starting point to bring out the best in people.
182 A person’s personality defines who they are, most people tend to act out a personality as to what they would like to be, and try to hide their true self. An instructor must find the real person under this, and lead them forward in the
spirit of true Karate as defined by the Dojo Kun. The class
To prepare a training schedule a number of factors must be considered. Each class must be set up for its level of skill, to teach a beginner at the same level as a black belt would be counterproductive and could lead to injury. The intensity and duration of the class must also take into account the age group of the students, older students in their late forty’s and above can work at the same level as younger people, below early teens. The older students will be able to train for endurance, while the younger ones can develop speed and flexibility. Above mid-teens, to mid or late thirty's can work well together and according to their level of fitness can be pushed at a more aggressive pace. The classes should also take into account the reason for the training, some students may only be interested in Karate as a method of self-defense or as a recreational pursuit, others may wish to train for competition, and again this could be divided into regional, National and International training. In most cases the average class is made up of different levels of ability and a large range of age. The instructor can work this group by using combinations of techniques each group of which can be practiced by a different belt level or group of belts. As long as the basic point of the training is
183 the same, and the number of techniques is equal, then the class can move together with a feeling of one. An example of this could be an all levels class where the main point may be hip rotation. The class is one hour long and broken into four parts. 1/ Part one will consist of a warm-up and stretching, this should take about ten minutes and start with easy, natural body motions starting with the outer extremities, such as wrist, forearm than feet, ankles, knee rotations. As the warm-up continues the main body areas such as hip rotation and upper body flexing can be brought into play. When the group has warmed up and their heart rate begins to increase, a more vigorous motion, such as kicking or jumping, may be used. Stretching out the limps, mainly the legs are important at this time in preparation for more dynamic training. 2/ Part two At the end of the warm-up a cardio-vascular workout should take place for about twenty minutes. This would be done together by all groups but at different levels of difficulties. Example; a/ The white to orange belt group, (9th to 7th kyu), can start from a front stance with a downward block and hips open, 1/step one will be to rotate the hips forward or closed, then step forward and punch stomach level. 2/Step two will be to step straight back and make outside forearm block with hips open. 3/Step three will be to rotate hips forward in position and make reverse punch.
184 4/Step four will be rear leg front kick and step forward. 5/Step five will be to step backwards and downward block, with hips open, ready to repeat exercise. b/ The next group will be green to purple belts ( 6th to 4th kyu) can start from a front stance with hips open and downward block. 1/Step one will be to rotate the hips forward and step forward and make three punches, one face and two stomach. 2/Step two will be to step backwards at a forty-five degree angle from the front and make outside forearm block, this offers them a more complex hip motion for their level.
3/Step three will be a reverse punch face level using hip rotation. 4/Step four will be a roundhouse kick stomach level then step forward to front stance with hips open, then immediately make reverse punch face level with hips closed. 5/Step five will be to step back through center, face towards start position and make front stance and downward block ready for next count. c/ The third level could consist of brown and black belts, which can start from a free style posture, or fighting stance. 1/Step one will be to step forward with kizami zuki jodan, then to front stance making oi-zuki sanbon zuki. 2/Step two will be to step backwards and turn ninety degrees from the front, into back stance with upper level outside forearm block.
