Shotokan Karate Union COACHING HANDBOOK

Shotokan Karate Union | Coaching Handbook

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Shotokan Karate Union


Contents


Welcome to the SkU Shotokan Karate Union .............................................6

Addressing the Instructor...............................................................................................6

Fellow Students..............................................................................................................7

Spectators.......................................................................................................................7

The Shotokan Karate Union Coaching System “Coaching the SKU Way”......9

Who are these Guiding Principles for? ..........................................................................9

What is Shotokan Karate-Do .........................................................................................9

What does the SKU expect from its Coaches and Student Members? .......................10

Who is the SKU Shotokan Karate Union?...................................................................11

What is the SKU Shotokan Karate-Do System?..........................................................11

What is involved in the SKU Shotokan Karate-Do System. .......................................12

In Search of Excellence. ..............................................................................................15

What are the requirements of a basic technique?.........................................................18

Spirit.............................................................................................................................19

Power ...........................................................................................................................19

Speed............................................................................................................................19

Sharpness .....................................................................................................................20

Poise.............................................................................................................................20

Agility ..........................................................................................................................20

Focus / Kime ................................................................................................................20

Control / Sundome .......................................................................................................20

Correct Distancing / Ma-ai...........................................................................................21

Kiai...............................................................................................................................21

Mushin 無心 ................................................................................................................21

Zanshin 残心 “Lingering Mind.” ...............................................................................21

Progression in learning ................................................................................................22

Emotional Control........................................................................................................22

Factors that every SKU Coach must hold in mind at all times....................................22

THE COACHING OF KIHON................................................................................24

Fundamental Principles to follow at all times when coaching the Basics, KIHON

Techniques. ..........................................................................................................25

Elements to Assess KIHON Performance during Examinations.................................25

Fundamental Principles to follow when coaching Stances..........................................26

Types of Stances ..........................................................................................................27

The ratio of stances weight distribution between the front leg and the back leg.........28

Coaching to Generate Focus KIME through Stances & Postures................................28

Feet Movements UNSOKU .........................................................................................29

THE COACHING OF KATA .................................................................................30

There are 4 Visually essential elements in Kata: .........................................................30

Fundamental Principles to follow when coaching KATA...........................................31

Key Elements to Evaluate KATA Performance during Grading Examination ...........32

Correct Attitude ...........................................................................................................32

Strength and Accuracy of Technique...........................................................................32

Knowledge of the KATA.............................................................................................33

THE COACHING OF KUMITE .............................................................................34

Forms of Kumite in the SKU Grading System ............................................................34

3 Steps Basic Fighting Drill 1 SANBON KUMITE....................................................34

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3 Steps Basic Fighting Drill 2 SANBON KUMITE....................................................34

Basic 1 Step Fighting KIHON-IPPON KUMITE........................................................35

Semi-Free Fighting JIYU-IPPON KUMITE ...............................................................35

Free Fighting JIYU KUMITE......................................................................................36

Evaluating SANBON, KIHON-IPPON & JIYU-IPPON KUMITE during

Examination .................................................................................................................36

Correct Martial Attitude...............................................................................................36

Blocking.......................................................................................................................37

Concentration of Power ...............................................................................................37

Kihon The Basics Of Shotokan Karate-Do..............................................................38

How To Use The Hands And Feet...............................................................................38

How to Use the Hands .................................................................................................38

How to Use the Feet.....................................................................................................40

Straight Punch CHOKU TSUKI..................................................................................40

Required elements for correct punching ......................................................................41

Basic Practice for Punching TSUKI ............................................................................41

Important Points to look for.........................................................................................42

Front Stance Zenkutsu-Dachi ......................................................................................42


Basic Practice for Hip Rotation from Front Stance ZENKUTSU-DACHI .................43


Lunge Punch Jun-Zuki/Oi-Zuki...................................................................................44

Basic Practice for Lunge Punch JUN-ZUKI/OI-ZUKI from HACHIJIDACHI .........44


Basic Practice for Lunge Punch JUN-ZUKI/OI-ZUKI from Front Stance .................45


Reverse Punch Gyaku Zuki .........................................................................................46

Basic Practice for Reverse Punch GYAKU-ZUKI......................................................46


Back Fist Strike Uraken-Uchi......................................................................................46

Basic Practice for Back Fist Strike URAKEN-UCHI..................................................47


Elbow Strike Empi Uchi ..............................................................................................47

Basic Practice for Side Elbow Strike YOKO-EMPI....................................................47


Rising Head Block Jodan Age-Uke .............................................................................48

Basic Practice for Rising Head Block JODAN-AGE-UKE ........................................48


Outside Forearm Block Chudan Ude-Uke/Soto-Uke ..................................................49

Basic Practice for Outside Forearm Block CHUDAN-UDE-UKE/SOTO-UKE ........49


Downward Block Gedan-Barai....................................................................................50

Basic Practice for Downward Block GEDAN-BARAI...............................................50


Back Stance Kokutsu-Dachi ........................................................................................51


Knife Hand Block Chudan-Shuto-Uke ........................................................................52

Basic Practice for Knife Hand Block CHUDAN-SHUTO-UKE ................................52


Front Kick Mae-Geri....................................................................................................53

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Kicking MAE GERI KEAGE......................................................................................53

Front Kick (MAE-GERI).............................................................................................53

Basic Practice for Front Snap Kick MAE-GERI Keage from the Feet Together

Natural Stance HEISOKU-DACHI, SHIZENTAI. .....................................................54


Basic Practice for Front Snap Kick MAE-GERI Keage Starting from a Left leg

forward Front Stance HIDARI-ZENKUTSU-DACHI, with both fists at each side of

the body........................................................................................................................55


Side Kick Yoko-Geri ...................................................................................................56

Basic Practice for Side Snap Kick YOKO-KEAGE....................................................56


Basic Practice for Side Thrust Kick YOKO-GERI-KEKOMI ....................................57


Dojo Etiquette ..............................................................................................................59

What is the Dojo?.........................................................................................................59

Late Arrival to Training ...............................................................................................59

Your Training position in the Dojo..............................................................................60

The Dojo 道場 Layout ................................................................................................62

Personal hygiene, appearance & safety issues for training..........................................64

Seiza.............................................................................................................................65

Opening sequence ........................................................................................................65

Closing sequence .........................................................................................................66

Dojo Kun......................................................................................................................68

Gichin Funakoshi's 20 Precepts of Karate-Do.............................................................69

Extra advice on conduct and Dojo rules for the junior students. .................................71

The Yudansha (Blackbelt) Code..................................................................................72

Grading Exam and Promotions....................................................................................73

Shotokan Karate Union Grading Rank & Belt System ..............................................75

10th Kyu White Belt Red Stripe Experience Required ..........................................76

Kihon............................................................................................................................76

Kumite..........................................................................................................................76

Rei & Yoi (Bowing & Making ready!)........................................................................77

Rei (Bowing) ........................................................................................................77

Preparatory Positions ...................................................................................................80

Front Stance & Oitsuki the Mechanics of Stance Transition.......................................86

Kokutsu Dachi. ............................................................................................................97

Performing Kokutsu Dachi from back stance............................................................111

Cause and effects to watch out for.............................................................................114

Kiai; spiritual meeting / battle cry. ............................................................................116

Okuri-tsuki, deadly technique? or does it even exist? ..............................................120

Pressure Points, Ki, Kime. .........................................................................................127

Karate Rankings & Titles...........................................................................................130

What does Kata mean to you? ...................................................................................132

The Elements of Karate Kata.....................................................................................134

Are the variations in kata, as important as they are made out to be?.........................138

Heian Godan Sequence 3...........................................................................................142

Kanku Dai Kata no Kamae. ...................................................................................145

Variations of Tsukami Uke Bassai Dai, Bassai Sho, Kanku Sho. Bassai Dai......149

Bassai Sho Kanku Sho .........................................................................................149

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Rising Sun & the Circle of Enlightenment ...........................................................151

................................................................................................................................152

Shinboku no Shakai & SKU Kanji ......................................................152

Shotokan Karate History............................................................................................153

Speed Comparison .....................................................................................................157

Stance Transition. ......................................................................................................162

Shime 締め(Squeeze Together, to Tighten)...............................................................166

Stepping Forwards with Front Stance ...............................................................167

Stepping Forwards with Back Stance ................................................................170

Stepping Backwards with Back Stance..............................................................171

Stepping Sidewards with Horse Riding Stance .................................................173

Visualisation points of the body’s core driving force. ...............................................176

Preparation to Perform...............................................................................................176

Shizen-tai Dachi's ...............................................................................................182

Rei (Bowing) ......................................................................................................182

Coaching Philosophy Shotokan Karate Union .................188

Coaching Award Scheme

Shotokan Karate Union.................188

Hip rotation. ...............................................................................................................189

Kata no Kamae...........................................................................................................197

Keeping in touch with tradition

Shotokan Karate Union..................202

Jion, Jiin, Jitte Jiai no Kamae & their opening technique..........................................203

Japanese to English Translations ...............................................................................206

Shuto (part 1) .........................................................................................................232

Shuto (part 2) .........................................................................................................242

Study of the values.................................................................................................258

of Sanbon Kumite ..................................................................................................258

Sanbon Kumite (Drill 2) ........................................................................................275

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Published by

Yudansha Press

Fearnhead

Warrington

Cheshire

Copyright © Shotokan Karate Union 1985

First Edition Published August 1985

Second Edition Published June 1986

Third Edition Published November 1998

Fourth Edition Published August 2010

Fifth Edition Published November 2012

Sixth Edition Published August 2015

Seventh Edition Published March 2020

Disclaimer:


The author and publishers of Shotokan Karate Union Handbook will not be held responsible in part

or whole in any way whatsoever for any injury, damage, or loss of any nature, that may occur as a

result either directly or otherwise of reading and or following the instructions and or

recommendations given herein. It is essential therefore that before any attempt be made at any of

the activities described and or depicted in this or any of our publications. The reader or readers or

viewers must consult with a qualified medical physician to ascertain whether or not the reader

readers, viewers of our publications should engage themselves in the activities described or depicted

in this or any of our publications. As the activities described in the Shotokan Karate Union Handbook

and all our other publications are both physically and mentally demanding and may over tax or be too

sophisticated for the reader readers viewers, that is why therefore it is essential that the advice of a

qualified medical physician be sought prior to any attempt at practice and their advice be adhered to

thereafter. We also recommend that you practice under the supervision of a qualified and licenced

Shotokan Karate Union instructor.

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British Library Cataloguing in Publication Data

Kirkham, Derick 1956

Shotokan Karate Union Handbook

I. Title

ISBN 10 0951616307

Designed, Typeset and Printed

Yudansha Press, Cheshire, Great Britain

Text typeset via DTP 12pt Times New Roman & 12pt Calibri


Welcome to the SkU


It is said that “every journey starts with one step” and you have taken your first step

upon the road that if followed to its end will teach you one of the most effective

Martial Art known “Shotokan Karate-Do”. Studying with the SKU, “The SKU Way” you

will also learn many other transferable skills such as improved concentration, coordination,

confidence, character improvement, determination, discipline,

dedication. Karate-Do is not just a physical means of self-defence but a way of life

and the Dojo (training hall) is the place of learning and has traditions and rules that

must be followed and adhered to strictly. The discipline involved in Karate-Do serves

more than one purpose. The high levels of self-imposed discipline is what separates

the Martial Arts from other forms of physical pursuits, it ensures the safety of all

Individual Associate & Dojo members and builds respect for oneself and for others,

so read these principles, rules and let them be your training & coaching guide, follow

them and aim to achieve them from this time onwards. As an Individual Associate

Member of the SKU you have direct access to high quality visiting Senior Coaches.

Individual Dojo members must work as part of a team and the Dojo Captain is your

first point of reference due to their role within the Dojo hierarchy, which ensures

that all traditions, etiquettes, rules are taught & followed. Although it is the Dojo

Captain who is responsible for Dojo discipline you will be expected by them and

other SKU members to display self-discipline and to hold yourself fully responsible

for learning all of the etiquette and following it to the letter. Good luck on your

journey within Shotokan Karate-Do, it is an enjoyable, demanding and rewarding

journey, one where you will make and keep many friendships and make bonds that

will last a lifetime. As a member of the SKU you are never alone. The SKU was

founded in Great Britain in 1985 and since that time has gone through various

transitional phases in accordance with society’s expectations and values, but there is

one constant that will remain and that is that the SKU will never compromise upon

its vision and the traditional and ethical core values of Traditional Japanese Shotokan

Karate-Do. Our aim is “the everyday study in pursuit of technical excellence and selfimprovement”

and we also aim to pass those core values on from generation to

generation through our official structured coaching and grading system.

Addressing the Instructor

At all times the Most Senior Coach / Instructor must be referred to as “Sensei” by his

students. Not all Black belts, Yudansha are equal in status and there is only one

Sensei per Dojo. However, when you are training under a Senior Coach or you are

undertaking a Grading Exam, then they too, being the most Senior Dan Grade

present are also entitled to be referred to as “Sensei”. Today there is a trend to over

use the name Sensei inappropriately, using it as a substitute for and to refer to

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anyone of Black Belt status. That is not the correct use of the title nor is it good form.

You are to never call your Sensei by his actual name, while in the dojo. Other

blackbelt instructors and students who are senior to you are to be referred to as

“Sempai” (a senior or older brother / sister). Any junior ranks to you are to be

referred to as Kohai (Junior). The Senior coach/instructor at the Dojo must be called

“Sensei” at all times especially when visiting Karate-Ka are present, when members

of the public visit the Dojo, when you are with your Sensei outside of the Dojo on

Dojo business, on courses, tournaments or at any official Karate gathering. This is to

display the correct Martial attitude and respect for the person who has in many

cases dedicated their life to teach you and others the “WAY of the empty hand”, in

other words you’re “Sensei”. Be friendly and polite but never over familiar towards

them.

Fellow Students

Treat them with respect if you expect the same in return. Always try for correct

Martial attitude and a strong sense of purpose in your training with fellow students.

Healthy competition without bullying or displaying an ego or big headed behaviour is

desirable. If you observe anyone not upholding these rules and regulations and

expected attitudes then tactfully stop them from defiling the Dojo Etiquette and the

Rules of conduct, before the Dojo Captain, Dojo Chief Instructor, or SKU Senior

Coach has to step in and discipline them for their poor behaviour. Anyone found

distracting another fellow student will be asked to leave the Dojo until such time

they are able to participate in all of the practices of Karate-Do in the manner that is

expected and befitting of a serious student.

Spectators


Spectators are not permitted in the Dojo this includes parents, relatives or friends.

This directive is purely for the reason of safety; theirs, the other students and yours

as a distracted Karate-Ka can and do often get hurt.

“A good Sensei & Coach will teach his students methods of

“How to learn for themself” more than just emphasising

“What they are to learn” this way the student can develop

their character and utilise these transferable skills in to

everyday life.”

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The Shotokan Karate Union Coaching System

“Coaching the SKU Way”

Who are these Guiding Principles for?

The Shotokan Karate Union has an all Inclusive open door policy and a mutual

respect philosophy to its Karate-Do Practice; therefore, we are happy to share our

vision and our ethical core values with any genuine Traditional Martial Artist.

• All SKU Coaches

• All of the SKU Membership

• Anyone wishing to join the SKU

• Anyone who has or is about to embark upon the SKU Coaching Award

Scheme

• Anyone who is seriously studying the Official SKU Coaching & Grading System

• Coaches & Students from other Martial Arts Organisations

• All students of Shotokan Karate-Do

What is Shotokan Karate-Do


Shotokan, Shotokan-ryu is a highly stylised Japanese style of Karate-do, developed

from and influenced by various martial arts, introduced by Gichin Funakoshi (1868–

1957) and his son Gigo (Yoshitaka) Funakoshi (1906–1945). Gichin was born in

Okinawa and is widely credited with popularising karate through a series of public

demonstrations, and by promoting the development of university karate clubs,

including those at Keio, Waseda, Hitotsubashi (Shodai), Takushoku, Chuo, Gakushuin,

and Hosei. Funakoshi had many students at the university clubs and outside dojos,

who continue to teach karate after Funakoshi death in 1957.

Later the style was further developed by the

Japan Karate Association, headed by Masatoshi Nakayama (1913 – 1987),

Hirokazu Kanazawa Shotokan Karate International Federation (1931 - 2019),

Taiji Kase Shotokan Ryu Kase Ha (1929 - 2004),

Tetsuhiko Asai Japan Karate Shotorenmei (1935 - 2006),

and others.

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What does the SKU expect from its Coaches

and Student Members?

The SKU expects all of its members to share in and believe in the SKU vision and for

them to uphold & advocate our ethical core values.

The SKU expects that all of its Coaches to;

• Ensure that every student who has been training at an SKU Dojo for 4 weeks

joins the SKU and obtains an SKU Individual Associate Membership ID Card

and an Official SKU Grading Syllabus Booklet.

• Ensure that every student is introduced to the Official SKU Webpage, SKU

Facebook Page, SKU YouTube page, SKU Podcast, SKU Quarterly Magazine

and other available approved study resources.

• Ensure that every student is introduced to the SKU Traditional vision and that

they uphold & advocate our ethical core values.

• Ensure that every student is made aware of and is immediately introduced in

to the structured training programme that offers progress assessment, that

of the Official SKU Coaching & Grading system. This is so that after 3 months

of regular training a student can begin to take advantage of and feel the

benefits training in the structured system by undertaking their first grading

exam.

• Ensure that as a coach you keep yourselves up to date with your studies by

regularly visiting the Official SKU Webpage, SKU Facebook Page, SKU

YouTube, SKU Podcast, SKU Quarterly Magazine page and other available

study resources.

• Promote the SKU in a positive manner and be proud to be an SKU Coach.

• Ensure that you and every one of your students wear the SKU DogiBadge with

pride.

• Ensure that all of your actions reflect well on the SKU & Karate-Do.

• Ensure that you follow the SKU Coaching & Grading system exactly as it is laid

down in the Official Grading Syllabus.

• Ensure that you will follow the rules & regulations of the SKU.

• Ensure that you strive to attain the disciplines of “The Way”.

• Ensure that you offer every student equally, the same levels of Recognition,

Respect and Opportunity.

• Aim to become a role model to others.

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• Commit yourself and your students to Participate in, Interact with and be

inclusive of others, Collaborate, Co-operate, support SKU events, organise

your own events, be an active member, assist with, promote, develop ideas

for the advancement of the SKU & Shotokan Karate-Do.

• Never to use or reproduce the SKU name and logo on merchandise,

certificates, diplomas, paperwork, advertising or on any social media sites

without first gaining permission in writing from the SKU HQ

Who is the SKU Shotokan Karate Union?

The Shotokan Karate Union 松涛館空手連盟 Shoto-kan Kara-te Renmei, often

referred to as the SKU, is an internationally respected organisation, a society for

friendship, a Shinboku No Shakai 親睦の社会 . A society that was founded in Great

Britain in 1985 by a coming together of invited individual members from several

Shotokan Karate groups, including members from the two largest Shotokan Karate

organisations at that time; as a result the SKU will always remain a strictly nonpolitical

group. The concept of the friendship society was at the heart of the

formation of the SKU, and that is why its members still hold strong to the belief that,

“Unity is strength and strength through friendship”.

What is the SKU Shotokan Karate-Do System?


Our successful, tried and tested, Structured Coaching & Grading System does include

the "faster, stronger, harder" approach to coaching for our Karate-ka when needed.

But the SKU System goes way beyond that, because, as a group we focus our efforts

and activities strictly upon the analysis of, the understanding of & the improvement

of the factors that affect our ability to achieve higher technical standards of

proficiency. This is Kaizen 改善 , which is the continuous Improvement of ones

performance in realistic, measurable and achievable stages. And we blend Kaizen

改善 with the holistic approach of Shin-Tai-Waza 進体技 . That encompasses the

coaching of the Karate-Ka’s Mind, Body and Technique.

The focus of our structured coaching & grading system is different in many ways

from other mainstream organisations today, for example it is not influenced in any

way by the aims of or the rules and regulations of competitive Sport Karate. We feel

that the practice of and the adaptation of basic technique for the sole purpose of

using that technique in a Sporting Karate context would also require one to change

ones focus to suit the limiting rules and regulations of the game. This would be an

un-necessary distraction away from the underpinning ethos of all of the SKU’s

studies. We therefore deem the practice of technique for use in a Sporting Karate

context as incompatible with the aims of the SKU.

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Our structured syllabus revolves in the early grades around the understanding of and

the achieving of “Good Form” and aiming for excellence in the execution of the

principles of movement. The principles that are associated with the techniques

(Waza) and the Kata of the SKU Shotokan Karate-do system.

Techniques are not to be practiced merely to score points to win a sporting match,

because the SKU ethos behind the practice of all of our techniques is to achieve

performance excellence in the execution of the techniques with focus strictly on

“OYO”, which is the practical application of karate technique for the purpose of selfdefence.

This aspect is taught from the beginning but plays a larger and larger role in

the coaching and training of SKU students as they progress steadily through the Kyu

ranks, and as Dan grades. The Syllabus and system encourages the student to

progress in every dimension and follows the relationship philosophy of Shu Ha Ri 守

破離 throughout your training life and beyond.

Our system keeps alive the cultural and Traditional Budo values that are closely

associated with Shotokan Karate-Do style. Specifically the values that were at the

heart of what was taught by the styles founding fathers, We therefore, recognise the

pioneering work done by the Japan Karate Association, the teachings of Masters

Gichin & Yoshitaka Funakoshi, Masatoshi Nakayama, Hirokazu Kanazawa, Keinosuke

Enoeda, Masao Kawasoe and others.

By practicing Shotokan Karate-Do in this way, purely as a Traditional Japanese

Martial Art form, then we believe that the legacy that we at the SKU will leave for

future generations will be one where they can continue to appreciate the benefits of

the Traditional Japanese Shotokan Karate-Do system, and therefore, the new

generation of students will be enriched and reap greater long term benefits thereof.

What is involved in the SKU Shotokan Karate-Do System.

The Shotokan style is the most wrote about, envied and copied of all the Karate

styles and is therefore, too often rashly analysed and critical opinions offered by

practitioners of other styles of Karate, without them being in possession of all the

facts they often suggest that; “oh yes Shotokan that is the long low stances style!” or

“All of Shotokan’s techniques are over exaggerated!”, all of which may well appear

to be true to the uninitiated observer, however, there is a very good rationale for

why the basic training form of the Shotokan style attracts these comments. Firstly it

is true what they say, that in the basic form of the style, the stances are somewhat

longer and the root of and the origin points of the techniques are predominantly

accentuated. But most importantly the reason why “the longer stances and the

accentuated movements of the styles techniques” are purposefully taught that way,

are, to increase ones “flexibility and strength of the bodies joints and connective

tissue throughout the full range of movements, they are also designed to encourage

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one to work on building the core and the hip action of rotation, compression and

expansion” which are all areas of technicality that are exploited within the Shotokan

system as one develops one’s ability.

There are two facets in the practice of Shotokan Karate, they are;

Karate-Jitsu and Karate-Do.

Karate-Jitsu

is the physical training, the physical practice of ones stances, movements, blocks,

punches, strikes and kicks that are embedded within the highly structured Official

SKU Coaching & Grading Syllabus. Karate-Jitsu training is sub-divided into three

categories, which are Kihon (the practice of the fundamentals of technique), Kata

(formal exercises) and Kumite (sparring), accumulatively they are affectionately

known as the 3 K’s. However, we in the SKU have enhanced the 3 K’s by

incorporating in its structured approach, the study of and the practice of OYO

techniques which are the abbreviated, practical and applied techniques which purely

have “self defence” as the aim.

Karate-Do

is a much wider and more encompassing facet, as it teaches the cultural and

behavioural aspects of this Traditional Japanese Martial Art form. Karate-Do is a

perfect vehicle for the development of ones character in the areas of self-discipline,

physical control, self-confidence, improving the understanding of and appreciation of

respect for oneself and that of others.

Winning at Sports Tournaments however, is not the prime objective of those who

seriously study Shotokan Karate-Do as a form of Budo.


Despite the obvious high octane physical demands that Karate puts on your body; if

you are to achieve optimal results then one needs to combine the physical with high

levels of mental concentration during your practice time, as well as conducting

research and study into the techniques that you have been taught, this serves to

improve your mind, body & technique and it is this 3 aspect approach of “Shin Tai

Waza” towards ones training that if followed faithfully will yield a bonus, as it aids to

mould perfection in your character.

This worthy aim represents the basis of any correctly practiced Traditional Martial

Arts, BUDO philosophy. The following of this practice is known as the “Do” The Way,

and for dedicated practitioners it is a Way to the enrichment of one’s Life.

To seek the ultimate performance of the Techniques & Kata of the SKU Shotokan

Karate-Do System just for the sake of performing it, is the SKU’s stated aim. We refer

to the Kihon techniques & Kata that have been handed down from generation to

generation. The Kata originally existed as a means of private self-defence practice,

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but after having removed or refined many of the more violent techniques so Karate

would be more acceptable to the Japanese Education Authority so as to allow Karate

to gain access to the Japanese school syllabus for teaching to children. Funakoshi’s

Heian Katas are an example of the Sanitised Japanised Kata. Nevertheless the Heian

Kata has much to offer students at all levels if studied closely enough especially the

implied accompanying OYO.

The Bonus of aiming to achieve excellence in the performance of one’s technique

using the SKU method will be that the nature and maturity of one’s character will be

developed on route as a result of the dedication and discipline required and through

the many disappointments that one experiences on route.

Modern society has embraced and enjoys the practice of Karate today for the more

obvious additional benefits it has to offer, such as the improvement in one’s physical

fitness, and the opportunity to use Karate as a sporting contest activity; and good

luck to those students who desire to follow the sporting route as these benefits have

increased Karate’s popularity around the world. While sports Karate indisputably has

dedicated athletes who are now described as “players” of a game; we at the SKU

however, are classified as Karate-Ka, we are “Students of Traditional Japanese

Karate-do”, and we are students who always practice their techniques with the

realism of Oyo being their main ethos. Oyo involves the practicing of ones technique

at all times with the purpose being to execute a decisive self-defence technique

every time we deliver our waza. We do not aim for or encourage our students to

have the “sporting mind set” of executing techniques simply to “score points” on a

consentual sporting opponent, as we believe that it enforces limitations upon ones

options and obviously it requires “the player” to delivery their techniques with a

reduction to the destructive potential of the technique. We also believe that having

to comply with the rules regulations and limitations that are enforced on the

selection of and the delivery of ones techniques, as in a Sporting Karate

environment, is incompatible with the aims and general ethos of the SKU.

Our Structured Coaching & Grading System places great emphasises on how every

diligent student must spend a proportional length of time researching each of the

techniques they have been taught at the appropriate introductory points in their

learning programme. That is if they are to accelerate their progress and have an indepth

understanding of the techniques that they perform. That’s why we had

commissioned SKU approved study resource and produce coaching articles that are

published on the Internet via our Website, Facebook, YouTube, SKU Quarterly

Magazine and SKU Podcasts. Because the internet is such a large and un-regulated

medium, we at the SKU produce a list of approved and recommended study links for

our students and coaches to follow, this compilation list has been made in an effort

to reduce any confusion caused by a set of differing opinions that are expressed due

to the authors having a totally different set of values and aim to those of the SKU.

. | Page 14



In Search of Excellence.

The SKU advocates to all of its members that they set and hold in mind at all times

that their main long term goal, no matter which stage on their journey they are at,

should be one of them being in search of excellence.

We understand that this is the ultimate goal and that not everyone will reach it, but

we also know that if everyone aims for excellence, then everyone will pass the point

of mediocrity in their performance and they will reach their maximum achievable

potential whilst on route to excellence.

The essence of Karate-Do is embedded in its art form; an art form that requires one

to use one’s Mind, Body and Technique as a whole to reach the highest level of

technical ability. A perfect technique therefore, requires one to form the correctly

chosen weapon for the occasion and deliver it accurately to the chosen target with

Spirit, Power, Speed, Sharpness, Balance, Poise, Agility, Accuracy, Focus, Control,

Correct distancing, Kiai, Mushin and Zanshin. These elements alone however, will not

automatically lead to a techniques success, unless one creates a useful opportunity,

an opening to demonstrate the techniques effectiveness.

Our expectation therefore, is; “that every student must commit 100% effort in the

execution of every technique that they perform and that they should hold in mind

and seek to execute every one of the aspects that are stated above, every-time that

they perform a technique”.


When all of these elements are aligned and well executed, then and only then can

the technique be justifiably termed as being an IPPON Technique, just as it is

referred to in a tournament environment. The alignment process of all the elements

previously described requires the utmost concentration, self-control and the correct

frame of mind to be present at all times. This is the foundation upon which

Traditional Martial Art BUDO practice and our coaching system are constructed.

To perform a perfect technique once is not the acquisition of excellence. Excellence

is the ability to faithfully reproduce consistently time after time the performance of a

technique, and this is our aim. Therefore, this maxim aids in the focusing of ones

attention to the desired training state of mind.

"Don't think of practicing a technique until you can do it

correctly; but think of practicing the technique until you reach

the point where you never do it incorrectly!"

The pursuit of mind, body, spirit and technique as one unit is a learnt resource that

creates a deep understanding of one’s self. Adopting the unrealistic view of your

training practice as being a life and death event can be detrimental to your progress

rate. However, a focused sense of purpose, a genuine sense of seriousness, a

. | Page 15


realistic sense that you are in a fight situation every time that you practice a

technique and that you can potentially get hurt if due diligence is not exhibited at all

times by yourself.

Whilst practicing Karate the aforementioned are paramount to one’s safety and

progression. That state of mind is the foundation that governs all serious BUDO

study. There is a term that is often used in BUDO that sums up the frame of mind

that one should adopt if serious progress is to be maximised.

“Ikken Hissatsu” “To Kill With One Blow”.

Karate-Do is renowned for its use of Balance and Harmony throughout. So In balance

to the “Ikken Hissatsu” approach there is another maxim that states; “Karate-Do

starts and ends with a bow”. Remember that discipline, respect, courtesy, decorum

and etiquette are the hallmarks of Karate-Do and are the mark of a strong character.

They are controlled attributes that should be aimed for and exhibited at all times.

The ultimate is to transfer those ideals that are learnt in the Dojo to your everyday

life. That is the aim of “The Way”. Mastering it however, is a continuous process that

can take one a lifetime to achieve but just because it is difficult to achieve, and as

periods of failure do occur during ones training career, then the degree of difficulty

shouldn’t therefore, discourage anyone from keep trying to achieve it.

Techniques & Kata

There are a multitude of basic techniques available in the Shotokan Karate Style,

which utilise every part of one’s body. There are 27 Core KATA within the SKU

Shotokan Karate-Do System. Trying to memorise all of them at too early of a stage is

to be discouraged by coaches, as the SKU Structured Coaching System revolves

around the coach and the student adhering to the Official SKU Structured Grading

Syllabus as a training session framework. The SKU Structured Grading Syllabus sets

the student Karate-Ka achievable progressive goals at regular realistic time intervals.

Each syllabus leads on from the last and a thorough familiarity of the previous

syllabus; along with a confident display that improvement from one’s last grading

has taken place and that information retention has also taken place are the essential

ingredients that are required for a grading pass.

Setting short term goals

Setting short term goals too high too soon is an unrealistic expectation for students;

that will generally end in disappointment and setbacks for the students calculated

progression. The practice of those unrealistic student expectations should not be

. | Page 16



indulged in and should be actively discouraged by their coach. As it will only

encourage the student to superficially study and practice, what is in reality, too

sophisticated of a technique or Kata for the student to gain benefit from at their

current stage.

Its worthy of note that when a lower ranked student has a limited proficiency in the

basics, and against the good advice of their coach, they decide to experience Sport

Kumite and enter a competition at too early of a stage in their training career. Then

they may be lost from Karate for ever if they experience a hard failure, alternatively

they may be seduced by Sport Kumite due to them experiencing an incidental

winning result. However, they will soon reach a point where they realise that they

are limited by the lack of their basic knowledge and they will then have a need to

resume their basic practice again.

A good coach must never allow the practice of the basics to be surpassed by the

desire for winning in a competition. The waiting until the student is at the right stage

in their training career is a lesson in itself for all. It is a valuable lesson in self-control,

discipline, and it’s a lesson that long term will benefit the student more than them

breaking away from their coaches’ guidance.

Phases in the coach, student relationship


There are 3 phases in the relationship of any coach and student. The phases are

known as Shu Ha Ri 守破離 which when roughly translated means to; Obey,

Break, and Digress. These are the 3 transitional, transactional stages of the learning

process between a coach and their student. Stage 1: Obey, refers to The Following of

the fundamentals without deviation. Stage 2: Break, refers to the effect of The Free

Thought process of self interpretation on actual application, these self

interpretations may deviate from traditional thinking. Stage 3: Digress, refers to The

Innovation Stage, The Personal Development stage that deviates from what is

thought of as the traditional way. All 3 phases are healthy and allow for the personal

growth of the student as long as Stage 1 has been comprehensively followed, not

rushed through, understood and benefited from.

Obtaining proficiency in the basics

Obtaining a thorough proficiency in the basics, the practice and revisiting of one’s

Kihon, no matter what stage of one’s training one is at, cannot be over emphasised

by the coach. After all, students are consulting with you, their coach, for your

experience, your expertise and your guidance. Therefore, from the beginning of their

training career and especially throughout their Kyu grade phase, you should be

. | Page 17


encouraging them to exclusively practice the SKU Enhanced 3 K’s methodology of

Karate-Do, the Kihon, the Kata and the Kumite incorporating OYO. They should

practice the 3 K’s exactly as it is set out in the Official SKU Structured Grading

Syllabus.

The practice of the fundamentals, the basics, of the Enhanced 3 K’s of Karate-Do

should not be deviated from in the Kyu Grade phase and coaches should never allow

it to be overshadowed by the idea of winning in competition, or by allowing them to

chase the wrong goals or practice too sophisticated techniques too early.

What are the requirements of a basic technique?

Every Punching, Blocking, Striking and Kicking technique that we perform during our

basic practice in the Dojo must be executed with Spirit, Power, Speed, Sharpness,

Balance, Poise, Agility, Accuracy, Focus, Control, Correct distancing, Kiai, Mushin and

Zanshin.

These are the requirements of every basic technique that we perform. But of late

there is a trend which has been introduced with the sole intention of producing

sporting competitors. The trend is where the techniques have become diluted,

corrupted, altered to suit the different criteria of making them compatible with the

rules of the sporting competition arena.

Therefore, to be aware of these variations is a prudent measure but to practice them

in place of or alongside the traditional basic version of the technique is to be

discouraged as it is counterproductive, as it will distract the students studies from

the requirements of the Official Structured Grading Syllabus and will not assist in the

students’ grading progression.

• Spirit

• Power

• Speed

• Sharpness

• Balance

• Poise

• Agility

• Accuracy

• Focus / Kime

• Control / Sundome

. | Page 18



• Correct Distancing / Ma-ai

• Kiai

• Mushin & Zanshin

Spirit

Spirit, is the word that refers to the correct strong Martial attitude that the Shotokan

stylists are famous for. This attitude is expected of all SKU Karate-Ka and should be

displayed specifically during the execution of the basic techniques and during the

performance of all the 3 K’s.

Good spirit should display, a serious sense of purpose, a forceful and daunting

presence but never appearing to be menacing or bullying. One should be totally

focused on the task ahead by visualising an opponent’s presence during one’s Kihon

and Kata practice. When one is totally focused on the every action of one’s opponent

without compromising one’s belief in one’s own ability during Kumite practice, then

often a powerful display of strong spirit at the right time can neutralise a potentially

dangerous situation from developing.

Having a cool, calculated, confident but determined presence and having good

Shizentai deportment throughout one’s time in the dojo, is of equal importance as

they complement and temper the required, spontaneous displays of Strong Spirit.

Good spirit is closely linked to and associated with Kiai-ing.

Power


Power, also known as explosive strength or anaerobic power is one of the muscles

measurements of efficiency, it’s the product of strength applied at speed, Therefore, to

perform a Tsuki waza possessing power, involves punching with correct form & with

strength, while moving the arm at speed.

Therefore, the working formula used for coaching purposes by SKU coaches to

describe how to achieve a powerful technique is

“Correct Technique delivered at Speed = Power”.

Speed

Time taken over a Distance

. | Page 19


Sharpness

Sharpness is the term used to describe the performance of one’s technique or kata

when it is uncluttered, delivered with smoothness, efficiency of movement, and

displays both great acceleration & speed.

Balance

Balance is the even distribution of mass, enabling someone or something to remain

upright and stable at all times.

Poise

Poise is a graceful and elegant deportment, the desired bearing of a person.

Agility

Agility is ability to freely move quickly, smoothly and easily.

Accuracy

Accuracy is the ability of being able to precisely judge and execute where, when and

how to deliver ones technique.

