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North Wind Martial Arts AssociationStudent GuideByRichard Kelley 8 th Dan Hanshi

Table of ContentsSection one—Family HistorySection Two—History of KarateSection Three—Motobu ha Shito-ryuKoshin Ryu BujutsuSection Four—General Karate informationSection Five—The teaching system in KarateSection Six—General rulesSection Seven—Japanese glossarySection Eight—Karate techniquesSection Nine—Testing requirementsSection Ten—Kata and their meaningsSection Eleven—Morals of the DojoSection Twelve—Fifteen basic training techniquesSection thirteen—The building blocks of KarateA.Heiho no Kata--Strategy through patternB. KI—Life forceC. Maai—DistanceD. KarateJutsu—Karate scienceSection Fourteen—Short history of the masters

Section OneFamily History1. Chatan Yara - (1668 - Unknown) Master of Okinawan Weapons, studied in China at age12 and was considered one of the famous Masters of the the early 1700's.2. Takahara Pechin - (Unknown - 1762) Responsible for the early training of KarateSakugawa, studied in China and under Master Chatan Yara.3. Karate Sakugawa - (1733 - 1815) Developed the Kata Ku Shan Ku, studied under bothTakahara Pechin and the Chinese Master Ku Shan ku.4. Sokon Matsumura - (1796 - 1893) Created the Kata Shinto and Seisan. Studied in Chinaand under Karate Sakugawa for ten years.5. Ankoh Itosu - (1830 - 1915) Itosu created the Pinan series of kata and introduced Karateto public in 1903.6. Choki Motobu - (1871 - 1944) Founded the Motobu-Ha shito-ryu Karate Do. Went toJapan in 1923 to teach karate.7. Kosei Kuniba - (1900 - 1959) Assumed the leadership of the Motobu-Ha shito-ryu upon MasterMotobu's death. Founded Seishin Kai Dojo.8. Shogo Kuniba - (1935 - 1992) World wide head of the Motobu-Ha shito-ryu, theleadership of which he passed onto his son Kozo Kuniba, and the Soke of the Kuniba ha Shito-ryuto Shihan Bill Price in 1992 before his death on 14 July 1992.9. Soke Bill Price - (1945 - ) Head of Seishin Kai International. Head of Chikubu Kai,Soke of Kuniba Ryu.10. Soke Richard Baillargeon - (1924 - 1989) Founder of National Karate and JuJutsu Union(NKJU).11. Hanshi Joseph Ruiz - (1943 - ) Retired Assistant Director for NKJU. Founder of theInternational Karate and Kobudo Union (IKKU). Zen Shoto Kai Karate Do Federation Soke.Founder of Kotosu ha Shito-ryu and Soke of that organization..12. Shihan Kelley - (1943 - ) Retired as Assistant Director of the IKKU June 1991.Formed the Kita Kaze Bujutsu Kai (KKBK) in September 1991. Founder of Koshin Ryu Bujutsu.

Section TwoAn Abbreviated History of KarateThe origins of Karate are to be found in 12th Century China. There were a number of ancientChinese systems, collectively known as KEMPO or "Way of the Fist."In Okinawa, the possession of weapons and the practice of martial arts were forbidden duringthe 15th Century. From that time until the early 20th Century, the Okinawans practiced theirmartial arts in secrecy. This secrecy limited the amount of written material on the history ofmartial arts. World War II destroyed much of the little written history that existed.Early Okinawan weaponless martial arts were known as TE, a word meaning hand (a kind ofboxing style). During the 15th Century, Chinese visitors introduced KEMPO into Okinawa.As KEMPO was blended into TE, the resulting art became known as TODE, or Chinese Hand.Another meaning for the Chinese character that represents TO was KARA, meaning Open (itshould be noted that Kara also means China), with the result that the weaponless martial arts ofOkinawa finally became known as KARATE (open or Chinese hand).There were three main cities in Okinawa. Each developed its own version of Karate: Tomarideveloped TOMARI-TE; Naha, NAHA-TE; and Shuri, the capital city, SHURI-TE. TOMARI-TE wasquite similar to SHURI-TE and was gradually absorbed into SHURI-TE. There were other systems,to be sure, but by the 19th Century, only two main divisions remained: NAHA-TE andSHURI-TE.Matsumura, Sokan or Bushi (1797-1889) was responsible for organizing the SHURI-TE systemand carrying on its teachings. He was followed by Itosu, Anko (1830-1915). Itosu is generallycredited with the founding of SHORIN-RYU. (RYU means style.) Next followed Mabuni, Kenwa(1889-1957). Mabuni is the founder of shito-RYU, the style, or system followed by the KKBK.Higashionna (Higaonna), Kanryo (1845-1915) became the leading master of the NAHA-TEsystem. Mabuni also studied under Higashionna, and when he developed his shito-ryu system,he used elements of both NAHA-TE and SHURI-TE. The name shito-ryu comes from the firstsyllable of Itosu (ITO=SHI) and of Higashionna (HIGA=TO). Hence shito-ryu, a blending ofItosu's and Higashionna's styles and names.Many other masters contributed to Karate along the way. Each student should research thelineage or geneology of the system that they are studying. Physical study is not enough it is theresoponsibility of each student to learn and then to pass along the information of their style.The modern day masters of the shito-ryu system (early 1900’s) begin with Kosei Kuniba, his sonShogo Kuniba, and then Richard Baillargeon (NKJU), Joseph Ruiz (Founded Koto-Su ha shito-ryu),William Price (Chikubu), and Kozo Kuniba (Kuniba kai). Richard Kelley, a master of knife andcane, (Kita Kaze Bujutsu Kai) has trained with them all and studied their technique and wazadilligently. The North Wind Warrior Arts Association kata and training is based innovatively onthe teachings of Richard Baillargeon and Joseph Ruiz (his NKJU and IKKU years William Price thepresent Soke of Kuniba ryu has greatly influenced our art by emphasizing the study ofmovement application (bunkai) and grappling (newaza) and relating it to our Kata.It is important to distinguish the difference in styles formulated by Kuniba, Shogo Soke. In thebeginning Motobu ha shito-ryu Karate, a system comprising the fighting principles of Motobuand the kata and training principles of Mabuni’s system of shito-ryu was the style that wastaught in the Seishinkai dojo. Later, after Kuniba, Shogo Soke began training Americans and

westerners of all nationalities, Kuniba ha shito-ryu and Goshindo (a jujitsu style) became thestyles that most western students began to learn (mostly in combination). I did not find anyessential differences in Kuniba ha shito-ryu from Motobu ha shito-ryu. The kata were the sameand the bunkai (application of movements) were essentially the same. The Goshindo had thesame circular principles that most Jujitsu systems have but was used in the applications ofKuniba ha shito-ryu. The difference came when these two were combined into a compositesystem of Karate and jujitsu that inovated the grappling aspects of jujitsu into the application ofkarate techniques taken from the kata of Motobu ha shito-ryu. This blending of the two styleseventually became known as Kuniba-ryu. Bill Price/Soke is the president of the Chikubukai(bamboo warriors association) and also director of Kuniba-ryu world wide. The Kita Kaze BujutsuKai supports the functions of the Chikubukai and is an associate member organization of theChikubukai. The Kita Kaze Bujutsu Kai is a friend to all traditional associations and all membersof the great karate fraternity of black belts.The KKBK strives to uphold the original tenants of shito-ryu karate and to further the teachingsof Shogo Kuniba Soke. Any discussion of shito-ryu karate in the United States could not becomplete without mentioning the National Karate and Jujitsu Union. This Union of Black Belts ofall systems was headed by Richard Baillargeon/Hanshi and Kaicho of the NKJU. Mr. Baillargeonfirst approached me in 1973 about joining with the NKJU. I knew many of its members andcompeted against most of them in tournaments through out the Southeastern United States. Atthe time I was a 4 th dan in Tang Soo Do, however, I had been contemplating moving to aJapanese system of karate. I had first studied Kyokushin Karate in Japan in 1960 and reallyenjoyed that particular style. Richard Baillargeon offered me an alternative style (Motobu hashito-ryu) which was the primary system of the NKJU. After attending a summer camp andmeeting with Shogo Kuniba, Joseph Ruiz, Tom Bentley, Bill Knoblock, Roger Werhon, andRichard Baillargeon I realized the value of so many different and talented teachers andinstuctors in the same organization. There were so many others that I had been introduced toand trained with over the years Tobey Lewis (Kaicho of the NKJU after Richard Baillargeonpassed away) and the list can go on and on but I don’t have room to mention all of them. Iconsider them to be Dear Friends all.In approxamately 1985 or maybe 1986 Joseph Ruiz/Shihan left the NKJU to form his ownorganization the International Karate and Kobudo Union. I made the decision to accept theposition of assistant director of the International Karate and Kobudo Union and I left the NKJUalso. Life went on and I stayed good friends with Richard Baillargeon right up to the end of hislife. I will say here that his untimely death was a great loss to American Karate. I performed myduties in the IKKU to the best of my ability and mediated the various problems within theorganization as best I could. After I left the IKKU Joseph Ruiz/hanshi and Kaicho founded hisown karate system Kotosu ha Shito-ryu and became Soke Ruiz of the Kotosu ha Shito-ryu KarateDo.I founded the Kita Kaze Bujutsu Kai (North Wind Martial Arts Association), in 1998. The KKBK isdedicated to the furtherance of the teaching of Shogo Kuniba, Soke as it was taught in the NKJU.The KKBK as an organization was accepted by the Seishinkai USA and Shogo Kuniba, Sokehimself and after his passing by the Chikubukai (Bamboo Warrions Association) who is lead byWilliam Price, Soke of Kuniba Ryu. The KKBK also teaches the arts of Koga Kobudo, Koga Iaido,and Ando ryu Taijutsu. In order to simplify the arts being taught in the KKBK we combined themall into an art that we named Koshin-ryu Bujutsu; The arts of Koshin Ryu Karate, Kobudo, Iaido,and taijutsu, while taught separately are blended into a uniqe fighting art. Koshin means ancientspirit and reflects the nature of the Kita Kaze Bujutsu Kai and its members.