185 3/Step three will be front leg roundhouse kick, change to front stance reverse punch. 4/Step four will be upper level roundhouse kick with back leg then step forward into back stance with reverse punch any level. 5/Step five is to return to start position with downward block, than make fighting posture. These sets should be in groups of ten, 1/ starting first set slow, breathing (Air ) 2/ second set slow, with more flowing from one technique to another, expansion and contraction (Water ) 3/ third set medium speed and power with concentration on finishing each technique, (Earth ) 4/ fourth set at maximum speed with the count for the fastest person, no stopping (Fire ) 5/ and last set full speed and power with the count after everyone has finished. Maximum power, (Ether ) Then change feet and do the same sets starting with other leg. Using the above idea all groups will move as a unit, yet get the training in the motion required for their respective level of expertise. 3/ Part three should consist of anaerobic exercises but again relate to the basic point of the class, which is development of hip rotation. An exercise that can be used by the entire class could be as simple as stepping forward and making a reverse punch for upper body workout and later roundhouse kick for lower body workout. At this time the training should be with speed and power for ten to
186 twenty sets, than back to medium level for ten to twenty sets. This can continue for about twenty minutes. At this time it can be an advantage for the students to work with a partner, and use basic fighting techniques to learn timing and distancing, and for the more advanced students, creating the opening. Kata is also a great method of getting a good anaerobic workout by varying the intensity from medium to high with small breaks in between. 4/ Part four The last ten minutes of each class should be used to warm down, this allows the body to cool down and the blood to be worked slowly back into the body core. This recovery is important to reduce stiffness and aches and pains due to a vigorous workout. Setting up a schedule should cover the whole year, based on all aspects of Karate, with the idea of the techniques adding to each other so that the student builds from simple motions to more complex. This must cover both upper and lower body techniques, and care should be taken not to over burden one body part too much. Kata can be used as a reference point to divide up the year into its months by using a Kata of the month to base training on. Each club has a core group of people who dictate what type of club it will be. A club, which trains mainly for tournaments, will usually have a high turnover of lower level belts and only retain a small group of dedicated seniors. A club that wishes to have a large group of students that cover all belt levels must setup its training to give all ages and levels of ability a chance to succeed.
187 These may mean having different classes for each level and age group. Ju dgin g Kar ate Con tests
Setting up the rules for Karate contests was first done by Sensei Nakayama, under the stern eye of Sensei Funakoshi. Sensei Funakoshi had a certain amount of apprehension about tournaments in general. It can therefore be felt that great care and deliberation was made in setting up the rules for JKA/ISKF tournaments. In judging a contest the main job of the judges is to remain impartial, and protect the participants from injury. This can only be accomplished by adhering to the rules of the contest. The area of the contest is defined as eight meters square with a two-meter safety area around it. The floor should be of wood or canvas and clear of any obstructions. The match is generally divided into two parts, Kata and Kumite. The Kata match is held first, and can be either flag system or point system. This is generally separated due to the number of contestants or the time allowed for the tournament. The flag system is faster as two contestants are judged at the same time. This is a good method of quickly eliminating fifty percent of contestants in one round. Usually when the number of contestants is eight or below a point system is used. The base point is set for each rank level by the Head Judge prior to the match. The base point is used as an average for that match and after the first contestant is judged all other contestants within that match are compared
188 to the first and judged accordingly. The main objectives of the judges are to be fair and consistent with their judging. The sign of a poor judge is one who uses a great variation in his points, remaining neither low nor high, but jumping up and down in his points. In the point system the highest and lowest points are usually not counted, so an odd number of judges are used. Kumite matches are normally judged by four or six corner judges and a head judge or referee. The referee is in charge of the ring and is the only person allowed to start and stop a match. The corner judges are to maintain their own corner areas and watch for fouls, points and general safety of the match. By the use of whistles and flags the corner judges will inform the referee of any possible points scored or any violations within the match. The corner judges have one vote each and the referee while inside the match area has two votes. This allows the referee some leeway in judgment but he must confer with the judges if two or more of them give points or penalties. The ISKF has written guidelines and give courses and testing for judge certification. The student must be Nidan or above and at least twenty-two years old to become certified. The judge or referee will find it more comfortable to judge if he has participated in tournaments. This also enables him to follow the flow of the match more closely, and to understand the psychological stress and behavior of the contestants. Judging is a far greater challenge than competing, and not every contestant or spectator can be satisfied with each call. As long as the judge remains
189 impartial and shows quick and precise judgment he can leave each contest with good face. In B.C. we have different regions plan and organize our Provincial tournament each year. This gives each group an opportunity to develop tournament organizing and production abilities. Please follow the link to ISKF
The rules for ISKF tournaments can be found at http://www.iskf.com/tournament%20rules.ht ml tournament rules.