Focus / Kime

Kime 決め means “to decide”, but is commonly used and accepted as the Japanese

term to describe the “focusing” of, the combining of the mechanical, mental &

physical components of one’s technique at the very instance it is needed, which is at

the techniques termination point just as it makes contact with one’s opponent. This

simultaneous joining together of one’s power, speed and determination is achieved

by instantaneous tensing the body’s core and limbs and diaphragmatically exhaling.

The period of time that Kime is held for is only a fraction of a second, and then it is

instantaneously released. Kime is usually accompanied by an exhalation stimulated

Kiai, right at the crescendo point of the technique.

Control / Sundome

Control or Sundome means "stopping the moment before" but in the context of

Karate-Jitsu it refers to the ability of “stopping as close to but just short of the

. | Page 20



target”. However, we in the SKU train to make light skin contact with the target area

every time, by "stopping one’s technique at the moment skin contact is achieved.

Stopping the waza before it causes any destructive results". The rationale for this is

so that the attacker psychologically trains to make contact and so that they feel

some bio-feedback. The ability to execute this skill without inadvertently inflicting

damage can only be achieved through regular daily training and performing many

repetitions of the techniques. Also it helps to build one’s self-discipline and selfcontrol.

The aim is to be triumphant over one-self, rather than aiming to be

victorious against one’s opponent. “Don’t think of winning, rather think of never

losing”.

Correct Distancing / Ma-ai

Ma-ai 間合い is the Distancing between two opponents in combat, literal meaning

interval. In terms of Karate technique execution, Ma-ai, correct distancing refers to

the positioning of oneself to gain maximum advantage to increase the chances of

your technique delivery yielding the optimal results. Correct distance therefore, is

the correct launch distance, taking into consideration all the factors such as, the

transfer of one’s mass, one’s stance and the angle at which to deliver one’s

technique from. The consideration of these points is so that the termination point of

your technique coincides with that of the chosen target area on one’s opponent.

Kiai

Kiai is a Focused Shouting, when translated from the Japanese means a “Spiritual

Meeting”. Kiai is generated by a short sharp diaphragmatically tensed exhalation and

never should be instigated from the throat area.


Mushin 無心

Mushin is a state of mind and literally means “mind without mind”. However, in the

Budo world it refers specifically to the ability to stay calm under the stresses and

pressures of combat. This visual display of calmness is often referred to as the “inner

silence”. Mushin is closely associated with the ability to achieve Zanshin.

Zanshin 残心 “Lingering Mind.”

Zanshin is “remaining alert, remaining on guard” at all times, this way one’s

attention is constantly focused on the relevant, and by avoiding the distractions of

the irrelevant it frees the mind up to notice any changes in circumstance.

. | Page 21


Progression in learning

“The enjoyment of the experience of the journey should be greater than that of

reaching the destination. The doing is more important than the outcome.”

Therefore, the learning should be savoured on route to one’s desired learning target.

Real progression in any form of learning comes from the setting of achievable targets

that can be met by a diligent student in a realistic time frame. However, today’s

society is one where the desire for instant gratification and impatience over-rides

everything else. These days there is unrealistic expectations made by the student,

which is driven by the demand for instant results in return for their training dollar;

just as if the sweat and hard work put in by everyone who has gone before them can

be avoided by attempting to pay for a return of results, just as if the art of Karate-Do

is an off the shelf commodity handed over like a can of beans. Real progress and

learning can appear to be a slow process, so patience is required. If the correct

approach is used then learning will be thorough. Real Progress is achievable if the

student accepts the principle of small steps, taking one technique at a time before

even thinking of moving off to the next technique. It is the key to one’s depth of

knowledge in Karate-Do.

Emotional Control

Every student of Karate-Do is expected to always exert self-restraint over allowing

their extreme emotions to control their decision making.

There is no place in Karate-Do for violent behaviour.

Kihon technique and Kata practice always starts with a defensive technique. This is

to make the statement that “there is no first attack in Karate-Do”, “Karate Ni Sente

Nashi”, which is the literal Japanese translation of this principle.

Factors that every SKU Coach must hold in mind at all times.

While coaching you should display good manners, courtesy, sincerity, restraint at all

times and above all be true to yourself.

Be patient with students, especially with those of lesser ability, don’t give up on a

student, offer practice to all that has safety in mind at all times.

Always pay close attention to the small details as often it is the improvement of the

small details that produces the greatest results.

Avoid displaying favouritism or preference towards certain individual students.

Avoid coaching just your personal favourite techniques.

. | Page 22



Remember to adhere to and teach using the Official SKU Grading Syllabus as the

fundamental structured framework for all of your sessions.

Remember that no two students are identical. Each and every student has their own

unique set of needs driven by their personal motivation. There are also the

differences in their ages, their character and their body types to be considered.

Always remember to never blur the lines of the Sensei to Student relationship

boundaries. Always remind the student of them if they stray from the expected

levels of etiquette then they will be asked to leave.

Avoid allowing any disproportionate distribution of coaching time in the general

class. In other words, rigidly adhere to dividing the time equally between the 3’s of

Kihon, Kata and Kumite. If a particular aspect of training needs more time paying to

it; then you should put on an extra training session which is dedicated to rectifying

the deficit.

Avoid focusing too much time in the general class on the gifted, the elite, and the

favoured Karate-Ka. If you have an elite or gifted student then you should put on an

extra nights training of a more advanced nature, a special class or classes dedicated

to enhance the learning experience for those students. This way the students of

normal or lesser ability will not be sacrificed, for your preferences.

Collaborate with SKU senior coaches & SKU technical advisors if there is an

expressed need for courses on specialised aspects, such as, Advanced Dan Grade

Kata, Sports Karate Kyogi 競技 , Pure Self Defence practice of Jissen 実戦 & Goshin 護身

or an introduction to another Martial Art.


Keep the format of general classes for kyu grades relevant and simple, by adhering to

the time frame of and the structured framework of the Official SKU Grading Syllabus

requirements. This will avoid confusing or overloading students with extra input that

is unrelated to meeting the students current short term goal, that of passing their

next Kyu grading examination.

Make all students aware of what mistakes they are making. Make clear to them the

whys of their mistakes by demonstrating the correct way to perform the technique

as well as offering the student, the theory of and the mechanics of the technique,

along with giving them an achievable plan of action of how they can correct their

mistakes.

. | Page 23


THE COACHING OF KIHON

The level of detail and the complexity of the technique and the depth of explained

detail must be gradually increased proportionately in relation to the student’s level

of ability.

Basic techniques must firstly be demonstrated by the coach at a speed that the

student may learn by observation. Then the coach should demonstrate the basic

technique with a brief explanation, and then it is to be demonstrated with the finer

details of the technique being further explained. Basic Techniques should be

explained in the terms of why it is that the technique is expected to be executed in

that specific way. Once a proper explanation of the execution of the technique has

been accepted by and understood by the student, only then is it wise to introduce

the scientifically based theory of the technique.

The correct posture and stance transitions are key features of “good basics”,

therefore, they are to be reinforced by the coach throughout the student’s career.

Ensure that their foot movements are smoothly and quietly executed and that their

hip height does not rise and fall during stance transition.

Hip rotation and body shifting from the initiation of the technique up to the

techniques termination point, must be a constant, smooth and a sharp process,

whilst keeping the hips horizontally parallel to the floor at all times.

Every technique on every occasion must be delivered using: commitment, spirit,

power, speed, sharpness, balance, poise, agility, accuracy, focus, control, correct

distancing, kiai, mushin and zanshin

Specific attention should be given when performing blocking techniques. Pay close

attention to ensure that the student’s elbow is correctly positioned in relation to

their wrist and their ankles

Make sure that students do not over extend their limbs in the performance of their

techniques, as neglecting this aspect will result in them losing balance and correct

form.

Pay attention that you as coach, state the desired target area for the technique,

clearly define whether it is JODAN, CHUDAN, or GEDAN. And then ensure that

students follow the command.

Inform students of the different specific requirements of each individual technique,

every time that they are performed.

. | Page 24



There are some requirements that are exactly the same and are expected to be

followed no matter what the KIHON technique may be. Therefore, apply those

universal principles to all KIHON techniques at all times.

Fundamental Principles to follow at all times when coaching the

Basics, KIHON Techniques.

The training method of performing a high number of Repetitions of One Technique,

psychologically doesn’t appeal to the easily bored students of today. Sadly for them

it is the using of this tried and tested training method that is important if one is to

attain the speed, power, impeccable control, timing and the efficiency of one’s

power and movement. The use of various training drills can assist to break the

illusion of continuously performing one technique repeatedly for long periods.

Constantly check for and remind students of the need for correct balance, high levels

of concentration of power, that they are to perform the technique using its correct

route of delivery, that it should be executed with speed, correct rotation of hips,

driving their technique and body movement from the core, the hips. These are the

elements to apply to ones KIHON technique during ones daily practice.

Punching, striking, kicking and blocking techniques must be executed with the hips as

the driving force of the technique. Use the hips to generate power. The power

should flow from the core, the hips through the whole body into the arms, legs and

then to the hands and feet.

When techniques are performed, all unnecessary tension and movement must be

eliminated in order to generate a stronger flow of power.


Generating power correctly is best thought of as generating a bolus of power. It is

referred to as the 0 to 10 to 0 acceleration deceleration scale. It is where from a

relaxed position (Zero) you generate a sudden burst of power (Ten) followed by total

relaxation of the body (Zero) but remaining in Zanshin, poised and ready to repeat it

again.

Elements to Assess KIHON Performance during Examinations

That the sole of the foot of the supporting leg is flat on the floor

That the heel of the foot is not raised during the execution of the technique

That Front Stance (ZENKUTSU-DACHI), Back Stance (KOKUTSU-DACHI), Horse-Riding

Stance (KIBA-DACHI), and all other stances, are properly appointed and that the

centre of gravity is correctly positioned, and that the knee position is correctly

. | Page 25


positioned.

That the hips are kept horizontally parallel to the floor and that the upper body is

kept straight & upright at all times.

That fists or open-handed “weapons” are formed correctly with the wrists kept tight

That the ball of the foot and the side of the foot “weapons” are formed correctly

with the bent ankle kept tight and at the correct angle.

That the pulling back of the arm towards the body during hikite is kept tight to the

body, and that the rotation of the student’s hips is kept level, and horizontally

parallel to the floor.

That blocking, punching and striking techniques, that are made with the forearm are

synchronised with the pulling back motion of Hikite

that the proper elbow and wrist alignment during blocking techniques are accurately

observed

That during kicking sequences, that the foot of the supporting leg is flat on the floor

and the knee is flexed and in proper alignment

That all of the principles of the kicking are followed: lifting the knee up high, tucking

in the heel of the kicking foot, that the full extension of and the full pulling back of

the leg is observed

There must be a visible distinction between Side Snap Kick (YOKO-KEAGE) and Side

Thrush Kick (YOKO-KEKOMI)

That all techniques have synchronisation between the hands the body and the feet

That the whole body as a unit conforms to the required principles of the technique

That power and focus are present during the techniques performance

Fundamental Principles to follow when coaching Stances

When performing both attacking and defensive techniques, the body has to be in a

stable state of balance or equilibrium in order to be effective. Good form and proper

stances are the foundation of strong and efficient techniques. The upper body must

be kept straight, the hips horizontally parallel to the floor, and balance must be kept

throughout to be able to use ones speed and power. Strong and effective techniques

come from a strong stance. After the execution of a technique, there should be

relaxation of one’s Kime, whilst remaining in Zanshin, in anticipation and preparation

for moving off into the next stance.

. | Page 26



Stances were historically created from diligent research conducted by the early

pioneering Masters of the Art and have resulted in those same stances being

accepted as the foundation of modern KARATE-DO.

There are 2 types of stances, 1: the dynamic stances that have the feeling of pushing

the knees outward to achieve their rigidity & stability and 2: those dynamic stances

that have the feeling of pushing the knees inward to achieve their rigidity & stability.

Types of Stances

Natural Stance (SHIZENTAI)

Informal Attention Stance, V Stance, Heels Together Natural Stance (MUSUBI-DACHI)

Informal Attention Stance, Feet Together Natural Stance (HEISOKU-DACHI)

Open Leg Stance, Feet Outward Hip Width Natural Stance (HACHIJI-DACHI)

L. Stance, Angled Back Foot Straight Front Foot Natural Stance (RENOJI-DACHI)

Parallel Stance, Feet Parallel Shoulder Width Natural Stance (HEIKO-DACHI)

Front Stance (ZENKUTSU-DACHI)

Back Stance (KOKUTSU-DACHI)

Horse Riding Stance, Straddling Horse Stance (KIBA-DACHI)

Rooted Stance, Diagonal Stance, Half-Facing Back Leg Bent Front Stance (FUDO-

DACHI)


Cat Stance (NEKO-ASHI-DACHI)

Half-Moon Stance (HANGETSU-DACHI)

Hour Glass Stance, Foot Ahead Stance (SANCHIN-DACHI)

Square Stance, Feet Outward Straddling Horse Stance (SHIKO-DACHI)

Crossed Leg Stance, Feet Crossed Stance (KOSA-DACHI)

One Legged Stance (SAGI ASHI DACHI)

. | Page 27


The ratio of stances weight distribution between the front leg

and the back leg

Front Stance (ZENKUTSU-DACHI) 60:40

Back Stance (KOKUTSU-DACHI) 30:70

Rooted Stance, Half-Facing Back Leg Bent Front Stance (FUDO-DACHI) 50:50

Horse Riding Stance, Straddling Horse Stance (KIBA-DACHI) 50:50

Cat Stance (NEKO-ASHI-DACHI) 20:80

Ensure that the hip rotation of the half-facing front posture of the HANMI position is

set in relation to the front facing SHOMEN position at plus 45 degrees. Through the

regular practice of SKU Combination number one you will see rapid improvement in

the students’ progress, as it is designed to concentrate on the use of hip rotation,

therefore, you must ensure that the student’s rotation of the hips during the

opening and closing phases are smoothly, yet sharply executed and that the hips

only travel horizontally parallel to the floor.

The practice of the reversed half-facing front posture of GYAKU-HANMI, as found in

Kata Heian Nidan, introduces its own unique problems that need close attention

paying to them during execution. Ensure that upon completion of the posture that

the foot of the back leg is flat and firmly in contact with the floor. Ensure that the

hips rotate fully to an angle of minus 45 degrees with both legs tensing inwards.

Crossed Leg Stance of KOSA-DACHI as it is used in Heian Godan, upon landing after

the jump or after the leaping step forward as seen in Bassai Dai & Sho. With the right

leg forward and the right foot flat to the floor then immediately follow the same

route with the left leg, and place it behind the right foot; maintain your balance by

resting the ball of the left foot firmly on the floor. Don’t allow the weight to rest flat

on both feet because there could be a loss of balance.

Coaching to Generate Focus KIME through Stances & Postures

For the majority of stances keep the soles of the feet flat on the floor

Ensure that the knee is bent in the direction of the toes and that the patella is

directly above and in line with the outer edge of the big toe

Ensure that the hips while moving remain constantly at the same height in relation

to the horizon line. Maintain a constant height to your centre of gravity and use

one’s core to instigate any movement.

. | Page 28



The joints of the ankles and knees are bent to their correct angles according to the

stance, and must be maintained and firmly tensed.

The length and width between the feet as well as the position of the centre of

gravity are determined according to the stance, and are subject to variance

depending on distance and techniques used.

Keep the hips horizontally parallel to the floor

Keep the upper body straight and upright

Feet Movements UNSOKU

Movements of the feet UNSOKU must be a clear, smooth, sharp and a distinctive

action. The hips, the knees, the ankles, the soles of the feet, the body and the head

are all involved in producing movement and as such should all be considered when

analysing the stance. The foot of the leg that is moving is gliding effortlessly across

the floor with the feeling of having space for only one sheet of paper between you

and the floor. A typical punch is where this is exposed to the full, for example during

the Lunge Punch JUN-TSUKI / OI-TSUKI; a technique that requires great acceleration

and power.

YORI-ASHI is the motion of both feet simultaneously sliding across the floor while

the stance and upper body remain the same, the shifting of the whole body from

forward to backward or vice-versa, or from side to side. Use the opposite leg to the

intended direction of travel to initiate the motion and smoothly slide approximately

the distance of one foots length without hopping. The hips should remain

horizontally parallel to the floor throughout.


FUMIDASHI & FUMIKOMI is the stepping forward & stomping action as seen in

Heian Sandan and other Kata. Stepping forward is done firmly while keeping the hips

horizontally parallel to the floor. Stomping is achieved by pulling the kicking knee up

high and using the sole of the foot, to firmly thrust downwards. The technique can

also be used by striking with the outer edge of the foot SOKUTO. However, there

should be a clear differentiation between these 2 techniques.

TSUGI-ASHI is where one foot pulls towards the supporting leg and in doing so

becomes the supporting leg while the other leg moves either forwards or backwards.

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THE COACHING OF KATA

KATA are fighting routines, they should not be thought of as a simple physical

exercise. They are a way to attain discipline in Martial Art and to cultivate the Art

part of Karate-Do. Without KATA there is no progress in true KARATE-DO. Well

performed KATA represents the ideal model of KARATE technique: therefore, the

understanding of, the acceptance of and the respect of this concept will aide you in

your pursuit of understanding the essence of, learning the knowledge of and

displaying proficiency in the performance of the KATA. The search for proficiency and

consistency in your technique is the striving for perfection in one’s character which

should be applied to other areas of one’s daily life.

Start and end KATA with a bow.

KATA is made up of basic technique not freestyle techniques performed in a freestyle

manner.

There must be constant fluidity in the Kata’s motion.

There should be no changes made to the movements of or the techniques of a kata

in order to accommodate one’s personal preferences or limitations.

There should not be any exaggeration of or additional movements made in order to

try to create the expected contrast in movements.

There are 4 Visually essential elements in Kata:

To firstly clear up that there are many more than 4 elements to the performance of

good Kata as will be discussed later on in this text but these are the 4 visually

essential elements.

Contrasting displays of power.

Contraction and expansion of the body.

Changes in the speed of the techniques.

Contrasting Movements.

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Fundamental Principles to follow when coaching KATA

Breathing must be synchronized with the corresponding movements of the body and

the techniques.

Assess that all combination techniques are performed in one breath.

Ensure that Proper eye contact is made, in other words that eye contact corresponds

with the direction of technique; that they have an attentive attitude and use an

appropriate sharp outburst of vocal energy (KIAI) at the correct points in the Kata.

Check to see that when there is a change in direction of the Embusen of the Kata

that they are being correctly executed and that they are demonstrated with the aid

of hip rotation and with the drive of the supporting leg, also with the use of smooth

foot movements and synchronised head movement.

In order to have focus in a technique, the entire body must be focused especially

paying attention to the changes in direction of the Kata’s Embusen.

Check that the true characteristics and meaning of each movement are clearly

demonstrated.

Check that the correct sequencing of the techniques is all displayed at the

appropriate points within the kata.


Ensure that they eliminate and avoid unnecessary motions when moving from one

technique to the next.

Usually one count is equal to one movement.

Ensure that the correct rhythm is followed.

Ensure that all techniques are performed in a basic manner, and are strong and

accurately placed.

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Key Elements to Evaluate KATA Performance during Grading

Examination

Good Kata has the following ingredients:

Correct Attitude

Courtesy & decorum

Spirit

Eye contact

Poise and alert state of mind

Attentive and Assertive when required but not bullyingly Aggressive.

Strength and Accuracy of Technique

The supporting foot is not raised during execution of movements.

The moving foot takes the desired direct route and its route is not exaggerated

during the execution of movement.

Stances are clearly defined, with the soles of the feet flat on the floor.

Hips are horizontally parallel to the floor & the upper body kept straight.

When forming one’s “weapons”, the wrists and ankles are properly angled and kept

tight.

The pulling back of the arm towards the body is to be sharp and have rotation and is

synchronised with the technique.

Rotation of the hips is used when moving forward or backwards.

Correct elbow wrist and knee alignment position is maintained during blocking

During a kicking sequence, the foot of the supporting leg is flat on the floor and the

knee is in the correct alignment.

The correct sequence of the kicking leg is used: lifting the knee up high and tucking

the foot in tight, the extension and pulling back of the leg is performed with speed.

Techniques are delivered to the correct target area.

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Simultaneous action of hands and feet are synchronised during blocking, punching,

kicking and striking.

Use the whole body to generate power and focus in performance.

Knowledge of the KATA

Correct order in the movements.

Correct route direction in the Embusen and the returning to the starting point.

Understanding the meaning of the Kata and what is its aim.

Display the 4 key visual elements of KATA: levels of strength, contraction and

expansion of the body, a change in the delivery speed of the techniques and clear

contrasting movement.

.

There must be present a clear illustration of the essential characteristics of the Kata.

There must be present a clear illustration of the essential characteristics of the Style.

There are no added extra or exaggerated motions or moves.


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THE COACHING OF KUMITE

Every form of Kumite (Sparring / Fighting) falls into one of two main definitive groups,

they are either, 1: Consentual fighting or 2: non-Consentual fighting. In Shotokan

Karate all of the forms of Kumite that we practice, are by definition members of the

Consentual group, however, the multiple forms and drills in the SKU system are subdivided

into Yakusoku Kumite (Pre-Arranged sparring) and Jiyu (Free sparring), which

are then further sub-divided into specific drills which themselves have various skill

level versions of the drill. There are several different forms of KUMITE used within

the SKU coaching and grading system and all of the forms used have varying benefits,

requirements and increasingly more complex objectives, which are dictated

according to the student’s current skill levels. The student should have an

understanding of the desired characteristics and elements of each form of KUMITE,

as well as clearly having the objectives of each form of Kumite explained to them

prior to their practice.

“No matter which Kumite form or drill you are practicing, that equally includes the

simplest of pre-arranged forms; you should never lose sight of the ultimate aim as

all of the SKU Kumite forms and drills are designed and introduced into your

training programme at strategic points to build upon previous learning that you

have gained from the diligent practice off the earlier forms. Then as an advanced

student you are aiming to instinctively use subtle yet sophisticated Oyo techniques

to manage a non-Consentual fighting scenario.”

Forms of Kumite in the SKU Grading System

3 Steps Basic Fighting Drill 1 SANBON KUMITE

3 Steps Basic Fighting Drill 2 SANBON KUMITE

The objectives of these 2 forms of Kumite are the acquisition of the skill to perform

basic blocking and attacking techniques within a structured set of movements; with

the emphasis being placed up on correct distancing, foot movements and performing

effective blocking and attacking techniques.

For more advanced students, the emphasis is on attaining speed and rapid body

shifting as well as all of the above.

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Basic 1 Step Fighting KIHON-IPPON KUMITE

The objective is to block using a basic technique and counter-attack with a powerful

basic technique.

It is necessary that the student displays no disconnection between their blocking and

counterattacking techniques.

An understanding of and display of correct distancing is required in the execution of

one’s block and one’s counterattack.

Good timing while blocking is the ability to see the opponent’s movements and wait

until the last possible moment to initiate the block, in a speedy manner

There are 2 levels of Kihon Ippon Kumite and therefore, there are two different sets

of expectations, one for the junior grades and two those of the more advanced

student when they are performing Kihon Ippon Kumite. For the advanced student

they should be able to instinctively display a wider variety of self-defence orientated

blocking and counterattacking techniques and stances that are OYO related and can

display techniques taken from the Kata that they are currently studying.

Semi-Free Fighting JIYU-IPPON KUMITE

JIYU-IPPON KUMITE is used as a platform to transition to Free Fighting JIYU-KUMITE

and the opportunity to gain more depth in the practice of one’s Karate Techniques.

Despite the pre-determined starting distance of the pre-engagement formalities,

there is no fixed distance to attack or to defend from; therefore, greatly increasing

the reality factor of this drill.


Blocking and attacking in JIYU IPPON Kumite are to be done in one single breath.

Different counterattacking and blocking techniques should be practiced for the more

advanced students.

The use of modified techniques, different foot movements, different distances and

unexpected body shifting should be practiced for more advanced students.

All techniques must be executed with maximum speed and focus on every occasion.

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Free Fighting JIYU KUMITE

The ultimate aim in one’s practice of any Kumite form or drill is to be able to extract

and transfer the acquired skills, knowledge and techniques that you have learnt

through the hours of diligent, demanding training, to a non-Consentual Scenario by

successfully managing an unscripted free exchange of techniques in a realistic

fighting situation. So hold this aim in mind from day one of your practice not just

when you practice JIYU KUMITE.

Practice JIYU KUMITE using changes in the distance between you and the opponent,

practice deploying tricks to lure the opponent into entering your space, then attack

them or let them attack you first and then you counterattack their attack with an

Ippon technique.

Another objective is to increase your ability to identify & to seize any chance that

presents itself and for you to take advantage of it.

JIYU KUMITE is an opportunity for you to practice using different techniques,

different launch distances, different combinations and utilising your blocks as

attacks.

JIYU KUMITE is an opportunity to practice using different tactics; Go No Sen, Sen No

Sen, Sen Sen No Sen, Tai No Sen; for example, GO NO SEN waiting for the opponent

to initiate the exchange before you respond, or SEN SEN NO SEN for you to practice

attacking first.

Evaluating SANBON, KIHON-IPPON & JIYU-IPPON KUMITE

during Examination

There are certain elements that are required to be present in all forms of Kumite

3 Steps Basic Fighting Drill 1 (SANBON KUMITE), 3 Steps Basic Fighting Drill 2

(SANBON KUMITE), Basic 1 Step Fighting (KIHON-IPPON KUMITE), Semi-Free Fighting

(JIYU-IPPON KUMITE), Free Fighting (JIYU KUMITE), and all other forms of Kumite.

Correct Martial Attitude

A visual display of the correct Sense of purpose

A visual display of courtesy

A sense of decorum

A visual display of strong spirit

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Maintaining eye contact with the opponent

A visual display of poise

A visual display of an alert state of mind

Correct Distancing when Blocking.

Correct Distancing when Attacking.

Correct Distancing and choice of angle in relation to the target.

Correct Timing of the blocking and counterattacking phases.

Blocking

Blocks should be performed with the correct alignment of the fist, elbow, wrist, knee

and ankle.

That the body is outside of the attackers punching, kicking extension line.

That there has been an appropriate display, of relevant & practical, (in other words

workable) choice of blocking, counterattacking, and body shifting (Tai Sabaki)

techniques.

That the appropriate counterattacking technique was chosen, in accordance with the

distance that had been created by the block.

That the blocking and counterattacking phases were quickly executed in one single

breath.

There was no display of unnecessary movement of the body or of the supporting leg.


Concentration of Power

Assess whether they are using their whole body to generate power and focus in their

techniques performance.

Hips are to be kept horizontally parallel to the floor throughout.

Rotation of hips are kept level and at the same height when they are moving

forwards or backwards.

Assess whether or not they are using focus at the end of their techniques, are they

maintaining a correct stance and posture, and are they forming “weapons” correctly.

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Assess whether they use strong vocal release of energy, in other words do they KIAI

from the Hara with the mind and body at the crucial points.

Kihon The Basics Of

Shotokan Karate-Do

How To Use The Hands And Feet

KARATE uses the whole body and all of its parts and they are used in defence and

attack. Training hard every day and with the correct use, of these body parts can

become as effective as any weapon.

How to Use the Hands

Hands can be used as weapons; closed as in a fist or open handed or just using the

fingers themselves in isolation.

Forming a fist is done by flexing the tips of the fingers inward tightly until pressing

against the upper part of the palm, at the base of the fingers. Then squeezing tightly

inwards and pressing tightly the thumb until it rests tightly against the two first

flexed fingers.

The first 2 Knuckles of Fist are called fore knuckle fist SEIKEN and are mainly the

weapon that is used. When the target is hit, the force of the impact is directed from

the forearm straight into the fist. One must be careful to keep the wrist straight

otherwise the power cannot be focused in the fist. There could also be damage to

the wrist. Because this weapon is used most of the time, it is important to take time

for the development of the fist.

Back Fist URAKEN The two first knuckles but at the back of the hand hit the target.

Generally the attack is directed to the face level, side of the body, the groin, or used

for blocking. The springing whip action motion of the elbow is essential to the

execution of this attack, and can be performed vertically or horizontally.

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Hammer fist KENTSUI also called TETSUI is the outer edge of the fist.

One Knuckle Finger Fist IPPON-KEN all fingers are forming the same as in Seiken

except for the index finger that is bent at its second joint and pressed tightly against

the inner aspect of the thumb. This weapon is used for striking the area just above

the upper lip JINCHU, the temple or chest area, the side of the neck. The same

application and form is used for the middle finger or Middle Knuckle Finger Fist

NAKADAKA-IPPON-KEN.

An open hand is formed by the four fingers being tightly pressed together with the

thumb bent towards the inner aspect of the hand pressing tightly against the inner

aspect of the palm of the hand, taking care to keep the wrist tight and rigid.

Knife Hand SHUTO The outer aspect of the hand, from the wrist to the base of the

little finger is used as a “knife” to strike in a sweeping motion to stop an attack. The

springing motion of the elbow is essential to the execution of this attack, performed

to the temple, side of the neck, face, groin or stomach as well as the arms.

Inner-Side Hand HAITO The inner aspect or side of the hand and index finger serve

to hit the target.

Back of the Hand HAISHU is thought of as a block; however it is used to the face and

the side of the abdomen as an attacking technique.

Spear Hand NUKITE It is formed by four fingers tightly pressed together and the tip

of the fingers slightly bent. The thrust of the technique is done with a burst of power.

This strike is executed to the chest area, the eyes, throat, solar plexus, and can be

performed horizontally or vertically. Along the lines of this strike is another one

where all fingers are bent except for the index finger this is called 1 Fingered Spear

Strike IPPON-NUKITE alternative the middle finger and index finger are used and this

is called 2 Finger Spear Strike NIHON-NUKITE.


Palm heel strike TEISHO The heel of the palm, with the wrist bent firmly strikes the

target. Against a punch or kick, it is executed in a side or downward motion. Also

performed upwards to the chin and jaw line, this strike can be very effective.

Elbow Strike EMPI Uchi Execution is to the chin, chest area, solar plexus, side of the

head, side of the body, or to block against a punch. There are many uses for this

technique - especially effective in close quarter fighting. Performed in an upwards,

downwards, sideways, forwards or backwards.

Vertically - Rising Elbow Strike (TATE-EMPI)

Laterally - Side Elbow Strike (YOKO-EMPI)

Backward - Back Elbow Strike (USHIRO-EMPI)

Downward - Down Elbow Strike (OTOSHI-EMPI)

Circular – Round-ward Elbow Strike (MAWASHI-EMPI)

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Forearm WANSHU, Wanto mainly used for blocking or sweeping, especially when

the wrist area is developed. When executed it can damage and discourage the

opponent. There are different names depending on the different aspects of the

forearm as follow:

Inner aspect (URAWAN/NAIWAN)

Outer aspect (OMOTEWAN/GAIWAN)

Upper aspect or top (HAIWAN)

Lower aspect or under (SHUWAN)

How to Use the Feet

The feet like the hands, when used correctly can inflict massive damage; and like the

hands various parts of the feet are deployed, the ball of the foot, the sole, the tip

toes, the outer edge of the foot, the heel.

Ball of the Foot KOSHI is more commonly used for kicking. The toes should be curled

backwards at the base of the toes to avoid you damaging yourself, and it is then the

ball of the foot that is used to strike the target. This attack can be targeted at the

head, the body, the groin, and the limbs.

The Outer Aspect of the Foot SOKUTO is used for techniques such as Side Snap Kick

YOKO-GERI-KEAGE, and Cutting Kick FUMIKIRI. There are many different

applications for these weapons.

Heel KAKATO Used for Side Thrust Kick YOKO-GERI-KEKOMI and Back Kick USHIRO-

GERI ideal against being grabbed.

Top of the Foot HAISOKU curl the toes downwards and use the area at the base of

the toes to execute this technique which can be performed to kick to the groin KIN-

GERI.

Knee HIZA There are many uses for this attack, same as the elbow and especially

effective when in close quarters. Execution is to the groin or thigh area, or after

grabbing the opponent’s head, bring it downwards while simultaneously performing

the attack.

The choice of using either the feet or the hands as the correct weapon is dependent

upon the presented circumstances, nevertheless, the elbows, the knees, the back of

the head, the forehead and the shoulders are all very effective weapons.

Straight Punch CHOKU TSUKI

The route the technique takes is a straight line from the hip to the target

“The shortest route between two points is a straight line”

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The forearm is to be used like a spear by thrusting it forwards, towards the desired

target area using the 2 First Knuckle Fist SEIKEN.

Required elements for correct punching

Ensure that the shortest route to reach the target is taken.

Use maximum acceleration

Use maximum speed

Focus all your power at the exact point of impact

Firmly pull back Hikite as it is crucial in the creation of maximum speed and power.

During technique execution, the forearm brushes against the side of the body.

During technique execution, the forearm rotates until it reaches its target.

At the moment that you make contact with the target, it is imperative that you focus

all of the bodies muscles through instantaneous tension, especially those core

muscles and those of the underside of the body and the lower part of the abdomen.

Without this focus of power, the maximum effect of the technique will never be

reached. Likewise when defending without this focus there will not be present the

ability to absorb the high impact bio-feedback shockwave that is generated.

Therefore, your technique will be weaker than it could be.

Basic Practice for Punching TSUKI


Starting from Natural Stance HACHIJIDACHI, SHIZENTAI

Open the left hand, with the palm of the hand facing the solar plexus of the

opponent at an angle of 45 degrees to your own horizontal forearm TATE SHUTO

UKE. The left arm is extended but is not locked out. The right fist is on the right hip at

the side of the body HIKITE with the palm facing upwards, and you should be poised

ready for action KATTE.

Pull the left hand backwards with a grasping, twisting motion and with a feeling of

pulling the opponent towards your body. Simultaneously drive forward the right fist;

it is launched using maximum acceleration and speed theory, taking the shortest

route to the target, with a twisting motion of the forearm. When you reach the

target with the 2 First Knuckle Fist SEIKEN, the back of the right fist is now facing

upwards and the back of the left fist is now facing downwards.

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Important Points to look for

Maintain a straight upper body posture throughout

The fists must be made correctly and kept tight throughout

Decide on a target area before you launch the technique

The shoulders should not be used to generate power

The shoulders should not be raised nor pushed forward

The Knuckles, wrist and forearm should be tense on impact

The Knuckles, wrist and forearm should be inline on impact

The whole body should be tensed and focused on impact

The whole body should be relaxed but poised ready for action between techniques

Front Stance Zenkutsu-Dachi

The distance in length between the front and back foot in this stance is twice the

width of the hips. The distance in width between 2 parallel lines drawn through the

front and back foot in this stance is the width of the hips. With the left leg forward

the left knee is able to bend fully while the right leg is extended. The toes of the

front foot are pointing forward and slightly inward. The toes of the back foot should

be pointing in the same direction as the front ones. The sole of both feet should be

flat almost adhering to the floor. The legs are kept tight by the action of both knees

pushing in opposing directions. The muscles of the abdomen should be tensed and

the upper body kept straight. The centre of gravity is slightly forward and the ratio of

weight distribution between the front and back legs is 6:4.


The width between the feet is approximately the width of the hips.

The length between the feet is approximately twice the width of the hips.

The bottoms of both feet have to be completely flat on the floor.

The front & back feet should be pointing forwards with the toes pointing slightly

inwards.

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The front knee is bent so that the centre of the knee is over the outer edge of the big

toe.

The back leg is extended.

Basic Practice for Hip Rotation from Front Stance ZENKUTSU-

DACHI

You should start from Front Stance ZENKUTSU-DACHI looking towards shomen.

The hips are in the shomen position with both hands on the hips at 90 degrees to the

way that you are facing.

Rotate the hips to an angle of + 45 degree to form the half front facing position of

HANMI

Return to original shomen front facing position of Front Stance ZENKUTSU-DACHI.

Repeat the sequence 20 times then 20 times more from the other side of the body.

Once accomplished at this basic form then immediately move the student on to

practicing SKU Combination number one.


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The upper body is kept straight and aligned with the shoulders

The hips during rotation must be kept horizontally level

The hips rotate with the upper body as one unit

Lunge Punch Jun-Zuki/Oi-Zuki

This punch is executed while observing an opponent’s movements then attacking

sharply. Step forward and attack with the same arm as the foot that is stepping

forward. The attack should be made with the 2 First Knuckle Fist (SEIKEN). Targets

are the face (JODAN), the chest (CHUDAN). Stepping forward quickly is important in

the success of the technique; therefore, by simultaneously pushing with the back

foot you are creating a reaction that aids the core, the hips to move forward

smoothly. Stepping forward must be done quickly; otherwise the opponent can

easily read the attack and move or retaliate. The heel and sole of the moving foot

should glide effortlessly a papers thickness above the floor.