The teachers of the KKBK teach the arts separately but at the same time blend the arts togetherinto a compact fighting art that reflects both weaponed and empty hand fighting skills.

Section ThreeMOTOBU-HA SHITO-RYUMaster Choki Motobu was born the third son to the Motobu family in Okinawa. The Motobufamily was of Samurai class, which meant that the first son of the family was taught the familyfighting methods. The story is told that Choki Motobu, being disappointed and frustrated bythis, would sneak in and watch his older brother's training. The story goes on to say that ChokiMotobu soon found that this was too slow and frustrating for him, so he began to lift heavyrocks and punch the punching post or Makiwara. After a while, he became so strong that heearned the name "Monkey King" because of his tremendous leaping ability and general agility.The famous martial arts author Patrick Mccarthy asked in the beginning of his article thatappeared in Fight Times “How many martial artists in the history of karate had ever enjoyed theopportunity to study directly under such formidable masters as Bushi Matsumura, TokuminiPechin, Itosu Ankoh, Matsumora Kosaku, Motobu Choyu and Satkuma Usumei? And answeredthat question with this answer-- To the best of my knowledge there was only one, MotobuChoki. With instructors of that caliber, the experience that 100 street fights in Naha's Tsujidistrict bestow, and the ambition to continually improve his skill, Motobu Choki stands alone inthe annals of karate history as its most tenacious pioneer.” In his youth, Master Motobu becameknown as a brawler and a trouble maker, so when he applied to became the student of MasterItosu, this reputation made it more difficult to be accepted as a student of one of the foremostMasters in Okinawa. However, he succeeded and eventually became one of the most famousfighters of his day. Master Motobu, after moving to Japan, in or about 1922, challenged manymen. However, the defeat of a Russian boxer may have made him the most famous, the Russianboxer died as a result of injuries received in thee ring, fighting with Motobu. In 1922, MasterMotobu helped Master Funakoshi start the teaching of Karate to the Japanese. Filled with anew outlook on his life, Master Motobu returned to Okinawa in 1936 and began training withMaster Kentsu Yabu. Master Yabu was the only man to have ever defeated Master Motobu.Master Motobu did instruct many noted modern day masters, among them were ShoshinNagamine , Tatsuo Shimabuku, and Kosei Kuniba.Motobu-Ha Shito-ryu literally means Shito-ryu of Motobu. Master Choki Motobu lived from1871 to 1944 and trained many Karate people, among those people was Master Kosei Kuniba,of the Seishinkai Karate dojo in Osaka, Japan. The Seishinkai Karate dojo originally taughtMotobu ryu (the original style taught by Choki Motobu. However, people such as Mabuni, andSakagami,also taught at the Seishinkai. They were Shito-ryu masters, however in those daysthere was a free exchange of information and ideas between the various karate factions. ShogoKuniba, Kosei Kuniba’s son trained diligently with these famous teachers. The result was acombination of Mabuni kata and Motobu fighting techniques that came to be know as MotobuHa Shito-ryu. Shogo Kuniba, was named Soke dai of Motobu ryu after his fathers passing andSoke of Motobu ha Shito-ryu which he founded in I believe the mid-fifties, although I cannot findany documented proof of this date. The Dai Nippon Budo Kan Kai accepted Motobu ha Shito-ryuas a bonafied style sometime in the mid-fifties.Shogo Kuniba, had a varied regimen of intense training at the hands of some of the worlds mostrenowned martial arts masters. The one thing that impresses me is that he was actually training3 different systems of Karate at the same time. Motobu-ryu, Mabuni ha Shito-ryu, and KenyuRyu. It is this one fact that above all else, leads me to believe that his evolution from RyukuMotobu ha Karate do, to Kuniba Ryu, by way of Motobu ha Shito-ryu, was the result of anintense examination of all that he was taught. The result was and is one of the most prolific

karate styles ever to be developed. In order to evaluate Motobu ha Shito-ryu, and Kuniba ryu,an examination of their roots is in order. In the end a through examination of Shogo Kuniba Sokelife and training regimine would bring about a more through understanding of just who he wasand the genius involved in the development of his style. Bill Price Soke, world wide leader ofKuniba ryu and head of the Chikubukai Karate Do, says that he believes that Soke Shogo Kunibahad the seeds of Kuniba Ryu in his mind and heart long before he ever began teaching it as anart separate from Motobu ha Shito-ryu..The Kuniba Kai founded by Kozo Kuniba continues to teach the art of Motobu ha Shito-ryukarate. This association also furthers the teaching of Soke Shogo Kuniba, and Soke Kozo Kunibatravels world wide to teach the Kuniba family art Motobu ha Shito-ryu.Motobu ha Shito-ryu was born out of the combination of Mabuni kata, Motobu fightingtechniques all brought about by a lineage that started with Itosu. Master Itosu (1813-1915)taught the following people in Okinawa: Gichin Funakoshi (considered the father of modernkarate; Chosin Chibana (Founder of Kobayashi Shorin-ryu); Shinpan Gusukuma; Kentsu Yabu(defeated Motobu in a match and eventually became Motobu's third instructor); Kenwa Mabuni(Mabuni trained under Itosu and Higaonna, and from that training formulated the Mabunisystem of Seito Shito-ryu); (Mabuni also taught at the Seishinkai) and Kanken Toyama. MasterMotobu studied under Anko Itosu ; Kosaku Matsumora ; and Kentsu Yabu. All of these peopledirectly or indirectly influenced the karate style developed by Shogo Kuniba, Motobu haShito-ryu.After moving to Japan in 1926 Master Motobu began teaching in Osaka, at the Seishinkai, and,from time to time, in Tokyo. Master Motobu, a strong fighter, left a legacy of fighting techniquesto the Shito-ryu of the Seishinkai. Although, Master Motobu's Kata knowledge was limited, hebelieved mainly in Makiwara training and Kumite. He stated in his book, about Okinawantraining techniques, that Nihanshi Kata was all one needed to be a strong fighter.Shito-ryu had a variety of influences from many different masters in the middle 1800's. Thisdiverse influence gave rise to a very complex system of Karate. Master Itosu formulated thePinan series of Kata that is taught today. Master Mabuni provided the Chinese influences formany of our advanced Kata, including Rohai and Seiuchin. Master Motobu was known as abrawler and fighter, and gave us the hard fighting spirit that sets us apart from other systems ofKarate. The headquaters of Motobu ha Shito- ryu karate was the Seishin Kai, in Osaka, Japan.Now the headquaters of the Motobu ha Shito-ryu karate system is with Kozo Kuniba Soke. Thename Motobu Ha Shito-ryu was coined by Shogo Kuniba in about 1945 or so. Shogo Kunibashould be credited with formulating the system using the kata of Mabuni and the fightingapplications he learned under his father who in turn had learned them from Choki Motobu.Upon Shogo Kuniba‘s, death in 1992 his son became the Soke of Motobu ha Shito-ryu,however, the unique art of Kuniba-ryu was left to Bill Price. The Chikubukai was founded byWilliam Price Soke, to further the teachings of Kuniba–ryu.Koshin Ryu BujutsuKoshin ryu Bujutsu is a unique system of Bujutsu that is an combination of Motobu haShito-ryu Karate, Toda ryu taijutsu, Tanto jutsu, Kobudo and iaido. Koshin ryu Bujutsu provides amodern day answer to combat and introduces the student to a complete system of fighting. Thestyle studies the use of hands, feet, joint locks, choke holds and various other open handmethods, as well as knife, and cane techniques handed down over the years by Shonosuke

Ando/ Sensei, Richard Kelley’s first teacher and the great Korean Tang Soo Do teacher Chae KyuChung/ Sabunim (teacher in Korean).The Kita Kaze Bujutsu Kai was founded by Richard Kelley Shihan In 1998 to maintain the art ofKoshin ryu Bujutsu, which is made up of primarily, Shito-ryu Karate, Kobudo, Iaido and the knifeand cane arts, that have been handed down by Richard Kelley‘s teachers. The association is alsothere to keep the ideals of true traditional karate alive and well. Koshin ryu Karate do wasfounded by Richard Kelley in the year 2000 and addressed many of the issues of traditionalkarate in a modern combative world. In todays art it is not just important to know how to fightstanding up, it is also necessary to know how to fight on the ground, and more importantly hownot to be taken down. The KKBK association makes a difference between Traditional Karatetraining and more modern combative applications.Koshin-ryu bujutsu has both weaponed and non-weaponed training techniques which willenhance a students ability to defend themselves in any situation. A typical course of study willinclude Taijutsu, Tanto, Cane, Hanjo, Bo, Sai, Tonfa, and weapons of opportunity. As a viablecombative art Koshin-ryu Bujutsu incorporates a broad range of practical application and katamixed with drills and sparring. We will endeavor to provide on going seminars in martial artstechnique and proper teaching technique While the KKBK welcomes all styles of traditionalmartial arts and will strive to serve each and everyone of you to the best of our ability. Our maingoal is to create a fraternity of martial artists with the same goals.Perserverance, honor, integrity, and humbleness is our motto.