Kar ate Rank ing E xaminations
The Karate ranking system within the ISKF is not to pass or fail a student but to judge if they are ready to advance with their training. If a person has trouble with certain basic techniques that should be known at their level and age than it would be unfair to allow that person to advance and study at a level in which they are unprepared. The Kyu levels are broken down into ten levels for children and nine levels for adults. Each of these levels is an area of expertise which gives the student the necessary skills and confidence to advance to the next level. The Kyu levels are a division between very limited knowledge through to First Kyu brown Belt which is preparatory to Black belt testing. The student must show his abilities in the three divisions of Karate, 1/ Kihon or basic techniques, 2/ Kata or forms and 3/ Kumite or fighting.
190 These divisions are slightly different for each level and a progression of technical understanding of the body and its ways of moving are demonstrated at each exam. The Kata’s progress from the very basic forms, through to the complex and allow the student to demonstrate his ability to move, turn and maintain posture and confidence when facing more than one opponent. The kumite part of the exam starts with just basic forward and backward motions showing an understanding of distance and blocking and attacking techniques. As the student progresses up the ranks the Kumite becomes more complex. At Brown belt levels (3rd to 1st Kyu) the student shows an overall understanding of timing, distance, expansion and contraction of body motion, and the ability to understand an opponents body language to enable him to attack or defend with proper body connection. After understanding the basic concepts of Karate the student is ready for Black belt examination. To the average lay person the Black belt is a mythical thing which gives the holder great fighting powers. In reality the first degree of Black belt simply means that the student has the ability to use basic Martial art techniques with speed and power. The Black belt levels are called Dan and are broken down into ten levels. Usually one must hold the rank he has for the number of years equal to that rank. A first-degree black belt must hold this rank for one year to become eligible to grade for second Dan. A second Dan must hold his rank for two years to test for third Dan. This allows the student to mature into each rank and grow not only
191 physically but also psychologically. At fifth Dan levels and above the student must be invited to grade and must submit a written report on a subject of Karate plus meet certain age requirements. The standards of the ISKF are considered to be the highest in the world and any examination must be taken and given with this standard always kept on mind. At different ages and physical abilities we tend to want something so bad that we will accept less than we should. In the ISKF we must accept nothing but the best we can do and as students we should want to repeat a belt rather than accepting one when we know we are not ready for the next level of training. An examiner must remain impartial, always. To pass your best friend when he or she is not ready could have life or death results. As I have been told by Sensei Yaguchi "Never lie to your students." He has failed me many times, and I thank him for it.
Follow the link to ISKF grading guidelines. http://www.iskf.com/information.html Earlier in this book we talked about using imagery to help in our training. I'd like to go a little further into this subject called;
Cognitive Intervention with Imagery At the start of each practice the martial artist first uses a method of relaxation called Mokuso. This is used to clear the mind in preparation for training. This is a method
192 of cognitive intervention to control stress. Another method of intervention is the use of Imagery or Visuo-Motor Behavior Rehearsal. The concept of meditation has been around for thousands of years, but to use it to improve one's ability in sports has been a recent study of Psychology and one that should be used by Karate-ka to improve their Kata and Kumite in competition. In studies, the use of relaxation and imagery has been shown to increase physical ability, but mainly in athletes of high level. This factor is generally believed to exist due to the less skilled athlete’s inability to differentiate between good and bad techniques. It is therefore recommended that Cognitive Intervention training be used by the more senior students. In Karate this would be best introduced at Black belt