Basic Practice for Lunge Punch JUN-ZUKI/OI-ZUKI from

HACHIJIDACHI

Starting from Natural Stance HACHIJIDACHI, SHIZENTAI, standing in Yoi, step forward

with the right foot and form a Right Front Stance MIGI-ZENKUTSU-DACHI.

Turn the left fist outwards, and ensure that the left forearm brushes against the left

side of the body, the right fist turning inward and moving in a straight line forward

until it reaches its target.

Push back the right foot and return to Natural Stance HACHIJI-DACHI, SHIZENTAI.

Repeat the sequence for 20 times on both the left and right hand sides of the body.


That foot movements are done quickly and correctly

That the sole of the stepping forward foot glides a papers thickness above the floor

That there is a drive from the back leg and a simultaneous moving of the hips

forwards

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That the upper body is straight & upright not leaning forwards,, backwards or

sideways

Basic Practice for Lunge Punch JUN-ZUKI/OI-ZUKI from Front

Stance

Starting from Left Front Stance (HIDARI-ZENKUTSU-DACHI), and Left Downward

Block (HIDARI-GEDAN-BARAI), take a large right step forward quickly forming a Right

Front Stance (MIGI-ZENKUTSU-DACHI)

The left fist is pulled back to the left side of the hip in a twisting motion hikite.

Simultaneously, the right forearm with a twisting motion executes the oitsuki to the

front and centre.

Push the right foot back and return to the position of Left Front Stance (HIDARI-

ZENKUTSU-DACHI) and simultaneously perform a Left Downward Block (HIDARI-

GEDAN-BARAI).

Repeat the sequence 20 times then repeat 20 more from the other side of the body.


They are shifting the bodies mass from the core, the hips to move forwards and

backwards but they are simultaneously assisting movement with the use of the leg

pushing action.

They are putting their weight correctly on the left leg with the knee over the outer

edge of the big toe.


They move the foot forward while simultaneously driving with the other leg.

That they are driving from their core and hips.

That the upper body is not leaning forwards, backwards or sideways.

There should be present a feeling of punching with the core and the hips and not

with the fist alone

That the upper body rotates from half front facing position (HANMI), to the front

facing position of shomen.

That the hips remain horizontally level throughout

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Reverse Punch Gyaku Zuki

This attack is commonly used to evade an opponent or for retaliation after executing

a block. Execution is normally from a Front Stance, using the same arm as the back

leg, rotating the hips fully and thrusting the arm forward.

Basic Practice for Reverse Punch GYAKU-ZUKI

From Left Front Stance HIDARI-ZENKUTSU-DACHI perform a Left hand Tate Shuto

Uke with the upper body in half-facing front HANMI position.

Pull the left hand back to the left side of the hip hikite, and as the hips rotate

towards the shomen position, simultaneously extend, firmly in a thrusting motion

the right arm forward making gyaku tsuki.

Repeat the sequence for 20 times on both the left and right hand sides of the body.


When executing gyaku tsuki, drive the back leg with firmness and extend it into the

floor

Upon completion of the technique, the upper body should have rotated from the

half-facing front position (HANMI), to the facing front position of Shomen.

The rotation of the hips should always be done while keeping the hips horizontally

parallel to the floor; while the upper body should not be allowed to distort, it should

be kept upright and straight.

Back Fist Strike Uraken-Uchi

Using a whip action, springing motion of the elbow, the elbow is a pivoting point,

and drawing a half-circle arc, execute the strike, with the top of the 2 First Knuckle

Fist SEIKEN. Uraken uchi can be performed on a horizontal or vertical plane.

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Basic Practice for Back Fist Strike URAKEN-UCHI

Starting from Natural Stance, HACHIJIDACHI, SHIZENTAI

Look to the right and simultaneously place the left fist on the right hip hikite and the

right fist on the chest in front of the right nipple with the back of the right fist facing

outward for 20 repetitions then rotate the back of the fist facing upwards for 20

more repetitions.

With maximum speed uncoil the right arm taking a semi-circular route, striking out

sideways / over the top with the right fist

With maximum whip action, springing motion from the elbow return the right fist to

the start position in front of right nipple taking the same route as the outward

journey.

Repeat the sequence 20 times, then 20 times more for the other side of the body.


That they have a relaxed elbow

That their fist remains tight at all times

That the elbow is pointing towards the target

That they do not swing from the forearm


That the elbow position does not change throughout

Elbow Strike Empi Uchi

The forearm should be firmly flexed inwards in order to strike forward, backward

and sideways, as well as downwards to upwards and vice-versa. Side Elbow Strike

YOKO-EMPI UCHI is one of the Elbow Strike in which the elbow is thrust firmly

sideways to reach the target.

Basic Practice for Side Elbow Strike YOKO-EMPI


The left fist is positioned on the left hip in hikite and the right open hand is in front of

the left nipple, with the back of the right open hand facing downwards.

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Simultaneously look towards the right, make a right fist and drive the right elbow

firmly in a straight line towards the right side of the body, while twisting the forearm

inwards.

Twist the right forearm inwards until the back of the right fist is facing upward in

front of and at the level of the right nipple.

Repeat the sequence 20 times then again 20 times more for the other side of the

body.


That the fist should not detach itself from brushing against the chest

That the fist moves in a straight line horizontally at the nipple level

That the shoulders do not rise

That when the use of hikite is introduced in the drill that both fists are

simultaneously and firmly “prying themselves apart” from each other

Rising Head Block Jodan Age-Uke

Using the outer aspect of the wrist area, with a sharp diagonally upward motion,

INTERCEPT the attack to the face JODAN.

Basic Practice for Rising Head Block JODAN-AGE-UKE


Step forward with the left foot or step back with the right foot, and form Left Front

Stance HIDARI-ZENKUTSU-DACHI

Bring the left arm outside the right arm forming a cross in front of the chin, with the

back of the left fist facing forward. Pull back the right fist, turning the fist outward

and brushing the right forearm against the right side of the body until the fist

reaches the right hip hikite, with the back of the fist facing downwards.

Simultaneously, the left elbow moves upward along the line of the left side of the

body until it reaches the level of the eyes, and the left fist turning inward ends up

above and in front of the forehead. The distance between the left wrist and the

forehead is approximately one fist, with the back of the fist facing backwards.

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Return to Natural Stance HACHIJI-DACHI, SHIZENTAI.

Repeat the sequence 20 times then 20 times more using the other side of the body.


That they use the outer aspect of the wrist with a sharp upward motion

That the upper body rotates from shomen to half-facing front HANMI

That the elbow of the arm that is blocking, is brushing along the side of the body

That the raised forearm is parallel to the forehead, slightly on an angle, and one fist

away from the forehead

Outside Forearm Block Chudan Ude-Uke/Soto-Uke

Initiating from the side, the arm travels in a downward semi-circular motion firmly

blocking using the outer aspect of the wrist area, to an attack aimed at the chest

CHUDAN area. There should be a feeling of striking through the opponent’s arm.

Basic Practice for Outside Forearm Block CHUDAN-UDE-

UKE/SOTO-UKE


Starting from Natural Stance HACHIJIDACHI, SHIZENTAI, the right arm is at a right

angle at the right side of the body, the right forearm is vertical to the floor, with the

back of the right fist facing backwards.

Step the right foot forward or step the left foot back forming Right Front Stance

MIGI-ZENKUTSU-DACHI.

The left fist is pulled back to the left side of the hip hikite in a twisting motion, with

the back of the fist facing downwards. The right forearm is at a right angle to the

right upper arm. That it travels in a downward semi-circular movement to bring the

right fist to the front of the left shoulder, with the back of the fist facing forward. The

right fist is at a shoulder height and the underside of the right arm is tensed.



. | Page 49



Ensure that the elbow is bent at the correct angle to ensure the correct distance to

launch the counter attack.

Ensure that the block firmly strikes the attacking limb with the outer aspect of the

wrist area, and that it follows a downward semi-circular motion, and that the elbow

is kept bent at the correct angle

Ensure that their elbow position is perpendicular at the side of the body and is 1 ½

fists away from the side of the body; and that the fist is at shoulder level

Ensure that their blocking arm and pulling back arm motions are completed

simultaneously.

Ensure that their upper body rotates from shomen to the half-facing front HANMI

position

Downward Block Gedan-Barai

The outer aspect of the forearm and the wrist areas are used against a kick or a

punch aimed at the lower part of the abdomen the GEDAN area. The block is

executed downward and on an angle from the inside toward the outside of one’s

body. This particular block represents one of the ready for action postures KAMAE of

KARATE

Basic Practice for Downward Block GEDAN-BARAI

Starting from the Natural Stance, HACHIJIDACHI, SHIZENTAI.

Position the left fist above the right shoulder, with the back of the left fist facing

outward, and on an angle.

The left elbow should be in front of and at the left nipple level.

The right fist is in front of the lower part of the abdomen with the back of the right

fist facing upward.

Step forward with the left foot or step backwards with the right foot and form Left

Front Stance HIDARI-ZENKUTSU-DACHI

Pull back with a twisting motion of the right fist toward the right side of the hip

hikite, ending with the back of the right fist facing downward.

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Simultaneously, the left forearm is brought downwards and rotating outwards until

it reaches a point above the left knee, with the back of the left fist facing upward.

The left arm should be fully extended, with the underside of the arm tensed.


Repeat the sequence 20 times then repeat 20 times more from the other side.


That the upper-body is kept upright and straight.

That the student is simultaneously pulling back their right fist to fully form HIKITE as

they perform the block with their left arm.

That the blocking hand is positioned at the lower part of the opposite ear and that

the elbow is relaxed covering the nipple.

That the blocking hand uses a twisting motion to block, ending with the arm

extended fully on completion.

That they do not pull their hips backwards during the execution of the block.

Back Stance Kokutsu-Dachi


The back leg is bent fully in the same shape as the Horse Riding Stance KIBA-DACHI

and the front leg is extended but not locked. The toes of the front foot are pointed

forward. The toes of the back foot are pointing sideways but slightly forward. Both

feet are approximately at right angles to each other. The upper body is kept upright

and straight and in Hanmi. The distribution of weight between the front leg and the

back leg is: 3:7.


That the front leg is extended but not locked.

That there is present the feeling of pushing the back leg outwards without actually

doing over doing it

That the length of the stance is double shoulder width

That the width of the stance is inline

That they end the stance in Hanmi and the upper body is upright and straight

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That the weight distribution between the front and the back leg is 3:7

That they do not raise the hips or allow the hip protrude outwards

Knife Hand Block Chudan-Shuto-Uke

The knife hand block can be and is used as an attack. Shuto is performed as a block

with a feeling of cutting a chunk out of the attacking arm. This is a very unique

technique and exemplifies KARATE movement, as well as being an extremely

challenging technique to execute. Shuto’s hikite hand rests approximately in front of

the solar plexus with the palm of the hand facing upward, permitting its use as an

immediate retaliation in the form of Spear Hand Strike NUKITE.

Basic Practice for Knife Hand Block CHUDAN-SHUTO-UKE

Starting from Natural Stance HACHIJIDACHI, SHIZENTAI, place the left knife hand at

the top and slightly in front of the right shoulder, the back of the left hand is facing

outwards. The left elbow is bent and covering the left nipple. The right arm is

extended pointing at the opponent’s mid-section with the back of the right hand

facing upward

Step the right foot backwards forming Back Stance KOKUTSU-DACHI, the upper body

is to be kept upright and facing sideways in Hanmi.

The right hand in an outward twisting motion is brought to the solar plexus, with the

back of the hand now facing downwards. Simultaneously, move the left knife hand

with an outwards twisting motion until it makes contact with the attacker’s arm.

When at the end of the block, the left knife hand is slightly angled with the finger tips

level at the height of the left shoulder, with the elbow at an angle and the underside

of the left arm is tensed.




That the upper body ends in the sideways position of Hanmi

That the knife hand strikes the targeted limb with a downward cutting motion

That the wrists are kept straight

That the upper body is not leaning backwards or to the side

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That the elbow and forearm of HIKITE brushes along the body

That the fingers forming the knife hand should be kept tightly pushed together

That the tips of the fingers forming the knife hand should end level with the height of

same the shoulder

Front Kick Mae-Geri

Use the ball of the foot KOSHI as the weapon to execute this kick. The target areas

are the solar plexus, the groin or the head. As soon as the kick is completed, then the

kicking leg is to be pulled back to its original starting position. In order to the desired

spring back action, then the knee has to be relaxed.

The supporting leg (SASAE-ASHI) supports the entire weight of the body. The knee is

slightly bent and the ankle should be responsively strong and powerful in its

supportive function.

The kicking leg’s KERI-ASHI ankle is kept tight; the knee is relaxed and uses a whip,

like springing motion to execute the kick.


Retracting the kick after impact with the target is very important to the kicks success.

Therefore, if you attribute a conceptual value of 10 to the overall exertion spent

during the full duration of the kick, then that conceptual value of 10 should be

proportioned between the 2 phases of the kick, which are 1: the knee lift & kicking

out phase of the kick; and 2: the impact & the pulling back motion phase of the kick.

The knee lifting & kicking out phase has a value of 3 attributed to it, while the impact

& pulling back motion phase of the kick is attributed a value of 7. Remember that

this is only a conceptual value to illustrate where the priority of the technique rests;

it is not suggesting that you only use 33.3% speed, concentration and effort in the

knee lifting & kicking out phase. As every technique for all of its duration time, every

time it is executed is expected to be performed with 100% commitment, spirit,

power, speed, sharpness, balance, poise, agility, accuracy, focus, control, correct

distancing, kiai, mushin and zanshin, including the knee lift & kicking out phase of the

kick.

Kicking MAE GERI KEAGE

The ball of foot KOSHI is used for the front snap kick Mae Geri Keage and the heel

KAKATO is used for the front thrust kick Mae Geri Kekomi, generally.

Front Kick (MAE-GERI) refers to a forward projected kick.

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Basic Practice for Front Snap Kick MAE-GERI Keage from the

Feet Together Natural Stance HEISOKU-DACHI, SHIZENTAI.

The left foot remains static as the left leg is the supporting leg and must be firmly

planted.

Bringing the right knee upwards in a quick motion towards your chest.

The ball of the right foot is exposed by curling the toes upwards and should face the

target.

The sole of the foot is horizontally level with the floor.

There should be a feeling of transferring power to the ball of the foot that is poised

to kick.

Using a sharp whip like action, a springing motion to execute the attack, ensure that

the kicking leg is fully extended.

After executing the kick, immediately return the kicking leg to the knee lift position

Then, return to the Feet Together position of the Natural Stance of HEISOKU-DACHI,

SHIZENTAI

Then repeat kicking with the left leg and using the right as the support leg.

Repeat alternating the kicking leg for 20 kicks per leg.

Bringing the knee up high KAIKOMI, is a fundamental and crucial principle of any of

the basic kicking technique.

“The finished height of a successful kick is determined by the

original height of its knee lift!”

Usually beginners tend to make the mistake of lifting the knee too far away from

their own body, which will result in the knee raised position of the kicking phase,

becoming detached from the desired tucked in position and a subsequent loss in

one’s balance and in the required whip like action and springing motion. Therefore,

the kick loses its maximum potentiality.

Practice Jodan Kicks and frequently emphasise to the students the need for a high

knee lift position.

Practice Chudan Kicks and still emphasise the need for a high knee lift position. Insist

that they lift their knees to exactly the same height as if they were preparing for a

Jodan kick.

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The upper body and the lower back should be kept upright and straight

To kick, the knee is to be raised up high no matter the desired kick height.

The sole of the kicking legs foot in the knee lift position of this basic form of Mae

Geri Keage should be horizontally parallel to the floor.

Ball of the kicking foot should be pointing towards the target

There should be no lateral movements of the upper body

The hands are not to be used to gather momentum

Basic Practice for Front Snap Kick MAE-GERI Keage Starting

from a Left leg forward Front Stance HIDARI-ZENKUTSU-

DACHI, with both fists at each side of the body.

Step forward into left leg forward front stance and perform gedan barai.

Once in position place both outstretched arms approximately 3 feet away from the

side of your body for balance.

Once in position Do not move the left foot of the supporting left leg keep it firmly

planted.

Shifting ones mass forwards by moving from the core, the hips and place your weight

over and downwards through the left supporting leg.


Simultaneously bring up high and quickly the right knee, with the right heel tucked in

close to your right legs hamstrings.

With a quick whip like action, a springing motion, kick outwards using the knees

connective tissue as the spring.

Pull back the right leg that has just kicked returning it back to the high knee lift

position.

Return to original front stance starting position and repeat the 3 phases 20 times

Change to right leg forward front stance with the arms out for balance and repeat

the sequence again 20 times but this time using the left leg as the kicking leg.

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Shifting of the hips must be completed with the hips horizontally parallel to the floor

throughout.

Do not alter the height of the hips in relation to the floor throughout your practice.

The hips should be tucked under the body at all times.

The heel of the supporting leg must be kept flat and firmly placed on the floor

The upper body and the lower back should be kept upright and straight at all times

The knee is to be raised up high no matter the desired kick height, with the heel

pulled in as close to the hamstrings of the kicking leg as is achievable.

There should be no lateral movements of the upper body

The hands are not to be used to gather momentum

Side Kick Yoko-Geri

Kick out using Sokuto the side of the foot to execute a sideways attack on the

opponent; this is a side kick. There are 2 variations of side kick, a Snap Kick YOKO

GERI KEAGE and a Thrust Kick YOKO GERI KEKOMI. Side kicks can be used to kick

against the opponents’ underside of their forearm, their ribs, their groin, their chin,

their solar plexus, the side of their abdomen, their inner and outer thighs and their

lower limb joints; these are the usual target areas. Side snap kick KEAGE is more of a

defensive kick while Side Thrust Kick KEKOMI, being a more effective attacking

manoeuvre. When kicking sideways, the upper body has a tendency to compensate

and leans backwards. Therefore, caution should be taken to resist the urge to lean

back; otherwise that reaction could result in falling backwards upon impact with the

target.

Basic Practice for Side Snap Kick YOKO-KEAGE

Starting from Feet Together Natural Stance HEISOKU-DACHI.

Using the left leg as a supporting leg, raise the right leg up so that the sole of the

right foot is resting gently on the inside of the left knee; the right knee is pointing to

the right side, towards the target.

Using a whip like action, a springing motion of the right knee, kick out sideways in an

upward semi-circular motion.

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Rotation of the supporting leg allows for more efficient use of the hips.

The foot of the leg that is kicking should be immediately brought back to its original

knee lift position, via the identical route of the outward movement.

Return to Natural Stance HEISOKU-DACHI, and repeat the sequence 20 times then 20

times more from the other side of the body.


Ensure to that the side of the foot SOKUTO is used

Ensure that they use the knee as the pivoting point

Ensure that they use the whip like action, with a springing motion, and scribe a semicircle

arc with the foot’s edge.

Ensure that when they are kicking, that they do not raise the heel of the supporting

leg.

Ensure that safe practice is undertaken by protecting the joints of the kicker by

allowing the rotation of the supporting leg at the appropriate stage of the kicking

procedure.

Ensure that their upper body is not twisted or tipped backwards.

Ensure that their knee of the supporting leg is solid in its support

Ensure that their knee of the kicking leg is brought up high


Ensure that the sole of the kicking foot is tucked in

Ensure that they are looking in the direction of where they are kicking

Basic Practice for Side Thrust Kick YOKO-GERI-KEKOMI

Starting from Natural Stance HEISOKU-DACHI, SHIZENTAI

Using the left leg as a supporting leg, raise the right knee up high, with the sole of

the right foot resting gently on the inside of the left knee and the right knee pointing

at the target.

Thrust out the right knee, the right heel and the right side of the foot firmly to the

side

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Pull back the right foot that has just kicked and return to its original knee lift position

using the exact same route of return for the leg.

Then return the Feet Together back to the Natural Stance HEISOKUDACHI,

SHIZENTAI.


When thrusting, extend fully the kicking leg ensuring that the ankle is tensed while

bent enough to allow you to be able to execute the kick with the side of that foot

SOKUTO. There should be a feeling of using the heel of the foot to kick in kekomi.

Raising the knee up high FUMIKOMI with the foot tucked in close KAIKOMI, using the

side of the foot SOKUTO and kick downwards with a stomping motion to the thigh,

knee, shin, ankle or top of the foot.


That they use the side of the foot to kick in a straight line, sideways

Ensure that there is a feeling of the knee thrusting into its target

That they are kicking and pulling back the foot following the same trajectory

That the supporting leg is strong and firmly planted to the floor

They do not raise the heel of the foot of the supporting leg.

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Dojo Etiquette

What is the Dojo?

The Dojo is the training hall it is the place of learning (the place of the way) and must

be treated with respect and reverence. Traditional Japanese Dojos are considered to

be special and therefore, will be well cared for by its users. Shoes are not worn in a

Dojo. In a Traditional Japanese Dojo students conduct a ritual cleaning Sōji of the

Dojo at the beginning and/or at the end of each training session. Besides the obvious

safety and hygiene benefits of regular cleaning it also serves to remind students of

the fact that Dojos are supposed to be supported and managed by the student body,

not by the school's instructional staff. This attitude however, has become lost in

many modern situations, as most Dojos are commercially hired premises.

Rule 1: It is the responsibility of each and every student before they start their

training session to check that the Dojo floor and surrounding area is clean and safe

to train upon; for them and for the rest of their fellow students. Remember that you

and others will be in bare footed while training so It's for health and safety reasons

as well as for the traditional aspect.

Rule 2: On entering and leaving the Dojo you will face Shomen, the front of the Dojo

and perform a standing bow Rei.

Rule 3: After entering the Dojo you will face towards either the Sensei or the most

Senior Yudansha, or the Dojo captain, or the Senior Sempai, whoever is the most

senior person present at that time, and perform a standing bow Rei towards them

and say “OSS” in acknowledgement.


Rule 4: If the Sensei enters the Dojo after you or after the class has started, then the

Dojo captain or the most Senior Yudansha will stop the class, ask the class to face

towards the Sensei and perform a standing bow Rei and say “OSS”.

Late Arrival to Training

Firstly it is considered most rude and disrespectful towards your Sensei, your fellow

students & Kohai to arrive late for a class. It is your duty to be there a minimum of 10

minutes before the scheduled class start time, this affords you time to pay your fees,

get changed and run through a personal warm up routine, so do not be late. But if

you are unfortunately a late arrival, then follow the instructions in Rule 5.

Rule 5: Perform the standing bow upon entry to the Dojo as you would normally do

and then perform the standing bow towards the Sensei, and then quietly kneel near

the entrance. Wait quietly there in the kneeling position of seize until the

instructor acknowledges you and gives you permission to join the class, it may

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take some time as the instructors responsibility is to those students who have

arrived on time and it may not be safe for him to stop the class in the middle of

something, just to allow one late arrival to join in. When you are instructed to join in

then bow while kneeling, get up, and quickly join the rest of the class, join at the

back of the class do not disturb the line-up, nor attempt to take up your usual grade

status position in the line-up, until there is a natural break in training. Then you can

assume your regular grade status position in the line-up. If you arrive just as

everyone is starting the kneeling and bowing portion of the class during the opening

sequence, then don't move or make any noise or fuss, just wait until class begins

warming up, and bow in when the instructor acknowledges you, then you may

assume your regular grade status position in the line-up. No conversation with the

instructor is permitted as to the nature of your lateness during the training session,

report to the instructor after the class has ended and give your apologies to him for

your lateness.

Your Training position in the Dojo

The Dojo Captain, number 2 in Diagram 1, is not always the highest graded student

Karate-Ka in the Dojo, although they usually are. Nevertheless it is The Dojo Captain

who is responsible for ensuring that Dojo Etiquette is followed. They will call “YOSHI”

to get the students to line up and start the training session. Firstly the Dojo Captain

will assume the position at the far right of the Dojo (Joseki) as shown in Diagram 1,

to conduct their duties of orchestrating the opening ceremony, before they move to

the shomen position to conduct the warm up. Then after bowing to and handing

over to the Sensei, they will return to the gap that has been left for them in the

training line during the opening ceremony & warm up. The Highest Ranking student

Karate-Ka number 3 in Diagram 1 will assume a front row position at the far Left side

of the Dojo, as they will view it. In other words they will be at the far Left of the Dojo

as they look towards the front of the Dojo (Shomen), looking towards the Instructor.

The Highest Ranking student Karate-Ka will be on the front row at the far right hand

position of the line up as the Sensei looks at it, (Looking towards the students). All

other student Karate-Ka will stand in line and in descending rank order, standing to

the right of their fellow seniors Karate-Ka, (as shown in diagram 1). If there are

several Karate-Ka in the class who are of the same grade status, then seniority is

based upon when the student’s grade was achieved. If there are many Karate-Ka

who are of the same grade and seniority then the elder of the Karate-Ka within that

graded group will be deemed to take the more senior rank.

To find a rationale, then we need to look towards what is done and why in the

Traditional Japanese Dojo’s from more socially senior Martial Arts, such as Kendo &

Iaido, where the spiritual & cultural influences are more openly acknowledged. All

most everything in the martial arts is done for a reason, and the theory behind lining

up in the dojo from the left is strongly based hundreds of years earlier in the spiritual

and cultural heritage of the country. The Japanese have long held the belief that the

left is a more dominant, and is a more important position, than that of the right. The

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significance of lining up from the left in a bushido a samurai setting was one of

practicality. In modern personnel security parlance, it was the equivalent of,

“keeping the principle secure.” By adopting the lining up the seniors from the front

left position, the samurai was keeping their higher ranking warriors closer to the

highest ranking officials, or in the dojo setting, closer to the sensei, and the Sensei

should be the furthest person away from the entrance of the dojo, as it was

considered to be the weakest area in the dojo, if one was to be subjected to a

surprise attack.

diagram: 1 left to right


1: Sensei.

2: Dojo Captain or Visitors.

3: Highest Ranking Student

4: Lowest Ranking Student or Ungraded Novice.

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The Dojo 道場 Layout

This is the layout of a Traditional Japanese Dojo 道場 and they are formulated from

the layout of Shinto shrines and from the Taoist cosmology philosophies. There are

some minor variations from style to style and with its usage within other Martial

Arts. But this layout is the most widely used layout in Japanese Shotokan Karate-do.

Shomen 正面 (true face)

Shomen is the front of the Dojo.

It’s the direction that students line up facing and they traditionally bow towards.

Shomen is the Northern wall of the Dojo or the wall that is facing the Dojo entrance.

It’s where the Shinto shrine, the Country flag and the Dojo Kun are situated.

In some Martial Arts it is associated with the water element and the quality of

wisdom in judgement.

Kamiza 上座 sometimes referred to as Shinza (seat of gods).

Kamiza is the place of honour and is reserved for instructors, honoured guests.

While referring to a sitting place, it is often confused with the word kamidana, but

this is not correct. Kamiza refers to the front region of the dojo, where the pictures

of respected instructors (O'Sensei) are. Kamiza is also the area where the Sensei

instructs from and sits when they are grading students.

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Tatami 畳 are Japanese rush mats. But in modern Dojos they are foam training

mats or wooden sprung flooring. This central area of the Dojo is sometimes known as

Embujo and is associated with the element of Earth and the quality of Honesty.

Safety Area 周囲 is a designated area on the parameter that one should not

cross.

It’s the area when sparring if crossed then the fight must be stopped for leaving the

area.

It is the area that any non-participant must never cross.

Joseki 上席 (upper side) this is the east side of Dojo.

Joseki is where senior students Dan Grades (Sempai & Yudansha) sit in seiza.

Joseki is the right side of the dojo when facing Shomen.

It’s associated with the element of wood and the quality of virtue and clarity in

thought.

Shimoza 下座 (lower seat) It is the back the south of the Dojo.

Shimoza is opposite Kamiza and is facing Shomen.

It’s where students sit in rank order awaiting instructions.

It’s associated with the element fire and the quality of intelligence.

Shimoeski 下関 (lower side) it is the left side, the west side of the Dojo when

facing Shomen.

It’s the side of the Dojo where the junior students, Kyu Grades, (Kohai Mudansha) sit

in seiza. It’s associated with the element of metal and the quality of moral

righteousness.


Nafuda Kake 名札かけ Is the notice board where name plaques of the

student’s rankings are placed.

Genkan 玄関 is the entrance hall where outdoor shoes are left in a Traditional

Japanese Dojo.

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Personal hygiene, appearance & safety issues for training

Rule 6: Your Karate Dogi and Obi must be of the specified standard, it must be a

white only Gi, with the single SKU logo on it. It must be of the correct size to fit you,

it must be clean, tidy and of a safe and serviceable condition.

Rule 7: Your feet and hands must be clean. Toenails and fingernails must be kept

short in order to avoid injury to you and/or to others.

Rule 8: No jewellery (rings, earrings, bracelets, necklaces, piercing, etc.) may be

worn during training. They are a serious hazard to you and others. Flat wedding rings

may be taped to make safe if they are unable to be removed.

Rule 9:

Rule 10:

No coloured Gi’s, No Headbands are permitted.

No make up is to be used.

Rule 11: Your hair if it is long, then it must be tied back in the uniform manner using

a soft elasticated hair bunch, which can be white or black only in colour. Hair clips or

other devices with anything metal or plastic on them are strictly NOT allowed.

Rule 12: There is no eating or drinking allowed in the dojo.

Rule 13: Female students must have made sure that the sewn ties to fasten their

uniform at the front are secured and fit for purpose. Short support bra’s, cropped

sports shirts are highly recommended and compulsory for female members, again

they are to be white only and without badges or designs on them.

Rule 14: Turn off your mobile phone before you enter the Dojo and do not bring it

into the Dojo. Same applies to musical or electrical equipment, leave them at home.

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Seiza

Kneeling (seiza) From Musubi Dachi slowly and fully bend both knees until you

cannot go any lower. Then slowly place your left knee on the floor first, then the

right knee. Sit down on your feet. The big toes of your left and right feet should

overlap, right foot on top. Keep your back straight and shoulders square but relaxed.

Rest your left hand (hand open, fingers together) on your left thigh and your right

hand on your right thigh, so that your fingers point inward. For reasons of anatomy,

men should have about two fist width between their knees, and women should have

their knees together

Bowing from seiza (Dogeza) Slide the

left hand from the left thigh and describe a

small arc with the route it takes and place it to

the floor immediately in front of the left knee,

not too far in front, ensure that your left

elbow doesn't touch the floor. Then immediately do the same with your right hand.

The palms of your hand should touch the floor in a

reverent manner to show deep respect. The bow is

performed from the waist this takes a little longer

than a standing bow. The forehead comes very close

to the Dojo floor, but does not touch it. Slide your

right hand immediately followed by the left hand

back up to their initial position on the thighs

observing the same arc.


Opening sequence

When the Sensei indicates

to the Dojo Captain, or the

most senior student, he will

call out "Line up!" or

"Seiretsu!" or "Yoshi" you

will quickly form a line, standing shoulder to shoulder, facing the front of the dojo, in

rank order. Try to line up so that the instructor, standing before your line, is right in

the middle of the line. If the class is so big then the Dojo Captain or senior student

will get the group to form more than one line, try to line up so that the lines

are approximately the same length.

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Next you perform the following moves that will be prompted verbally by the Dojo

Captain or the senior student.

“Seiza” Sit down in seiza, so that knees are aligned with the person on your

right.

“Mokusoh” is quiet meditation. Close your eyes lower your internal gaze, relax,

and perform circular breathing.

“Mokusoh yame” is the end of meditation. Open your eyes bring your

awareness back to normal.

“Shomen ni rei” Bow to the front of the Dojo; this displays respect for your

training space, to the institution of Karate-Do, and to the history and lineage of

instructors who brought it to you through your instructor.

“Sensei ni rei” Bow towards the instructor. When you're bowing, say

“onegai

shimasu” which, loosely translated, in this application means "Please",

“Please teach me, please help me, please hold class”, then say “Oss”, which is the

universal multi-purpose word used to show a sign of respect and/or understanding

within Karate-Do.

After this opening sequence you will receive a signal from the instructor, to stand.

Get up quickly and wait for the command of “Yoi” to make ready.

Closing sequence

Is similar to the opening sequence, however, there are a few additions. After the

meditation ends “mokusoh yame”, the Dojo Captain or Senior student leads the

class in a recital of the Dojo Kun. These are the 5 basic precepts of Shotokan Karate-

Do. Repeat the Dojo Kun immediately after the Dojo Captain or Senior student has

said it, repeat it in unison, in a positive voice and loudly but do not arrogantly,

showing off or shouting.

Then the Dojo Captain will say

“Shomen ni rei” Bow to the front of the Dojo, this displays respect for your training

space, to the institution of Karate-Do, and to the history and lineage of instructors

who brought it to you through your instructor.

“Sensei ni rei”, this time you must say “Domo arigatoh gozaimashita”, as you bow

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towards Sensei, which means “Thank you very much.”

Afterwards, the Dojo Captain or a senior student will turn to face the other students

and say,

"Otagai ni rei" All students will bow and say “Oss” you are bowing to each other

and acknowledging your fellow students efforts during the class and thanking them

for training hard with you to improve your and their own standards, for the good of

the Dojo.

After this point the instructor will get up and ask you to “stand" and he will perform

a standing bow, indicating that the training session has finished. In some Dojo the

Instructor stands and you are to remain in seiza as the Sensei performs the standing

bow and he exits the training area, it is then up to the Dojo Captain to give the

command to stand. It is at this point that all the students will perform the standing

bow and the class is over.


. | Page 67


Dojo Kun

The Dojo Kun is the 5 basic precepts of Shotokan Karate-Do.

“Seek Perfection of Character”

Hitotsu! Jinkaku kansei ni tsuto

muru koto.

“Be Faithful”

Hitotsu! Makato no michi o mamoru koto.

“Endeavor to excel” -

Hitotsu! Doryoku no seishin o yas

hinau koto.

“Respect others”

Hitotsu! Reigi o omonsuru koto.

“Refrain from violent behaviour”

Hitotsu! Kekki no yu o imashi

muru koto.

. | Page 68



Gichin Funakoshi's 20 Precepts of Karate-Do

.

1. Karate-do wa rei ni hajimari, rei ni owaru koto wo wasuruna. Karate begins and

ends with courtesy bowing (Rei).

2. Karate ni sente nashi.

There is no first attack in karate.

3. Karate wa gi no tasuke.

Karate is for the assistance of justice.

4. Mazu jiko wo shire, shikoshite tao wo shire.

Know yourself first, before you know others.

5. Gijutsu yori shinjutsu.

Spirit first; technique second.

6. Kokoro wa hanatan koto wo yosu.

Always be ready to free your mind.

7. Wazawai wa getai ni shozu.

Accidents come out of negligence & laziness.

8. Dojo nomino karate to omou na.

Karate training goes beyond the dojo.

9. Karate no shugyo wa issho de aru.

You will never stop learning in karate.

10. Arai-yuru mono wo karate-ka seyo, soko ni myo-mi ari.

Apply karate to everything. Therein lays its beauty.


11. Karate wa yu no goto shi taezu natsudo wo ataezareba moto no mizu ni kaeru.

Karate is like boiling water. If not given heat constantly, it will again become cold

water.

12. Katsu kangae wa motsu na makenu kangae wa hitsuyo.

Do not think of winning. Instead, think that you must never lose.

13. Tekki ni yotte tenka seyo.

Make adjustments according to your opponent, Victory depends on your ability to

distinguish vulnerable points from invulnerable ones.

14. Tattakai wa kyo-jitsu no soju ikan ni ari.

The outcome of a fight depends on how you handle weaknesses and strengths.

15. Hito no te ashi wo ken to omoe.

. | Page 69


Think of your hands and feet as swords.

16. Danshi mon wo izureba hyakuman no tekki ari.

When you step outside your own gate, you face a million enemies.

17. Kamae wa shoshinsha ni ato wa shizentai.

Low stance for beginners; natural stance for advanced students.

18. Kata wa tadashiku jissen wa betsu mono.

Kata is practised perfectly, real fight is another thing.

19. Chikara no kyojaku, karada no shinshuku, waza no kankyu wo wasaruna.

Hard and soft, tension and relaxation, quick and slow, all connected in the technique.

20. Tsune ni shinen kufu seyo.

Think of ways to apply these precepts every day.

. | Page 70



Extra advice on conduct and Dojo rules for the junior students.

Karate is a Martial Art, a philosophy and a way of life that builds the students

character through difficulties that regularly arise during your Karate training. So

discipline and respect for rules regulations and authority figures such as your Sensei,

teachers, parents, and older people is very important. All members are expected to

conduct themselves appropriately with respect and humility at all times and this

includes the junior students too. You must behave as a good student and citizen if

the Karate skills are to be learnt quickly. Once you have been taught some

techniques you are forbidden to use them in any unlawful manner. Any act of

bullying or misconduct in or out of the Dojo that is brought to the attention of any

senior instructor can lead to your instant dismissal from the Dojo and your Karate

family. You must promise to read and follow these rules and follow them.