Section FourGENERAL KARATE INFORMATIONThere are nine student levels, also called kyu grades. These kyu grades are signified by thecolors of the belt, and these belt colors have meaning within our karate system. There are also9 advanced grades, called dan grades. These grades signify the student's proficiency in the art.It is the purpose of the colored belts to indicate not the length of time in the art, but to describethe level of training.White belt -- The color purityYellow belt -- The dawning of a new dayOrange belt -- The beginning of consciousnessBlue belt -- The color of a new and open mind (blue sky)Green belt -- The color of fresh and growing thingsPurple belt -- The color of mild confusionBrown belt -- The color of the earth (Solid and Unyielding)Black belt -- The color of void (Empty of all pretensions)Each student should strive not for the belt, but for the knowledge that the belt represents. Inthe earlier times, the intensity of one's training was represented by the dirt on one's white belt.The longer and the more intensely the student trained, the darker his belt became until thewhite belt, which was the beginning, became the black belt of successful accomplishment. In1960 when I began the belt colors were simple white, brown, black. It shold be noted that blackbelts of great rank and age had belts so worn that the threads were turning white. Shogo KunibaSoke, when I first met him had a black belt so old and worn it was held together by a couple ofthreads and had only a few black spots on it.BELT RANKING SYSTEM WITH TIME IN GRADE REQUIREMENTS9th Kyu White belt8th Kyu Yellow belt7th Kyu Orange belt6th Kyu Blue belt5th Kyu Green belt4th Kyu Purple belt3rd Kyu Brown belt 3 B/S*2nd Kyu Brown belt 2 B/S*1st Kyu Brown belt 1 B/S*3 months to3 months to3 months to4 months to4 months to4 months to6 months to6 months to12 months to1st Dan Black belt Shodan 24 months to

2nd Dan Black belt Nidan 36 months to3rd Dan Black belt Sandan 36 months to4th Dan Black belt Yondan 36 months to5th Dan Black belt Godan 36 months to6th Dan Black belt Rokudan 48 months to7th Dan Black belt Nanadan 48 months to8th Dan Black belt Hacheedan* (B/S Black Stripe)Note: Yellow, orange, and blue belts may be replaced by white belts with three, two, orone stripes respectively. A purple belt may be replaced by a green belt with one stripe.All stripes are to be black in color.Note: Dan rank belts will have association name on one side and personal name on theother side. The association name may be combined with style name. The associationrecognizes that many black belts proudly wear black belts previously issued by otherorganizations and honor this by permitting the wearing of these belts rather than theassociation belt.Note: Outstanding students may bypass one grade up to and including 4th kyu.other time in grade must be achieved at each grade level prior to testing.All

Section FiveTHE TEACHING SYSTEM IN KARATESENSEI BLACK BELT 2 ND DAN TO 5 TH DANSHIHAN DAI HALF RED/HALF WHITE BELT 3 RD DAN TO 4 TH DANSHIHAN RED / WHITE CHECKED BELT 5 TH DAN & ABOVEDAI SHIHAN RED / WHITE CHECKED BELT 6 TH DAN & ABOVEKIYOSHI BLACK WITH RED STRIPE BELT 7 TH DAN & ABOVEHANSHI RED WITH BLACK STRIPE BELT 8 TH DAN & ABOVESOKE SOLID RED 9 TH DAN & ABOVEThe teaching system is designed to remind us that not all Dans are teachers. The teachers inour system have to be able to instruct the students in basics, kata, bunkai and kumite. Thesole purpose of the teacher is to guide the students in the art as correctly as possible and tomaintain the integrity of the art for future generations. It is said that the teacher learns the mostwhen he observes and listens to his students. A teachers ability can be quickly determined bythe students that he or she instructs. The better the teacher the better the student andconversely the better the student the better the teacher.The advancement of a teacher may change the belt color that they are allowed to wear,however, in the Kita Kaze Bujutsu Kai all belts worn by teachers are either black or theappropriate color for their grade and title. Teaching certificates must be earned.Recommendation by a senior and testing by the Kaicho or Fukukaicho before a certificate isissued. It is each certified teachers responsibility to teach the art and not just instruct the art.If a teaching title is awarded to a Yudansha (a dan grade) he is being honored for his ability toguide students along the path of Karate. Karate is not just physical movement and learningpatterns of physical movement, but it is also philosophy, and strategy, and history, andmeditation, and well just testing oneself physically, mentally, emotionally and while learning alot of stuff, most importantly learning about yourself. Teachers are the life of any traditionalsystem, they must be always on the alert for promising students that are not just goodcompetitors but that also have the ability to teach what they know to the students aroundthem. Students must be mentored as well as instructed; the teacher must do all in his or herpower to bring the student to a realization of not only what they are but who they are. A senioris promoted on their ability to mentor as well as their ability to teach.In Japan or Okinawa, a black belt may warm up the class or instruct the general aspects of eitherkata or technique. The black belt instructor is expected to be on the floor at all times and tobe working as hard as the students are. The instructor is considered to be a teacher in trainingand will always be under the scrutiny of a teacher. Instructors should have the ability to performthe physical aspects of the art but also to have an understanding of the history, inherantstrategies, and philosophies of the art.The teacher is the guide in the art of karate. He must have a full understanding of themechanics of his art and is considered to be the philosophical leader. The teacher must beable to inspire the student to sacrifice his time and effort, often at the expense of his ownpersonal life, in order to bring the student to fuller understanding of what it means to say, "I ama Karate student." The title of Meijin (professor) is sometimes bestowed on a teacher,

ecognizing their ability to bring the art to life for their students, as well as give seminars to theassociation. The Meijin title is not a promotion, but a recognition of a Shihan’s teaching ability.

Section SixGENERAL RULES OFUpon entering the Dojo, one should always bow to show one's respect for a place of learning.This is called the Rei in Japanese. Before and after each class another Rei is performed inorder to instill respect for what you are about to do and what you have done. All studentsshould Rei to their seniors to show respect for the knowledge that the seniors possess. It isalso certainly true that all seniors should Rei to their juniors to show the respect that is due toanyone who is struggling to learn a new and different endeavor. Remember, courtesy will takeyou further than bad mannors and a soft voice will carry further and leave a more lastingimpression. Uniforms should be clean, and neatly pressed, and with out holes or tears. Astudents attitude may be reflected in the neatness of their uniform. Uniforms should beproperly folded after each class, unless that uniform is to be worn home. The Obi (belt) shouldnever be worn outside the Dojo, and if you wear your unhiform to and from the Dojo, it isrecommended that a shirt of some type be worn with the Gi bottoms when ariving or leavingthe Dojo. There should not be any unnecessary talking during a class and never when theteacher is talking. Equipment should always be in good repair and the appropriate type for theclass that is being participated in. Never borrow equipment.The Dojo's appearance is every body’s job. make sure that as a junior student, you take yourturn cleaning the Dojo. The dojo kun (morals of the dojo) should be recited after every class.Closing a class is as important as opening a class and the content of a class. The closing shouldgive the student time to reflect on what was taught and what they learned. The opening andclosing of class should consist of the following:MukusoMeditationShomen ni ReiSalutation to those who came beforeShihan or Sensei ni Rei Salutation to the teacherOtake ni ReiSalutation to each otherA Dojo is a place of diverse moods, they will range from quiet contemplation to raw violentenergy expenditure, and every hue inbetween. Learning both physical and philosophical is whata dojo is all about. It is a place where extremes of controlled violence is taught and practiced ona daily, no hourly basis. So what does dojo mean, I am told that it literally means a place topractice the way. It is not just a school, it is a place of learning for the body, mind, and spirit. Intoday’s world it is often forgotten that it is more than just a place to make money, it is a place toimprove the self. But, it is also a place to create warriors, men who strive everyday to improvenot only their skills but themselves as well.Dojo improve our senses, sight, hearing, touch, taste, and smell, as well as our strength, power,balance, and flow. I think that the equal yet opposite aspects of the physical and intellectuallearning that takes place in a dojo is necessary to the growth of the student of the arts. A dojo isa place where a teacher may practice the craft of teaching. The possibilities of the dojo arealmost endless, yet it should be simple not complex, as simplicity adds to the atmosphere oflearning with out ego. Ego has no place in a dojo, or for that matter any martial art. Simpleuniforms, simple training, are the attributes for a real traditional martial arts school. Shu-ha-ri ajapanese martial term says it all for most traditional martial artists.Traditional meanings

Shu—to obey the fundamentals of traditional teaching.Ha—to learn enough to break with the traditional teachings.Ri—to trancend traditional teachings and to leave the reality of self behind.The more modern, innovative meanings.Shu—Learn traditionally without ego.Ha—to explore beyond the traditional teachings keeping in mind the traditions.Ri—to know the subject matter so well it is easy to transcend the traditional teachings with nothought of the action only the action itself.Lining up in the dojo is again dictated by the traditions of whatever is being studied and by thedictates of the parent association. For instance, the KKBK lines up with the senior most studentat the end of the line to the right of the class, and the teacher in front of the Shomen. A kneelingbow (saesa rei) is performed in the manner previously mentioned. It is the senior members jobto call the class to order, and to call the commands for lining up, and bowing too:The ShomenThe TeacherThe classAny instruction should be given at this time followed by the training.