level. Studies by N. Block of MIT in 1981, and A.C. Fisher in 1986, show that the brain can’t tell the difference between an actual physical event and one that is visualized. For this reason imagery or imagining the repetition of Kata or going over fighting combinations with an imaginary or visualized, but know opponent, will improve one's abilities. This can be of greater asset than just practice because the brain can teach the techniques under perceived combat states as opposed to the controlled environment of the practice area. According to Deci (16- Friesen R. chapter 10 page147) “Intrinsically motivated behaviors are behaviors which a person engages in to feel competent and self-
193 determining”. Imaging is an intrinsic behavior and when used by a Karate-ka the image of doing the Kata with perfect timing and technique reinforces his psychic and can give him the ability to perform with greater self-
confidence. The intrinsic knowledge that one can do the Kata perfectly makes this an accomplishable act in the mind of the Karate-ka. Both this knowledge and selfconfidence can be the difference between a good and a great performance. A study was conducted in 1981 (13-Cox, R. page186) using college-age males enrolled in a Karate class. It was broken down into three categories, -Skills, combinations and sparring. At the end of the study there was no appreciable difference between the group and the placebo group in basic skills or combinations but the Imagery group performed significantly better in Sparring. Another study in 1982 using male and female students in two different clubs using traditional training, with Imagery in one club, showed significantly better allround performance in the Imagery using club. These studies indicate that the use of Imagery and relaxation training will enable the advanced student to become better at his skills and can enhance their overall fighting abilities. These concepts are new to modern science and under study by Sports psychologists, but to the Martial artist these are the studies and lessons past down to us by the Budo Masters of old. In Sensei Nakayama’s Best Karate series, both books one and two give us examples
194 from the old Masters on using the mind to control our spirit and to set ourselves free to use our techniques without thought and conflict. In a recently read book on Japanese Archery these ideas were reinforced. (Eugen Herrigel, 1953 #33) In it the instructor was able to aim and hit the target in complete darkness, just by imagining it. The uses of Mokuso and Imagery along with the concepts taught by the Masters can give us the edge we may need in real Kumite.
To sum it all up, you as a karate-ka have started a journey with no end. The more I practice and study the more I realize how little I know. The pieces to the puzzle come sometimes slowly through lots of sweat and sometimes as an epiphany or flash of knowledge, with the exclamation " that ’s wh at Sensei meant" I hope this book helps you on your journey Joe Dixon Technical Director ISKFBC Canada
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197 London, Hamlyn Publishing Group Ltd.
17/ Nakayama, M., Best Karate, books 1 to 11 Tokyo, Kodansha International 18/ Nakayama, M., the formal exercises of Karate, Karate Kata books 1 to 5 Tokyo, Kodansha International Ltd 19/ M. Nakayama, Donn F. Draeger, Practical Karate books 3 to 6 Tokyo, Tuttle Publishing Co. 20/ Nicol, C.W., Moving Zen Tokyo, Kodansha International 21/ Hassell, R., Conversations with the Master: Masatoshi Nakayama St. Louis, Focus Publications 22/ Hyams, J., Zen in the Martial Arts New York, Bantam Books 23/ Hazeldine, R., Fitness for Sport England, The Crowood Press 24/ Anthony and Thibodeau, Structure & Function of the Body
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25/ Abrahams, P., the Atlas of the Human Body London, Bright Star Publishing Plc. 26/ Tsunetomo Y., the Book of the Samurai HAGAKURE translated by Wilson, W.S. Kodansha International 27/ Grisogono, V., Sports Injuries, a self help guide London, John Murray Publishers Ltd. 28/ Botterill, C., Sports, science periodical on research and technology in sport 29/ Funakoshi, G., TO-TE JITSU Tokyo, Tokyo Ku Bun Do books (1922) Hamilton, Masters Publication 30/ Sun Tzu, the Art of War Edited by James Clavell New York, Dell Publishing 31/ Okazaki, T. Perfection of Character GMW publishing 2006 Philadelphia, Pennsylvania
199 32/ Darryl Garrick, Heroes of Shotokan Karate KMAA, 2007 Internet 33/ Eugen Herrigel, Zen in the Art of Archery Pantheon Books, 1953
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