Rule 15: I will always show respect and dedication for my Karate studies.

Rule 16: I will always show respect for my Sensei, parent, teachers and older

people.

Rule 17: I will always be honest.

Rule 18: I will never make a promise that I can not keep.

Rule 19: I will always try my best to do everything no matter how difficult it may

seem.

Rule 20: I will learn something new everyday.

Rule 21: I will only use my Karate skills to defend and uphold the law and if there is

no other alternative.


Rule 22: I will practice good hygiene.

Rule 23: I will be a good person and use my knowledge for good and with honour.

. | Page 71


The Yudansha (Blackbelt) Code

A Black belt should be someone who students can look towards for leadership

qualities and guidance. Therefore, it is of paramount importance that the following

ideals should never be compromised.

Rule 24: As a Black belt you are to actively promote the Dojo etiquette and the rules of the

SKU organisation, through your example.

Rule 25: To accept the responsibility and duty that accompanies being a Black belt, and to be

a guiding influence for students on their Karate journey.

Rule 26: Never abuse the privileges that come with being a Black belt.

Rule 27: To always consider students safety first.

Rule 28: To always act according to your rank and the black belt code and to not let

students’ familiarity become a problem.

Rule 29: To give yourself unselfishly for the betterment of the students’.

Rule 30: To foster the growth and brotherhood regardless of gender, race, religion, creed or

colour.

Rule 31: To strive for strength of character.

Rule 32: To show compassion and understanding.

Rule 33: To promote the organisation and brotherhood.

Rule 34: To refrain from negative remarks that may reflect poorly on the character of others.

Rule 35: To avoid saying or doing anything that will reflect badly on the organisation or the

Dojo.

Rule 36: To never fall prey to personal greed or jealousy and let it affect your decision

making.

Rule 37: To carry oneself with dignity at all times.

Rule 38: To refrain from egotistical behaviour.

Rule 39: It is expected that all our Dan grades will teach by example of the highest moral

values and maintain their ethics at all times. Be proud of your organisation and Dojo and

wear the emblem with pride in the knowledge that we are all striving for the same highest

technical standards.

Rule 40: In and out of the Dojo the respect you display will be returned to you many times

over through your students and the satisfaction you will receive in seeing you Karate-Do

family do well.

. | Page 72



Grading Exam and Promotions

There are certain rules that all grading examination candidates must comply with

before you are even to be considered for promotion by the grading exam.

1: Your Dojo Instructor has paid the Dojo affiliation fee.

2: The candidate has paid their Dojo training fees.

3: The candidate has paid their SKU Individual Associate Membership fee no later

than one month after joining the SKU Dojo.

4: The candidate has paid their Grading examination fee at least one week in

advance prior to their examination date.

5: The candidate has a clean white Karate Dogi that has the SKU organisation

emblem on the chest and they should be in good condition.

6: The candidate has the approved protective equipment and it should be clean and

in good serviceable condition.

7: The candidate must have the correct number of training attendances stamped on

their attendance card before they will be eligible to attempt the Grading

examination.

8: The candidate must have their own copy of the official SKU grading syllabus record

book and it must be signed by them and have their current SKU Individual Associate

Membership ID card inside on the appropriate page.

9: The candidate must have completed the SKU Grading examination forms and

submitted them at least one week prior to their examination date.


10: The candidate must know and understand the syllabus that they are

attempting without the need to be prompted during performance.

11: The candidate must promise to fully prepare for their grading examination and

not to attempt it by hoping for some luck on the day because they don’t feel quite

ready yet.

12: The candidate must promise that if they pass their grading examination that,

they will uphold with pride all of the traditions associated with their grade status in

the knowledge that the standard that they have achieved was high enough to pass.

13: The candidate must promise that if they fail their examination then they will take

the input given to them by the examiner after their failure, in the manner that it was

given; as constructive helpful suggestions, and promise themself that they will over-

. | Page 73


come this temporary setback for the next time that they attempt the same grading

examination.

. | Page 74




Grading Rank & Belt System

10 th Kyu White with Red stripe

9 th Kyu Red

8 th Kyu Orange

7 th Kyu Yellow

6th Kyu

Green

5 th Kyu Purple

4 th Kyu Purple with White stripe

3 rd Kyu Brown

2 nd Kyu Brown with White tab

1st Kyu

Brown with White stripe

All of the above grades require 3 months further training experience between each grading

before a grading examination can be attempted or indeed re-attempted.

Sho-Dan

1st Dan Black-belt

From 1st Kyu to 1 st Dan requires 6 months training experience.


Each grading syllabus will test the candidates’ knowledge and capabilities in the following

areas.

Kihon

Kata

Kumite

. | Page 75

The fundamentals.

Formal set of techniques performed in a prearranged manner.

Sparring

Vocabulary and related knowledge

Students are strongly advised to regularly study the official grading syllabus handbook, it

really does help!


10th Kyu White Belt Red Stripe

Experience Required

3 Months / 24 Sessions

Kihon

Kumite

Rei.

Yoi.

Gedan barai.

Kamae-te.

Yame.

Naore.

Front stance.

Back stance.

Kiba dachi.

Choku-tsuki chudan.

Oitsuki jodan.

Oitsuki chudan.

Age uke.

Soto uke.

Maegeri chudan.

Gedan barai

Sanbon Kumite Drill 2

Jodan, Chudan, Maegeri.

. | Page 76



Rei & Yoi (Bowing & Making ready!)

by D Kirkham

Article first Published (May 2001) Issue # 3

Reprinted (August 2012) Issue # 48

Rei (Bowing)

Standing Bow.

Don’t rush it; take a 5 count to complete

Standing in Musubi Dachi with your heels together, your feet should point slightly

outward making a "V". Keep your knees straight, the elbows straight and with open

relaxed, hands rest them along the seams of your Dogi pants, on the outside of

your legs, keep your fingers together. Slowly bend forward at the waist, pause then

slowly unbend. The whole bowing procedure should take around 4 seconds but no

longer than 5 seconds and is performed with a silent outward breath.

The angle of the bow.


The bowing procedure should always display the correct level of respect and

sincerity towards the recipient and never perform it in a hurry, after all you are

saying thank you in your actions to your partner for giving you the opportunity to

practice your techniques on a live target. Normally only 1/3rd of our practice is

undertaken with a partner, therefore the lessons learnt while with a training partner

will be invaluable. Just as with all forms of Japanese etiquette, bowing is a complex

subject and it seems to alter from person to person dependent upon their status,

your status, and from situation to situation, however the following rules for bowing

whilst practicing karate, have been accepted as a standard by both the dojos and the

international organisation and are observed worldwide. 15 - 20 degrees (Eshaku), is

used on entering & leaving the dojo: 30 degrees (Keirei), is used when you are face

to face with a training partner or a kumite opponent who you are within touching

distance of them: 45 degrees (Saikeirei), is used before performing kata or when

bowing to a kumite opponent when they are on the opposite edge of the shiai area

to oneself, not within touching distance of each other.

Eye contact during the bowing procedure.

Normally it is considered as impolite to make eye contact in Japanese society whilst

bowing and this protocol is on the whole adhered to in karate, such as when bowing

upon entering and leaving the dojo, when bowing towards the sensei, when bowing

at 45 degrees before performing kata, the eyes do not move they remain fixed at the

same angle looking ahead as the body bends from the waist. However, Mr Nakayama

when referring to bowing said "never lose eye contact with one’s opponent" and

Morio Higaonna advocates that during kumite practice, one should "maintain eye

contact with your opponent", keeping the opponent in your line of vision. There is no

. | Page 77


need to alter the angle of the eyes to maintain line of vision of your opponent as the

angle of the bow is a reduced angle of around 30 degrees. I can personally testify to

the wisdom of this practice, because when I was an 8th kyu we were practicing kihon

kumite, just like all good 8th kyu's should, when my instructor called yame, then

called out my name; being a keen student who always aimed to learn, I stopped but

my partner didn't, as he never heard the yame call, mistaking it for hajime and he

continued to execute his misguided shihon nukite (4 fingered spearhand thrust),

which successfully caught me on the eye lid, and as a result I still carry the scar and

lesson learnt to this day. Therefore, the watchword must always be, to take care and

keep your eyes on your opponent at all times.

Kneeling (Seiza)

From Musubi Dachi slowly and fully bend both knees until you can not go any lower.

Then slowly place your left knee on the floor first, and then follow it with the right

knee. Sit down on your feet. The big toes of your left and right feet should overlap,

right foot on top. Keep your back straight and shoulders square but relaxed. Rest

your left hand (hand open, fingers together) on your left thigh and your right hand

on your right thigh, so that your fingers point inward. For reasons of anatomical

comfort, men should have about two fist width between their knees, and women

should have their knees together.

Bowing from seiza (Dogeza)

Slide the left hand from the left thigh and describe a small arc with the route it takes

and place it to the floor immediately in front of the left knee, not too far forward in

front of you, ensure that your left elbow doesn't touch the floor. Then immediately

do the same with your right hand. The palms of your hands should touch the floor

gently in a reverent manner to show respect. The bow is performed from the waist,

with a straight back; the bow from seiza takes a little longer than a standing bow.

The forehead comes very close to the Dojo floor, but does not touch it. As you rise

from the bow slide your right hand immediately followed by the left hand back up to

their initial position on the thighs, observing the same arc is travelled.

Yoi (Making ready)

After performing a standing bow, you are in musubi dachi with your hands at your

side; this is the starting position for yoi. When you are about to perform kata, it is at

this stage that you should confidently but not arrogantly announce the name of your

kata. Then with a serious sense of purpose, smoothly and slowly move your left foot

outwards so it is in line with your left shoulder, simultaneously crossing your arms in

front of your abdomen, make two closed fists. During this phase keep the head and

body movement to a minimum, keep them in the same central position, and

eliminate any unwanted side to side movement. Seamlessly move your right foot

outwards so it is in line with your right shoulder making Heiko Dachi (parallel stance),

simultaneously uncrossing your arms so the inner edges of your elbows and fists are

shoulder width apart. During these movements, simultaneously open your mind and

prepare for what it is that you are about to face or what you are about to perform or

. | Page 78



what you are about to be asked to do. Stand still, quiet, alert, awaiting further

instructions but if you are performing kata then upon the completion of yoi, then

hajime (begin). There are several variations to the format above that can be

observed from style to style and even noticeable variations from within the shotokan

style itself, I refer specifically to the high ranking Japanese instructors who all were

all at onetime JKA instructors. The JKA have the preoccupation in kata of returning to

the same start point when doing kata and on the whole they seem to follow the yoi

format outlined above to achieve this as it was taught by Mr Nakayama. Mr

Kanazawa however, has introduced a pulling backwards to the hips of both fists and

then he pushes them outwards again with the use of breathing, he also prefers to

move only the right leg outwards into heiko dachi. Mr Enoeda preferred to circle the

arms head height in front of the face and this format has been carried on by his

Japanese assistant instructors and his students. Mr Asai preferred to step out only

with the right leg but his senior students who are now heads of their own

associations have differing opinions on the way to perform yoi. So is it any wonder

that there is so much disagreement on how to perform the kata themselves, when

there isn’t an agreement on how to perform the most simple of preparatory

techniques such as yoi. But no matter which format you are familiar with, or use or

you are instructed to use, there should be one underpinning standard requirement

of all the formats, and that is, that it should be performed with a serious sense of

purpose, as if one were wiping the mind clear, blocking it to any outside stimuli that

may distract you from performing your kata, your kumite or your kihon.


. | Page 79


Preparatory Positions

by D Kirkham

Article first Published (May 1985)

Revised (May 2012) Issue # 47

Shizen-tai Dachi's

Fig: 1

These are the Shizen-tai (natural

position) stances used in the

following examples;

1: Musubi-dachi (informal attention stance toes out).

2: Heisoku-dachi (informal attention stance feet together).

3: Heiko-dachi (parallel stance).

.

.

"Rei" for Kata

Fig: 2

This example of Rei (Bowing) is how to

bow to a 45 degree angle (Saikeirei)

when performing Kata. Don’t rush as it

takes a 5 count to complete. 1: Standing

in Musubi Dachi with your heels together, your feet should point slightly outward

making a "V". Keep your knees straight, the elbows straight and with open relaxed,

hands rest them along the seams of your Dogi pants, on the outside of your legs,

keep your fingers together. 2: Slowly bend forward at the waist to a 45 degree

angle (Saikeirei), then 3: Slowly unbend to the upright position again. The whole

bowing procedure should take around 4 seconds but no longer than 5 seconds and is

performed with a silent outward breath.

."Rei" for Kihon & Kumite

Fig: 3

This example of Rei (Bowing) is how to

bow to a 30 degree angle (Keirei) when

performing Kihon and all forms of

Kumite. Don’t rush as it takes a 5 count

to complete. 1: Standing in Musubi Dachi

with your heels together, your feet

. | Page 80



should point slightly outward making a "V". Keep your knees straight, the elbows

straight and with open relaxed, hands rest them along the seams of your Dogi pants,

on the outside of your legs, keep your fingers together. 2: Slowly bend forward at

the waist to a 30 degree angle (Keirei), then 3: Slowly unbend to the upright position

again. The whole bowing procedure should take around 4 seconds but no longer

than 5 seconds and is performed with a silent outward breath.

.

.

"Yoi"

Fig: 4


This method of "Yoi" (Making

ready) utilises the balanced left

then right leg movement. After

performing a standing bow as

detailed in Fig 2 & Fig 3; you are in

musubi dachi with your hands at

your side as in image 1, this is the starting position for "Yoi". When you are about to

perform Kata, then it is at this stage image 1, that you should confidently but not

arrogantly announce the name of your Kata. Then with a serious sense of purpose,

smoothly and slowly begin to move your left foot outwards as in image 2, then

continue moving the left leg out until it is in line with your left shoulder as in image

3, simultaneously crossing your arms in front of your abdomen, make two closed

fists. During this phase keep the head and body movement to a minimum, keep

them in the same central position, and eliminate any unwanted side to side

movement. As in image 4 you should seamlessly move your right foot outwards so it

is in line with your right shoulder making Heiko Dachi (parallel stance) as in image 5,

simultaneously uncross your arms so the inner edges of your elbows and fists are

shoulder width apart. During these movements, open your mind and prepare for

what it is that you are about to face or what it is that you are about to perform or

what it is that you are about to be asked to do. Stand still, quiet, alert, awaiting

further instructions.

(Make ready).

. | Page 81

."Rei" & "Yoi"

for Kata

Fig: 5

This combines together the correct

form of Rei (Bowing) from Fig 2

and Yoi (Making ready) from Fig 4

for Kata performance. 1: Starting

position of Musubi-dachi (informal

attention stance toes out). 2: Bow.

3: Announce the Kata name. 4: Yoi


.

.

"Rei" & "Yoi" for Kihon & Kumite

Fig: 6

This combines the correct form of Rei

(Bowing) from Fig: 3 and Yoi (Making

ready) from Fig: 4 for Kihon & all forms of

Kumite practice and performance. 1:

Starting position of Musubi-dachi

(informal attention stance toes out). 2:

Bow. 3: Return to upright position. 4: Yoi

(Make ready).

.

"Step Forward Gedan Barai"

Fig: 7

This command is used to get you into the

preparatory position for practicing Kihon.

1: Starting position of Musubi-dachi

(informal attention stance toes out).

2: Rei (Bow).

3: Yoi (Make ready).

4: Step forward with Gedan Barai

(Downward Sweeping Block)

.

"Step Backwards Gedan Barai"

Fig: 8

This command is used to get you into the

preparatory position for practicing all

forms of Yakusoku (Basic Pre-arranged)

Kumite.

1: Starting position of Musubi-dachi

(informal attention stance toes out). 2: Rei

(Bow). 3: Yoi (Make ready). 4: Step

backwards with Gedan Barai (Downward

Sweeping Block)

. | Page 82



.

"Step Forwards Kamae-Te"

Fig: 9

This command is used when

practicing all forms of Jiyu

(Free & Semi-free) Kumite &

for the Kihon practice of Jiyu

combinations.

1: Starting position of

Musubi-dachi (informal

attention stance toes out). 2:

Rei (Bow). 3: Yoi (Make

ready). 4: Step forward in

Jiyu no Kamae (Free style

posture)

.

.

Snapping back to Kamae-Te

after delivering the

technique

Fig: 10


. | Page 83

This procedure is

followed when practicing all

forms of Jiyu (Free & Semifree)

Kumite & for the Kihon

practice of Jiyu combinations.

1: Start in the position of "on guard" in the left leg forward Jiyu no Kamae (Free style

posture). 2: Step forwards with your right leg and deliver the required technique. 3:

Immediately afterwards adopt the right leg forward Jiyu no Kamae posture. 4: Step

back and return to original "on guard" position of left leg forward Jiyu no Kamae,

there you are ready for the delivery of your next technique.

.


"Yame"

Fig: 11

The command of "Yame" (Stop) is

issued at the end of ones Kihon,

Kata & Kumite Practice.

1: In Kata & Kihon practice you are

to remain in your last position

after delivering your last

technique, or if you were

performing any form of the Jiyu

Kumite or Kihon using Jiyu

combinations, then return to the

original Jiyu no Kamae position

(Free style posture) and there you

are to await the "Yame" (Stop)

command. 2: Upon receiving the

"Yame" (Stop) command, step

backwards crossing the arms in

front of the abdomen as you did in

the "Yoi" (making ready)

manoeuvre. Remain at the ready

and alert until you receive the

"Naore" (Relax) command.

.

"Naore"

Fig: 12

This "Naore" (Relax, Return, Rest,

and Recover) this command is

issued after the "Yame" (Stop)

command.

1: You are in Yame.

2: On receiving the "Naore"

command you firstly move your left

leg inwards to the centre position;

then move your right leg inwards to

the centre position and

simultaneously place both open

hands at your side, you are now

. | Page 84



upright in Musubi-dachi (informal attention stance toes out).

3: Perform Rei (Bow).

4: Rise up into the upright Musubi-dachi (informal attention stance toes out) again.

Then relax and recover, however, one should always stay aware that the instructor

may immediately call the next "Yoi" (Make ready) Command, without giving you any

pause for rest.


. | Page 85


Front Stance & Oitsuki the Mechanics of Stance Transition

by D Kirkham


Revised May 2019

The following text describes two different methods of which there are numerous

other available theories that surround the topic of the most efficient way to move

and to execute any of the kihon techniques; in this case the technique we will look at

is oitsuki but it is academic which technique we use in the example as the stance

transition is the crucial aspect to the success of the technique no matter which

technique one is executing.

The methodology that we the SKU adopt in the practicing of and the studying of

stance transition relies heavily upon the interpretation of and understanding of the

mechanics that are involved in the movement of the body and therefore, you will

find that other styles and schools may well interpret thing differently and adopt

other methods.

Nevertheless by choosing either of the two methods that will be described here and

by following the step by step description of how to execute your transition from one

stance to another while executing the associated technique will give you a better

understanding of yourself, your technique and will allow you a more revealing

overall satisfying experience of any kihon technique that you practice, especially if

you look upon the practice of your kihon as being a thinking, feeling and doing

experience, as something that should be immediately followed by a period of selfevaluation

and correction.

The best way to benefit from this methodology is to perform each of the stages of

your stance transition and the basic technique very slowly, so slow that you feel the

effects on all of the muscles, tendons, ligaments, bones, joints and you can therefore

fully experience the changes that occur and are involved in one’s balance and ones

centre of gravity. Gradually build up the execution speed until your muscle memory

and comprehension of exactly what is happening to your body throughout each of

the stages of the stances transition during the techniques performance is feeling as if

it is becoming second nature. Visualising and experiencing all of the changes and the

body parts that are involved is a skill in itself and is a skill that is generally overlooked

in western dojos, as it is wrongly perceived as an unnecessary waste of time,

something that is consuming part of one’s valuable training session and it’s felt by

some that it’s a distraction from “getting on with more important things!”, when in

reality the study of, analysis of and the practice of stance transition during kihon and

kata practice is the most important and valuable aspect of one’s karate training.

Before you read any further please take the time out and take a very close look at

and to feel, how you move, while you are performing the transition from one stance

to another while performing the associated technique, oitsuki in this case. Try this

prior to following the step by step descriptions of methods. 1 & 2.

. | Page 86



OK hopefully by now you will have tried what was suggested in the previous

paragraph, which was to try to feel and understand what muscles pull what part of

the body at every stage during the transition from one stance to another during the

delivery of one’s technique, be aware of how through numerous repetitions you

have become able to perform moving from one stance to another and deliver a

technique without giving any thought to what is going on.

METHOD 1 Now let’s try it this way: The first area for consideration in either of the

two methods that will be studied here is of how one must overcome the effects of

gravitational pull on one’s body mass, and what is the distribution of your bodies

mass?, especially if you are launching your technique (oitsuki) from a standing at rest

posture, a posture where you have allowed any forward momentum to terminate.

To kick start the launch of any technique is the engagement of the core and the hips.

They must be engaged as described in the article “hip rotation”.

So you are in the post core engagement phase of your stance transition and in this

example you are on guard while “Relaxed” stood in a fully formed front stance, then

one should initiate the transition of ones stance by bending the knee of the front leg,

which is what we will call the non-moving leg, the pivot leg (jiku -ashi) at this

phase, but do not move it too far so that it causes long term structural damage and

chronic pain. Bend the knee of the front leg whilst simultaneously pushing

downwards through the heel of the back foot, of what will be called the driving leg

the moving leg (do-kyaku) at this phase. Fig 2


Once the sensation of synchronisation of the lower limbs is felt and one’s core has

been engaged then in Method 1 of stance transition as a result of the pushing

downwards through the heel of the back foot, then one should slightly raise the toes

of the back foot of the driving the moving leg (do-kyaku). Raise the toes enough to

loosen their grip, but not quite as much as one would when one performs meageri, 3

raise the toes just enough to release the toe section only of your foot from gripping

the floor. Paying close attention that you don’t relinquish the traction of the rest of

the rear foot during the back foots driving involvement at this initial phase of your

stances transition during the delivery of the technique. Also pay close attention that

during the next phase of the stances transition and the delivery of the technique that

you don’t lift the foot too high away from the floor, as this is an undesirable reaction

of the initial explosive pushing action of the initial driving phase of the stances

transition and the delivery of the technique. The high foot lift is an inefficient

reaction caused by the pushing down the driving through the heel of the moving leg

and can be avoided by continuing to bend the knee of the front leg (jiku -ashi) 4 . At

this stage you should simultaneously augment the driving force of the downward

pushing action through the heel of the driving the moving leg, with the introduction

of the horizontal pulling together movement of both of your inner thighs (Shime),

pulling them towards each other and towards the verticle centre line of your own

body. You should carry the sole of the rear foot (do -kyaku) so that it travels

horizontally parallel to the floor at about the height of the thickness of a piece of

. | Page 87


paper. Maintain the same hip & head height throughout the whole duration of the

delivery of the technique. 5 Simultaneously push forwards from the rear towards the

front and initiate the movement from the body’s core in one smooth continuous

movement. Both of your hips should be in a horizontal line with the floor, they must

be parallel to the ground throughout. Actions 2, 3, 4, 5, 6 are performed seamlessly as

one action, and there should be no other body movements at this initial stage.

Practice this initial stage until you can feel the sensation of all of the actions that are

involved, the knee bend, the pushing downwards through the rear leg, the slight

relaxed raising of the toes, the muscular pulling together of the inner thighs and the

driving forwards of the bodies core and hips from the rear. Practice it very slowly at

first with the aim being of understanding how this initial stage feels, and once you

feel all components of this stage and you understand the importance of the

synchronisation of those individual components, then and only then increase the

execution speed of this stage. Repeatedly practice this stage in isolation to the rest

of the stances transition until it feels that you are able to perform all of the

components of this initial stage at an explosive speed and it feels as if it has become

one natural movement.

The next stage is to understand what effect the initial pushing action of the rear leg,

the driving of the moving leg (do-kyaku) and the driving through of the core and hips

has upon the rest of the body in relation to the smooth execution of the rest of the

stances transition and the delivery of the technique. If the initial stage of the stances

transition and the technique is performed without any consideration to the follow on

stages of the stances transition and the delivery of the technique then there is often

an undesirable by-product that results in a visually detectable flaw in the whole

technique. By that I refer to the raising of the hips and head which is caused by the

straightening of the front knee (jiku -ashi) too early. 10 No matter how slight the

straightening of the front knee maybe it alters the desirable, direct forward

trajectory of the delivery of the technique. Therefore, as the bodies core moves

forward then one should continue to bend the front knee forwards in preparation

for the next stage of the stances transition. 4

From the start of this example exercise you should be in the shomen position, with

the bodies mass correctly distributed 60% - 40% in zenkutsu dachi 1 and after the

initial phase of the stances transition and the delivery of the technique you have not

travelled past the point where your centre of gravity is positioned, see figure 7 When

you become proficient at synchronising all of the components of the initial explosive

launching stage of the stance transition and the delivery of the technique, then you

should firmly grip the floor with the toes of your front foot (jiku-ashi), this will allow

you the extra traction to bend the knee of the front leg a little more in preparation

for the next stage of the stances transition and the delivery of the technique. This

small seemingly insignificant detail when linked to the previous components of the

initial launch stage of stance transition will assist in getting the body’s core and the

hips to the new centre of gravity point 7 in a visually seamless manner.

Once the body’s core and hips have been thrust forwards from the rear to this new

balance point then the tendency is that much of the momentum that was generated

. | Page 88



by the initial launch stage will be lost. That is if a continuation of the driving force 8 is

not maintained. Without the seamless continuation of the driving force it is

noticeable because the performer’s delivery of the technique looks as if they are

merely flopping into and not thrusting into the latter stage of their technique

delivery. So at the new balance point the visualisation technique of the introduction

of a secondary driving force can help in maintaining a smooth transition throughout

the techniques delivery.


The overall aim of any technique should be to make it look easy, to make it look as

smoothly performed as possible, to make it look as if it is one continuous movement,

a flowing technique and not a set of staggered stages that are stuck together with a

series of stop go pauses between each of its stages. Although practiced deliberately

at slow then medium speed, another aim is to deliver those seamless stages as

quickly as possible, and therefore creating a powerful looking technique. This aim

has given rise to the formula of (correct technique delivered at speed = power). The

initial momentum generated by the launch stage is maintained by using the

quadriceps and calf muscles of the front leg to supply a secondary strong downwards

pushing action 8 Once the body’s core and hips reach the new centre of gravity

point, 7 then it is at this point that the visualisation technique of a secondary driving

force stage should be instigated and not before. One should straighten out in a

downwards direction only, the bent knee of (jiku-ashi), the leg that was the referred

to as the front leg in the earlier stages. That leg is to soon become what we will call

the back leg, as the body’s core and centre of gravity drives forward and leaves it

behind. 8, 9 Do not attempt to straighten the knee of what is now the back leg too

early, as this again will alter the angle of trajectory from one of a straight horizontal

line to one of an upward lifting motion. 10 Now the body should be in the state of

maximum acceleration, and it is of paramount importance to ensure that the full

mass of the body is squarely driving the technique from behind the core, it is not a

feeling of dragging the body’s core forward. The hips should remain facing forwards

throughout in the shomen position, 8,9 just as was recommended for the practice of

the earlier phases. You should practice this secondary stage so slowly that you afford

yourself the time to feel the delivery of the technique, to experience it, to

understand it, to learn it, to learn from it and therefore, allow it to become of a

second nature. Again once you are proficient at this secondary stage then increase

the performance speed. Do not rush to finish the third and final stage of the

techniques delivery, as it is recommended that you practice and link the first two

stages together with the aim being to seamlessly link them together before

progressing onwards to the final stage.

The final Stage of the oitsuki technique is to involve the musculature of the shoulder

girdle and arms in a coordinated and explosive manner. You should initiate the

punching stage of the technique with maximum speed. The termination of the

punching stage is taught in many dojos by the hard and fast rule of “no matter what;

that the punch is to land on its target area at the exact time the foot of the moving

leg lands.” Whilst this is true and this practice looks aesthetically attractive, and

much more coordinated and visually effective as it looks the most powerful version

for kihon and kata. However, the landing of the punch during kumite isn’t so straight

. | Page 89


forward as to ensure that it happens at the termination point of your stepping

movement, simply because it’s affected by distance and timing issues that are

brought about by the introduction of a massive variable. I refer to the variable of a

real live moving target; an opponent whose aim is the same as yours “to hit and not

to be hit.” So constantly conditioning of oneself to land a punch at the instant that

the moving foot lands, is equal to limiting your kumite arsenal. The most potent

time to collide with the target area is a fraction of a second prior to the moving foot

landing, because it is at this point in time that you are maximising the unsupported

body’s forward momentum and its utilising its whole mass to its fullest. Because

once the moving foot has landed you have already begun the deceleration stage, in

other words you are losing the advantage of your moving mass and therefore, its

generated speed. To experience this aspect of the technique, and the bio feedback

and power increase that is generated of a “moving mass impact” then try this simple

test. Stand in zenkutsu dachi close to a wall and extend the fist out making contact

with the wall and then push with the arm into the wall and experience what it feels

like. Next just lift the foot of the front leg and feel how your mass is being pulled into

the wall, into the target. This is simply because the body’s mass is now unsupported

and is on the move. This simulates making contact with the target a fraction of a

second prior to landing the foot of the moving leg (do-kyaku) just as with okuri-tsuki.

Practicing chokutsuki separately will help you with the final stage of this technique

but as stated earlier; practice the technique very slowly to understand the precise

requirements and timing of the technique. Remember that the explosive nature of

the punch is achieved by driving through the target area with the elbow. Think of the

punching arm as if it were a train and coach. If you think of the fist as the train and

you put the train in front of the coach (the elbow) you are dragging the arm and

elbow towards the target as if they were passive in the techniques execution, like

the non-powered coach is dragged along behind the powered engine. 11 But if you

think of your fist and elbow as both having engines and the most powerful of the

two engines is situated at the rear of the elbow of the train and coach unit. The

driving force when the body is already facing towards shomen of straight punch is

instigated from the elbow and it doesn’t stop driving until the fist has driven its way

through the target area. 12 This way there is no part of the fist, arm, and elbow unit

that will be passive or dragging back the forward propulsion of the punching arm

unit at any stage of the technique.

Of course as I stated at the outset that this is one theory of how to effectively and

efficiently deliver the oitsuki technique and that there are differing theories and

opinions surrounding the oitsuki technique. One of which is held by certain styles

and Martial Arts schools who whole heartedly advocate and place differing levels of

importance on and the involvement of the hips during this technique. The variations

range from the visually negligible vibratory action of the hips, right through to the

use of the double hip action delivery of the technique. The individual merits of all of

these theories deserve closer study and consideration by a student before a

conclusion can be made. There is no better consideration than physically practicing

the technique after the underlying principles have been absorbed.

. | Page 90



METHOD 1

METHOD 2: Fig 3.1


. | Page 91


Stance Transition Method 2

Actions 1,2,4,5,6,7,8,9 are exactly the same as described in Method 1, however,

Action 3 is totally different and for clarity we have renumbered action 3 to be action

3.1 in Method 2 and we will therefore take you again step by step through each of

the phases but this time we will be describing Method 2 of transitioning from one

stance to another.

Again before you read any further just as I asked you when we were practicing

Method 1 then please take the time out and take a very close look at and to feel,

how you move, while you are performing the transition from one stance to another

while performing the associated technique, oitsuki in this case. Try this prior to

following the step by step description of method 2.

OK hopefully by now you will have tried what was suggested in the previous

paragraph, which was to try to feel and understand what muscles pull what part of

the body at every stage during the transition from one stance to another during the

delivery of one’s technique, be aware of how through numerous repetitions you

have become able to perform moving from one stance to another and deliver a

technique without giving any thought to what is going on.

METHOD 2 Now let’s try it this way: The first area for consideration in either of the

two methods that will be mentioned here is of how one must overcome the effects

of gravitational pull on one’s body mass, and what is the distribution of your bodies

mass?, especially if you are launching your technique (oitsuki) from a standing at rest

posture, a posture where you have allowed any forward momentum to terminate.

To kick start the launch of any technique is the engagement of the core and the hips.

They must be engaged as described in the article “hip rotation”.

. | Page 92



So you are in the post core engagement phase of your stance transition and in this

example you are on guard while “Relaxed” stood in a fully formed front stance, then

one should initiate the transition of ones stance by bending the knee of the front leg,

which is what we will call the non-moving leg, the pivot leg (jiku -ashi) at this

phase, but do not move it too far so that it causes long term structural damage and

chronic pain. Bend the knee of the front leg whilst simultaneously pushing

downwards through the heel of the back foot, of what will be called the driving leg

the moving leg (do-kyaku) at this phase. Fig 2

Once the sensation of synchronisation of the lower limbs is felt and one’s core has

been engaged then in Method 2 as a result of the pushing downwards through the

heel of the back foot, then one should start to allow the heel of the back foot of the

driving leg the moving leg (do-kyaku), to rise in a smooth rolling arc action Fig 3.1 but

don’t allow it to raise the toes of the same foot. Because you will use the toes of the

same foot to continue the smooth driving action of the stances transition by pushing

the toes downwards through the floor, just like a sprinter in the starting blocks.

Pay close attention that you don’t relinquish the traction of the toes of the rear foot

during the back foots driving involvement at this phase of the technique.

Also pay close attention that during the next phase of the stances transition that

when the toes do begin to lift from the floor that you don’t lift the foot too high from

the floor as this is an undesirable reaction of the explosive two phase pushing action

of the heel and toes during the driving phase of the stances transition. A high foot lift

is an inefficient reaction to the push down driving through the heel and toes of the

moving leg and can be avoided by continuing to bend the knee of the front leg (jikuashi)

4 .


At this stage you should simultaneously augment the driving force achieved by the

downward pushing action through the heel and then the toes of the driving the

moving leg, with the introduction of the horizontal pulling together movement of

both of your inner thighs (Shime), pulling them towards each other, towards the

verticle centre line of your own body. Once the driving rear foot is free from the

floor then you should carry the sole of the rear foot (do -kyaku) so that it travels

horizontally parallel to the floor at about the height of the thickness of a piece of

paper.

Maintain the same hip & head height throughout the whole duration of the delivery

of the technique. 5 Simultaneously push forwards from the rear towards the front

and initiate the movement from the body’s core in one smooth continuous

movement. Both of your hips should be in a horizontal line with the floor, they must

be parallel to the ground throughout. Actions 2, 3.1, 4, 5, 6 are performed seamlessly as

one action, and there should be no other body movements at this initial stage.

Practice this initial stage until you can feel the sensation of all of the actions that are

involved, the knee bend, the pushing downwards through the rear leg, the slight

. | Page 93


relaxed raising of the toes, the muscular pulling together of the inner thighs and the

driving forwards of the bodies core and hips from the rear. Practice it very slowly at

first with the aim being of understanding how this initial stage feels, and once you

feel all components of this stage and you understand the importance of the

synchronisation of those individual components, then and only then increase the

execution speed of this stage. Repeatedly practice this stage in isolation to the rest

of the stances transition until it feels that you are able to perform all of the

components of this initial stage at an explosive speed and it feels as if it has become

one natural movement.

The next stage is to understand what effect the initial pushing action of the rear leg,

the driving of the moving leg (do-kyaku) and the driving through of the core and hips

has upon the rest of the body in relation to the smooth execution of the rest of the

stances transition and the delivery of the technique. If the initial stage of the stances

transition and the technique is performed without any consideration to the follow on

stages of the stances transition and the delivery of the technique then there is often

an undesirable by-product that results in a visually detectable flaw in the whole

technique. By that I refer to the raising of the hips and head which is caused by the

straightening of the front knee (jiku -ashi) too early. 10 No matter how slight the

straightening of the front knee maybe it alters the desirable, direct forward

trajectory of the delivery of the technique. Therefore, as the bodies core moves

forward then one should continue to bend the front knee forwards in preparation

for the next stage of the stances transition. 4

From the start of this example exercise you should be in the shomen position, with

the bodies mass correctly distributed 60% - 40% in zenkutsu dachi 1 and after the

initial phase of the stances transition and the delivery of the technique you have not

travelled past the point where your centre of gravity is positioned, see figure 7 When

you become proficient at synchronising all of the components of the initial explosive

launching stage of the stance transition and the delivery of the technique, then you

should firmly grip the floor with the toes of your front foot (jiku-ashi), this will allow

you the extra traction to bend the knee of the front leg a little more in preparation

for the next stage of the stances transition and the delivery of the technique. This

small seemingly insignificant detail when linked to the previous components of the

initial launch stage of stance transition will assist in getting the body’s core and the

hips to the new centre of gravity point 7 in a visually seamless manner.