Section SevenJAPANESE GLOSSARYCOUNTING IN JAPANESEICHI -- ONE NI -- TWO SAN --THREESHI -- FOUR GO -- FIVE ROKU -- SIXSHICHI -- SEVEN HACHI -- EIGHT KU -- NINEJU -- TENWhen pronouncing Japanese words, many of the syllables are silent. In the numbers, the "I" atthe end of ICHI, SHICHI, HACHI are silent. Also, the "U" at the end of "ROKU" is silent. Inaddition to being more correct, this allows for a more rhythmic counting style. Highernumbers (11-99) are created by adding lower numbers together: 11 = Ju+Ichi, 12 = Ju+Ni, etc.and 20 = Ni+Ju, 30 = San + Ju, etc.For reading, and additional help the KKBK recommends the Budo Jiten by Fredick Loveret, afascinating martial dictionary. Every student should have one.Japanese Martial languageThe most difficult part of learning a martial art in a traditional dojo is learning to listen to andunderstand the Japanese words that are spoken. The Japanese commands are necessary tothe proper induction of a student into the art. Historically it is necessary, as some commandscannot be put into English without a lengthy explanation. Often times the words that are used inthe dojo are not commonly found in everyday use. The term Osu!!! Is one of the best examplesit is a contraction of the word or phrase ouso which generally means I understand and will obey.This term was adopted from the military and used in the karate dojo, the term is not commonlyfound in Iaido, Kobudo, jujitsu, or judo. In those dojo hai so desu is used most often to indicatecompliance with requests or orders. It is not our purpose to make a definitive dictionary for thestudent but instead to present some general terms that they will find in use in a Kita KazeBujutsu Kai dojo.Since we are in America, we should explain in English, and command in Japanese. In this way wemay retain the flavor of Japan Karate do with the added benefit of presenting the material to bestudied in the student’s native language.I have thought a lot about the auxillary training methods used by my first sensei, they were twofold first the body conditioning exercises. Such as push-ups, sit-ups, squat jumps, scooping pushups,two man carries and on and on, but this should give you an idea. Then the body tougheningexercises, makiwara training, forging post training, forearm smashing (either against a post oreach other), two men striking drills, stomach, leg and forearm. Here is a list of some of theauxillary training equipment, some I have forgotten the Japanese names to and some I have justforgotten.Hojo undo--auxillary training and equipment.

Makiwara—striking post for training punching and kicking strength and toughening theknuckles.Chisi—a stick attached to a rock, used for strengthening the forearms and wristsTetsu geta—Iron geta (sandals) used for training leg strength.Tetsu bo—Iron staff used for training shoulders and arms.Saku—Rope (heavy thick made for wave training)Wooden post—Used for slapping the open palm against the post.Bamboo pole—forging post used to toughen the shins.PARTS OF THE BODYAtama -- Head, Top of HeadHiza -- KneeHiji -- ElbowHaisoku -- InstepTe -- HandSokuto -- Foot bladeHaishu -- Back of handChusoku -- Ball of footShuto -- Knife handKin -- GroinAshi -- FootHirate -- FistKote --ForearmTeisoku --Foot archShotei -- Palm HeelKakato -- HeelKoken -- WristHaito -- Inner ShutoDIRECTIONS OF STRIKINGJodan -- HighGedan -- LowHidari -- LeftMae -- FrontAge -- RisingHan -- 45 o angleChudan --MiddleMigi -- RightUshiro -- BackYoko -- SideMawashi --RoundSTANCESSone Dachi -- Prepared StanceTsuri Ashi Dachi --Crane StanceZenkutsu Dachi -- Front StanceKokutsu Dachi -- Back StanceSanshin Dachi --Hourglass StanceShiko Dachi -- Horse StanceNeko Dachi -- Cat StanceYoi Dachi -- Ready Stance

Section EightKARATE TECHNIQUES--(required for testing)In shito-ryu, we study 15 basic techniques, 5 each of blocks (Uke), strikes (Tsuki orZuki), and kicks (geri):BASICBLOCKSJodan Uke – High -- Used to protect against a thrust or strike to the head or face.Chudan Uke – Middle -- Used to protect against a thrust or strike to the upper torso.Gedan Uke (Gedan Barai) – Low-- Used to protect against a thrust or strike againstthe lower torso.Ude Uke – Inside -- Used to protect against a thrust or strike against the upper torso.Morote Uke – Double -- Used to protect against a grab to the lapel.BASIC STRIKESTate Zuki -- Vertical FistOi Zuki -- Full FistUraken Zuki -- Back FistAge Zuki -- UppercutKoge Zuki -- Flail PunchBASIC KICKSHiza Geri -- Knee KickHaisoku Geri -- Instep KickYoko Geri -- Side KickUshiro Geri -- Back KickMae Geri -- Front KickOther techniques that the student should be proficient with:Nikute—Spear handShuto—Knife handIppon Ken—One knuckle puchHaito—Open back handMawashi geri—Round KickMikazuke geri—Crescent KickMae tobi geri—Jumping front kick

Section NineTESTING REQUIREMENTSKOSHIN SHITO-RYU REQUIRED KATA AT EACH LEVEL1. Hachee kyu - Yellow BeltA. Ten no Kata (Heavens kata)B. Go ho No Uke (5 block kata)2. Shichi kyu - Orange BeltA. Chi No Kata (Earth Kata)B. Empi Roppo (Elbow 6 ways kata)3. Roku kyu - Blue BeltA. Pinan Shodan (Peaceful mind one)B. Roppo ho no Geri (Kicking 6 ways kata)4. Go kyu - Green BeltA. Pinan Nidan (Peaceful mind two)B. Anaku (Light from the South)5. Yon kyu - Purple BeltA. Pinan Sandan (Peaceful Mind Three)B. Matsukaze (Pine tree blowing in the wind)6. San kyu - 3rd Brown BeltA. Pinan Yondan (Peaceful Mind Four)B. Jutte (Compassionate Hands)7. Ni kyu - 2nd Brown BeltA. Pinan Godan (Peaceful Mind Five)B. Tekki Sho (Iron Horse One)8. Ik kyu - 1st Brown BeltA. Saifa (Final Breaking Point)B. Jion (Temple Sound)C. Sochin (Calm Power)9. Sho dan - 1st Black BeltA. Seiuchin (The Saint)B. Bassai Dai (Breaking down a fortress)C. Rohai (Crane standing on a Rock)10. Ni dan - 2nd Black Belt

A. Kushanku (Master Kushanku)B. Nijushiho (24 Steps)C. Tomarai Bassai (To Penetrate a Fortress-Tomari)11. San dan - 3rd Black BeltA. Sanshindai (Three Battles 2)B. Tensho (Changing Hands)C. Seisan (Thirteen Hands)12. Yon dan - 4th Black BeltA. Ni pai po (28 steps)B. Seipai (Eighteen Hands)C. Sanshin (Three battles)13. Go dan - 5th Black BeltA. Kururunfa (Holding your Ground)B. Roku dan - 6th Black Beltc. Gojushiho (Fifty four Steps)15. Nana dan - 7th Black BeltA. Suparempi (One Hundred and Eight Hands)16. Hachee Dan - 8th Black BeltA. Hakucho (White Swan)The following testing requierments are suggested for all shito-ryu Karate Schools. Eachinstuructor should write a comprehensive set of requierments for his or her school and awritten, oral, and physical exam to go with the requierments at each level.

WHITE BELT (9TH KYU) TO YELLOW BELT (8TH KYU)1. PROTOCOL FOR THE SCHOOLA. Bow upon entering the schoolB. Bow upon entering the main training floorC. Bow to any Black BeltD. Bow to the ShomenE. Bow to the SenseiF. Bow to the Otagani (School Spirit)2. THE 15 BASIC TRAINING TECHNIQUES (DONE IN ZENKUTSU DACHI)A. Rising block Vertical punch Knee kickB. Middle block Full punch Instep kickC. Down block Back fist Side kickD. Inside block Uppercut Back kickE. Double block Flail punch Front kick3. THE STANCESA. Front stance (Zenkutsu Dachi)B. Ready stance (Yoi Dachi)4. FORMAL MOVEMENT (KATA)A. Ten no Kata (Heaven Kata)B. Go Ho no Uke5. FORMAL TRAINING (KIHON)ONE STEP TECHNIQUE (JU IPPON KUMITE)AttackHigh punchMiddle punchLow punchthrowDefenseRising block, Vertical fist, Knee kick, Outside leg reaping throwMiddle block, Full punch, Instep kick (to groin), Outside leg reaping throwLow block, Back fist, Side kick (to side of knee), Opposite leghooking6. FIGHTING TECHNIQUE (KUMITE WAZA)All of the training in the techniques in this area are at the instructor's discretion, but it shouldreflect the Kata and formal exercise that the student is performing. Note: The one steptechnique will correspond with the order of the fifteen basic techniques. This gives continuityto the training at the beginning level.

YELLOW BELT (8TH KYU) TO ORANGE BELT (7TH KYU)1. ALL PREVIOUS KNOWLEDGE2. MORALS OF THE DOJOA. ONE: To strive for the perfection of characterB. ONE: To defend the paths of truthC. ONE: To foster the spirit of effortD. ONE: To honor the principles of courtesyE. ONE: To guard against impetuous courage3. THE 15 BASIC TRAINING TECHNIQUES (COMBINATIONS (IDO) - DONE IN ZENKUTSU DACHI)A. Knee lift, vertical fist, rising blockB. Instep kick, turnover punch, middle outside blockC. 45o side kick, back fist, down blockD. Back kick (to rear), uppercut, middle inside blockE. Front kick, flail punch, double block4. THE STANCESA. Front stance (Zenkutsu Dachi)B. Ready stance (Yoi Dachi)C. Cat stance (Neko Ashi Dachi)5. FORMAL MOVEMENT (KATA)A. Chi No Kata (Earth Kata or Ability Kata)B. Empi Roppo (Elbow 6 ways)6. FORMAL TRAINING (KIHON)One step technique (Ju Ippon Kumite)AttackDefenseMiddle punch Inside block, Uppercut, Back kick (Motion is behind opponents lead legand becomes a throwing technique)Double GrabDouble block, Flail Punch, Front kick, (Lapel) Floating Throw.(sacrificethrow)7. FIGHTING TECHNIQUE (KUMITE WAZA)This should be the same as the requirements for 7th kyu, with more emphasis on bodymovement, flow, focus and technique. It should be noted that Kumite should be practicedsafetly and with rules, so that injuries do not occur.