Once the body’s core and hips have been thrust forwards from the rear to this new

balance point then the tendency is that much of the momentum that was generated

by the initial launch stage will be lost. That is if a continuation of the driving force 8 is

not maintained. Without the seamless continuation of the driving force it is

noticeable because the performer’s delivery of the technique looks as if they are

merely flopping into and not thrusting into the latter stage of their technique

delivery. So at the new balance point the visualisation technique of the introduction

of a secondary driving force can help in maintaining a smooth transition throughout

the techniques delivery.

. | Page 94



The overall aim of any technique should be to make it look easy, to make it look as

smoothly performed as possible, to make it look as if it is one continuous movement,

a flowing technique and not a set of staggered stages that are stuck together with a

series of stop go pauses between each of its stages. Although practiced deliberately

at slow then medium speed, another aim is to deliver those seamless stages as

quickly as possible, and therefore creating a powerful looking technique. This aim

has given rise to the formula of (correct technique delivered at speed = power). The

initial momentum generated by the launch stage is maintained by using the

quadriceps and calf muscles of the front leg to supply a secondary strong downwards

pushing action 8 Once the body’s core and hips reach the new centre of gravity

point, 7 then it is at this point that the visualisation technique of a secondary driving

force stage should be instigated and not before. One should straighten out in a

downwards direction only, the bent knee of (jiku-ashi), the leg that was the referred

to as the front leg in the earlier stages. That leg is to soon become what we will call

the back leg, as the body’s core and centre of gravity drives forward and leaves it

behind. 8, 9 Do not attempt to straighten the knee of what is now the back leg too

early, as this again will alter the angle of trajectory from one of a straight horizontal

line to one of an upward lifting motion. 10 Now the body should be in the state of

maximum acceleration, and it is of paramount importance to ensure that the full

mass of the body is squarely driving the technique from behind the core, it is not a

feeling of dragging the body’s core forward. The hips should remain facing forwards

throughout in the shomen position, 8,9 just as was recommended for the practice of

the earlier phases. You should practice this secondary stage so slowly that you afford

yourself the time to feel the delivery of the technique, to experience it, to

understand it, to learn it, to learn from it and therefore, allow it to become of a

second nature. Again once you are proficient at this secondary stage then increase

the performance speed. Do not rush to finish the third and final stage of the

techniques delivery, as it is recommended that you practice and link the first two

stages together with the aim being to seamlessly link them together before

progressing onwards to the final stage.


The final Stage of the oitsuki technique is to involve the musculature of the shoulder

girdle and arms in a coordinated and explosive manner. You should initiate the

punching stage of the technique with maximum speed. The termination of the

punching stage is taught in many dojos by the hard and fast rule of “no matter what;

that the punch is to land on its target area at the exact time the foot of the moving

leg lands.” Whilst this is true and this practice looks aesthetically attractive, and

much more coordinated and visually effective as it looks the most powerful version

for kihon and kata. However, the landing of the punch during kumite isn’t so straight

forward as to ensure that it happens at the termination point of your stepping

movement, simply because it’s affected by distance and timing issues that are

brought about by the introduction of a massive variable. I refer to the variable of a

real live moving target; an opponent whose aim is the same as yours “to hit and not

to be hit.” So constantly conditioning of oneself to land a punch at the instant that

the moving foot lands, is equal to limiting your kumite arsenal. The most potent

time to collide with the target area is a fraction of a second prior to the moving foot

landing, because it is at this point in time that you are maximising the unsupported

. | Page 95


body’s forward momentum and its utilising its whole mass to its fullest. Because

once the moving foot has landed you have already begun the deceleration stage, in

other words you are losing the advantage of your moving mass and therefore, its

generated speed. To experience this aspect of the technique, and the bio feedback

and power increase that is generated of a “moving mass impact” then try this simple

test. Stand in zenkutsu dachi close to a wall and extend the fist out making contact

with the wall and then push with the arm into the wall and experience what it feels

like. Next just lift the foot of the front leg and feel how your mass is being pulled into

the wall, into the target. This is simply because the body’s mass is now unsupported

and is on the move. This simulates making contact with the target a fraction of a

second prior to landing the foot of the moving leg (do-kyaku) just as with okuri-tsuki.

Practicing chokutsuki separately will help you with the final stage of this technique

but as stated earlier; practice the technique very slowly to understand the precise

requirements and timing of the technique. Remember that the explosive nature of

the punch is achieved by driving through the target area with the elbow. Think of the

punching arm as if it were a train and coach. If you think of the fist as the train and

you put the train in front of the coach (the elbow) you are dragging the arm and

elbow towards the target as if they were passive in the techniques execution, like

the non-powered coach is dragged along behind the powered engine. 11 But if you

think of your fist and elbow as both having engines and the most powerful of the

two engines is situated at the rear of the elbow of the train and coach unit. The

driving force when the body is already facing towards shomen of straight punch is

instigated from the elbow and it doesn’t stop driving until the fist has driven its way

through the target area. 12 This way there is no part of the fist, arm, and elbow unit

that will be passive or dragging back the forward propulsion of the punching arm

unit at any stage of the technique.

Of course as I stated at the outset that this is one theory of how to effectively and

efficiently deliver the oitsuki technique and that there are differing theories and

opinions surrounding the oitsuki technique. One of which is held by certain styles

and Martial Arts schools who whole heartedly advocate and place differing levels of

importance on and the involvement of the hips during this technique. The variations

range from the visually negligible vibratory action of the hips, right through to the

use of the double hip action delivery of the technique. The individual merits of all of

these theories deserve closer study and consideration by a student before a

conclusion can be made. There is no better consideration than physically practicing

the technique after the underlying principles have been absorbed.

. | Page 96



Kokutsu Dachi.

by D Kirkham

Article first Published (February 1985)

Reprinted (August 2001) Issue # 4

Revised (December 2013)

Kokutsu Dachi (back stance), varies in its appearance greatly from style to style

within the world of Karate, as will be seen in the following images, but the version of

kokutsu dachi that will be reviewed in this article will be the version that is in

common use today within mainstream Shotokan Karate. By mainstream Shotokan

Karate, is meant, those schools that follow the Yoshitaka Funakoshi / Masatoshi

Nakayama version of kokutsu dachi as seen in photos 1 & 2 and not the Gichin

Funakoshi shortened length version of kokutsu dachi as can be seen in photo 3a, 3b.

Kokutsu Dachi by design, delivers a safe working distance between ones opponent

and oneself, whilst remaining within striking distance for the counter attack. It

affords one, front leg mobility and a strong back leg base, as the majority of one’s

body mass is situated over the back leg, 70/30. The purpose of the article is not to

attempt to lay claim to which is the most aesthetically beautiful of the kokutsu dachi,

as beauty is in the eye of the beholder; nor is it to suggest which is the most efficient

or practical version of the stance. It will however, look at some of the myths,

prejudices, misconceptions and obsessions that surround the stance. It will also look

at the dimensions of, the footprint of, weight displacement of, the angles &

directions of, the centre of gravity point and the percentage of weight distribution of

the stance, as well as offering suggestions upon how to perform it.


1. Yoshitaka Funakoshi. 2. Masatoshi Nakayama.

. | Page 97


3a. Gichin Funakoshi. 3b. Gichin Funakoshi.

Kokutsu dachi is a common stance to the Heian / Pinan Kata, which are similar kata

in their overall appearance as they are of the same root and on the whole they carry

the same combination mix of techniques as each other. They are used by many of

the styles of Karate as the basic kata of their style. And while they are of the same

root and similar in appearance, do not be misled by their similarities, as they utilise

different angles of defence and they deploy different stances to execute similar

techniques. The kata also use different versions of the back stance. These differences

are too often misread and are misunderstood by karate-ka, when they view a

kata from another style, and this misunderstanding is a contributory factor to the

divisionary practice of "style snobbery". That is where the viewer from one style,

immediately dismisses the other styles validity simply because of its differences, as

being inferior, unworkable, and or trivial when compared to their own style. This

practice sadly says volumes, more about the uneducated, closed minded, prejudicial

individual, much more than it says about the other style of karate. The whole "style

snobbery" issue was covered in an article named "style snobbery" in Issue 34 SKU

Quarterly Magazine, and has only been brought to the fore here to make the reader

aware that they need to leave their prejudices to one side if they are to benefit fully

from reading this article. It will not be suggesting that one version of kokutsu dachi is

better than another, but hopefully it will make one aware of the existence of and the

validity of the different versions of kokutsu dachi. Therefore, to expand the

appreciation of the topic, let's take a brief look at kokutsu dachi as it is performed by

other styles of karate.

. | Page 98



4. Goju Ryu version.

5a. Some Okinawan styles such as Uechi Ryu, group together a few stances and label

the group as kokutsu dachi, but each stance within the group has its own different

individual commonly known working name, for example pictured below in photo 5b

is example B taken from photo 5a above.


5b. This is example 'B' which is 1 of the 3 stances that are depicted above in photo 5a

all of which belong to the kokutsu dachi group of stances.

This version of back stances is very similar in appearance to Shotokan Karate's Neko

Ashi Dachi (Cat Stance), except in the Shotokan Karate cat stance the direction

that the rear foot points towards is different to that of the 90 degree angle example

in photo 5b. The Shotokan cat stance can be seen below in photo 6, also notice the

distance between heel centres is shorter in the Shotokan cat stance.

. | Page 99


6. Shotokan's Neko Ashi Dachi (Cat Stance).

7. Shito Ryu version of Kokutsu Dachi.

8. Wado Ryu version of Kokutsu Dachi, shorter distance between heel centres to that

of a Shotokan Kokutsu.

9. Shotokan Ryu version of Kokutsu Dachi.

. | Page 100



A common myth is that "all Shotokan karate-ka have the tendency to fixate about,

train on and over exaggerate the required length of their stances, in an effort to

strengthen their legs and thus improve their speed for when they shorten their

stances in a kumite related situation; and as a result of this compulsive behaviour,

the style produces impractical stances in the main." The myth of aesthetics over

practicality or in their own words, "shotokan is the style of stances that are too

long", has been propagated by ill-informed instructors who are only in part correct.

The fact that the practice of kokutsu dachi when done well, does strengthen ones

legs, is true, however, the over exaggerating of the required length of the stance, is

exactly that, an over exaggeration, as stance length is not and should not be the

primary goal during practice, nor is it the way to get an aesthetically pleasing, and

workable kokutsu dachi. An over exaggerated length of the stance hinders the

smooth and speedy execution of the stance. We will look deeper (no pun intended)

at this factor later in this article when we review the dimensions of the

stance. Another myth that was touted when I started training was that Gichin

Funakoshi was unable to perform a long low stance due to his short physique. I

believe that this disparaging myth was as a result of the lack of available core

research material to instructors at that time, and the myth has been unwisely passed

on since from generation to generation, merely as a quick and easy answer to why

does the style founder only have short stances. Yes it is true many of the photos

depicting Gichin Funakoshi were of him in a higher stance than the Shotokan system

use and yes he was a small man and it is also true that the inter-relationship

between the varying body types (photo 25), the dimensions of lower limb lengths

and the measurements of the torso length does have a practical and aesthetic effect

upon the stance's appearance, but this factor is true for everyone. So to suggest that

Gichin was only physically able to perform short high riding stances as result of his

short physique is nothing less than ridiculous; and to dispel the myth once and for all

then take a look at photo 10 and reassess whether or not you wish to continue to

believe in that myth, after you have compared to Mr Kawasoe’s stance, who I believe

to be one of the greatest Shotokan Karate technicians ever.


10. Gichin Funakoshi 11. Masao Kawasoe

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It is thought that Yoshitaka Funakoshi wrote the technical material for Karate-Do

Nyumon 2 , while his father Gichin wrote the historical section. He wrote that "Back

stance is the opposite of the front stance, the knee of the back leg is bent and weight

supported on the back leg. One should have the feeling of drawing the front foot

into the back foot. The distance between the feet is about 2 1/2 feet with some

adjustment made for height. The lines of the feet should intersect to form roughly an

L ." 2

Nakayama stated that "The feet are spread apart with the knee of the back foot bent

and the front leg stretched lightly forward. The hips are lowered, and the back is

kept straight in a half facing position. The distribution of weight between front and

back feet is in the ratio: of 3 to 7." 3 “Separate the front and rear feet by a distance

of about 32 inches." 5

Despite the discrepancies in their two descriptions of back stance, they are in reality,

both describing the same version of back stance. I realise that to make any reproach

of these two revered instructors is borderline sacrilege for some, and to highlight

that their descriptions have any discrepancies in them whatsoever, is enough to

invoke an outbreak of cognitive dissonance among those of a weaker constitution.

However, if you are willing to revisit the basics and rethink them again, then you can

only benefit from the experience and in doing so you will be fulfilling Leon

Festinger's first hypothesis of cognitive dissonance; "The existence of dissonance,

being a psychologically uncomfortable state, this discomfort should motivate the

person enough to try to reduce the dissonance and achieve consonance." 7

In other words, in this case, the cause of the dissonance is that there may be

discrepancies between these two famous instructors over the basic principles of

kokutsu dachi, and this is challenging the status quo and your current understanding

of the stance, therefore, this is your motivation to reduce the dissonance. But when

you go in search of a better understanding of the stance, then this is likely to create

further dissonance on route.

By discovering new information on route to a new understanding then that further

challenges something that you believe that you already have a firm understanding

of, and therefore you run the risks on your journey to a new understanding of

invoking Festinger's second hypothesis of cognitive dissonance; and that is "When

dissonance is present, in addition to trying to reduce it, the person will actively avoid

situations and information which would be likely to increase the dissonance." 7

In other words, if something challenges your belief and you go in search of

clarification, then according to Festinger, you are likely to only accept information

that agrees with your current understanding and you are more likely to reject any

new or contradictory information without truly evaluating it. Because that is the easy

option for one to take and the acceptance of new information may cause further

chaos to one’s status quo, your current understanding. This state is true until a new

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status quo, a new understanding is accepted. So always approach the revisiting of

the basics with an open mind.

12. Kokutsu Dachi dimensions, footprint displacement, angles & directions, centre of

gravity point and the percentage of weight distribution.


At the termination point of kokutsu dachi, the back knee position would plumb a line

from the knee to the medial (inside) edge of the base of the big toe. Marked with

small red dot in (Photo 12)

The front knee position would plumb a line from the front edge of the knee to the

back edge of the heel. This position may alter slightly dependent upon the lower

limb length of the performer. Plumb line marked with small red dot in (Photo 12)

The centre of gravity sits predominantly to the rear and would plumb a line from

the symphys pubis (Photo 28) to the floor, which distributes approximately 70% of

the body weight over the back leg and the remaining 30% directed through the front

leg. Marked with larger red dot in (Photo 12)

The direction the front foot is pointing is forwards.

. | Page 103


The foot print of the front foot is flat to the floor, but lightly resting there, not

heavily fixed down.

The direction the front knee is pointing is forwards.

The performer is to feel that the front leg is merely lightly resting on the floor with

that most minimal amount of weight being concentrated on the ball of the foot and

the toes.

The direction the back foot is pointing is at almost 90 degrees to the front foot.

The foot print of the back foot is firmly flat to the floor with the feeling of your

weight driving downwards through the leg and foot.

The direction the back knee is pointing is the same direction as the back foot, that of

around 90 degrees to the front knee.

At the termination point of the stance the performer is to exert a light pressure on

the back leg that has just enough force to it so it adds rigidity and stability to the

weight supporting back leg. The exerted pressure on the back leg travels

horizontally backwards from the imaginary vertical centre of gravity point to the

lateral (outside) edge of the back leg. Note that if too much force is exerted then it

will be counterproductive to the stance's stability, so apply only enough pressure to

firm up the stance and no more.

The torso should be perpendicular throughout the execution of the whole stance,

when viewed from both the front and side elevations.

The direction that the hips are in is the open, hanmi, half facing posture, with the

navel / knot of the belt at a 45 degree angle to the front foot.

Both of the hips are level with the horizon and their height from the floor should

remain constant throughout if performing kokutsu dachi from a front stance or from

another back stance.

The overall appearance should be that the complete body is in line from the top of

the head to the tip of the coccyx (photo 28), with both of the performer's hips

horizontally level and vertically lowered if performing kokutsu dachi from yoi, just as

if the performer is sitting down over directly the 70/30 centre of gravity point.

The distance between the heel centres will vary dependent upon the individual

performer's torso and limb measurements and the combined inter-relationship they

have with the other influential make-up factors of the particular stance being

performed. Nevertheless, the distance between heel centres should be the same

distance for back stance as is used by the performer to achieve a technically correct

front stance. Unfortunately, the distance between the heel centres tends to be in the

main, dogmatically, emphatically but mistakenly taught to be one of a one size fits

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all, a fixed measurement. This constant magical value, paradoxically however, varies

from instructor to instructor. That said; it is understood why it has been taught as a

constant measurement, as it is evident through experience that students are

reassured when numerical values are allocated to various theories, albeit in some

cases they are arbitrarily allocated numerical values. This lazy human desire of

seeking to compress their understanding of a complex theory or even a sophisticated

philosophical concept into a set of numerical values will be the subject of a further

article on the psychology of teaching, and will appear in a later issue of this

periodical. The correct Shotokan measurement between the heel centres is

therefore, a variable measurement, that is approximately somewhere between 30 to

36 inches, however, the primary goal for the performer must never be one of

mindfully aiming to achieve this measurement, if it is at the cost of ignoring or

corrupting the other dominant characteristics of the back stance. Therefore, the

performer's primary goal must always be one of achieving a technically correct back

stance that is aesthetic in appearance, smooth in transition and practical in

functionality. To achieve this goal, then the correct vertical hip level and all of the

other dominant make-up characteristics of the back stance are to be the performer's

main focus of attention. In other words, the distance between the heel centres will

correct itself if all of the requirements of the other dominant characteristics of the

back stance are fulfilled correctly. This theory however, doesn’t work the other way

around, if the performer is primarily obsessed by achieving the bogus “one size fits

all” length of stance measurement.

The effect that the combination of different body types, different torso and lower

limb lengths have upon a stances appearance and how the inter-relationship that

those body parts have with the dominant characteristics of the stance, all have a

dramatic effect upon the aesthetic appearance of the back stance; have been

referred to in an earlier section of this article, so for clarification let us now look at

those different body types & the different torso lengths (P hoto 25), and the

different lower limb lengths (Photo 26).


. | Page 105


25. Body types.

Compare the three different torsos lengths and their proportions in relation to that

of their different lower limb lengths.

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26. Lower limb.

Photo 26 is a simple example that displays the cause and effect consequences of the

inter-relationship between a performer's physical attributes and the technique that

they are performing. The example compares two performers who have a different

set of physical attributes, but they are both asked to achieve the same degree of

angle of knee bend as each other (by b ending the knee so it is over the toes). The

performer in diagram A has a longer femur length than that of the performer in

diagram B who has the shorter femur length. See how the performer in diagram A,

has to lower the hips a greater distance than the performer in diagram B, to achieve

the same angle of knee bend as the performer in diagram B. To appreciate how

much influence the performer's physical attributes have upon the overall

appearance of a stance, then just factor into the equation, the further cause and

. | Page 107


effect consequences that will be triggered off, when all of the other dominant

characteristics of a stance are to be achieved simultaneously and not just the one

single isolated dominant characteristic of (bending the knee over toes) as in the

example above.

27. Bones of the lower limb. 28. Bones of the Pelvis.

Performing Kokutsu Dachi from yoi.

Assume musubi dachi, perform rei, and make yoi. Now you are in the ready position

with both of your hips level to and lined up with the horizon, the blue line in photo

29 diagram A. For the purpose of this explanation we will associate the technique of

chudan shuto uke knife/sword hand block with the performance of kokutsu dachi.

Before you start to initiate kokutsu dachi, it is helpful to remind yourself that you are

to never purposefully move the head as a means of shifting the body mass forwards.

Instead, you are to purposefully focus upon vertically lowering the torso downwards

below the blue horizon line, lower the hips down to the red line as in photo 29

diagram B.

29. Kokutsu Dachi from Yoi position

. | Page 108



This initial phase of vertically lowering the body mass is achieved as a result of

allowing both of your knees to simultaneously bend, as seen in photo 29 diagram B.

This is achieved by relaxing the controlling muscles of the thigh, inner thigh, and

hamstrings that are working to maintain the upright yoi position. Also bear in mind

one should keep from the top of the head to the base tip of the coccyx perpendicular

throughout the whole execution of the stance, so that when the stance is viewed

from the front and side elevations, the hips are directly situated under the torso.

When kokutsu dachi is broken down into separate stages during kihon practice such

as this, then the feet are usually together at this stage but when performed as one

flowing movement without pausing, as in the performance of kata, then some

coaches rightly prefer to allow the rotation of what will become the back leg of the

back stance (left leg in this example) to rotate to almost 90 degrees at the same time

as the knees bend, because it creates a more controlled and smoother transition. It

is important to note that while the foot rotates to the almost 90 degree position, the

hips however are required to remain in the shomen position. Now both knees are

bent and the hips have not yet moved from the closed shomen facing position, as

seen in photo 29 diagram B.

You should also hold in mind that when this phase is performed correctly it feels as if

you are compressing the back leg (left leg) downwards as you start to move the right

leg directly forward towards its desired termination point; this is the half way

position, as seen in photo 29 diagrams B, C. By following this approach you will from

the core and thus eliminating the most commonly made mistake, which is that of

allowing the head or the hips to independently move forwards from the desired

inline perpendicular position.


Continue to smoothly extend the right leg forwards, with the distance between the

bottom of the foot and the floor, being no more than the thickness of a piece of

paper. As the right leg reaches closer towards its termination point, then and only

then should you begin to rotate the hips from closed shomen front facing position,

as seen in photo 29 diagram C; into the open hanmi, half facing posture, as seen in

photo 29 diagram D. Delaying the hip rotation until the right leg is almost at its

termination point will maximise the utilisation of the power of the hip action

at exactly the required time, and when this is combined with the arm movements of

the associated technique (shuto uke), then it will also aid with balance management.

There are as many opportunities for things to breakdown, go wrong or go

undetected due to its complexity, as there are technical points to bear in mind in

practicing of the delivery of a technically correct back stance and the associated

technique together as one continuous manoeuvre. Therefore, practicing both the

stance and the associated technique in phases, repetitively and in isolation to each

of the other phases of the technique is a good training tool, as it builds up muscle

memory, familiarity with how the stance & technique feels during each phase of

their execution, and it also affords one the time to observe where and when if any

rectification of the performance is required. However, there is a possible negative

outcome that many students unwittingly fall foul of. It is when they begin to perform

. | Page 109


the whole stance as one continuous movement after practicing it in phases.

Sometimes as a result of the repetitive practice of each phase of the stance and

technique in isolation, they build into their performance a semi pause, a visible and

unwanted join between each of the phases of the stance, likewise with each of the

phases of the associated technique. But the benefits of correct repetitive practice of

each phase of the stance and technique in isolation far outweigh the potential

negatives. Nevertheless, the unwanted pausing effect does exist for some students

and therefore, needs addressing.

To improve the overall smoothness and continuous flowing appearance of one’s

technique, then don't think of the technique as a multiple set of individual phases to

be performed individually and merely joined together; instead hold in mind that

from the second one starts to execute the technique until the time the technique

reaches its termination point, then it is to be delivered as one seamless movement.

Otherwise, it will look far too fragmented with three visually unwanted and

distinct stages to its appearance. The unwanted pausing stages are: Stage 1. After

one has reached out with a horizontally palm flat shihon nukite, which in its basic

form is going to be the hikite hand, that simultaneously incorporates the placing of

the blocking hand over the opposite shoulder. Often performers seem to selectively

end this phase of the technique with a semi pause just as the stance reaches its half

way position. Stage 2. There is the visible restart of the body’s forward momentum

after the previous unwanted semi pause. During this phase it appears as if no arm

action is taking place, there is only the stepping through action from the half way

position that can be observed. Stage 3. Is the slow uncoordinated and lethargic

action of the uncoiling of the blocking arm and the withdrawal of the hikite arm.

Once good form has been achieved at all of the individual phases of a technique in

isolation, then afterwards one should practice the whole thing as one complete unit

and it is to be executed with an injection of pace from start to finish. So from the

instant one starts to execute the technique then ones aim must always be to execute

. | Page 110



it in the shortest time possible. This means that the technique is to be performed

without those unwanted semi pauses. One of the common mistakes that are made

when students try to speed up their technique is that they opt to shorten the range

and route that their technique travels. One should never compromise good form to

achieve speed, one should always launch the technique as fast as possible but deliver

it with the strictest form and also take the correct route to deliver it, in other words

no short cuts in performing the technique in its basic form: and this will achieve the

required bridge, by creating a seamless transition from one phase to the next in

one’s performance.

Performing Kokutsu Dachi from back stance.


When stepping forwards from one back stance into another back stance, the

movement is initiated from the core and simultaneously by bending the knee of the

front leg over the toes, as seen in photo 30B; and to achieve this you should utilise

the use of Shime which is the squeezing together inwards of the inner thighs to

overcome the gravitational pull of the 70% weight distribution that is over the back

leg. Don’t look at this weight distribution as a disadvantage but look at it as a firm

platform to launch your forward projection, as seen in photo 30A. Keep the hip

height constant throughout by keeping both knees bent, as seen in photos 30 A, B, C,

C2, D. Avoid leaning forwards with the head by focusing your drive from the core,

when you start to shift your centre of gravity forwards, because failing to maintain

the required inline perpendicular posture of the head, neck and torso, will result in

an incorrect distribution of weight at the termination of the stance; because it

generally puts too much weight over the front leg. This is achieved by balancing out

the degree of the squeezing action of the controlling muscles of the thigh, the inner

thigh of the front leg (the right leg in this example) to that of back leg (the left leg in

this example) as the front leg is only under a 30% load prior to initiating the first

phase of the next stance. As mentioned previously, some coaches prefer that you

rotate the foot of the front leg , which will become the back leg (the right leg in this

example) to the angle of almost 90 degrees very early in the stances transition which

can be seen in photo 30C, while other coaches prefer you turn the foot to almost 90

degrees much later, after shime has been deployed to achieve a neko ashi dachi

lookalike phase of your stances transition, similar to that in photo 31E. However, no

matter when you rotate the foot or shift the centre of gravity forwards, always keep

the head, neck and torso perpendicular and inline throughout, and this is achieved

by driving the body’s movement from the core the lumber region of the spine when

you start to bend the knee of the front leg. Seamlessly drive the back leg (left leg)

forwards in a straight line towards the front leg, bringing it close, as seen in photo

C2, and both knees are to remain in the bent position at this the half way stage of

the stance. The hips now closed from the open hanmi position of photo 30A; and are

facing to the front in the closed shomen front facing position, as seen in photos 30B,

C, & C2. Continue to extend the left leg outwards towards its desired termination

point while maintaining a paper thickness height from the bottom of the foot to the

floor. As the left leg reaches closer towards its termination point, then and only then

should you begin to rotate the hips from the closed shomen position, as seen in

photo 30C2 into the open hanmi half facing posture, as seen in photo 30D.

. | Page 111


30. Kokutsu Dachi from Kokutsu Dachi stepping forwards.

Another common mistake is that of allowing the hips to rise above and then fall back

down again to what was their original height position. The position that should be

maintained is one that is horizontally parallel to and vertically below the horizon line,

the blue line seen in photo 30 A, B, C, C2, D. This mistake is often, first brought to the

attention of the student when their coaches tell them that their "heads are coming

up and going down again!" This choice of words may well be descriptively true,

however, it is too often misinterpreted by the student to mean, that their problem is

instigated from the head and neck area; which if acted upon by the student can

cause them to elevate their shoulders and or sink their head into their neck line; and

as you can imagine all that does is to cause a further corruption of their basic form.

So it is recommended that the coach presents the problem to the student in a less

ambiguous manner; such as highlighting to them that the problem is happening

because "they are allowing their knees to straighten."

When stepping backwards from one back stance into another back stance, then the

movement should be initiated as always from the core but simultaneously upon two

other fronts, 1: by digging in firmly with toes of the front foot and pushing off

backwards with the front leg, as seen in photo 31D. This method will allow one to

purchase a firm grip so a balanced coordinated movement is achieved, whilst 2: one

should simultaneously rotates the hip & foot of the back leg from their 90 degree

position to that of facing forwards as can be seen in photo 31E.

To achieve this coordinated initial phase of stances transition, without the need for

bending forwards or losing correct form, then one should focus the driving of the

transition at ones core and augment the movement by utilising “Shime” which

involves the use of exercising full control over the balancing out of the degree of the

squeezing and relaxing action of the controlling muscles of the thigh and the inner

thigh of the front leg and back leg to that of their antagonistic muscles the buttocks

and hamstrings. This two pronged initial phase creates enough momentum to

overcome the initial gravitational pull to execute a smooth and seamless transition

from the static starting position of this stance, which was the termination point of

the last stance, as seen in photo 31D. For the next phase of the stances transition as

seen in photo 31E the muscles that are around the hip of the back leg come into

prominence. Simultaneously as one pushes off with the front leg, then the hip of the

. | Page 112



same leg is to swiftly but smoothly to be withdrawn backwards from the open hanmi

position into the closed shomen front facing position as seen in photo 31E, giving a

similar look to that of Neko Ashi Dachi. This gives one full control over the movement

of front leg throughout the initial phase of the stance until it reaches the point,

where both feet are side by side and both knees are bent as seen in photo 31E2. This

method avoids one having to lean the torso forward from the desired inline

perpendicular position as a means of generating enough power to overcome the

initial gravitational pull.

31. Kokutsu Dachi from Kokutsu Dachi stepping backwards.


Now that the half way stage of the stance has been reached as seen in photo

31E2, then for one to complete the movement the left leg must continue to

smoothly and seamlessly move backwards without hesitation, whilst the priority and

the responsibility for the driving of the stance will shift to that of the combined

rotational action of both of the hips and the right leg in this example. While one

maintains a bent knee position for both legs, push backwards with only the adequate

amount of force on the right leg, so that the thrust achieved from the push will take

the perpendicular torso to its desired termination point without deviation or the

need for rectification at the termination of the stance. Whilst on route from the halfway

point the tendency is to deploy the hip rotation far too early, which results in

the associated technique being completed prior to the stance landing. This

unsynchronised landing of the stance and technique has a weakening effect up on

the associated technique, as the benefit of the delivery of power of the hips

rotational action from a firm base has been lost, because the hips were deployed

while in flight and whilst on one leg. Therefore, one should only start to deploy the

final stage rotational action of the hips when one is approximately 70% of the way

through performing the second phase of the stance, in other words, co-ordinate the

timing of the final stage of the hip rotation until just prior to landing. At the

termination point of the stance; the hips have now returned again to the open

hanmi position, as seen in photo 31F.

. | Page 113


Cause and effects to watch out for.

1. When moving forward or backward the hips are rising and falling in height.

Possible reason is

A: the bent knee position has not been maintained.

2. Too much weight on front leg.

Possible reasons

A: is the Front knee is bent too much.

B: If all other characteristics of the stance are correct, then consider lengthening

the distance between heel centres.

C: If weight distribution is incorrect then shift the body weight backwards.

D: As a result of not maintaining the perpendicular torso posture it allows one

to lean and lead with the head when moving.

3. Hips ride too high.

Possible reason is

A: the Feet are too close together.

4. Hips sitting too low.

Possible reason is

A: the ankle and knee of back leg is too relaxed.

5. Front foot not pointing forwards.

6. Back foot not point to 90 degrees.

7. Back knee not in recommended position

Possible reason is

A: the Body mass has moved too much over the back leg.

References

1. Funakoshi, Gichin (1973). Karate-Do Kyohan: The Master Text. translated by

Tsutomu Ohshima. Tokyo: Kodansha International.

2. Funakoshi, Gichin (1988). Karate-Do Nyumon: The Master Introductory Text.

. | Page 114



translated by John Teramoto. Tokyo: Kodansha International.

.

3. Nakayama, M. (1977): Best Karate: Comprehensive. Tokyo: Kodansha.

4. Nakayama, M. (1978): Best Karate: Fundamentals. Tokyo: Kodansha.

5. Nakayama, M. (1973): Dynamic Karate. Tokyo: Kodansha.

6. Kirkham, D ; (1991); The complete coaching manual for the martial arts. Yudansha press.

7. Festinger, L. (1957). A Theory of Cognitive Dissonance. California: Stanford

University Press.

8.Shotokan Karate Union; Kirkham, D ; (1985); Movement. Yudansha press.


. | Page 115


Kiai; spiritual meeting / battle cry.

by D Kirkham

Article first Published (February 2012) Issue # 46

Kiai; what is it for? What is the point of it? How do I perform it

properly? The first time that most people hear of kiai-ing is when

they are startled by it. It is usually heard as a blood curdling shout

at predetermined points in Kata or upon completion of the final

technique of a Kihon combination. Blood curdling that is, if it is

performed correctly. It does, and should come as rather a shock

to one’s system the first time one hears it, and that shock factor

upon ones opponent, is but one of its various uses. There is so

much more to kiai-ing than just merely shouting, as it should be a

natural, emotionally conditioned reflex, a display of the spiritual

meeting of the mental and physical commitment of the

performer’s spirit, their internal strength. And it manifests itself

through the delivery of their technique. This concept is often

referred to; if not by name, when coaches talk about Shin-wazatai,

which is the triad of a focused mind, the quality execution of a comprehensively

understood technique that is delivered by a fully controlled and momentarily tensed

body. And they are the three factors that should be held in mind at all times; as they

will contribute to the success of each and every technique that you will ever

perform. Kiai is the audible realization of the meeting of one's physical and spiritual

energies, and should be heard at the termination of one’s technique. It is performed

in an effort to transmit those combined energies from oneself, into the opponent's

body in as destructive of a manner as is possible. The visible manifestation of this

energy combination is seen at the termination point of one’s technique and is

referred to as Kime, which is one of the required and accepted demonstrations of

proficiency and possessing the correct Martial spirit. Kiai refers to the projection of

one’s own energy, one’s internal strength and as such it should not be confused with

the separate concept of Aiki, which relates to the coordination of and the

harmonization of one's energy with the energy from an external source, usually it is

associated with that of controlling the forward projection of an attacker's incoming

technique.

Sadly, kiai has by some been reduced to a mere throat generated shout, which is

accompanied by an aggressive action. The legitimate usages of kiai are wide and

varied, but it does seem that nowadays, the list of usage has been extended to

incorporate, the cajoling of Shinpan (referees) into awarding the shouting athlete a

dubious point. This oiling of the squeaky wheel, is not because the technique that

they have delivered was an effective one, nor that it had displayed great kime, but

it’s merely because the athlete has expressed the desire to be awarded a point, for

something that is in their own opinion , "worth a point". Unscrupulously they express

their desire through a loud, elongated and bizarre sounding shout. It is something

that they believe resembles a genuine kiai. Sometimes this cosmetic and exceedingly

annoying warble comes in the form of a multi note high pitched screech. This

. | Page 116



unflattering imitation of a kiai is achieved by a strange vibrato action of the larynx.

This is more an over inflated display of self-worth and it comes from a misplaced

point of origin, and therefore, it sounds nothing like a genuine healthy kiai; however,

it does sound remarkably much more like Clouseau’s side-kick, Kato, and it clearly

says a lot more about the ego of the athlete, more than it does about their humility

or the focused success of their delivered technique. Nevertheless, here are some

other uses of kiai; (to startle, to momentarily break the concentration of an

opponent, to intimidate, to express confidence, to express anticipated success, in

creating an opening, to control the exhalation of breath, as an expression of the

correct martial spirit).

"The Kato-esque kiai" is bad example to follow

When used correctly, kiai is an effective way to deploy control over the rapid

exhalation of ones breath at critical times and therefore, its point of origin should

always be instigated from the hara, the stomach area, and one should always use the

diaphragm as the controlling muscle; and under no circumstance should a kiai

originate from the larynx or throat area. Be aware that some students are too selfconscious

to kiai confidently with commitment at first. While the more extrovert

student seems to take to kiai-ing far too easily, and they have the tendency to over

use kiai and over extemporise it. Also one should be aware of the modern

predisposition of garbling complete and utter gobbledygook. This is a total

embarrassment for the student and equally so for the coaches of those students;

that is, if the nonsensical noise they produce is allowed to go unchecked. This

unwanted by-product is most probably due in some large measure to the

popularisation of the martial arts on the big screen and their inclination towards the

over sensationalisation of the fact. There are so many ridiculous sounds emitted,

way too many and all unworthy of listing. That is why this text will only look at the

small repertoire of sensible and culturally non offensive noises to emulate.


Some Karate texts, especially kata books use a symbol to denote the appropriate

place in which to kiai, while others display a word that is phonetically produced to

aid the reader in attaining the correct pronunciation. However, many of these books

were written by people who speak English as a second language, and the copy that

you may have read could well have been translated into English and other languages

much later. Unfortunately, pronunciation therefore, may differ slightly dependent

upon the mother tongue of the translator and this can create errors by giving the

wrong impression of how to pronounce a kiai to a foreign reader whose first

language is different than that of the author or the translator. This is a generic list,

that dependent upon where the performer places their emphasis during the initial or

later stages of the kiai, and whether or not the performer makes a final abdominal

squeeze during the production of the kiai; they will dramatically alter the tonal

quality of the kiai; and often the performers intonation is heard as a slight deviation

of the generic form; or as a the tapering off of the intensity of the blast of air from

the lungs at the later stages of the kiai. It is often heard as an entirely different note.

Nevertheless, they are accepted as being of the same generic root, and that is why

they have been included in the examples below.

. | Page 117


Hayyy! should be pronounced as an elongated version of the letter ‘a’ as heard in

the word ‘take’.

Male example 1

Female example 1

Male example 2

Female example 2

Female example 3 "variation of end note"

Eeeee! should be pronounced as a strangulated & elongated version of the letters

‘ee’ as heard in the word ‘meet’.

Example 1

Example 2

Hiiii! should be pronounced as an elongated version of the letters ‘hi’ as heard in the

word ‘high’.

Male example 1

Female example 1

Female example 2

. | Page 118





Arrrgh! should be pronounced as an elongated version of the letters ‘ar’ as heard in

the word ‘arrow’

Male example 1

Female example 1

.Having read this article; don't feel too down hearted if your kiai doesn't match those

of the quoted expert examples, or if by now, your kiai has started to sound rather

feeble or silly. Because you can hear from the examples that, even the worlds most

recognised experts do vary. But there is a common denominator, a constant that

they share, and that is that they are all using the sounds that are based around the

generic list, to generate their convincing and effective kiai. Another thing to consider

is that even the same performer sometimes fluctuates from using one kiai in favour

of another. This fluctuation can even be heard by certain performers during their

performance within a single kata. The reason for this could be because, kiai is an

emotionally stimulated conditioned reflex of a response, and as such, can differ in

sounding from time to time; dependent upon the performers emotional state and

their level of focused commitment at that precise moment.


Remember though, that no matter which kiai one uses, then one should always

adopt a combination of a bellow and a growl in one’s voice, while producing a low

pitched reverberation of a vowel-like sound. It's a ruthless, an emotionally charged

and fully committed roar, not a feeble, non-expressive startled scream. As

mentioned earlier in this text, one should always instigate the kiai by using the

diaphragm muscle and not the throat.

. | Page 119


Okuri-tsuki, deadly technique? or does it even exist?

by D Kirkham


What is Okuri-tsuki? Hopefully this article will unravel any misconceptions that

surround this neglected and under used technique.

The word Okuri was initially referred to as meaning (to slide) by Judo-ka.

Although it has many meanings in the Japanese language, when linked with another

word; for example, to send, to bring, to follow, to live through. And initially the

emphasis and use of the footwork concept (to slide) is probably the main reason why

it is still occasionally, yet wrongly confused with and mistaken for as being a form of

Nagashi-tsuki (flowing punch).

Let me explain. Many of the Japanese instructors in the early days came to Karate

after having had a period of study in and attaining rankings in other oriental arts

such as Judo and Kendo.

Judo has a technique called Okuri-ashi-barai, which is (the sliding leg sweep), while

Kendo have a specialised footwork technique named Okuri-ashi (sliding leg) see Fig1.

Okuri-ashi (sliding leg) is a key part of Kendo's tactical armoury. This Shizen-tai

footwork technique is important in Kendo because it permits the Kendo-ka to move

extremely quickly forwards and backwards with only the minimum of "dead time".

We were taught that this is a highly pertinent concept to bear in mind as it is very

relevant to understanding the tactical essence of the Karate technique Okuri-tsuki.

Combining the previous influences from other Martial Art forms those that the early

Japanese instructors had with the complexity of and too often the ambiguity of the

Japanese language; the reluctance of some, not all of the Japanese instructors to

give detailed explanations to their Gaijin students, of the names, concepts and

meaning of every technique that they displayed and taught us. In their defence it

was due in the main to their limitations in speaking the English language and our

Nihon-Go limitation in their early pioneering days. These factors could go a long way

in explaining some of the controversy and confusion that surrounds this very useful

and powerful technique.

. | Page 120



While the preparatory sliding footwork of the technique is a key facet to the success

of the technique. As we will explore later in this article. It was several years later that

Mr Kanazawa offered his definitive explanation of the technique, when he gave the

translation of "follow through punch".

Okuri-tsuki is a punching technique that is delivered and reaches its target between

the firm placements of ones launching and landing stances. Connecting with its

desired target area whilst one’s body mass is still on the move. The in transit nature

of the technique is what makes it difficult for some people to identify, classify, and

perform. Equally it is that in transit nature, the maximising of ones accelerated

forward moving momentum which makes it such a powerful hard hitting technique.

It's not a variation of Oi-tsuki, Kizami-tsuki, Nagashi-tsuki nor Gyaku-tsuki, but

understandably it can and is often mistaken for these techniques, because it does

resemble a poorly co-ordinated Oi-tsuki, or an over stretched Gyaku-tsuki, where the

rear foot isn't firmly rooted to the floor upon the fists impact with the target area.

Therefore, identifying it for some observers is often a difficult task, as its

characteristic delivery speed masks what is actually going on. Its runaway freight

train effect is dependent upon a couple of things. The timing of the launch of the

punch, in other words, if there is any assistance from the forward projection of ones

opponent to factor in, and of course, the proficiency of the performer.


It's not a new technique more than it is a neglected one and it has been an over

looked technique for many reasons, some of which were explained above. In my

experience its Kihon practice is neglected because it doesn't obviously appear in any

kata nor is it a grading syllabus requirement of any Traditional Japanese Shotokan

Karate-do Organisation. And also due to its more agricultural and practical

functionality it has also been over-looked by many, but not all in the modern

sporting arena, as it is believed to be too brutal of a technique and it lends itself

more for use in Jissen and Jiyu-Kumite; therefore, it poses the question as it is too

easy to mistake it for an abbreviated form of or quirky variation of some other tsuki.

That's why this reworked rendering of the Irish philosopher, George Berkeley’s

philosophical question, is raised. "if a technique isn't practiced often enough and

nobody observes it, then does it exist?"

Among the accomplished exponents of Okuri-Tsuki, was the late Steve Cattle. Who

was by the way, instrumental in my initial introduction to the benefits of this

powerful technique! Other exponents worthy of note are the late Mr Kase and Mr

Enoeda, and among the new generation of Japanese Instructors are people such as

T.Naka and T.Yamaguchi. While the overall technique is somewhat Kamakaze looking

in appearance, the underlying tactics employed are of equal importance to its

success as the mechanics of the technique itself.

The tactics involved are; selecting the correct mind set prior to delivery, one’s timing,

the line and direction of attack are all key. While the technique can be delivered

using a permutation of various tactics, the most commonly used and most

. | Page 121


devastating results can be achieved by using a combination mind set of "Ikken

Hisatsu", "Sen no Sen" and "Irimi". Therefore, the deliveries of the technique in the

following examples are delivered directly moving in the forward direction.

In Martial Art circles Ikken Hisatsu, is commonly believed to mean (to kill with one

blow), this mind set concept is yet another area that is misunderstood, it is over

quoted and it is overplayed due to the nature of and the wholesale delusional

acceptance of its alluring Martial Arts translation.

It does not have to be and in reality rarely does end in the death of the opponent

with one blow as the common translation would misleadingly suggest. In common

Japanese parlance Ikken Hisatsu means something similar to (kill two birds with one

stone). Therefore, for the purpose of clarity, this article and for brevity, if one

accepts that in this instance "to kill with one blow" actually means "to make the

technique that you are about to deliver the decisive technique that will end the

conflict". By using this definition of "Ikken Hisatsu" as the mind-set, then one is

actually asking the performer to have 100% commitment to and belief in the success

of the technique that they are about to execute and for them to hold onto that

thought as paramount in their thinking throughout the techniques performance.

Earlier Steve Cattle was mentioned as an accomplished exponent of this technique.

And if you were around during his best competitive years then you would have seen

exactly what 100% commitment in the delivery of and in the belief of the success of

the technique looked like. The technique can be delivered using the Go no Sen

concept which is "seizing the initiative later" by blocking then countering after their

attack has been thrown. But commonly Okuri-tsuki is seen as in these examples by

using Sen no Sen, "seizing the initiative early". Sen no Sen is not necessarily where

one makes the first move but more often involves one intending to counter precisely

at the same time that your opponents attack is being launched. However, in actuality

that means as soon as your reflex action allows you to respond once you register

that their attack has been initiated. In other oriental fighting arts, there are various

lines taken by the attacker and the defender. In Aikido in particular there are a

couple of approaches that are worthy of note. They are Tenkan which is to convert,

or divert either your or your opponents projected momentum. This is more complex

than, but almost similar in nature to Karate’s' Tai-Sabaki. Then there is the very

potent tactic of Irimi, which is the entering straight into a technique approach. One

can strike at an opponent effectively with great force, by combining their attacking

momentum with one's own forward momentum, as is the intention in this example.

Where does the "sliding in" take place, in Okuri-tsuki? If one observes the technique,

then one could never describe it as being of a sliding motion. As it loudly screams out

that it is more of a high octane, high speed and powerful driving collision of a

movement, where the puncher really has "followed through" with their technique.

The "sliding in" occurs after Kamae-te and refers to the essential preparatory

footwork of Okuri-ashi, Fig 1. It is used to gain territorial advantage and to ensure

that the correct launching distance is obtained for this long range Tsuki technique.

Therefore, "sliding in" doesn’t describe the stand alone punch, but it describes the

. | Page 122



tactical footwork that is used. The footwork is taken from other fighting arts. The

tactic of using the sliding leg is (Okuri-ashi).

What makes Okuri-tsuki so effective? Is it the unusual nature of its timing and

delivery, which generates high speed with the minimum amount of "dead time"?

Probably! But as in every walk of life there is a payoff to be made for every gain. In

this example the payoff for increased speed and reduced "dead time" is a loss in

stability upon impact with the target. As the impact point generally occurs when one

is stood on one leg and whilst in mid-flight. This loss in stability no matter however

minor, is due to the body's full commitment and its "follow through" motion. When

compared to that of say a conventional Oi-tsuki or Gyaku-tsuki.

So with the tactics firmly in place and the correct distance to launch ones Okuri-tsuki

gained by using Okuri-ashi. Let's take a stage by stage approach as to describing the

execution of the technique itself.

As we are using "Ikken-Hisatsu", "Sen no Sen" and "Irimi", we will therefore, be

stepping forwards to deliver the technique.

1. Assume a right foot forward Kamae-te. Fig 2

2. Use Okuri-ashi to gain advantage to ensure that the correct launching distance is

obtained. Fig 1

3. Quickly rotate the hips from Hanmi through to Shomen and begin to punch Jodantsuki

with the left hand, just slightly before you start to move the left leg (Do-Kyaku)

forwards as in Fig 2A


So far you can see why initially it may look like a static but poorly executed Gyakutsuki.

However, where in Gyaku-tsuki one is expected to keep the body

perpendicular throughout the hip rotation, and any forward projection and

extension is achieved by

a) the extent of the hip rotation

b) the distance the stance travels

c) the bending of the knee of the front leg.

Whereas in Okuri-tsuki, ones forward projection is achieved by leaning slightly

forward into the target and the "follow through" as in Fig 2B.

Note unlike Gyaku-tsuki, the co-ordinated Hikite and the firmly planted back foot is

not present throughout.

4. Fig 2C Shows a side view just prior to impact. This is the phase where the left leg

(Do-Kyaku) starts to catch up by driving towards ones over stretched centre of

gravity point.

. | Page 123


5. The left leg (Do-Kyaku) has now reached the body's balanced centre of gravity

point and the body is perpendicular, it is at this point when the explosive collision

impact of the punch occurs as in Fig 2D

Note how the left leg (Do-Kyaku) is still moving and not on the floor.

6. After the impact in the basic form of the technique one should snap back the left

hand and firmly place down the left leg (Do-Kyaku). Variants of the snap back are

employed if the use of a follow on technique requires it Fig 2E

7. The snap back of the left hand is in readiness. Assume a left leg forward Kamae-te.

Photo Group A 1-8 demonstrates Okuri-Tsuki with the follow up technique of a

highly destructive leg sweep performed with Ikken-Hisatsu in mind, as always by

K.Enoeda.

Note

How much the front left foot moves forward in photos 1-2 gaining distance prior to

the launching of the punch.

How at the impact point in photo 3 his right foot is off the ground

and is still on the move forward in photo 4.

In this example the right foot will not land, as it will used to deliver a leg bar to

execute a powerful double leg sweep followed up with Otoshi-Tsuki.

Photo Group B 1-5 Displays all the principles explained in the Fig : 2 example.

Photo Group C 1-3 Is a Display of the brutal effectiveness of the runaway steam train

effect of a perfectly timed and distanced Okuri-Tsuki.

The puncher has made his distance on his opponent not seen in this photo sequence.

Nevertheless, the Okuri-Tsuki technique is recorded as it makes contact. And the

devastating end result can be seen.

Photo Group D 1-3 Although the Fighting Art may be different and the technique will

not carry the same name, the physics, the theory and the end result however,

remains exactly the same.

Photo 1 shows the total commitment of the body to the techniques delivery as it

approaches the impact point. Notice that the arm is already at full extension.

Photo 2 shows the impact point. By the way this particular punch was responsible for

breaking the jaw of the durable and very tough competitor Ken Norton.

Photo 3 shows that there is very little pull back of the technique after impact and the

back leg of M.Ali has still not caught up the forward projection of his committed

technique.

This article will have introduced Okuri-tsuki to some people but I hope it has

stimulated enough interest in Okuri-tsuki with all readers so that they experiment

with it in their personal training regime.

. | Page 124



As the objective of the article was to clear up some of the mysteries &

misconceptions surrounding Okuri-tsuki, I therefore, invite all of you to conduct this

simple experiment which I first saw demonstrated by Masahiko Tanaka. I firmly

believe that it will help you as it did me, to fully appreciate and physically feel the

advantages of “a moving mass” high impact technique. Understanding the theory

behind Okuri-tsuki can add to its overall effectiveness and enjoyment.

So then if you are game, then try this simple test.

1: Stand in a left leg forward Zenkutsu-Dachi

2: Position yourself close to a wall and extend the right arm out so that the fist of

your right hand is firmly making contact with the wall.

3: Then push the right arm into the wall constantly and experience the bio-feedback,

what it feels like to make contact with a target. By pushing constantly is meant, do

not put on and ease off the pressure that you are putting through the arm and fist

during the experiment.

4: Next, without moving from the previous position, just lift the foot of the left leg

and feel how your mass is being pulled further into the wall. This is simply because

the bodies mass is now unsupported and is subject to gravitational pull, thus

simulating the bodies mass being on the move. The experiment simulates a snapshot

in time, taken at the instant one is making contact with the target, just a fraction of a

second prior to landing your mass through the foot of the moving leg (Do-Kyaku),

exactly as you would experience it with a correctly delivered Okuri-Tsuki.


. | Page 125


. | Page 126



Pressure Points, Ki, Kime.

by D Kirkham


In response to several questions appertaining to Pressure points, Ki and Kime I have

written this short piece to make my students aware of my stance on the subject and

I hope they will go on to research the topic further and come to a conclusion based

on best available evidence and that they are astute enough to be able to change

their opinion if any new information presents itself.

Having been involved in the delivery of medical and surgical intervention for many

years now, it does make one search for and require a wide range of meaningful

relevant evidence before one would be allowed to introduce something different to

one’s clinical practice. Therefore, this scientific and critical evidence based practice

approach has led me to be much more careful of what I am ready to adopt, practice,

teach and coach in my Karate too.

Whilst I enjoy all things traditional about Karate, I refuse to accept things on face

value and therefore, I don't turn off the thinking, inquisitive, reasoning area of the

brain when I put my dojo gi on.

For as long as I have been aware of Pressure points, Ki and Kime they have been

subjects that are glossed over by instructors and misrepresented by some people

who may or may not be trading under false pretences by selling a scam; as they don't

fully understand nor can they prove the existence of or the workings of Ki

themselves. That is why the James Randi Foundations offer of a $1 million prize for

anyone who can prove the existence of and explain how Ki works, has remained

intact to today.


Pressure points are various areas distributed throughout the body that are sensitive

to pressure.

They are not a location of mystical meridians that can induce death sometime after a

white hair old martial arts master has touched you on a secret point of the body.

They are however, simply nerve plexuses, sensitive areas of a muscle, tendon,

ligament or blood vessels.

Pressure points are used by martial artists to cause pain and stimulate an opponent’s

compliance, not because of some mystical reason but simply because they are

sensitive areas of the body. The same areas are also utilized by therapists, masseurs,

and acupressure & shiatsu practitioners.

It has been said that there is no "magic Mr Spock style pressure point" in the human

body that would knock someone out when touched. And I must admit that I believed

that to be the case; well that was until early in the 1980s on one of my training visits

. | Page 127


to Japan. I was highly sceptical of the ability to knockout someone with a simple

touch and my knowledge of anatomy and physiology made me even more sceptical

and convinced it was a work of pure fiction. Then I met Kancho Yara the head of a

Matsumora Ryu organisation in Japan. He was also a successful acupressure,

acupuncture and shiatsu practitioner, whose clinic was in the back rooms of his dojo.

It was after a period of training with this interesting man that he began to

demonstrate techniques to the dan grades that appeared to knock out the opponent

with simple touching or sometimes a slapping technique. My scepticism was difficult

to hide from my face and must have been obvious to others although I never voiced

that opinion. I put the KO results down to his student’s willingness to comply with

their teacher in front of a foreign visitor. This was similar to an experience I had

when I trained with Mr Harada of the Shotokai organisation based in the U.K. But to

my surprise Mr Yara asked me a direct question; "do you believe?" Not wishing to be

impolite I was hesitant to answer but was asked again and therefore, I gestured with

a shrug of the shoulders and a wave of the hands as if to say "I'm uncertain", which

was the case. Mr Yara chose a dan grade student do demonstrate this technique on,

who, when he was touched, dropped like a stone to the floor in an unconscious

state. I was asked again "do I believe?" As Mr Yara resuscitated his student I

desperately struggled for a diplomatic answer. Mr Yara showed me the exact way to

deliver the technique and suggested that I deliver the technique, his student went

down, not as effectively as when his teacher delivered the technique, this led me to

believe he either had a glass jaw or was highly susceptible to suggestion. "Do you

believe now?" and apparently I didn't answer quickly enough, because Mr Yara said

he would demonstrate on me! Geez! I was left thinking that I was not certain if my

commitment to research needed to go so far. Determined to not artificially

cooperate with the experiment or to go down unless it really did work, I braced

myself as Mr Yara lightly touched me and the next thing that I remember was being

resuscitated and I was in a sitting position and I was asked again Mr Yara "do I

believe now?". Notwithstanding, that personal experience and anecdotal evidence

received of a similar nature from Karate-ka that I trust not to mislead, there is no

scientific evidence to suggest that Ki and magic pressure point techniques exist.

There are a couple of methods in the fighting arts to induce a state of

unconsciousness. Method 1 is to starve the brain of oxygen (hypoxia), which can be

done by occluding the major vessels of the head and neck, the jugular veins and

carotid arteries, whilst closing down the airway(trachea). Method 2 is to introduce

rapid torsion (spinning of the head) to the brain stem or allowing the brain mass to

move and collide with the skull, both methods results in a temporary state of

unconsciousness.

Ki and Kime sometimes get mistakenly thought as a synonym for one another.

Ki is alleged to be an energy force of varying description, however, until someone

can offer conclusive evidence of the existence of Ki and how to turn it on and turn it

off, then for me it is myth. There are some quite entertaining videos out there for

those who wish to repudiate the existence of Ki, watch them and that will be enough

said!

. | Page 128



http://www.youtube.com/watch?v=aKRVi4k_l8c&feature=fvwrel

http://www.youtube.com/watch?v=_Z0_n7tGnK0&feature=related

http://www.youtube.com/watch?v=QlfMsZwr8rc

Kime is somewhat misleading, due to having "Ki" as the first half of its spelling. It is

the Japanese term that describes the focus displayed on the termination of a

delivered waza. Despite certain fractions touting the theory that kime must use Ki

energy; it is however, the correct balanced use of and distribution of physical tension

and relaxation of the involved muscle groups, the dropping of the centre of gravity to

ensure a strong foundation has been achieved, choosing the correct position to

unload the forward momentum to generate maximum power, all in one coordinated

cessation.


. | Page 129


Karate Rankings & Titles


Reprinted (February 2013) Issue # 50

Nyumon entry level student

Mudansha kyu grade

Ju kyu 10th kyu

Ku kyu 9th kyu

Hachi kyu 8th kyu

Sichi kyu 7th kyu

Roku kyu 6th kyu

Go kyu 5th kyu

Yon kyu 4th kyu

San kyu 3rd kyu

Ni kyu 2nd kyu

Ik kyu 1st kyu

Sempai / Senpai Senior, same or higher rank than oneself

Kohai Junior, lower rank than oneself

Sensei teacher/instructor

Yudansha blackbelt

Kodansha senior blackbelt

KenShuSei 研修生 Trainee / Apprentice who is learning on the job. Usually

referring to Karate-ka on an Instructors Programme.

. | Page 130



Yudansha

Sho dan 1 st dan

Ni dan 2 nd dan

San dan 3 rd dan

Yon dan 4 th dan

Go dan 5 th dan

Roku dan 6 th dan

Kodansha

Shichi / Nana dan 7 th dan

Hachi dan 8 th dan

Ku dan 9 th dan

Ju dan 10 th dan

Renshi 3rd dan to 5th dan, aged 35 years plus "Ren" "polished, tempered" "Shi"

"person".

Shihan 6th and 7th dan aged 50 years plus “Shihan” master instructor

Kyoshi 7th dan and higher aged 50 years plus "Kyoshi" "professor" or "philosophy".

Hanshi example, model, teacher of teachers. 8th dan and higher aged 50 years plus

Kancho head of dojo (literal translation) Head of style/organisation (in practice) title

more than rank.


Kaicho head of dojo (literal translation) Regional Head of style/organisation (in

practice) title more than rank.

Shuseki Shihan 主席師範

. | Page 131

Chief Instructor.

Soke the founder of the art/style or his acknowledged and rightful successor. 10th

dan.

O Sensei great teacher, a posthumous term of respect to the founder of or the head

of the style/organisation.

Seito Deshi student, pupil of a martial art.

Uchi Deshi

student who lived and trained with the master.


referring to Karate-ka on an Instructors Programme


What does Kata mean to you?

by D Kirkham

Article first Published (February 2012) Issue # 46

What is the meaning of Kata? What’s it all about? What’s the point of it? having gone

into print and been asked this question many times over the years by many people,

members of the general public who don’t train, novice students, advanced students,

teachers of the subject, Kumite specialists, Kata specialists, sport only karate-ka, selfdefence

enthusiasts, petty politicians in Karate, pundits who are deliberately trying to

be controversial, heads of other associations, practitioners of other style of Martial

Arts, mean spirited individuals who are just looking for loop holes who have an axe to

grind, candidates for a promotional exam, Japanese cultural enthusiasts, Karate

historians, traditionalists and modernisers and I have given a wide range of answers to

the same question. Not because I was constantly changing my opinion, but my answer

is dependent upon the recipient of the message, their motivation for asking, their area

of interest and what is their level of experience. However, I believe, that many of

them meant to ask me, "What does Kata mean to you?" Now that would have got

them a completely different answer.

I feel that whatever the person believes to be true about Kata, may well be as valid of

an explanation as the next man’s interpretation. As long as the person who practices

Kata gets something in exchange for them holding their particular belief, and that the

return on investment is reflected in an enhancing of their experience of and their

practice of and final performance of the Kata!

Kata is part of the physical culture of Karate; it is a Japanese term meaning shape or

form. Kata all have individual names and are of a set number of basic techniques in

length and all techniques are arranged to appear in a specific order. Although different

styles of Karate use different names to describe the same Kata and some styles prefer

to retain the Chinese or Okinawan names, nevertheless they are recognisable as being

of the same Kata.

Kata are like a Martial war dance, similar in nature to the New Zealand "HAKA",

they are akin to shadow boxing, gymnastics floor routines. They are aesthetic in

appearance but most definitely Martial & warlike by nature. Kata are generally

practiced alone and are a rehearsal fighting routine, but they do not realistically

portray an actual fight scenario. That isn’t to say that individual techniques or mini

sequences of techniques taken from Kata in isolation are unworkable, because they do

work! But not necessarily in the continuous format that they are presented in, when

accumulatively performed. Yes they are a library of basic Karate technique put

together in a series of combinations, but no they do not represent one continuous fight

event. In search of the true meaning of individual Kata, and with very little original

documentation to confirm the authors motivation and purpose for the creation of each

kata ever having been written down, then modern Karate-ka have reverse engineered

kata to explain their meaning, which has led to there being a commonly held idea by

many Karate practitioners that each Kata is a series of techniques that are a realistic

fight scenarios against four to eight imaginary mind-simulated opponents, although it

. | Page 132



does help the performer to maintain their focus and to display the purpose of the

techniques within the kata to the viewer if the performer immerses themselves deeply

inside that scenario. However, in reality it is highly unlikely that in the format

presented that the linked combinations would accumatively work against four to eight

opponents. That said if it helps the student at the early stages of their development to

conceptualise that belief, and benefits them in the execution of their performance,

Instructors should therefore, have no problem whatsoever, with the students holding

fast to that idea.

Despite some Kata being recent inventions, of 50 years old, the majority however, are

much older, several hundred years old. There are some people, who gain great

strength and enjoyment from the experience of the Kata performance when bearing in

mind the historical & traditional aspects of the Kata, how they have been handed

down, generation to generation through instructors and passed on to their students

unchanged. In reality, it is known that the Kata which Funakoshi taught when he

moved to Japan from Okinawa was performed by him differently to the way that he

was taught them, and in turn Nakayama taught them differently to the way that

Funakoshi taught him, and Kanazawa also teaches them with slight nuanced

differences to the way that Nakayama taught him. Nevertheless, the Kata are a link to

the past and therefore, for me they are even more enjoyable for that reason.

An important factor to remember is that, Kata is not a punishment beating for the

performer, so whatever ones motivation to practice Kata may be, it is of paramount

importance to the performer that they enjoy the experience even if they only perform

the Kata merely as a means of physical exercise, and they are performed with no

traditional appreciation whatsoever.


Once a version of the Kata has been chosen for study, and a specific theme or concept

has been accepted and allocated to it, practice it not to display that concept as the

primary goal. Perform it initially to achieve technical excellence in the delivery of the

techniques themselves and then as secondary aim perform the Kata to express the

elegance of the systems techniques and to execute them with Martial intent. Kata is

part of the physical culture of Traditional Karate-do therefore its practice and

performance should be one of a personal growth experience. Kata is a form of Moving

Zen, a Martial routine, something that allows one to gain a focused state, albeit for the

duration of the performance. It allows one to block out the everyday worries of one’s

life and channelling one’s concentration elsewhere in a positive manner. And if one

performs it well and the viewer understands the broader message/concept that one is

trying to purvey and they also can appreciate the effort, time and levels of hard work

that has gone into delivering that one performance, then that in itself is a bonus but

should never be the aim. Perform Kata with the initial intent of YOU being the main

beneficiary.

. | Page 133


The Elements of Karate Kata

by D Kirkham


Revised (August 2001) Issue # 4

Kata is great exercise when performed without the high impact emphasis; therefore,

the elderly, the young and all ages can perform kata and benefit from its practice.

Kata is a library of traditional karate technique, a form of moving Zen, its

performance can be spiritual yet simultaneously physically beneficial for your

increased strength, speed, suppleness, concentration, coordination, confidence, selfexpression,

giving one a sense of purpose, it helps with focusing the mind and body

to meet new challenges. It is an integral part of a traditional physical culture; it’s a

war dance, a performance art. Kata puts the ART in martial ART, it’s an art that can

be performed with a traditional or of late a sporting emphasis; taking all these

aspects into consideration it is therefore, so much more than just a sport

activity. Bear in mind when performing kata as a traditional art form or as a sporting

discipline.

• Train towards achieving technical excellence.

• Think of kata as a War Dance as a performance art as a martial ART as well a

MARTIAL art.

• Think of yourself as a performer an actor involved in a mini play.

• Do nothing extra in the kata, other than the techniques.

• Do the minimum required to execute those techniques.

• Your performance starts before Yoi, it starts before you enter the performance

area.

• Your performance ends after you leave the performance area, not after Yame.

• Walk, Talk Think, Act with complete focus before, during and after your

performance.

Kata no Ju Taiyoso The Ten Elements of Karate Kata

As Karate Kata are performed without an opponent the following elements are

essential to the person performing the Kata, so that the observer will ‘sense’ all of

the elements that are involved and therefore, they can understand the purpose and

the meaning of the Kata through you interpretation of it.

Element 1. YOI NO KISIN - Refers to the process of the preparation of the mind and

spirit in readiness to perform Kata, using modern sporting vernacular, "Getting in the

Zone". Concentration throughout the performance is required to perform Kata well,

so the performer needs to combine his technique and movement with the focusing

of the mind by blanking out any distractions. As Karate Kata is performed without an

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opponent, the viewer of the Kata should be able to sense the purpose of the

performance, if the performer has prepared their mind and spirit prior to their

performance. This is the preliminary stage that happens before any of the

movements of the Kata begin, often before one reaches the performance area.

Element 2. INYO - Is the first of several Yin Yang type elements within the

performance of Kata. It's the awareness of, the balancing of and the correct use of

the active and passive, the attack and defence, the hard and soft aspects that are

involved in the movements and execution of the Kata. Therefore, they must be

performed in a manner that compliments each other and they must be appropriate

to the technique being delivered.

Element 3. CHIKARA NO KYOJAKU - Is the process and balancing of the use of

strength. The understanding and applying the correct degree of power for each

individual movement and position at the right time for the right duration within

Kata.

Element 4. WAZA NO KANKYU - Refers to using the correct speed in relation to each

individual movement in the Kata.

Element 5. TAI NO SHINSHUKU - Refers to the degree of expansion and contraction,

the relaxation or tension we apply to the body whilst performing the movements

and the techniques throughout the Kata. Perfection of this element will allow one

the ability to deliver explosive and extremely accurate techniques and create the

dynamic tension associated with great Kata performance.


Element 6. KOKYU - Breathing and posture control, this element relates to the

bodies movement, the transition and termination of stance within Kata. Some Kata

are designated to train for this specific element. Most styles of Karate have a specific

Kata that is dedicated to or makes a feature of the unique characteristics of breath

control to accomplish specific aims in one’s Karate studies. In certain circumstances

breath control is used to create a heightened state of awareness through the

increased oxygen supply and decreased carbon dioxide to the brain via the blood

supply, giving a measurable increase in speed, and increased kime. Some styles of

karate use kokyu exercise and kata as a method of hardening of the body. As a

means of settling the body at the termination of transition to root oneself to the

ground, enabling one to relax and so allowing the body to become airborne with the

use of powerful jumping techniques.

Element 7. TYAKUGAN - Refers to the understanding and a constant awareness of

what is the correct target area. All techniques in Kata are to be delivered to specific

target areas without exception and therefore, they are to be delivered with purpose

and with the target area in mind at all times. Mastery of this element sets apart the

experienced Karate-ka from the novice.

Element 8. KIAI - Shouting at predetermined points in Kata. There is more to it than

just shouting, it's a display of the spiritual meeting of the physical and mental

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commitment of the performer to the success of the technique, it's a releasing of all

of one's physical and spiritual energy into the technique and transmitting it into the

opponent's body, this is Kime which demonstrates the correct Martial spirit.

Element 9. KEITAI NO HOJI - Refers to maintaining the correct positioning of both

ones movement and stance, in other words, one’s posture must be maintained at all

times. This involves the upper body and lower body, weight distribution, spinal

alignment and foot positioning. Attention to this element will improve the delivery of

techniques, especially those involving speed and power and it will also improve your

ability to become either rooted or mobile in your stance as and when required.

Element 10. ZANSHIN - Is the term used that refers to remaining on guard "tuned in"

throughout the performance and for a period after completion of the Kata, including

when one moves from the final stance back into the Yame position for the Kata.

Remaining on guard until instructed to relax "Naorei, Enoy".

Other aspects that are involved in good kata performance and are worthy of note

EMBUSEN - Is the term used to describe the line that the performance of the Kata

takes. The line of performance should not be deviated from the one that was

designed by the Kata's originator. Kata Embusen varies from kata to kata, some are

linear, and some form complex individual patterns, while others form the letter "I".

Angles of movement, Tai sabaki, are used to avoid, deflect or intercept ones

imaginary opponents and the angles can be of 90 degree, 45 degree, 180 degree and

even 360 degree turns. To learn this aspect of Kata requires a disciplined approach

through the katas repetitious practice.

Timing - the speed at which the technique is delivered and the interval between the

end of one technique and the start of the next. Understanding timing leads one to

the study of combinations or sequences. Sequence is the term that refers to the

grouping of techniques within the Kata. Each Kata has its own rhythm or timing this

is created by the introduction of pauses, combination sequential timing and differing

speed delivery of techniques. This is what gives the Kata its life.

Bunkai - The Analysis of, the deconstruction of the Kata, where one is looking for the

meaning. At a Superficial level it's taken as a study of "what is the imaginary

opponent doing when one is performing a certain technique within the kata. But on

closer inspection it's more the whys and wherefores of each movement and each

transition, the student is looking to explain what Karate is about.

Oyo - The Application. It's often mistaken and inaccurately referred to as being

Bunkai, but Oyo involves the interpretation of the Bunkai and then taking it to the

next level. By recycling the analysis of the Bunkai and utilising it to your specific

needs and finding a workable application to meet those needs. That is why I have

advocated for decades the use of the word implication, as I feel it defines oyo better

than application, as there are millions of implied permutations of the traditional

application. So that is why for the performance of traditional Karate Kata, Oyo is not

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an aspect that affects the performance unless one is performing Kata within a

sporting environment and one has to demonstrate the Bunkai, which these days has

definitely shifted towards a display of Oyo more than the Bunkai.

MUDA NA WAZA - A term that refers to there should be no added or wasted

movement in the performance of one’s basic technique. Sometimes it's referred to

as "Economy or efficiency of movement" this is a term that encourages performers

to add nothing to the Kata that was not there when it was originally designed.

SHIN TAI WAZA - Also known as shin-gi-tai, is the Unity of the spirit and the body in a

technique. This when achieved and demonstrated at the end of one’s technique, is

referred to as KIME. This was referred to in Element 8 Kiai.

CHAKUGAN - Refers to the complex aspect of focusing ones countenance and gaze

by fixing the eyes on the correct point of focus, by looking, by seeing, by anticipating

and displaying a sense of purpose by living the experience of the performance. This is

another of the visible signs of Element 10 Zanshin. This aspect also helps to deliver

the technique with speed and power, that which is readily associated with traditional

Karate technique. Do not however, confuse this aspect as merely looking at a

particular area of the opponent’s body, because it's that and so much more than

that.


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Are the variations in kata, as important as they are made out

to be?

By Derick Kirkham


If any subject ever existed that is guaranteed to trigger off a conflict of opinion

between Karate kata enthusiasts, then this is it! I refer to which of the numerous

interpretations that exist on how to deliver some of the basic techniques within

traditional Karate kata. It is an age old debate that sparks off controversy over the

many differing opinions that are held as to the most realistic meaning of the katas

bunkai and oyo.

This age old debate has caused schisms within ryu's and has led to the formation of

new organisations and even new styles of karate in the past. However, it is a debate

that will never come to a definitive conclusion, for the main reason that the

originators of these kata have all long since died, and in their lifetimes they never

had the advantages of today's modern photographic, video and print technology to

document in an undisputable fashion the minute detail of the specifics of their

creations, nor did they have the facility or inclination to spread the secrets of their

masterpieces freely to the outside world at large. If one also takes into consideration

the following variables that surround why these variations exist, then it is not too

difficult to understand how or why some senior instructors today, vigorously

promote and defend their opinion on the subject and present it as being the only

true way to perform certain techniques from within kata.

1. The influence and therefore bias in the performances appearance due to the style

of karate of the performer.

2. "The Chinese whisper effect": is what happens when an aspect of a kata is

unintentionally misunderstood by a karate-ka and then it is misrepresented and

inaccurately reproduced while being passed on from karate-ka to karate-ka, who in

turn inaccurately pass on their wrong interpretation to others, while they firmly

believe it to be accurate.

3. "The intent behind practicing and performing the kata" : is the intent one of

displaying a dedicated representation of the traditional techniques of the style of the

art form, or is the kata being treated as a spectacular sporting performance, that

intentionally incorporates exaggerated and super-charged enhancements to increase

its spectator appeal, or is the kata purely being used as a vehicle and aid memoire,

practiced as a no frills self-defence rehearsal drill and nothing else.