ORANGE BELT (7TH KYU) TO BLUE BELT (6TH KYU)1. ALL PREVIOUS KNOWLEDGE2. HISTORYA. shito-ryu historyB. School history (the school that the student attends)3. THE 15 BASIC TRAINING TECHNIQUES (COMBINATIONS - DONE IN SHIKO DACHI)4. THE STANCESA. Front stance (Zenkutsu Dachi)B. Ready stance (Yoi Dachi)C. Cat stance (Neko Ashi Dachi)D. Horse stance (Shiko Dachi)5. FORMAL MOVEMENT (KATA)A. Pinan Shodan (Peaceful Mind One)B. Roppo ho no Geri (Kicking 6 ways)6. FORMAL TRAINING (KIHON)Street application from Kata (Bunkai Omote):A. Ten No Kata (Heaven Kata)B. Chi No Kata (Earth Kata)C. Pinan Shodan (Peaceful Mind One)7. FIGHTING TECHNIQUE (KUMITE WAZA)A. Round kick (Mawashi Geri) - Reverse punch (Gyaku Tsuki)B. Front kick (Mae Geri) - Reverse punch (Gyaku Tsuki)C. Side kick (Yoko Geri) - Reverse punch (Gyaku Tsuki)

BLUE BELT (6TH KYU) TO GREEN BELT (5TH KYU)1. ALL PREVIOUS KNOWLEDGE2. HISTORY - KATA HISTORY AND THE TRANSLATIONS FROM JAPANESE TO ENGLISH3. THE 15 BASIC TRAINING TECHNIQUES (COMBINATIONS - DONE IN NEKO DACHI)4. THE STANCESA. Front stance (Zenkutsu Dachi)B. Ready stance (Yoi Dachi)C. Horse stance (Shiko Dachi)D. Cat stance (Neko Dachi)5. FORMAL MOVEMENT (KATA)A. Pinan Nidan (Peaceful mind two)B. Anaku (Light From the South)6. FORMAL TRAINING (KIHON)Street application from Kata (Bunkai Omote):Pinan Nidan (Peaceful mind two)7. FIGHTING TECHNIQUE (KUMITE WAZA)A. Back fist -- Reverse punch -- Round kickB. Back fist -- Reverse punch -- Front kickC. Back fist -- Reverse punch -- Side kick

GREEN BELT (5TH KYU) TO PURPLEBELT (4TH KYU)1. ALL PREVIOUS KNOWLEDGE2. MASTER MOTOBU'S HISTORY3. THE 15 BASIC TRAINING TECHNIQUES (COMBINATIONS - DONE IN SANSHIN DACHI)4. THE STANCESA. Front stance (Zenkutsu Dachi)B. Ready stance (Yoi Dachi)C. Horse stance (Shiko Dachi)D. Cat stance (Neko Dachi)E. Hourglass stance (Sanshin Dachi)5. FORMAL MOVEMENT (KATA)A. Pinan Sandan (Peaceful Mind three)B. Matsukaze (Pine Tree Swaying in the Wind)6. FORMAL TRAINING (KIHON)Street application from Kata (Bunkai Soto Ura):A. Pinan Sandan (Peaceful mind three)B. Matsukaze (Pine Tree Swaying in the Wind)7. FIGHTING TECHNIQUE (KUMITE WAZA)A. Front leg Front kick -- Rear leg round kick -- Spinning back kick -- Reverse punchB. Front leg Front kick -- Rear leg side kick -- Spinning back kick -- Reverse punchC. Front leg Front kick -- Rear leg hook kick -- Spinning back kick -- Reverse punch

PURPLE BELT (4TH KYU) TO BROWN BELT (3RD KYU)1. ALL PREVIOUS KNOWLEDGE2. SOKE KUNIBA'S HISTORY3. THE 15 BASIC TRAINING TECHNIQUES (COMBINATIONS - DONE IN ALL STANCES)4. THE STANCESA. Front stance (Zenkutsu Dachi)B. Ready stance (Yoi Dachi)C. Horse stance (Shiko Dachi)D. Cat stance (Neko Dachi)E. Hourglass stance (Sanshin Dachi)5. FORMAL MOVEMENT (KATA)A. PINAN YONDAN (PEACEFUL MIND FOUR)B. JUTTE (COMPASIONATE HANDS)6. FORMAL TRAINING (KIHON)Street application from Kata (Bunkai Soto Ura):A. Pinan Yondan (Peaceful Mind Four)B. Jutte (compasionate hands)7. FIGHTING TECHNIQUE (KUMITE WAZA)A. Reverse punch, Round Kick, Skip side kickB. Reverse punch, Round Kick, Skip round kickC. Reverse punch, Round Kick, Skip hooking kick

BROWN BELT (3RD KYU) TO BROWN BELT (2ND KYU)1. All previous knowledge2. Hanshi Kelleys’ History3. The 15 basic training techniques (combinations - done in all stances)4. THE STANCESA. Front stance (Zenkutsu Dachi)B. Ready stance (Yoi Dachi)C. Horse stance (Shiko Dachi)D. Cat stance (Neko Dachi)E. Hourglass stance (Sanshin Dachi)5. FORMAL MOVEMENT (KATA)A.Pinan Godan (Peaceful Mind Five)B. Jiin (Temple Sound)C.Tekki Sho (Iron Horse One)6. FORMAL TRAINING (KIHON)Street application from Kata (Bunkai Soto Ura):A. Pinan Godan (peaceful Mind Five)B. Jiin (Temple Bell)7. FIGHTING TECHNIQUE (KUMITE WAZA)A. 45o angle movement (Use All Stances)B. 90o angle movement (Use All Stances)

BROWN BELT (2ND KYU) TO BROWN BELT (1ST KYU)1. ALL PREVIOUS KNOWLEDGE2. FORMAL MOVEMENT (KATA)A. Saifa (Time Wave or Forging Steel)B. Jion (Temple Sound)D. Sochin (Calm Power)3. FORMAL TRAINING (KIHON)Street application from all present and previous Kata (Bunkai Soto Ura)4. Fighting Technique (Kumite Waza)All previous!5. Fighting application (Bunkai Waza)Self defense against:A. Choke hold (Back)B. Bear hug (Front).

BROWN BELT (1ST KYU) TO BLACK BELT (1ST DAN)1. All previous knowledge2. Origin of Kata, Which Kata Itosu taught, Which Kata Motobu taught.3. Formal movement (Kata)A. Seiunchin ( The Saint)B. Rohai (Crane Standing on a Rock)C. Bassai Dai (Breaking Down A Fortress)4. Formal Training (Kihon)Street application from all present and previous Kata(Bunkai Ura)4. Fighting Technique (Kumite Waza)All previous!5. Fighting application (Bunkai Waza)Self defense against:A. KnifeB. ClubC. Two Opponent6. HeihoA. The basic strategies and their meanings + examples.1. Rakka (power dow)2. Ryusui (flowing like water)3. Hangekki (counter attack)4.Kushin (moving in and out)5. Tenshin (Avoidance)7. KumiteA. Kumite should be against one person and continuous for 1 min at least 10 opponents.Section TenKATA AND THEIR MEANINGS

KATA ORIGIN TRANSLATIONAnanku Shorin-ryu Light from the southAoyagi shito-ryu Blue WillowAnsan Okinawa-te Keepin safe 3 waysBassai Dai shito-ryu Penetrate a fortressBassai Sho shito-ryu Penetrate a fortressChi No Kata shito-ryu Earth KataChinto shito-ryu Fighting to the EastEmpi Shotokan Flying SwallowGojushiho Goju-ryu Fifty Four stepsHaku Cho Okinawa-te White SwanJiin shito-ryu Compassionate GroundJion shito-ryu Compassionate SoundJutte shito-ryu Compassionate HandsKusanku shito-ryu Founders NameKururunfa shito-ryu Holding your groundMatsukaze shito-ryu Pine tree in windNijushiho shito-ryu 24 stepsPinan Shorin-ryu Peaceful MindRohai shito-ryu Crane on a rockSanchin Goju-ryu Three BattlesSaifa Goju-ryu Final Breaking pointSanseiryu Goju-ryu Thirty Six HandsSeienchin Goju-ryu A storm with calmSeipai Goju-ryu Eighteen HandsSeisan Goju-ryu Thirteen HandsShihokosokun shito-ryu Mabuni's versionSuparempai Goju-ryu One Hundred Eight HandsTekki Sho Shotokan Iron Horse oneTen no Kata shito-ryu Heavens KataTensho Goju-ryu Changing handsTomarai Bassai Tomari-te Penetrate a fortressThe origins, of the Kata, are as close as I can historically account. Please remember thatprior to the early 1900's there were not very many written records of the any karate system,and of those, many were lost during the second World War. The Kata that are listed are not allof the Kata. They are, however, the Kata that are taught by the Seishinkai. The history of Katagoes back to China and will show the influence of Chinese boxing on the Okinawan art of Te(hand) that was taught by Master Itosu. Kata were not entirely the invention of the Masters ofthe 1800's, but were formulated, from the beginning, by the Te Masters In concert with theChinese that were introducing Kungfu to the okinawan martial artists. However, the moremodern masters did add their own Kata. The early masters of Okinawa-Te all had eitherstudied with the Chinese directly, or were students of Okinawans who had studied with theChinese. The Chinese influence brought the animal forms taught in their Kempo into theOkinawan art of Te. The animal forms that were studied were the Tiger, Eagle, Bear, Rooster,Crane and Snake. Each of these forms was copied from the observation of each of the animals andtheir movements in combat. Each animal represented a different style of combat, and taught acertain series of movements to each student. A student might spend his whole life mastering themovements of one animal and formulating his combative ability around that one animal. Like all

human endeavors, the Kata of the early Okinawan Masters was improved upon by their beststudents, and that continues still today. I am sure that the Kata of the early Okinawan Te Masterswould not resemble the Kata of today's Masters. However, the original purpose of the Kata is stillthe same. Body power, breath control and precise movement are still the same lessons that aretaught by Kata. It is generally understood that it is not the quantity of the Kata that a studentshould be concerned with, but the quality of the few Kata that the student has learned.Understanding kata and the role it plays in a traditional system of martial arts is important but thatimportance pales by comparison with a students ability to translate the movements of the kata intoviable fighting applications, both for competition and for self-defense.