4. "The influence of the moderniser" is the situation where someone is promoting

the introduction of modifications, suggesting they are improvements to one of the

commonly accepted versions of a particular traditional kata.

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5. The purpose of the kata, and the body types and capabilities of the creator

compared to those of the person performing their variation.

When I started to study Karate Kata some 50 years ago, kata were passed on to us

after our instructors, many of which were kyu grades themselves, had attended a

kata course, which were held usually at the weekend, and we were taught the same

kata on the following Monday. On these courses our instructors had been informed

that for example, in kata X, move number 4, then it is done a specific way,

however, often our instructors were not issued with a valid explanation as to why it

was to be performed that particular way. Nevertheless we were happy in the

knowledge that this input had come from someone who had been told that by

a Japanese instructor, albeit we were getting a third hand demonstration of move 4

from kata X. we were quite happy to faithfully follow what we were being shown,

which was all fine, that was until a few weeks later, after our kyu grade instructors

had attended yet another kata standardisation course. On his return to the club, our

instructor was armed with a further update, which stated that move number 4 from

kata X is no longer done the way that we were shown but a few weeks earlier, now

we were shown something slightly different and again no explanation for the U-turn

was given. These were very confusing and frustrating times for all concerned,

especially when a grading examiner would visit the club and they would themselves

bring yet another differing opinion as to how move 4 from kata X should be

performed.

This constant changing of how to perform kata, was due in no small way to the lack

of reliable video and printed reference material at that time.


This left us with no alternative but to seek clarification and instruction which was

coming direct from what we thought at the time to be an infallible source, I refer to

receiving instruction from the Japanese instructors themselves. We were lucky

enough to be getting our input through Mr Kanazawa who was the UK's chief

instructor until he was replaced by his assistant Mr Enoeda. If one was prepared to

travel then you would be able to train with some of the other assistant Japanese

instructors, many of whom are now well respected themselves and equally famous

instructors. This added somewhat to our confusion, as we discovered that not every

Japanese instructor taught move 4 from kata X exactly the same way as their other

Japanese colleagues, and we learnt that they too are susceptible to the "Chinese

whisper effect".

If that ball of confusion on its own was not enough to derail ones progress then

consider other contributory factors that did not help in the demystification of kata.

For example, during the period when Mr Kanazawa who today is arguably one of the

world’s leading authorities on Shotokan Karate kata, was the JKA's representative

and chief instructor here in the UK, he had a period where he taught enpi kata with

an interesting variation. For a short while he introduced the use of mawashi geri

after the age tsuki & tsukami uke combination as a substitute for the hiza geri.

. | Page 139


This variation was published in a kata book by Paul Crompton, which had other

interesting anomalies in it that to this day are points that are vigorously contended

by Shotokan Karate kata practitioners worldwide.

Variations can even come about as a result of happy accidents, which is thought to

be the reason behind why the JKA & the SKIF disagree as to which version

of gojushiho carries the name sho & which carries the name dai. But variations are

not usually so obvious as this example, as in the main they are quite minor points,

such as, "which leg does one move during the block and grab sequence", or "which

arm performs the block over the leg, or "where does hikite rest during the kicking

technique", or "are the back off the hands facing upwards or downwards during the

kick", or "does the left hand grab the wrist or rest there as an open hand", or "by

how much do the hands cross over each other in the kata no kamae posture".

So after considering the reasons stated above in the article as to why and how

variations in kata can come about, then it leads one to ask oneself two questions, 1.

are the variations in kata as important as they are made out to be? 2. is it important

to find out which variation is the true way to perform the kata?

The answer to question 1, is yes, the variations are important, but only in so much as

one should be aware of their existence so as to expand upon ones appreciation of

the history of the art form and to improve upon one’s personal technique

performance. The answer to question 2 however, is more complex, and it is my belief

that the true way to perform the technique, whatever that technique maybe, is not a

constant, it is a variable, a variable which is dictated by whatever the performers

motivation is for their practice and performance of kata. So as long as your

motivation for kata practice remains a constant and that motivation is clear to

yourself, then it is of lesser importance for example, whether the back of the hands

during the kicking technique are facing upwards or whether they are facing

downwards. But what is of more importance is that one has a thorough

understanding of one’s purpose, and that one fully understands and can justify the

choice of the variation of the technique that one uses during ones kata practice. This

is important so that one then has the ability to reproduce a constant and disciplined

performance of that technique every time one performs it.

When one views a karate-ka performing kata it is not whether the backs of their

hands are facing downwards or upwards that impress us about their performance,

but it is the precision and the strictly delivered manner in which that technique is

presented, which impresses us. Of course kata must be standardised so it is

recognisable from the name that it carries, this is so it is instantly recognisable no

matter which country in the world you are performing the kata in. And the Shotokan

Karate Union has always been advocates of kata standardisation and that is why they

adhere to the performance of kata as a display of the techniques of the traditional

art form. Since the SKU were founded in 1985 they have always taught their

instructors how to teach kata to a standardised format, and they have published

various literary works to accompany their belief so as to ensure that deviation from

what they believe to be the Traditional Japanese Shotokan way is avoided where

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possible. This is approach is especially important for the purpose of aiding students

progression through the grading rank system. But as the SKU are an organisation

that allows members to hold dual affiliation while being members of the SKU, then

they hold both SKU kata standardisation courses and alternative kata version

courses, which are led by SKU members who hold dual affiliation with other

shotokan organisations. These courses allow all SKU members to get together and

dissect a kata by reviewing all of the variations that are known of that kata at that

time. These sessions are extremely popular and are not held with the intention of

changing the way in which one delivers any of their techniques, but they are held so

that all SKU members are able to advance their overall knowledge base of kata in a

safe and open learning environment.

So in conclusion it is more important how one performs the technique, than it is

which variation of the technique one has chosen to perform. Just as long as the

technique variation that one has chosen is justifiable, appropriate for the purpose of

why one if practicing the kata, and most importantly that it is delivered with all of

the discipline and qualities that are regarded as synonymous with the style of

traditional karate that one practices, then it will be of greater benefit.


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Heian Godan Sequence 3.

By Derick Kirkham

Demonstrated by Paul Regan

Article first Published (Feb 2015) Issue # 58

Sequence 3 from Heian Godan is a vigorous rapid fire sequence, from start to finish.

That is performed at lightning speed, yet all techniques are individually

distinguishable from each other. Sequence 3 incorporates the following techniques,

Migi Chudan Morote Uke in Kokutsu-dachi, Gedan Juji Uke in Zenktsu-dachi, pulling

of both hands backwards towards the chest prior to performing, Jodan Juji Uke,

Wrist rotation and Chudan Osae Uke, Chudan Tetsui Uchi, culminating with a step

forward into Zenkutsu-dachi and delivering a Chudan Oitsuki, which is the first kiai

point.

Migi Chudan Morote Uke

Gedan Juji Uke

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Pull hands backwards

towards the chest

Jodan Juji Uke


Rotate wrists

Chudan Osae Uke

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Chudan Tetsui Uchi


Chudan Oitsuki (Side View) Kiai !

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Kanku Dai Kata no Kamae.

By Derick Kirkham



Whether one is performing Kanku, Kwaku, Kushanku, Koshokun, Kosokun, or any

other variation of the same, then the starting positions will certainly look very

similar. However, there is disagreement as to exactly how the hands should be

formed. We at the Shotokan Karate Union form the hands with the left hand under

the right, with the index & ring fingers and thumb of the right hand sitting over the

index & ring fingers and thumb of the left hand, so that they form a triangular gap

between the hands.


Shotokan Karate Union Kanku Dai Kata no Kamae.

. | Page 145


Gichin Funakoshi Kushanku all finger and thumb of right hand sitting over the left

hand leaving a triangular gap between the hands.

Rika Usami Chatan Yara Kushanku the complete left

hand over the right hand with no triangular gap

between the hands.

. | Page 146




Rika Usami Koshokun Dai the complete left hand over the right hand with no

triangular gap between the hands. : Kanku Dai with the left hand under the right ,

with the index & ring fingers of the right hand sitting over the index & ring fingers of

the left hand but the left hand thumb resting on top of the right hand thumb, so that

they form a triangular gap between the hands.

. | Page 147


Another variation of Kanku Kata no Kamae is where there is no overlapping of the

hands at all but they still form the triangular gap between them.

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Variations of Tsukami Uke Bassai Dai, Bassai

Sho, Kanku Sho.



Bassai Dai


Bassai Sho

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Kanku Sho

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Rising Sun & the Circle of Enlightenment


.

The Shotokan Karate Union emblem is a combination of two elements, the

rising sun and enso. Enso is not a standard Japanese Kanji character. It is more of a

symbol. In this application it is to be considered a spiritual symbol, as it is associated

with Japanese Zen Buddhism. Some refer to

Enso as "The Circle of

Enlightenment". While others refer to it as, “the Infinity Circle". Enso, symbolizes,

strength, enlightenment, harmony, elegance, and the universe. The literal meanings

of the two Kanji used to write Enso can be read as "Mutual Circle" or "Circle of

Togetherness".

Enso means, that everything in life completes a circle and when we reach Black

belt in Shotokan Karate, we don’t add stripes to denote Dan rankings, unlike other

styles of Karate. We allow the Black belt to naturally return back to white again

reminding us from where we came and as it fades we are therefore completing the

full circle. Many times and from many Masters you will hear them say that the

continuous study of Kihon and the Heian Katas are highly recommended for Black

belts. It is our belief that, as we get older and our bodies change, we need to

continually study the basics to overcome the new challenges that face us every day.

That is why we refer to Enso as "The Circle of Enlightenment" as it represents our

continual study and commitment every day in the pursuit of personal growth and

technical excellence. The word for Sun also means day.


This character is also the first Kanji for the word Japan, "The land of the rising

sun". In Japanese, the Kanji has several possible pronunciations; and it is therefore,

dependent upon the context in which it is being combined with other Kanji.

The Shotokan Karate Union uses the rising sun as it is used in the national

flag,

Nisshōki or Hinomaru. This way we acknowledge the heritage of

Japanese Karate. We also use it to refer to the principle of the organisation, “with

every new sunrise comes a new day and a new challenge and with it the circle of

enlightenment is achievable if we continue with our diligent studies”. The Kanji used

to express the rising sun are Kyoku jitsu also known as Asahi.

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So when both elements of the emblem are merged they represent the Shotokan

Karate Unions driving principle, as we believe that Shotokan Karate is the study in

pursuit of personal growth and technical excellence every day and therefore,

through diligent study we learn something new every day, even if it may be a new

light through an old window.

"The circle of enlightenment comes with every rising sun."

Satori no wa ga hinode to tomoni yattekuru

Shinboku no Shakai & SKU Kanji


The Shotokan Karate Union 松涛館空手連盟 Shoto-kan Kara-te Renmei, often

referred to as the SKU, is a society for friendship 親睦の社会 a shinboku no shakai.

A society that was founded in Great Britain in 1985 by a coming together of invited

individual members from several Shotokan karate groups, including members from

the two largest Shotokan karate organisations at that time, as a result the SKU will

always remain a strictly non-political group. The concept of the friendship society

was at the heart of the formation of the SKU, and that is why its members still hold

strong to the belief that, “Unity is strength and strength through friendship”. That

belief was further expressed and celebrated in the choice of Japanese kanji that

represents and defines the word “union” as used in the title of the society, because

it features the characters of renmei 連盟 and not rengo 連合 , as they better

symbolises the mutually held feelings that were behind the coming together in union

of those original invited members. The SKU adheres to and will continue to promote

the benefits to be gained from, the alliances that are made, through the coalition of

accumulated experiences and the alignment of the various training methodologies of

its members.

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Shotokan Karate History

"Shotokan" Shotokan-ryu is a style of karate, developed from various martial arts by

Gichin Funakoshi (1868–1957) and his son Gigo (Yoshitaka) Funakoshi (1906–1945).

Gichin was born in Okinawa and is widely credited with popularizing karate

through a series of public demonstrations, and by promoting the development of

university karate clubs, including those at Keio, Waseda, Hitotsubashi (Shodai),

Takushoku, Chuo, Gakushuin, and Hosei. Funakoshi had many students at the

university clubs and outside dojos, who continued to teach karate after his death in

1957. However, internal disagreements (in particular the notion that competition is

contrary to the essence of karate) led to the creation of different organizations—

including an initial split between the Japan Karate Association, headed by

Masatoshi Nakayama and the Shotokai, headed by Motonobu Hironishi and Shigeru

Egami, followed by many others—so that today there is no single "Shotokan school",

although they all bear Funakoshi's influence. Being one of the first and biggest styles,

Shotokan is considered a traditional and influential form of karate. Shotokan was the

name of the first official dojo built by Funakoshi, in 1939 at Mejiro, and destroyed in

1945 as a result of an allied bombing. Shoto meaning "pine-waves" (the movement

of pine needles when the wind blows through them), was Gichin Funakoshi's penname,

which he used in his poetic and philosophical writings and messages to

his students. The Japanese word kan means "hall". In honour of their sensei,

Funakoshi's students created a sign reading shoto-kan which was placed above the

entrance of the hall where Funakoshi taught. Gichin Funakoshi never gave his style a

name, just calling it "karate".

Wikipedia


The history of Martial Arts is shrouded in mystery, legend and secrecy. It is generally

believed that the first ever form of a martial art was created over 1000 years ago by

a monk named Bodhidharma. He was the founder of Zen Buddhism, and eventually

took his teachings to China. He travelled to the Shoalin Temple where he began

teaching the monks that resided there. At first they were physically unable to keep

up with his teachings, and so Bodhidharma devised a training system to develop the

monks both physically and spiritually. The Shaolin Monks became known as the best

fighters in China and the system by which they were taught became known as

Shaolin boxing. The Shaolin Monks travelled from China to spread the word of

Bodhidharma and his fighting system. Zen was readily accepted in Japan. One of the

most devout followers of the Buddhist religion was Sho Shin. His father was King Sho

En, ruler of Okinawa, and Sho Shin became King at the age of just 13 in 1477. Due to

his devout religious beliefs, one of the first things he did during his reign was to ban

all weapons. This ban was continued by the Satsuma clan. Those who studied martial

arts now had to do so without any form of weaponry. In 1609 Japan invaded

Okinawa, and further to the ban on weaponry, placed a ban upon anyone doing

martial arts, and so martial arts training became shrouded in secrecy. Over the next

. | Page 153


300 years in Okinawa - during the long reigning ban on martial arts - three main

branches of self-defence became evident. These were Shuri-te, Naha-te and Tomarite,

named after the Okinawan towns within which they developed. They were known

collectively as Okinawa-Te or To-te. Eventually these developed into two mains

styles, Shorin-ryu which developed from Shuri and Tomari and Shorei-ryu which

came from Naha. It is believed that Shorin-ryu was best for smaller men, with a light

and fast style. Shorei-ryu was suited to the bigger, more powerful man. Gichin

Funakoshi was born in 1868 and began studying martial arts at a very young age,

under Anko Itosu and Yasutsune Azato. The ban on martial arts still stood, and so

Funakoshi would often have lessons with his instructors at night time, so not to be

discovered. To-te, the martial arts of Okinawa could also be pronounced ‘kara’ and

Funakoshi gave this the alternative meaning of ‘empty’ and so his training became

known as Karate. The ban on martial arts was finally lifted in 1902 when Shintaro

Ogawa, the Commissioner of Education recommended that martial arts should be

included in physical education in the first middle school of Okinawa. This meant that

Funakoshi could continue his training in without fear of discovery, and he could now

spread the word of his karate. Funakoshi was invited to Japan in 1922 to give a

demonstration of Karate at the First National Athletic Exhibition in Tokyo, which was

organised by the Ministry of Education. After this demonstration he decided to

remain in Japan to spread the word. It is thanks to his efforts that Karate became

part of the school curriculum in Japan. The style name Shotokan was given to

Funakoshi’s karate by his students. Shoto was Funakoshi’s pen name as a writer,

meaning ‘pine waves’ and Kan means ‘school’ so those who trained at Funakoshi’s

‘school’ became known as the Shotokan. In 1948 Funakoshi established the Japan

Karate Association and he remained the head of the JKA until his death in 1957.

Nakayama was a senior student of the JKA and took over the role of head of the

Association. Nakayama began studying Shotokan under Funakoshi Sensei, at

Takushoku University in 1932. Now Nakayama is held responsible for the worldwide

development of Shotokan Karate. Nakayama developed a way of logically teaching

karate. He decided that it was best to devise a way of teaching different abilities

easily. He developed the instructor programme and karate’s first ever match system.

It is thanks to Nakayama Sensei that karate is as successful a martial art as it is today.

Nakayama Sensei passed away in 1987, at the age of 74.

S Banfield & E Robins

. | Page 154




1868 Gichin Funakoshi born

1877 Gichin Funakoshi started formal martial arts training

1906 Yoshitaka Funakoshi born

1913 M Nakayama born

1918 Yoshitaka Funikoshi started formal karate training

1922 Gichin Funakoshi introduced Okinawan Martial Arts to mainland Japan

1924 Gichin Funakoshi introduced Kyu & Dan Grading ranks into Karate

1929 Gichin Funakoshi changed the name of karate-jutsu from the

Chinese to "Karate-do" (“the way of the empty hand”)

1931 H Kanazawa born

1932 M Nakayama started formal karate training

1935 K Enodea born

1939 The Shotokan school was built

1943 Yoshitaka & Gichin Funakoshi published "Karate-do Nyumon"

1945 The Shotokan was bombed

1945 Yoshitaka Funakoshi died

1945 M Kawasoe born

1949 JKA was Formed

1949 H Kanazawa started his Shotokan training

1951 K Enodea started his Shotokan training

1955 JKA HQ was built

1956 JKA Instructors Classes started

1957 Gichin Funakoshi died

1957 1st JKA championship

1957 V Bell the 1st Briton to achieve a Karate Dan Grade

1957 The original British Karate Federation was formed

1960 M Kawasoe started his Shotokan training

1962 C Mack the 1st Briton to achieve a JKA Shotokan Dan Grade

1964 The original BKF appointed as JKA's British representatives

1964 V Bell Dan Grade ratified by JKA as Shotokan Dan Grade

1965 1st Japanese JKA instructors arrive in Great Britain

1966 1st British Shotokan Only association was formed

1974 Shotokan Karate International (GB) formed

1978 Shotokan Karate International Federation formed

1985 Shotokan Karate Union formed

1987 M Nakayama died

2003 K Enodea died

2004 V Bell died

2019 H Kanazawa died


. | Page 155


Gichin Funakoshi Yoshitaka Funakoshi Masatoshi Nakayama

.

Hirokazu Kanazawa Keinosuke Enoeda Masao Kawasoe

. | Page 156



Speed Comparison

by D Kirkham

Article first Published (August 2013)

People often use the word speed in a generic catch all form in a sporting context;

when they could be referring to the time that one takes to respond to an external

stimuli, one’s reaction time; they could equally be referring to ones reflex action

time; they could be referring to the time taken to come to a decision; they could also

mean the time taken to deliver a technique from its start to its finish. The latter is

the most commonly used definition of speed, however, lines do tend to get blurred

between all of the above examples and speed sometimes gets confused with

velocity.

Force

The understanding of the concept of force was an essential part to the development

of both mechanics and physics. A force is accepted to be a push or pull that is

experienced by a mass when it is accelerated.

Power

Force = Mass x Acceleration

which is Newton's second law of motion.

Power in physics can be expressed in terms of an applied force.

Power = Force x Velocity


A powerful karate-ka is both strong and fast. But a strong and fast karate-ka may not

always possess the refined quality of correct technique, good form. However, if a

karate-ka who displays correct form and delivers their technique with maximum

speed, then they will be displaying their true potentiality through the delivery of a

powerful technique.

Velocity

Velocity is the rate at which an object changes its position. The direction in which the

object travels is a key factor in its measurement. Think of a Karate-ka practicing in

isolation, the two technique sequence from bassai dai, where they move rapidly one

step forward with shuto uke and then immediately one step backward with shuto

uke. Despite the flurry of motion that this sequence generates, because it always

returns the performer back to their original starting position, it is treated by its

physics definition that there has been no change to its original position and

therefore would return a measurement of zero velocity.

. | Page 157

Velocity = Displacement / Time


Speed

Speed is how fast an object is moving.

Power

Speed = Distance / Time

Correct Technique + Speed = Power

This is a karate refined definition of power and therefore, its associated formula

relies upon the following conditions to be true; that correct technique CT is equal to

a technique that aims to be and does deliver a technique that is, a: executed with

the minimum of disruptive effect to the performer and b: has the minimal negative

effect on the performers stance, posture, balance, stability and composure; while it

has, c: the maximum destructive effect on the recipient of the technique. CT should

exploit to its advantage all of the mechanical principles that apply to the movement

of the human body, and harness the laws of physics in a smooth and efficient

manner to generate the maximum amount of destructive force that the individual

performer is capable of generating, in return for the minimum amount of exerted

effort.

It is obvious that the common denominator in all of the related equations is the

element of speed, so let's compare the following examples of speed.

. | Page 158




ACTIVITY FPS MPH MPS MLS SECS MACH

Pro Boxer punch 1

Nakayama data straight punch 2

Nakayama data lunge punch 2

Fastest recorded karate punch to reach a target

3 feet away 3

Martial arts kick mawashigeri 4 145

199.5

. | Page 159

30 20.45

23.43 15.98 7.1

41.71 28.44 12.64

64.53 44 460 0.46

99

136

Capoeira

Tae Kwon Do

Martial arts kick maegeri 4, 5 102 70 Karate 4


134.9 92 Karate 5

Neuro signal transmission speed 5 388.7 265 80 0.08

Speed of a blink 5

Normal human reflex to register the

audible cue of a gunshot 6

400 0.4

300 0.3

Speed of sound 7 1126 768 1

Usain Bolt speed at the 60 to 80 meter stage of

the Beijing 2008 Olympic 100 meters final was

recorded 8

40.2 27.44 10.15228

Usain Bolts' reaction time at the 2008 Beijing Olympic 100 meter final

8

165 0.165

Reaction times of the other seven finalists 8

133 0.133

134 0.134

142 0.142

145 0.145

147 0.147

165 0.165

169 0.169

Cheetah 4 110 75

Horse 4 80.2 54.7

Tiger 4 72.9 49.7

Fastest recorded karate punch to reach a target

3 feet away 3

64.53 44

Greyhound 4 57.9 39.5

Nakayama data

lunge punch 2

41.712 28.44

Diamond back rattle snake strike 4 15 10.23

Pistol fast draw shooting is the fastest known recorded human physical activity.

Bob Munden to draw, cock, shoot & hit a target

as a self-starter (not as a response test) has been recorded at 9. 10

The fastest reaction time of an exponent of pistol fast draw 9 10

. | Page 160

20 0.02



145 0.145

Bullet from hand pistol travels at 10 308 210

Arrow travels at 10 250 170.45

Honda Formula One car in the Mojave desert

clocked 11

376.58 256.765

Fighter jet 12 3226.7 2200 3.2

Fastball in baseball is thrown 13 139.3 95

Reaction time of a pro baseball player 13 110 0.11

Reaction time of a pro ice hockey player Olaf Kolzig 15 100

Average reaction time of a non-athlete 14 215

Average reaction time of Karate-ka 14

138

0.10

0.215

0.138

Fastest a human being can react 8

100

0.10

References


1 ESPN Sport Science

2 Nakayama, M. (1976) : Dynamic Karate. Tokyo : Kodansha.


4 National Geographic Fight Science




8 ABC Science of Olympic Gold



11 www.autosport.com

12 Wikipaedia


14 Kirkham, D . (2012) "Study of values of Sambon Kumite" Shotokan Karate Union Quarterly Magazine, Issue 46.

15 FSN Sports Science

.

. | Page 161


Stance Transition.

by D Kirkham


Revised (August 2014)

Of major importance in the transition from one stance to another, no matter what

that stance may be; is to maintain a constant vertical & horizontal hip height and

posture throughout ones core movement. This for both aesthetic and practical

reasons; such as, it gives the stance a much smoother appearance, and it facilitates

core driven movement thus maximises upon the delivered power and speed.

Fig 1 Displays the transition from one Zenkutsu Dachi front stance to another

Zenkutsu Dachi. Photo a, b, c are the stages involved in stepping forwards, while c, d,

e are the stages involved in stepping backwards.

Fig 2 Displays the transition from one Kokutsu Dachi back stance to another Kokutsu

Dachi. Photo a, b, c, d are the stages involved in stepping forwards, while d, e, f are

the stages involved in stepping backwards.

The termination point of a stance, such as C in Fig 1 and D in Fig 2 are what everyone

looks at, and is the element by which ones form is rated; while in actuality an expert

eye also looks at the transition from one stance to the next, this stage is what the

performer and the observer subconsciously feels about the performance. Dependent

upon ones psychological state and commitment during the transition phase of a

stance, then it can result in giving a completely different complexion to the

. | Page 162



performance; in the areas of making the stance look; sluggish, erratic, heavy

footed, balanced, calm, confident, smooth, fast, strong, tense, relaxed, efficient.

What other elements affect ones smooth transition prior to and during the

performance of a stance? Psychological state, Motivation, commitment and one’s

level of understanding of the individual phases, of each of the different stances, also

one’s level of understanding of how to move one’s body efficiently. Knowing which

are the required muscle groupings to deploy and equally which are their antagonistic

muscle groupings, and possessing the ability to relax and tense those muscles at

precisely the right time is crucial. Other elements involved are balance, stability,

symmetry, lightness of foot, and smoothness in the application of rapid speed, all

of which are covered in detail by other modules and units of the Shotokan Karate

Union Coaching Award Scheme and in another article “The Principles of Movement”.

Fig 3 Displays the transition from one Kiba Dachi straddle stance to another Kiba

Dachi. As in the other stances mentioned in this article one of the more

important factors to aim for is that during the transition from one stance to another,

is that the height of the performers hips must remain constant throughout.


. | Page 163

Fig 3.1 The red line displays where a plumbed

line from the knee to the floor would fall in all

three of the stances. The blue line displays

where the centre of gravity lies. The black

numbers are a percentage representation of

the weight distribution. The yellow line is the

distance between heel centres and this

distance is the same in all three of the stances.

The distance between heel centres is

determined by numerous factors all of which

were covered in an article named kokutsu

dachi.


Fig 4 Balance in the transition phase from one stance to another stance is important,

it's always emphasised by and asked for by coaches, it's unconsciously aimed for and

auto adjusted for by performers, and it's absence is felt when not present; however,

it's not always thought about in the right way, because in the main people tend to

think that they can achieve a state of balance simply by thinking harder about

themselves not stumbling. When this type of over thinking often has the opposite

effect upon improvement, this is an example of paralysis through over analysis. This

isn't the same as saying we must never study and attempt to understand what it is

that affects one’s balance. The blue line in Fig 4 shows the correct position of

balance when one is in the heisoku dachi 閉足立 the feet together stance. The red

line shows where the body weight has been realigned to, which is the tipping point,

which is the point of no return where ones complete balance is lost. Photo A displays

the correct upright position one of an on-balance position. Photo B displays how the

performer has leant slightly backwards and it is noticeable from this that only a small

degree of misalignment in the backwards direction is required before ones complete

balance is lost, this position also makes it increasingly difficult to raise the heels and

drive by pushing down through the toes. Photo C displays how the performer has

leant forwards and displays how a greater degree of forward misalignment can be

tolerated before ones complete balance is lost but only at the cost of losing correct

posture at the hip line.

. | Page 164



Fig 5 displays an anterior view of a

beautifully well balanced ballet position,

one which has poise and symmetry.


Fig 6 displays a posterior view of a

well-defined, balanced pose of muscle

development that has symmetry and

from which it’s easy to pick out

the individual muscles.

. | Page 165


Shime 締め(Squeeze Together, to Tighten).

by D Kirkham

Article first Published (November 1985)

Revised (August 2014)

Shime 締め means to Squeeze together, to Tighten. In the Okinawan styles of Karate

this process is openly spoken about and is heavily focused upon during training

sessions. However, the same priority is not given to it wholesale within the Shotokan

Karate style, despite it being one of the key contributory factors to achieving a

smooth looking, efficient, and effective transition from one stance to another, no

matter if you are going forwards, backwards or sideways.

I covered in detail the correct muscle usage, distribution of body mass, and many of

the other principles of movement that are involved when transitioning from one

stance to another, in the associated handbook from the SKU Coaching Scheme

module entitled “Movement”; and I also referred to “Shime” in the previous article

which was imaginatively named “Stance Transition”, both of which were first

published August 1985. Therefore, this article is to link to the instructions given in

both of those publications. This article will cover in greater detail, what Shime is,

which muscles you are to use, when to apply Shime, when to release Shime, and

where the bodies core driving force is to be instigated from dependent upon the

direction of travel. This article has been produced to demystify what is a simple but

overlooked concept and will be a new area of study for some students, hopefully it

will also aid to improve the quality of everyone’s movement and to make stance

transition an easier to execute process; that is if it is practiced and applied correctly

afterwards.

NOTE: The colour coding, annotation, and diagrams used throughout the article are

consistent in all of the 3 examples given and will be explained fully as we go along.

FIG 1

. | Page 166



Stepping Forwards with Front Stance

In Fig 1: Photo A: we observe a student who is static, stood in a left leg forward front

stance and is just about to begin to move forwards and then backwards using

Zenkutsu Dachi (Front Stance).

The red colour annotation used in all of the examples of this article denote that the

student is about to move forwards, or has just moved in a forward direction.

The solid red circle with a connected arrow denotes the direction of force and the

area of the body from where the body’s core driving force should be initiated from.

Photo A: the student is about to move forwards, the area of the body that one

should visualise and instigate the cores driving force from at this phase, is a small

circular area situated in the small of ones back. It helps to visualise that it is

specifically located between the small of the back and the inside surface of the

students Karate belt.

The red diagonally vertical lines and their associated inward pointing red arrows

denote the direction of tightening / squeezing of the complete group of inner thigh

muscles. The action of introducing “Shime” is to achieve an added degree of

propulsion assistance and positive muscle engagement in the transition from one

stance to another. Simply because at this the initial phase of movement, the body

has to overcome gravitational pull, so any added propulsion assistance can only

prove invaluable at this the most difficult of the phases of movement for the body to

perform. For a detailed anatomical diagram of the individual inner thigh muscles that

are involved in “Shime” then see Fig 4.


Linking all of the factors that were explained and employed in the initial phase of

movement, I refer to those that were explained in the previously named

publications, one should simultaneously add to them by applying “Shime” by

squeezing / tightening the group of inner thigh muscles in an inwards direction

towards the body’s centre line. This technique will add a degree of extra propulsion,

a pulling sensation to the major power sources that are applied. This will help to kick

start the initial phase of movement by allowing you to deliver it smoothly, with

added stability and giving one a greater sense of control, especially when “Shime” is

linked to the correct use of the body’s core to drive the whole body forwards from

the rear.

Photo B: Depicts the student now they have reached the halfway stage of moving

forwards in Front Stance. Please Note that “Shime” is to be released when this half

way stage has been reached. The reason for this is simply because any elongated

holding of tension in the group of inner thighs muscles past the halfway point will

only hinder the other phases of movement and the group of inner thighs muscles will

then begin to act in an antagonistic manner to one’s movement, as the body’s

muscle tension after this halfway stage is redirected elsewhere, redirected to

different muscle groupings those that were explained in the previously named

publications.

. | Page 167


The solid red circle with its connected red arrow denotes the direction of the driving

force and the area of the body from where the body’s core driving force should be

smoothly and constantly applied from.

Photo C1: captures the student a fraction of a second in time prior to the

termination point of their stance, this is the last phase of the stance’s transition.

It shows that the body’s core driving force is still to be visualised by the student and

that one should still to be applying it in a smooth and constant manner right up to

the completion of the stance, which is the time when the body is at rest and

becomes static again. Note that the body’s core driving force throughout comes

from the rear and is located at a small circular area of the body that is located in the

small of ones back and it does help the student to visualise that it is specifically

situated between the small of the back and the inside surface of the students Karate

belt.

Stepping Backwards with Front Stance

Fig 1: Photo C2: we observe a student who is static, stood in a right leg forward front

stance and is just about to begin to move backwards using Zenkutsu Dachi (Front

Stance). The same goes for (Photo C2 Reverse View): which is the same as in Photo

C2: but is taken viewing things for clarity from the inside reverse angle as stated in

the photo.

The blue colour annotation used in all of the examples of this article denote that the

student is about to move backwards, or has just moved in a backward direction.

The solid blue circle with its connected blue arrow denotes the direction of the

driving force and the area of the body from where the body’s core driving force

should be smoothly and constantly applied from. Photo C2: the student is about to

move backwards, therefore, the area of the body that one should visualise and

instigate the body’s core driving force from at this initial phase, is a small circular

area situated directly between the inside surface of one’s Karate belt and the “Hara”.

It helps the student to visualise where the body’s core driving force is specifically

located throughout the whole process of the execution of transitioning from one

stance to another.

The blue diagonally vertical lines and their associated inward pointing blue arrows










movement, I refer to those that were explained in the previously named

. | Page 168



publications, one should simultaneously add to them by applying “Shime” by






linked to the correct use of the body’s core to drive the whole body backwards from

the front.

Photo D: Depicts the student now they have reached the halfway stage of moving

backwards in Front Stance. Please Note that “Shime” is to be released when this half

way stage has been reached. The reason for this is simply because any elongated

holding of tension in the group of inner thighs muscles past the halfway point will

only hinder the other phases of movement and the group of inner thighs muscles will

then begin to act in an antagonistic manner to one’s movement, as the body’s

muscle tension after this halfway stage is redirected elsewhere, redirected to

different set of muscle groupings, those that were explained in the previously named

publications.

The solid blue circle with its connected blue arrow denotes the direction of the

driving force and the area of the body from where the body’s core driving force

should be smoothly and constantly applied from.


Photo E: captures the student a fraction of a second in time prior to the termination

point of their stance, this is the last phase of the stance’s transition.




becomes static again. Note that the body’s core driving force throughout comes

from the front. It does help the student to visualise that it is specifically located at a

small circular area situated directly between the inside surface of one’s Karate belt

and the “Hara” when moving backwards.

Fig 2:

. | Page 169


Stepping Forwards with Back Stance

Fig2: Photo A: We observe a student who is static, stood in a right leg forward back

stance and is just about to begin to move forwards and then backwards using

Kokutsu Dachi (Back Stance).

The red colour annotation used in all of the examples of this article denote that the

student is about to move forwards, or has just moved in a forward direction.

The solid red circle with a connected red arrow denotes the direction of force and

the area of the body from where the body’s core driving force should be initiated

from. Photo A: the student is about to move forwards, therefore the area of the

body that one should visualise and instigate the cores driving force from at this initial

phase, is a small circular area situated in the small of ones back. It helps to visualise

that it is specifically located between the small of the back and the inside surface of

the students Karate belt.







prove invaluable at this, the most difficult of the phases of movement for the body

to perform. For a detailed anatomical diagram of the individual inner thigh muscles

that are involved in “Shime” then see Fig 4.


movement, I refer to those that were explained in the publications named

previously. One should simultaneously add to them by applying “Shime” by






linked to the correct use of the driving force of the body’s core to drive the whole

body forwards from the rear.

Photo B: Depicts the student who is on the move during the initial phase of the

stances transition and also how Shime is fully maintained until the halfway point of

Photo C: is reached.

Photo C: Depicts the student now that they have reached the halfway stage of

moving forwards in Back Stance. Please Note that “Shime” is only to be released

when this half way stage has been reached. The reason for this is simply because any

elongated holding of tension in the group of inner thighs muscles past the halfway

. | Page 170



point will only hinder the other phases of movement and the group of inner thighs

muscles will then begin to act in an antagonistic manner to one’s movement, as the

body’s muscle tension after this halfway stage is redirected elsewhere, redirected to

different muscle groupings.

The solid red circle with a connected red arrow denotes the smooth and constantly

applied direction of force and the area of the body from where the body’s core

driving force should continue to come from.

Photo D1: captures the student a fraction of a second in time prior to the

termination point of their stance, this is the last phase of the stance’s transition.




becomes static again. Note that the body’s core driving force throughout forward

movement comes from the rear and is located at a small circular area of the body

that is located in the small of ones back and it does help to visualise that it is

specifically situated between the small of the back and the inside surface of the

students Karate belt.

Stepping Backwards with Back Stance

Fig 2: Photo D2: We observe a student who is static, stood in a left leg forward back

stance and is just about to begin to move backwards using Kokutsu Dachi (Back

Stance).

The blue colour annotation used in all of the examples of this article denote that the

student is about to move backwards, or has just moved in a backward direction.


The solid blue circle with a connected blue arrow denotes the direction of force and


from.