SECTION ELEVENMORALS OF THE DOJO (DOJO KUN)ONE! TO STRIVE FOR THE PERFECTION OF CHARACTERThis simply means that you should try to mold yourself to be as honest and as strong aspossible. Strive to train in you Karate every day and do not slack off because of otherinfluences.ONE! TO DEFEND THE PATHS OF TRUTHNo, it is not all right to tell that little white lie. Try to keep your truth as pure as possible.not let yourself be tempted to lie either to yourself or to someone else.DoONE! TO FOSTER THE SPIRIT OF EFFORTStrive for both mental and physical perfection. You will never reach them, but the effort to doso is all-important. Never let your Karate become slow and tired. Keep yourself in a state ofachievement.ONE! TO HONOR THE PRINCIPLES OF COURTESYNever be discouraged. Always try to be polite and honest even in the face of adversity. Ifothers around you are impolite, then you will stand out as one having grace and courage. Ittakes courage, effort and character to be courteous.ONE! TO GUARD AGAINST IMPETUOUS COURAGEBe strong in what you believe in, but do not close your mind to another point of view. One isnot always right, but one is also not always wrong. If you are right, have the courage and thehonesty to stand up for what you believe. Always offer to say what you honestly feel, but do itwith courtesy.D O J O K U NHITOTSU! JINKAKU KANSEI NI TSUTOMURU KOTO(ONE! TO STRIVE FOR THE PERFECTION OF CHARACTER)HITOTSU! MAKOTO NO MICHI O MAMORU KOTO(ONE! TO DEFEND THE PATHS OF TRUTH)HITOTSU! DORYOKU NO DEISHIN O YASHINAU KOTO(ONE! TO FOSTER THE SPIRIT OF EFFORT)HITOTSU! REIGI O OMONZURU KOTO(ONE! TO HONOR THE PRINCIPLES OF COURTESY)

HITOTSU! KEKKI NO YU O IMASHIMURU KOTO(ONE! TO GUARD AGAINST IMPETUOUS COURAGE)

Section TwelveTHE FIFTEEN BASIC TRAINING TECHNIQUESPATTERN AND MOVEMENTThe fifteen basic techniques below have their own pattern and movement for the training of thenew student and the old student. Pattern is the movement of the body in certain linesdictated by the stimulus of outside movement. Movement is the pattern that the body takeswhen stimulated by an outside pattern. Both pattern and movement are taught by the physicalrepetition of the 15 basics which will in turn prepare one for the Kata of each level. The Kata willteach pattern, movement and strategy. Strategy is the mental application of the physicalrealities of pattern and movement. Strategy should not be confused with the mental planning ofthe logistics of combat. Strategy is a feeling that combines the physical realities of combativemotion with the intuitive survival instinct that resides within us all. Kata will focus our attentionon that survival instinct and allow us to examine it through physical motion. The following 15basic drills will allow us the physical tools with which to perform that examination within theKata. Pattern and movement are learned disciplines. The discipline of pattern is taught by katarepitition. Movement is taught by performing the basic combination patterns from all stances.Front stance, Shiko stance, cat stance, should all be used in the fifteen basic patterns. In additionthe tenshin happo, eight directions of attack and defense should be studied. When a certainamount of expertise is achieved with these then Kiso waza (four directional exercise) should bepracticed every class. Patterns and movement become very high on the list of things to practiceboth in and out of class. Once the drills are learned, than the task of using them against anopponent is next on the to do list, and finally when all of this is accomplished then theapplication sets (bunkai) from the kata may be brought into play.It is an almost endless regimen of movement and pattern all to allow your brain to be impressedwith all of the possible movements that can be required in a fight.BASIC COMBINATION PATTERN ONE1. Basic Order: KICK, PUNCH, BLOCK (All techniques are done on the same side.)A. Knee lift, vertical fist, rising blockB. Instep kick, turnover punch, middle outside blockC. 45o side kick, back fist, down blockD. Back kick (to rear), uppercut, middle inside blockE. Front kick, flail punch, double blockBASIC COMBINATION PATTERN TWO2. BASIC ORDER: PUNCH, KICK, BLOCK (ALL TECHNIQUES ARE DONE ON THE SAME SIDE.)A. Vertical fist, knee lift, rising blockB. Turnover punch, instep kick, middle outside block

C. Back fist, 45o side kick, down blockD. Uppercut, back kick (to rear), middle inside blockE. Flail punch, front kick, double blockBASIC COMBINATION PATTERN THREE3. BASIC ORDER: KICK, BLOCK, REVERSE PUNCH(KICKING AND BLOCKING TECHNIQUES ARE DONE ON THE SAME SIDE, PUNCHING IS DONEON THE REVERSE SIDE.)A. KNEE LIFT, RISING BLOCK, REVERSE VERTICAL FISTB. Instep kick, middle outside block, reverse turnover punchC. 45o side kick, down block, reverse back fistD. Back kick (to rear), middle inside block, reverse uppercutE. Front kick, double block, reverse flail punchThe fifteen basic combination patterns are done in levels. Each of these levels will correspondwith a level of expertise within the belt system. Since Front stance is the first stanceintroduced in our shito-ryu, the 3 sets of patterns should be done initially out of Front stance.As the student progresses in time and learning, the 3 basic combination patterns will continue tobe taught at the proper and appropriate level using new stances as they are learned. Since eachof the 15 basic techniques are found in the Kata Pinan Shodan through Pinan Godan, it may besaid that these 5 Kata will teach the basics of pattern, movement, and strategy. The 3 sets ofbasic combination patterns will provide the tools of pattern and movement. As the studentprogresses, so will his basic combinations. Basic combinations do several things for the student.I have taken the liberty of listing a few of the more valuable things that can be learned from thefifteen basic combinations:Balance while in transition.Power that does not offset balance.Shifting body weight while stationary.Weight transition with kicking and punching combinations.Sen (attacking a split second before your opponent attacks but after he is mentally committedto the attack.)Sen no Sen (attacking your opponent at the same time he attacks, but because of superiortechnique overwhelming his attack.)Go no Sen (waiting until after your opponent attacks and forcing him to extend his line of attack,counter attack.)The difference between Makikomi (more than one step) and komi(One step).How to increase striking range by shifting your feet.Advanced Basics are taught by three katas, these katas were developed and taught by KunibaShogo Soke. The kata are listed in the order of lowest to highest.A. Go ho no Uke -- Five Block Kata

B. Empi Roppo -- Elbow Six WaysC. Roppo ho no Geri -- Kicking Six waysThe Advanced Basic kata developed by Kuniba, Shogo Soke teach, what he considered to be theimportant basics of the Motobu Ha System. It should be noted that the second, and fourthblock done in go ho no uke are done in a shiko stance. The two man drills for go ho no uke andEmpi Roppo help the student to realize their power and to make the blocking and striking drillsinto a useable formula for self-defense almost from the first class. Roppo ho no Geri involves theuse of body shifting and kicking combination delivery in a pattern that is easy to memorize andprovides practice in the intracacies of front, round, and side kick. It should be noted thatkicking requires hours of practice to perfect both the delivery technique and the hip power withwhich the kick is delivered. Remember puching or kicking F=MA governs the distance withwhich you strike and the engine that powers that strike. Longer distance, the harder the strike,given a constant acceleration over the strike line. The shorter the distance the more power thatmust be used to accelerate the strike over the shorter distance, if the same impact is desired.

Section ThirteenTHE BUILDING BLOCKS OF KARATEHEIHO NO KATA--STRATEGY THROUGH PATTERNThe patterns of free fighting will reflect the Kata pattern of the traditional student. This doesnot mean that the traditional student is not inventive in either attack or defense. It does meanthat the higher a student progresses in this art, the more knowledge he acquires and the moreinvolved in pattern, movement and strategy he becomes. Higher strategy does not necessarilymean that the pattern and movement will become more complex, however, it does mean that itwill become more subtle in execution. The execution of combative motion is nothing morethan the basic patterns done within the strategy teachings of the Kata themselves.The teachingof strategy within the Kata is a new thought to many of us. However, strategy is the projectionof a movement in order to control your opponent in either attack or defense. As we learnedour basics and then the Kata, we learned to move our bodies along certain lines withoutconscious thought. This is the beginning of learning strategy. Strategy is not just a blendingof mind and body, it is beyond that thought into the realm of being one with one's opponent.All of the students who have learned in a traditional school have heard the following sayings atone time or another:RELAX THE MIND AND YOU RELAX THE BODY.LET THE MIND FLOW LIKE WATER.THE WIND IS A FORCE LIKE THE MIND.SWAY WITH THE WIND AND THE BODY WILL NOT BREAK.FAST HANDS, FIERCE GAZE, CALM MINDHOLDING AIR IS EASIER THAN BECOMING ONE WITH YOUR OPPONENT.SEEK PEACE AND ANGER IS ALWAYS PUT OFF.HARDER, YOU MUST TRY NO, DO NOT THINK.INSTINCT, ALWAYS YOUR INSTINCT, NEVER WITH YOUR THOUGHTSIt is possible that I could fill up a book with what I remember from my first Sensei, and all theSensei since him. They all seem to say the same thing. Different words maybe, but the samething. The search for the underlying truths of shito-ryu will take a lifetime. This truth(s)will be individual. I do know that if you pursue the physical, then you will have a glorious bodyand a dull mind. Reach into the underlying principles of what has been taught to you and tryto understand the physical motion on a philosophical plane. The antipathy of traditionalKarate is the presence of Ryu that only punch and kick. They will be the harbingers of the ageof a purly physical art, that is studied just for the sake of exercise. Traditional Karate can bea motivating force in anyone's life at any age. This force can be taught whether or not theperson is of sound body. Karate is designed to be done by people who may have somephysical defect as well as people who are physically sound. It is the nature of Karate to enhanceone's mental and physical abilities to peak efficiency. To many traditional Karate teachers, thereis a difference in Jutsu (science) and Do (way or path). This is taught at a beginning level as twodifferent approaches to the Martial Arts training. After training for a number of years, theJutsu becomes a way to find the Do. The Do will then become the teaching vehicle for perfectJutsu. This seemingly never ending circle is what Karate, or even any other Martial Art, isabout. The person who understands Jutsu as the way is also the person who will perfect theJutsu to such an extent that he will never have to use his "Do" to hurt someone. In his

Okinawan Karate book, Alexander distinguishes between Jutsu and Do by "art" and "way." Heexplains, "...Do implies a course of action to perfection, while Jutsu is oriented toward thereality of combat." The basic combinations and the Kata are composed of Jutsu set inprearranged patterns of training. These patterns are themselves teachers in the sense that thepatterns, done in order, will provide building blocks to achieve the most perfect techniquepossible. It is only those people who truly understand the patterns who can step out of thepattern and still present a sense of balanced motion to those around them. Thisunderstanding of the pattern is not something that can be achieved in a day.Crows who sit on fences are either perfecting their sitting ability or they are too lazy to perfecttheir flying ability. Like the crow it is human nature to try to perfect our sitting ability. It is ourduty to perfect our flying ability and leave our sitting ability alone!KI (LIFE FORCE)Ki is not the mystical force many of the uneducated Karate Ka would like to make it. It isfashionable for a Karate Ka who is lacking in technique to talk about the flow of power thatcomes out of the body and magically strikes another person or object with force. Ki translatedmeans life force. It is not measurable, nor is it visible. However, without Ki, life would notexist. Everything on earth has Ki. This Japanese word is not religious, nor does it translateinto any great mystery. A person who trains often and is in good health will have strong Ki.Ki does not come out of thin air and touch you with power.A person is born with Ki and as this person gets older and healthier, their Ki will becomestronger. Anyone can have Ki, not just Martial arts students. Ki will allow the advancedstudent to seek the ultimate in perfect technique. That perfection of technique will give theadvanced student more Ki. Strong Ki will mean less time out due to illness and will also meanthat your mind may expand beyond its present limits. Once the body is healthy (has strong Ki),the mind is no longer tied to the body's misery and can then expand to the limits of one'ssenses. The limits of one's senses are set by nature (genetics), health (the strength of one's Ki)and the surroundings of the individual. After examining the three factors governing the senses,it should be apparent that health is the one factor that can be controlled on a daily basis. Thesurroundings may be controlled in a fashion, and genetics are not controllable once you areborn. Therefore the burden of excellence rests strictly with the individual. The stronger theindividual trains, the better will be his Ki, and consequently, his health and ability to cope withhis surroundings.

MAAI (DISTANCE)1.Tōma) - (long distance)2. chūma - (middle distance)3.Chikama - (short distance)The term Maai is one of the most misunderstood words in the Karate world. Most Karateinstructors teach Maai as a fighting distance. In actuality, it is constant awareness of thedistance of one's surroundings and takes in all of the variables that govern the distance betweentwo opponents. Timing, movement, obsticles, all have a great deal to do with the concept ofMaai. This is not limited to people, nor is it only distance related to fighters. It is the distanceawareness that one maintains of all objects within a person's perceptual circle. It involves thenumber of steps that you can take to either close or perhaps retreat from your opponent. AndoSensei (my first teacher) relayed that in his view a fighter must see everything, pay attention toeverything and to focus only on the task at hanc. Every person has a slight understanding ofMaai but without proper training it is only understood to a narrow degree. However, it willtake a bit of training to bring a more full understanding of the strategy of Maai into use by allstudents of the art. Most Karate-Ka will relate to Maai only as a combative distance, from theiropponent, but they are kidding themselves if they do not relate the Maai principle to their totalenvironment. Maai, when used purely as a fighting aid, can be both simple and confusing.Most Karate students will relate to their opponent off of their lead side or lead leg. This iswrong, as the rear leg defines the actual distance from you to your opponent. The Maai , infighting, is the distance to a clean kill (or point) without regard for his opponent's posture orstance. It should go without saying that in order to score the kill (point), you must be in rangeto be killed, or scorded upon (provided you are armed in the same manner). This belief andthe acceptance of the fact that one could die (lose), will make both combatants strive to keeptheir Maai at their own advantage. Watching two men in the ring playing at point scoring willlead to the misconception that one can take one's time to feel the opponent out, that severaltechniques can be scored and that the distance can be from outside the opponent's range. Ina combative sense, this can get you killed. In the ring it can get you out-scored. From the first,a fighter must set his Maai. As soon as possible, he must make the strike that will end theconfrontation without worrying about whether or not his opponent will strike him. Kumite(free-sparring) is the Karate training method that will allow a student to practice his distancing,while at the same time teach the proper striking technique. Kumite, if done properly, willteach combative distancing, technique, focus and control. The jumping around done by manysport Karate practitioners today will not work in a real combative sense. A shame, as many ofthem think of themselves as master fighters.

KARATE JUTSUOn the surface, Karate (empty hand art, empty hand, open hand) is an art of pure punching,blocking and kicking from a series of stances that will enhance the power of the striking orblocking technique. Does this mean that the art of Karate is nothing more than that?Certainly, this is enough to fill a life with dedication and training. Karate is, however, morethan just a punching, kicking and blocking art. Karate includes throws, take downs, shoulderdriving, hip driving and a complex series of foot movements that will enable a Karate person todefend against any non-projectile weapon. Many schools practice Karate as a exercise routine,using many difficult punches and kicks. Other schools try to teach their version of a mysticalOriental philosophy that does nothing but confuse the potential student and disgust the trueKarate-Ka. Karate is the combining of the mind and the body into one well-coordinatedmachine. Karate, at its best, is a combative "ART." Karate, at its worst, is an exercise in asenseless attempt to understand intellectually what is mostly an exercise for the spirit and thebody. Even if a student trains properly and strives to achieve the motor responses necessaryto use Karate as a combative art, only a handful will achieve true combative excellence. Ofthese, only one or two will be able to teach the knowledge they have learned. Karate Jutsu isthe physical science of Karate, and is what must be learned first. Once the physical aspect ofkarate is learned than the arduous task of learning the philosophy, history, and spiritual aspects(Do) of the art begins. It is my belief that warriors are born, not made. While a study of thediscipline of karate can be useful for the shy, reticent person, these people rarely becomewarriors. They can become tougher and certainly able to take care of themselves, but rarely atrue warrior. What is a warrior? What qualities do they have? A warrior is, according to AndoSensei, a student of the physical arts as well as the fine arts. He must be willing to both fight andteach. Honor, integrity, sacrifice, humility, and perserverance are the most important aspects ofhis or her existance. A love of life and a respect for anothers life is important also. Balance in allthings must be achieved by the warrior, and the student of war. Karate do or jutsu teaches usthe warrior principles.

Section fourteenBrief History of the MastersTHE HISTORY AND BACKGROUND OFMaster Motobu, Choki1871-1944Master Choki Motobu was born the third son to the Motobu family in Okinawa. The Motobufamily was of Samurai class, which meant that the first son of the family was taught the familyfighting methods. Choki Motobu, being frustrated by this, tried to sneak in and watch his olderbrother's training. Master Motobu soon found that this was too slow and frustrating for him,so he began to lift heavy rocks and punch the punching post or Makiwara. After a while, hebecame so strong that he earned the name "Monkey King" because of his tremendous leapingability and general agility. In his youth, Master Motobu became known as a brawler and atrouble maker, so when he became the student of Master Itosu, this added to his difficultiesabout being accepted as a student of one of the foremost Masters in Okinawa. MasterMotobu challenged many men in Japan. However, the defeat of a Russian boxer may havemade him the most famous. In 1922, Master Motobu helped Master Funakoshi start theteaching of Karate to the Japanese. While in Japan Master Motobu spent a lot of time at theSeishin dojo teaching and exchanging martial information. Conversations with Kuniba, ShogoSoke led me to believe that Motobu and Funakoshi did not like each other and were not friends.After a few years teaching in Japan, filled with a new outlook on his life, Master Motobureturned to Okinawa in 1936 and began training with Master Kentsu Yabu. Master Yabu wasthe only man to have ever defeated Master Motobu. Master Motobu instructed many notedpeople, who then became masters themselves, among them are Shoshin Nagamine and TatsuoShimabuku. I don’t believe that Master Motobu was the hard drinker and brawler the peoplemade him out to be, I am not sure why I believe this other than to say that really tough, strongpeople do not drink to excess and do not fight without cause. At least not in todays world.Another time and another place.

HISTORY AND BACKGROUND OFMaster Kuniba, ShogoSoke of Motobu ha Shito-ryu1935-1992Soke Kuniba was born in Japan 5 February 1935. His father Kokuba, Kosei, began training himat age 5. Soke Kuniba's father determined that Soke Kuniba would be well versed in manydifferent arts. This kind of training was the old samurai way of creating a warrior. I think it isimportant to listen to the stories of the men that new the men that new Kuniba, Shogo Sokewhen he was young. From all the stories, one gathers a sense of a boy being very carefullycrafted into a warrior. Having met and trained with him I believe that he was more than just amartial arts master, he was in addition a philosopher, a poet, and a calligrapher. I watched himmake additions to a certificate that I had carried to Virginia to get his signature on for thepromotion of Joseph Ruiz to 8 th Dan and Hanshi. His brush strokes were beautiful to watch, theyflowed like a kata, and left me with a sense of having watched poetry in motion. I had listenedto the stories of Richard Baillargeon Hanshi, Joseph Ruiz Soke and really loved the tales of thehumanity of a great man. His martial skills when I first met him at a summer camp in NorthCarolina, truly amazed me, and other than my first teacher in Japan had never met anyone likehim. It was at that summer camp that he demonstrated a technique, standing leg lock, thatmade me really understand the difference between a technique that works and a TECHNIQUETHAT WORKS.Soke Kuniba was taught different arts by many very distinguished Masters. Some of themasters are listed below. However, Soke Kuniba did train in the Seishin Kai, which was ameeting place for accomplished Martial Artists from all over. Not just Karate oriented martialartists, but grapplers, swordsman, Kobudo-ka, and others that you can see listed:1. Master Mabuni shito-ryu Karate2. Master Kokuba, Kosei shito-ryu Karate3. Master Asakichi, Itoh Judo4. Master Gogetsu, Ishii Mugai-ryu Iai-Do5. Master Nagamine, Shoshin Shorin-ryu Karate6. Master Taira, Shinken Taira Kobudo7. Master Nakaima, Kenko Kobudo8. Master Shojin, Kosha Bo and Nunchaku9. Master Yamaguchi, Junko TonfaSoke Kuniba was trained in all the arts that are listed above and was promoted to Kudan inKarate in 1984 and Kudan in Goshin-Do by the Rengo Kai in Japan. Soke Kuniba has formulated

his own system of Karate, Kuniba-Ha shito-ryu and Goshin-Do, a form of Ju Jutsu, or perhaps TaiJutsu. Accoring to Bill Price, Soke of the Kuniba Ryu, Kuniba, Shogo Soke was always trying thisor that, making sure that his theory’s translated to physical working technique on the largerAmerican frames.Soke Kuniba was considered one of the premier martial arts instructors of Japan, and I am toldthat he was not only popular, but feared by a lot of the black belts from other systems of karate.There are perhaps only three or four other Masters, in the world, that will equal hisexpertise,drive, and knowledge. His tragic death after a long battle with cancer on 14 July1992 leaves a void in today's martial arts world. But, I can say that he was loved by all who knewhim and studied with him. I was always struck by his sincereity on the training floor and funloving attitude off of the training floor. Most of all he was a gentle-man with iron fists.Soke Kuniba was promoted to 10th Dan, post-humously, by the Dai Nippon Budo Kan Kai.

HISTORY AND BACKGROUND OFMaster Richard Baillargeon, 8 th Dan –Hanshi, of the National Karate and Jujitsu UnionSoke Richard Baillargeon founded the National Karate and Jujitsu Union, in 1974, after havingresigned from the Seishin Kai Karate Union. Richard Baillargeon had studied with some of thebest weapon masters around the world. Master Baillargeon, being career military, U.S. Airforce,had occasion to be sent hither and yon around the world. This gave him the opportunity to trainwith some very high powered individuals. Some where, some time, he picked up a mastersdegree in Pakistani weapons, and he told me trained with Savate masters form the French Army.It is no wonder that he found his way to the training halls of the Seishin karate-ka. Little ornothing is known or documented about Richard Baillargeon early martial arts endeavors.Soke Baillargeon began his karate, and jujitus training in Urmagawa, Japan in 1956. His firstinstructor was Sensei Kishan Kayo, who was then 4th Dan in Motobu Ha shito-ryu and affiliatedwith the Seishin Kai Karate Union. Seishin Kai was then headed by Kosei Kuniba. In 1959, SokeKosei Kuniba died. His son, Shogo Kuniba, became Soke of Motobu ha Karate Do, Seishin KaiKarate Union. Master Baillargeon studied with Soke Shogo Kuniba until 1964. By then MasterBaillargeon had earned the grade of Sandan. Soke Baillargeon returned to the United States in1964 and became the United States representative for Seilshin Kai. He served in that capacityfor ten years. By 1974 he had been promoted to 6th Dan by Soke Kuniba.In the summer of 1974, he resigned from his position in Seishin Kai. Shortly Thereafter heformed his own association, the National Karate and Jujitsu Union. In October of 1980 MasterBaillargeon was awarded a 7th Dan in Motobu Ha shito-ryu karate by Soke Shogo Kuniba.Master Baillargeon also holds master ranks in Indo-Pakistani weapons and a 5th dan in GoshinBudo Jujitsu. Master Baillargeon was instrumental in introducing Shihan Kelley to Motobu haShito-ryu karate do. The National Karate and Jujitus Union, although a separate entity, stayedloyal to the Seishin kiai and Kuniba, Shogo Soke. Richard Baillargeon, was a serious fun lovingteacher who everyone got along with. Richard Baillargeon was a great administrator andsurronded himself with many of the best american martial artists that were available at thetime.

HISTORY AND BACKGROUND OFMaster Richard Kelley 8 th Dan Hanshi, Kaicho of the North Wind Martial Arts Association.I aged when I was 17. I found a room, a simple place; the ceiling was supported by oak beams,the walls made of paper and cedar. The floor, ah, the floor was of oak with tatami for cover; asmell of sweat, man sweat, blood, striving, achieving, and knowledge permeated every nook andcranny. I aged when I met an old man whose title was Ando Sensei. A man of nondescriptnature, simple, yet complex; whose only words to me the first year were: "Harder, you must tryharder." The second year he said: "Learn, you must learn." The third year he said: "Study, youmust study." The fourth year he said nothing.I have spent my life saying nothing as I have found there is truly nothing to say.SHIHAN KELLEYMY 34TH YEARShihan Richard C. Kelley Jr. began his study of Judo, Karate, Tai- Jutsu, and Iai-do in Japan in1960. His first instructor was Ando, Shonosuke Sensei. Shihan Kelley received a Ni-Dan inKodokan Judo, Kai-den in Ando-ryu Tai-Jutsu. After leaving Japan in 1964, Shihan Kelley spent 3years in the United States Army. During that stay in the Army Shihan Kelley received a Nidan inTang Soo Do (1967). After leaving the Army he returned to Florida where he was made theFlorida State representitive for the Tang Soo Do Association. A 4th Dan was received from theKukkiwon in Souel Korea in 1976. Shihan Kelley resigned his position in 1976 and joined theNational Karate and Jujutsu Union, and began training in Motobu ha shito-ryu Karate.Shihan Kelley was made a Godan in 1985 in shito-ryu. In 1987 the International Karate andJujutsu Union was formed and Shihan Kelley accepted the position as assistant director. A 6thdan in shito-ryu Karate was received in 1989 along with the title of Shihan. Shihan Kelley formedthe Kita Kaze Bujutsu Kai in 1991 and became the executive director. The organization ispatterened after the NKJU for several reasons, but mostly because the NKJU approach to theorganization works. The Kita Kaze Bujutsu Kai is an organization that promotes traditionalmartial arts, its primary teaching regimine is Shito-ryu Karate Do, Koga Iaido, Koga Kobudo, andAndo Ryu Taijutsu. All of these arts are lumped under the name Koshin-ryu. In addition to thesearts Knife, and cane are taught under the heading of Koshin-ryu Tanto jutsu or Knife science. Obijutsu (belt science) and hanbo jutsu (cane science), are just two more of the sciences that aretaught in the North Wind Martial Arts Association.Awarded Ranks and Titles:Kodokan Judo - Shodan (1961)Kodokan Judo - Nidan (1963)Ando Ryu - Kaiden (1964)

Tang Soo Do - Shodan (1965)Tang Soo do - Nidan (1967)Tang Soo Do - Sandan (1973)Tang Soo Do - Yondan (1976)Shito Ryu - Yondan (1980)Shito Ryu - Godan (1985)Kobudo - Shodan (1986)Shito Ryu - Rokudan (1989)Shito Ryu - Nanadan (2000)Shito Ryu - Hacheedan (2012)Awarded Titles:Renshi Sensei - (1983)Shihan Daiko - (1988)Shihan - (1989)Hanshi - (2012)Instructor History:1960 to 1964 Trained in Japan, with Ando, Shonosuke Sensei1964 to 1967 U.S. Army1967 to 1974 Served as Tang Soo do state representative.1975 to 1986 National Karate and Jujitsu Union Senior instructor1986 to 1989 International Karate and Kobudo Union Assistant Director.1989 Formed the Kita Kaze Bujutsu Kai1990 to Director of the Kita kaze Bujutsu Kai1994 Appointed Zone Director USAKF1994 Licesed as State Referee for USAKF2012 Promoted to 8 th Dan and Hanshi