Photo D2: the student is about to move backwards, therefore, the area of the body

that one should visualise and instigate the cores driving force from at this initial

phase, is a small circular area situated directly between the inside surface of one’s

Karate belt and the “Hara”. It helps to visualise where the cores driving force is

specifically located throughout the whole process of the execution of any

transitioning from one stance to another.

The blue diagonally vertical lines and their associated inward pointing blue arrows





. | Page 171



prove invaluable at this, the most difficult of the phases of movement for the body

to perform. For a detailed anatomical diagram of the individual inner thigh muscles

that are involved in “Shime” then see Fig 4.










body backwards from the front.

Photo E: Depicts the student who is on the move during the initial phase of the

stance’s transition and it also shows how Shime is fully maintained until the halfway

point of Photo F: is fully reached.

Photo F: Depicts the student now that they have reached the halfway stage of

moving backwards in Back Stance. Please Note that “Shime” is only to be released

when this half way stage has been reached. The reason for this is simply because any





different muscle groupings.

The solid blue circle with a connected blue arrow denotes the smooth and constantly

applied direction of force and the area of the body from where the body’s core

driving force should continue to come from.

Photo G: captures the student a fraction of a second in time prior to the termination





becomes static again. Note that the body’s core driving force throughout backward

movement comes from the front and is located at a small circular area of the body

that is specifically located at a small circular area situated directly between the inside

surface of one’s Karate belt and the “Hara” when moving backwards.

. | Page 172



Fig 3:

Stepping Sideward with Horse Riding Stance

Fig 3: Photo A: We observe a student who is static, stood facing to his left in Horse

Riding Stance and is just about to begin to move sideward to his left using KibaDachi

(Horse Riding Stance).

The red colour annotation used in this example of this article denotes that the

student is about to move sideward to his left, or has just moved in a sideward

manner to his left.

The solid red circle with a connected red arrow denotes the direction of force and


from.


Photo A: the student is about to move sideward to his left, therefore, the area of the

body that one should visualise and instigate the cores driving force from at this initial

phase of any sideward movement, is a small circular area situated directly between

the inside surface of one’s Karate belt and the right hip if one is moving to the left

and visa versa if one is moving to the right. It helps the student to visualise where

the cores driving force is specifically located throughout the whole process of the

execution of any transitioning from one stance to another.














. | Page 173







body sideward from the rear (the opposite hip).

Photo B: Depicts the student now they have reached the halfway stage of moving

sideward in Horse Riding Stance. Please Note that “Shime” is to be released when

this half way stage has been reached. The reason for this is simply because any





different muscle groupings those that were explained in the previously named

publications.

Photo C: captures the student a fraction of a second in time prior to the termination





becomes static again. Note that it does help the student to visualise that the body’s

core driving force throughout the whole process of transitioning from one stance to

another, comes from and is specifically situated directly between the inside surface

of one’s Karate belt and the right hip if one is moving to the left and visa versa if one

is moving to the right.

Visualisation Points of the Body’s Core Driving Force

In Fig 5: Photos A: & B: you can observe 2 red solid circles, they depict the

visualisation point that every student should concentrate on through visualisation as

the point of instigation where the body’s core driving force is originated from , this

applies whenever the student is transitioning in a forwards direction. It helps the

student to know a specific location for each of these points as it does make

visualisation easier when starting to drive forwards horizontally. The location to keep

in mind for forward propulsion is specifically located between the small of the back

and the inside surface of the students Karate belt.

In Fig 5: Photos A: & C: you can observe 2 blue solid circles, they depict the


the point of instigation where the body’s core driving force is originated from , this

applies whenever the student is transitioning in a backwards direction. It helps the

student to know a specific location for each of these points as it does make

visualisation easier when starting to drive backwards horizontally. The location to

keep in mind for backward propulsion is specifically located directly between the

inside surface of the knot of one’s Karate belt and the “Hara”.

. | Page 174



In Fig 5: Photos A: B: & C: one can observe green solid circles, they depict the


being the point of instigation where the body’s core driving force is originated from,

this applies whenever the student is transitioning in either of the sideward

directions, left or right. It helps the student to know a specific location for each of

these points as it does make visualisation easier when starting to drive sideward

horizontally. The location to keep in mind for sideward propulsion in either direction

is specifically located directly between the inside surface of one’s Karate belt and the

hip, the right hip if one is moving horizontally sideward to the left and the left hip, if

one is moving horizontally sideward to the right.

In Fig 5: Photos B: & C: one can observe vertically diagonal white line situated on the

inner thigh area, they are to indicate the muscle groupings that are used to apply

“Shime”. For a detailed anatomical diagram of the individual inner thigh muscles that


Fig 4: Anatomy of muscle group used in the application of “Shime”


. | Page 175


Fig 5: Visualisation points of the body’s core driving force.

. | Page 176



Preparation to Perform

by D Kirkham


Revised (May 2012)

What is involved in the perfect preparation to perform? That is quite a complex and

highly involved subject area, and to do the question true justice it would take much

more space than is affordable to me in the confines of this article. The question

posed should take into consideration various theories, concepts, philosophies and

scientific principles and deserves a more considered response. Therefore, this

article while acknowledging all of the areas that are involved in the subject matter, it

will also make passing reference to them; however, it will restrict itself to the mental

preparation of getting ready to perform, specifically attaining the correct preperformance

state of mind, "getting in the zone". The article aims to highlight how

rituals and certain techniques are being overlooked by many karate-ka as they are

performing them in a cosmetic or even worse, in a superficial manner, they are

missing a great opportunity to improve their performance as these rituals and the

techniques that they deem to be of secondary importance are in reality of great

benefit to one’s mental preparation, and therefore, of great benefit to one’s

performance. The article reinforces the precept that "There are no details too small

in the Shotokan Karate-do system that are not worthy of closer study". If you are a

member of the Shotokan Karate Union and are on the coaching award scheme, then

if after reading this article, and you would like more information on this fascinating

topic, then I highly recommend reading "Performance".


There are three main factors that affect ones overall performance, and while

western coaches of the eastern martial arts sometimes speak about the concept of

"Shin-Gi-Tai" Mind, Technique and Body as being inseparable, they are quite right to

do so as all three factors do influence each other and ones the performance; but too

often is the case, that this lip service that they are paying to the topic is as far as it

goes! The reality is that they over emphasise one of the factors above the other two

and therefore, the coach unwittingly allocates disproportionate lengths of training

time and they verbally over emphasise the importance of their favourite factor out

of the three. As a result of the skipping over of any one factor in favour of another,

will create an imbalance in the overall training programme of the athlete.

Every person who is about to perform a task at a competitive level, is subject to all of

the same influential variables on that performance as the next person is. So, if their

training regimes o two athletes are the same, and their physical capabilities are

similar, then what is it that is different about them? What is it that makes their

performance so individually superior when compared to the next persons? It is the

psychological factor that differs from person to person. The self-imposed pressures

taken on by the athlete, and an unhealthy pre-occupation to win at any cost, for

some people is so overwhelming that it becomes unmanageable for them and affects

the individual’s ability to perform their task; a task that is something that they have

done 1000's of times before. There are memorable examples in golf, snooker and

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football where first class players of their chosen game get "the yips", the shakes, just

as they try to put a ball down the hole while they are stood a couple of feet away

from it or in snooker when they are faced with pocketing the black ball to win the

game or in football when the final of the cup has come down to taking penalties

after extra time. These shakes render the player totally ineffective; whereas when

the player is in a non-stress situation, then they can take the same shot with their

eyes shut and succeed. These shakes are the physical manifestation of a

psychological problem; the problem is one of over thinking the situation. It is a

rather a paradoxical situation, when for the majority of one’s training lives we are

prompted to concentrate more (keep our eyes on the prize) because it will produce

better results; and as coaches we actively advertise and promote the virtues of how

karate training helps to improve one’s levels of concentration. Yet at the pinnacle of

every sport there are people who regularly go to pieces at exactly the wrong time.

Before we go any further with this article I must emphasise that if you are reading it

and your sole motivation for doing so is to purely improve your chances of "winning

at any cost ", then you may not benefit as much from this text as those who embrace

the following idea;

"The journey itself is of more importance than that of the destination."

I have worked with top flight professional athletes from various sporting disciplines

for years, and many of which held dear the following maxim;

"Winning isn't everything, It's the ONLY thing!"

Ok I get it! especially in a result based business such as professional sport, but to

implant that idea as the only acceptable philosophy puts an immensely unhelpful

extra portion of stress on the athletes shoulders, and it doesn't stop there if it is

being reinforced as a mantra on a daily basis. Funakoshi in his 20 precepts of karatedo

hit the nail squarely on the head, when he stated in precept 12;

"Do not think of winning. Instead, think that you must never lose".

There is a subtle difference which has a major effect on the athletes thinking

process. The difference between them believing that "winning is the only thing"

and "you must never lose", is that if they focus on the latter rather than the former,

then if they come away from the encounter and they have learnt something and

they have given their all to the task then they have not lost. And therefore, they do

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not feel a failure. Especially if they view their training time as an opportunity to

study whilst in pursuit of personal growth and technical excellence; they should aim

to learn something new every day, even if what they learn may well be a new light

through an old window.

By looking at ones training in this way then it is the action of doing the task well that

is the true goal and it is therefore, of more importance and benefit to them than if

they look at their training as a mean to achieving the goal of "Winning at any cost".

To assist you fully in understanding the physical techniques that will be

utilised, discussed and practiced on this topic, it is recommended that you read this

article Preparatory Positions and then return back here and follow each section of this

interactive training presentation in the same sequence that it is presented.

Welcome back, hope that you enjoyed the article. The first thing we will look at is,

how to prepare ones mental state of concentration, commitment, focus, awareness,

readiness, all of which are commonly referred to as the mental preparation

of getting in the zone!

You could always try retreating to a nearby cave focus on a dot on the wall for a few

years and do a "Bodhi dharma", but I tend to feel that the moment will have past

you by as will the reason what it was that you were initially preparing yourself for. So

let’s adopt a more pragmatic approach of achieving the correct state of mind to

perform.


If you have ever watched a Japanese karate-ka perform kata, then you may have

noticed how they have an air of almost spiritual serenity about their performance;

it's something that not many occidental performers display, despite them trying to

cosmetically imitate it. This state of mind isn’t limited to the performance of the

martial arts but can be observed throughout Japanese life in all forms of their

personal expression, such as Ikebana, the tea ceremony, calligraphy, bonsai growing,

Zen rock gardening karesansui, traditional dance and the list goes on. They have the

appearance that they are completely 100% engrossed in their task and that while

they are conducting that task that they are able to blank out everything that may

distract them from that spiritual state of mind. That is why many refer to Karate and

kata in particular as a form of "Moving Zen". Zen is an all-encompassing word,

concept, philosophy that asserts, how through meditation, self-contemplation, and

intuition of one's essential nature to the exclusion of all else, then one can achieve

the state enlightenment, rather than seeking it through faith and devotion to a

religion. I tell my students that I experience and enjoy Kata as part of the physical

culture of traditional Karate and therefore, my practice and performance is always

one in pursuit of a personal growth experience, and I treat the performance of kata

as a form of Moving Zen, a Martial routine, something that allows me to gain a

focused state where for the duration of the performance I am able to block out the

everyday worries of life and channel my concentration elsewhere in a positive

manner. And if I do it well and the people who view the performance understand the

broader message/story that I am trying to purvey, or if they appreciate the effort,

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time and levels of hard work that has gone into delivering that one performance,

then that in itself is a bonus for me, but I perform Kata with the initial intent of me

being the main beneficiary.

Yoi no Kisin

Refers to the process of the preparation of the mind and spirit in readiness to

perform, or using the modern sporting vernacular, "Getting in the Zone".

Concentration throughout ones performance is required to perform Kata well, so the

performer needs to combine his technique and movement with the focusing of the

mind by blanking out any distractions. As much of Karate practice, especially Kata is

performed without an opponent or partner, then the viewer of the performance

must be able to sense the purpose of the Kata; this is more likely to happen if the

performer has prepared their mind and spirit prior to their performance. This is the

preliminary stage that happens before any of the movements of the Kata have

begun, often before one reaches the performance area.

So if you think back to the start of every class that you have ever attended; when the

group all kneel and perform Mokuso meditation (silent thoughts). It is at this stage

that you are directed to focus your mind and breathing together. Therefore,

breathing will be the first stage that should be addressed if you are to achieve the

required state of Zen. Breath control helps with the ability to sustain that readiness

throughout the performance (Zanshin).

Kokyu

Refers to breathing and posture control, and in certain circumstances breath control

is used to create a heightened state of awareness through the increased oxygen

supply and decreased carbon dioxide levels to the brain via the blood supply, giving a

measurable increase in speed, and an increase in kime. Some styles of karate use

kokyu exercise and or dedicated breathing kata as a method of hardening the body.

It is also used as a means of settling the body at the termination point of any

transition, as a means of rooting oneself to the ground. They are normally seen prior

to techniques where the body is to become airborne by the use of powerful jumping

techniques. Breath control is also used a means of enabling one to relax and become

more aware of one’s own body. And it is this particular application that we will focus

upon and practice in the next section.

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Circular Breathing


Sit comfortably with your back upright and supported, your fingers together and

open hands on your lap. Keep your eyes and mouth closed; steadily and slowly

breathe inwards through the nostrils. (See illustration opposite) Imagine that the air

you are breathing in could travel over the eye lids, over the top of the head, then

down the back of the head, continuing downwards over the neck along the spine,

between the legs to the front of your body, upwards towards the abdomen, feel the

intake of air expand the abdomen as you continuously breathe inwards. Imagine as

you breathe inwards that once it reaches the abdomen that the path that the air

describes is an ever decreasing spiral, this continues until the spiral reduces to the

smallest seed size circle that is imaginable. It is important to remember that you

never allow this small seed size circle to disappear. Initially take around 5 seconds to

complete the breathing inwards phase of the exercise and as you become more

proficient at controlling your breathing then you can extend the time period of each

of the three phases of the exercise. Without releasing that inward breath, without

breathing out, imagine that you are now holding onto this very small seed size circle

that you have just created. Hold on to it for 5 seconds, feel the heat it generates.

Then seamlessly begin to breathe out through the now open mouth in one

continuous steady and slow motion, do not hurry this phase. Now imagine that you

have let go of that very small seed size circle, and in doing so you are allowing it to

unwind in an ever increasing spiralling manner until it is fully unwound. Then

imagine that your breath travels upwards over the stomach, the chest, the throat,

the tongue, and the lips and onwards beyond your mouth travelling in a straight line

for a distance of at least three feet. Continue breathing out until the entire air intake

has been exhausted. Close the mouth and repeat the three phases of the process

several times until the circular breathing has had a calming and refreshing effect

upon your breathing pattern. The exercise can also be performed by lying flat on the

floor with the arms at a 45 degree angle to the body, flat hands, palms facing

downwards and fingers relaxed and slightly apart. Also place a book on the abdomen

while you perform the three phases that were outlined above. The book on the

abdomen allows one to focus upon the tanden and to observe if the correct

breathing pattern is being performed.

Practice circular breathing for 5 cycles before reading any further. Experience the

reduction in your breathing rate; experience the sensation of relaxation and

calmness. Remember that sensation as you will need to call upon it and replicate it

to perform the following physical actions later.

Zanshin

Is the Japanese term that refers to remaining on guard "staying tuned in" throughout

ones performance and for the short period immediately after completion of the

Kata, when one moves from the final stance back into the Yame position. You should

continue to remain on guard until instructed to relax "Naorei, Enoy". The video

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below shows a selection of Kyudo martial artists who are displaying excellent

zanshin.

.Having brought your breathing and posture under control by the use of circular

breathing while in mokuso. Let's now look at a ritual we perform before and after

every task we conduct in the dojo. I refer to Rei the formal bow. This is probably one

of the most abused rituals we carry out, as many students perform it hurriedly,

incorrectly and with no thought of displaying respect. Many miss the opportunity it

offers one as a platform to gain ones composure prior to one’s performance. If

Funakoshi listed "karate starts and finishes with courtesy" as his number 1 principle,

then why is it that this simple ritual is not so commonly shown the courtesy and

attention that it deserves? The following section will take you through performing

Rei correctly, so that you will be able to get the maximum benefit from it.

Shizen-tai Dachi's

Fig: 1

These are the Shizen-tai (natural position) stances used in the following examples;

1: Musubi-dachi (informal attention stance toes out).

2: Heisoku-dachi (informal attention stance feet together).

3: Heiko-dachi (parallel stance).

Rei (Bowing)

Standing Bow.

Don’t rush it, as it takes a 5 count to complete

Standing in Musubi Dachi with your heels together, your feet should point slightly

outward making a "V". Keep your knees straight, the elbows straight and with open

relaxed, hands rest them along the seams of your Dogi pants, on the outside of

your legs, keep your fingers together. Slowly bend forward at the waist, pause then

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slowly unbend. The whole bowing procedure should take around 4 seconds but no

longer than 5 seconds and is performed with a silent outward breath.

"Rei" for Kata

Fig: 2

Fig: 2 is an example of Rei (Bowing) how to bow to a 45 degree angle (Saikeirei)

when performing Kata. Don’t rush as it takes a 5 count to complete. 1: Standing in

Musubi Dachi with your heels together, your feet should point slightly outward

making a "V". Keep your knees straight, the elbows straight and with open relaxed,

hands rest them along the seams of your Dogi pants, on the outside of your legs,

keep your fingers together. 2: Slowly bend forward at the waist to a 45 degree

angle (Saikeirei), then 3: Slowly unbend to the upright position again. The whole

bowing procedure should take around 4 seconds but no longer than 5 seconds and is

performed with a silent outward breath..


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"Rei" for Kihon & Kumite

Fig: 3

This example of Rei (Bowing) is how to bow to a 30 degree angle (Keirei) when

performing Kihon and all forms of Kumite. Don’t rush as it takes a 5 count to

complete. 1: Standing in Musubi Dachi with your heels together, your feet should

point slightly outward making a "V". Keep your knees straight, the elbows straight

and with open relaxed, hands rest them along the seams of your Dogi pants, on the

outside of your legs, keep your fingers together. 2: Slowly bend forward at the

waist to a 30 degree angle (Keirei), then 3: Slowly unbend to the upright position

again. The whole bowing procedure should take around 4 seconds but no longer

than 5 seconds and is performed with a silent outward breath.

The angle of the bow.

The bowing procedure should always display the correct level of respect and

sincerity towards the recipient and never perform it in a hurry, after all you are

saying thank you in your actions to your partner for giving you the opportunity to

practice your techniques on a live target. Normally only 1/3rd of our practice is

undertaken with a partner, therefore the lessons learnt while with a training partner

will be invaluable. Just as with all forms of Japanese etiquette, bowing is a complex

subject and it seems to alter from person to person dependent upon their status,

your status, and from situation to situation, however the following rules for bowing

whilst practicing karate, have been accepted as a standard by both the dojos and the

international organisation and are observed worldwide. 15 - 20 degrees (Eshaku), is

used on entering & leaving the dojo: 30 degrees (Keirei), is used wh en you are face

to face with a training partner or a kumite opponent who you are within touching

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distance of them: 45 degrees (Saikeirei), is used before performing kata or when

bowing to a kumite opponent when they are on the opposite edge of the shiai area

to oneself, not within touching distance of each other.

Eye contact during the bowing procedure.

Normally it is considered as impolite to make eye contact in Japanese society whilst

bowing and this protocol is on the whole adhered to in karate, such as when bowing

upon entering and leaving the dojo, when bowing towards the sensei, when bowing

at 45 degrees before performing kata, the eyes do not move they remain fixed at the

same angle looking ahead as the body bends from the waist. However, Mr Nakayama

when referring to bowing said "never lose eye contact with one’s opponent" and

Morio Higaonna advocates that during kumite practice, one should "maintain eye

contact with your opponent", keeping the opponent in your line of vision. There is no

need to alter the angle of the eyes to maintain line of vision of your opponent as the

angle of the bow is a reduced angle of around 30 degrees. I can personally testify to

the wisdom of this practice, because when I was an 8th kyu we were practicing kihon

kumite, just like all good 8th kyu's should, when my instructor called yame, then

called out my name; being a keen student who always aimed to learn, I stopped but

my partner didn't, as he never heard the yame call, mistaking it for hajime he

continued to execute his misguided shihon nukite (4 fingered spearhand thrust),

which successfully caught me on the eye lid, and as a result I still carry the scar and a

lesson learnt to this day. Therefore, the watchword must always be, to take care and

keep your eyes on your opponent at all times.


"Yoi" Fig: 4

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This method of "Yoi" (Making ready) utilises the balanced left then right leg

movement. After performing a standing bow as detailed in Fig 2 & Fig 3; you are in

musubi dachi with your hands at your side as in image 1, this is the starting position

for "Yoi". When you are about to perform Kata, then it is at this stage image 1, that

you should confidently but not arrogantly announce the name of your Kata. Then

with a serious sense of purpose, smoothly and slowly begin to move your left foot

outwards as in image 2, then continue moving the left leg out until it is in line with

your left shoulder as in image 3, simultaneously crossing your arms in front of your

abdomen, make two closed fists. During this phase keep the head and body

movement to a minimum, keep them in the same central position, and eliminate any

unwanted side to side movement. As in image 4 you should seamlessly move your

right foot outwards so it is in line with your right shoulder making Heiko Dachi

(parallel stance) as in image 5, simultaneously uncross your arms so the inner edges

of your elbows and fists are shoulder width apart. During these movements, open

your mind and prepare for what it is that you are about to face or what it is that you

are about to perform or what it is that you are about to be asked to do. Stand still,

quiet, alert, awaiting further instructions. Perform yoi at the same pace and with the

same level of intensity as you performed the rei (bow). Throughout the rei & yoi

manoeuvre use a silent, relaxed and controlled breathing pattern to aid in

maintaining the correctly focused state of mind.

In conclusion, having identified the need to "get in the zone" if we are to perform

well, the article highlighted how Japanese Karate-ka seem to carry themselves

throughout their performance with an air of spiritual serenity and this Zen-like state

may well be a cultural trait, a case of nature more than nurture, and it is evident in

all forms of their personal expression. Nevertheless, it is an achievable skill and the

article went on to state that there are three factors involved in the perfect

preparation to perform. They are the shin-gi-tai triad of mind, technique and body.

Having said that the article focused its attention on one of the triad, the means of

achieving the correct state of mental preparation, through the use of circular

breathing and transmitting that sensation of relaxation and calmness into the rituals

of making rei & yoi. The article emphasised how the act of doing the task

well, should be the goal and how we should not treat the task merely as a means to

achieve a different goal. It also stated how if we hold this maxim as the goal then the

ultimate enjoyment and benefits can be gained from our efforts, and this approach

should apply no matter what the task we perform happens to be.

. | Page 186



References

Kirkham, D. (1990) The complete coaching manual for the martial arts, Culcheth: Yudansha Press.

Kirkham, D. (1985) 'Preparatory Positions: The Shotokan Karate Union Quarterly Magazine, issue

47, May 2012, pp. 3-7.

Kirkham, D. (2001) Rei & Yoi: The Shotokan Karate Union Quarterly Magazine, First published,

Issue 3, May 2001, pp. 3-6. Revised, Issue 48, August 2012, pp. 3-6.

Funakoshi, G. (1985) '20 Precepts of Karate-do': The Shotokan Karate Union training manual,

Culcheth: Yudansha Press. pp. 24.

Kirkham, D. (1990) 'Performance': The Shotokan Karate Union training manual, Culcheth:

Yudansha Press.

Kirkham, D. (2012) 'What does Kata mean to you?: The Shotokan Karate Union Quarterly Magazine,

Issue 46, February 2012, pp. 9.


. | Page 187


Coaching Philosophy


The Shotokan Karate Union is a non-profit International Shotokan Karate

Organisation that was established in Great Britain in 1985 and since that time we

have been dedicated to our coaching philosophy of "the improvement of standards

in pursuit of technical excellence." While there is the availability for SKU members to

participate in the competitive arena, the coaching emphasis within the structured

grading system is firmly based upon the Traditional Japanese Art form. We practice

our technique with the purpose of Self Defence (Oyo & Jissen) in mind . From the

outset we chose to follow the Traditional Japanese Shotokan Karate coaching

methodology. Nevertheless, we recognise, advocate and utilise the many of the

modern sports sciences to test and hone our Karate-ka and assist them to achieve

their highest personal technical standard. In 1985 we were at the vanguard of

coaching education in the martial arts, when we pioneered a gold standard system of

coaching, "The Coaching award scheme", we also produce numerous publications to

aid in the coaching of and the understanding of coaching, for the benefit of the

members. As the aim of the Shotokan Karate Union will always be to ensure that

coaches and students alike strive for the improvement of standards whilst in pursuit

of technical excellence every day.

Coaching Award Scheme


The Shotokan Karate Union in 1985, were at the vanguard of coaching education in

the martial arts, when they pioneered a gold standard system of coaching, the

Coaching award scheme, which now 30 years on is a successful and structured

coaching course, that is taught via graduated learning packages (modules), each of

which progress the students understanding from the previous module. They address

the numerous aspects that are involved in the coaching of Shotokan Karate to

others. Each module has its own specific text relevant to the modules content. Each

of the 3 modules involve 2 parts, theoretical (made up of classwork and a written

paper) and assessed practical work. Modules can usually be completed within 3

months (of full time study) but for part-time students once a module has started the

student has up to a maximum of 9 months to complete that module. On average it is

taking students between 3 to 6 months to complete a module before progressing to

the next.

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Hip rotation.

by D Kirkham


Revised (May 2014)

Hip rotation (Koshi 腰 Kaiten 回転 ) is the most significant of the bodies applied

mechanical principles in sport. Coaches are constantly referring to it and placing

great emphasis on the correct use of the hips; especially when the expectation is one

of delivering a powerful & decisive technique. This importance is justified no matter

what the sport is, as can be seen in Fig 1, 2, 3, 4, 5. Diligent Karate coaches are often

heard offering this advice, "Use your hips to punch, block and kick".

Fig 1 Fig 2

.


Fig 3 Fig 4

Fig 5

. | Page 189


Because the hips really are that important to the success of a technique, then

students and coaches should study the structures of the body that make up the

pelvis and the hips. Later the article will discuss how to deploy them effectively.

Fig 6 Fig 7

The hip joint is a ball and socket synovial joint. Its contact surfaces are the head of

the femur (the ball) and the acetabulum of the pelvis (the socket). It joins the lower

limbs to the pelvic girdle. The hip joint is designed to be a weight bearing joint. The

hips are second only to the shoulder joint for the large range of available movement;

it does however, sacrifice some of that range to increase upon its stability.

The function of the hip joint are to be weight bearing, as an anchor point for the

strong muscles of the hip, to shock absorb the forces that those strong muscles

generate, to link the lower limbs to the upper body via the pelvis, and to facilitate

the articulation of the lower limbs.

The components of the hip are bones, muscles, ligaments, cartilage, synovial lining,

bursars, nerves, and blood vessels.

As stated earlier, the hips are capable of a wide and varied range of movements as

can be seen in Fig 8, they are as follows : Internal Medial rotation as used to achieve

the stance of "sanchin dachi" : Muscles used, Gluteus medius and minimus, semi

tendonous and semi membranous. External Lateral rotation as used to achieve the

stance of "shiko dachi": Muscles used, Biceps femoris, gluteus maximus, and the

deep gluteals (piriformis, gemelli etc). Flexion as used during the knee lift phase of

maegeri: Muscles used, Iliosoas, rectus femoris, sartorius. Extension as used during

the straightening of the leg phase of ushirogeri: Muscles used, Gluteus maximus,

semi membranous, semi tendinosus and biceps femoris. Abduction as used in

yokogeri keagi: Muscles that are used are Gluteus medius, gluteus minimus and the

deep gluteals (piriformis, gemelli etc). Adduction as used in ashi barai: Muscles used,

Adductors longus, brevis and magnus, pectineus and gracillis.

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Fig 8

While in general, karate performance uses all of the above directions of hip

movement, this article will focus upon External Lateral rotation and Internal Medial

rotation, the result of those two movements can be seen in Fig 9 & 10 where the

performer is opening and closing their hips just as one would do in the performance

of ones blocking and punching techniques.


Fig 9

Hip Rotation koshi kaiten Fig 9 (a) Hanmi, is the half facing, open position, opened to

a position of + 45 degrees, achieved by using gyaku kaiten the reverse rotation. (b)

Shomen is the front facing, closed position, the central, neutral position of zero

degrees. To return to shomen from hanmi requires the use of jun kaiten regular

rotation. (c) Gyaku Hanmi, is the reverse half faci ng position, it's another open

position, but this time it's opened in the opposite direction to hanmi, it's opened to

approximately - 45 degrees and to achieve this position, gyaku kaiten the reverse

rotation is used again but this time it is a reverse rotation in the opposite direction

from the zero degree position to that of hanmi. The blue horizontal line of the cross

depicted in Fig 9 (a) (b) (c) represents the horizon line, which will be the horizontal

reference point for the hips. Ensure that during your smooth execution of the

rotation of the hips that they stay parallel to the blue horizon line at all times.

Observe in Fig 9 (a) (b) (c) how despite the hips going through rotation that the knot

of the belt remains on the same plane at all times. The red vertical line in the cross

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depicted in Fig 9 (a) (b) (c) is an indicator; it's marking the fixed central, neutral

position, and is therefore, the zero degrees position, as can be seen by how the knot

of the belt in (b) is in line with both the red vertical line and the blue horizontal line.

The blue circular arrow depicted in Fig 9 (a) (c) is an indicator of the direction of

rotation that is required to achieve each of the respective positions.

Fig 10

Hip Rotation koshi kaiten in Fig 10 (a) (b) the rotation displayed results in the body

being in the Hanmi, half facing position, where the hips are opened to a position of +

45 degrees, and in this example it is displayed with the left leg placed forward. Fig 10

(a) displays an anterior view, while (b) displays a posterior skeletal view. The blue

circular arrows in both (a) and (b) indicates the direction of rotation that is required

to achieve the hanmi, half facing position. As the legs of the stance in this example

are both static during the hip rotation, then the black arrows in both (a) and (b)

indicate the direction of rotation that is experienced at the head of the femur (the

ball) and the acetabulum of the pelvis (the socket). It can be seen in both (a) and (b)

that the left hip is experiencing External or Lateral hip rotation, while the right hip is

experiencing Internal or Medial hip rotation. Now let’s look at the rotators, the

muscles and ligaments that are involved in the performance of these movements.

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Fig 11 External or Lateral hip rotators.


Fig 12 Internal hip rotators

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Fig 13 External or Lateral rotators of the spine.

Fig 14 Posterior view of the muscles of the right buttock and leg

As the hips are at approximately the centre of the human body they are utilised for

balance, movement, power, and the Japanese believe that deep inside the pelvic

. | Page 194



girdle lies the location of one’s spirit, the area is referred to as “The Hara or Tanden”.

The hips should be applied smoothly but with vigour and lots of spirit, just like

Lingford Christie’s theory of the B in the Bang. Correct hip rotation kick-starts the

chain reaction of movement that is on the striking side of the body and begins with

the hips, spine & chest, shoulder, upper arm, elbow and hand or fist in harmonious

synchronicity. It works on the principle of whereby the relatively small distance of

movement travelled by the hips from the open + 45 degrees position of hanmi, to

the closed zero degree position of shomen and visa versa is multiplied and magnified

by the time the mechanical rotation reaches the target via the fist. This is similar to

the action of beads that strike the skins of the Dendendaiko or the Japanese

rotational drum in Fig 15. The chain reaction theory albeit in reverse in its basic form

is also applied to the hikite side of the body simultaneously.


Fig 15 Dendendaiko Fig 16

Japanese rotational drum.

To maximise and augment the mechanical principles outlined above, the

psychological and bio-mechanical importance of a firm and fast withdrawal of hikite

(withdrawing hand) is crucial; no matter the distance Hikite may have to travel,

because the faster the withdrawal of hikite is, then the faster the drive of the

technique will be. Hikite in Fig 16 is the left arm and is indicated by the three blue

spots placed on key areas; the direction of travel is indicated by the blue arrow.

Hikite not only assists in speeding up the technique but it also aids with counterbalance

and the strengthening of the sometimes misnamed "non punching side of

the body", as this term may give the impression that the hikite side of the body is a

passive observer in the hip rotation process. The feeling of a good hikite is one of a

. | Page 195


vigorous pulling action of the withdrawing hand, as if one were trying to pull

enthusiastically on the start chord of a petrol driven outboard motor. Think of hikite

not as a passive movement, but as if you are performing a chudan (mid-level) ushiro

empi uchi (backward elbow strike) to an opponent that is stood directly to the

rear. And therefore, you need to drive the technique of hikite strongly to its

destination. For the Hikite side of the body the chain reaction theory also applies but

it is in reverse to that of the striking side of the body, it starts with visual imaging

technique in the preparation stage of the basic technique of the withdrawing hand,

elbow, upper arm, chest & shoulder, spine, and hips, simultaneously engaging and

seamlessly thrusting backwards.

Another factor to consider is the contribution made to the overall success of the

delivered technique by the use of applying downwards driving forces through the

legs, specifically when it is co-ordinated with the techniques impact with its desired

target. This driving downwards action anchors the base of the stance, and it

augments the power of hip rotation and therefore, it does likewise for the power of

the delivered technique when all of the other factors are performed correctly and in

the right sequence.

Areas of Consideration

Don't allow the upper body to lean from the perpendicular during hip rotation.

Don't turn the shoulders independently from the hips during hip rotation.

Don't allow the back foot to lift, as this indicates an over rotation of the hips, which

will affect the stability of the stance.

Don't allow the hips to come out of the horizontal plane during hip rotation.

References

1. Tortora, Gerard J. , Derrickson, Bryan H (2011): Principles of Anatomy and

Physiology. New Jesrsey : John Wiley & Sons Ltd.

2. Funakoshi, Gichin (1988). Karate-Do Nyumon: The Master Introductory Text.

Translated by John Teramoto. Tokyo: Kodansha International.

3. Nakayama, M. (1977): Best Karate: Comprehensive. Tokyo: Kodansha.

4. Nakayama, M. (1978): Best Karate: Fundamentals. Tokyo: Kodansha.

5. Nakayama, M. (1973): Dynamic Karate. Tokyo: Kodansha.

6. Kirkham, D, (1985): Shotokan Karate Union Coaching Award Scheme Level 1 Text.

Yudansha Press.

. | Page 196



Kata no Kamae

Demonstrated by P Regan


Revised (May 2012) (Sept 2014)

Here are the starting positions for the Shotokan Karate Unions' 27 core kata.

Kihon, Heian 1,2,3,4,5. Hangetsu, Kanku Sho, Tekki 2,3, Gankaku, Sochin, Meikyo,

Wankan, Nijushiho, Gojushiho Sho, Gojushiho Dai.


Tekki Shodan.

. | Page 197


Bassai Dai.

Kanku Dai.

. | Page 198



Enpi.


Jion, Jiin, Jitte.

. | Page 199


Bassai Sho.

Chinte.

. | Page 200




Unsu.

. | Page 201


Keeping in touch with tradition


The Shotokan Karate Union is a non-profit International Shotokan Karate

Organisation established in Great Britain in 1985, with affiliated individual members

Worldwide. We practice Shotokan Karate as a Traditional Japanese martial art form.

Dedicated to using the Traditional Japanese Shotokan Karate coaching methodology

we have therefore, chosen to resist compromising those tried and tested ways.

Nevertheless, we do recognise, advocate and utilise many of the modern sports

sciences to test and hone our Karate-ka to assist them to achieve a high personal

technical standard.

When the Shotokan Karate Union was founded we were at the vanguard of coaching

education in the martial arts, when we pioneered a gold standard system of

coaching, the Coaching award scheme, which now 30 years on is a successful and

structured coaching course. We sponsor a number of places each year on the

structured, educational award scheme to teach our coaches how to present the

subject matter in a uniform manner, whilst ensuring that a high standard of student

performance is achieved and maintained. From the organisation's conception we

simultaneously developed and adhered to a transparent and structured grading

assessment system so that our student members would know in advance &

understand what is achievable and expected of them.

.The Shotokan Karate Union's organisational model is based upon a consortium, an

alliance, which was founded as a coming together of invited individual members

from several well established Shotokan organisations including the two largest

Shotokan groups at that time. We are a society of, a coalition of like-minded

individual members, who are free to run their own affairs with zero political

interference. This allows each individual to follow the path that is best suited to their

specific needs, yet at the same time our members are in regular communication with

others who are willing to freely share their ideas and experiences in a non-hostile,

non-competitive atmosphere, where they don't fear to express their opinions and

understanding of their studies with other coaches. Because the Shotokan Karate

Union allows duel affiliation and does not have a designated Chief Instructor there is

no political bias, in-fighting or jostling for position. We are run by the will of the

membership through a Yudansha committee of senior Dan grade members and an

elected Director of Coaching. The open door policy of the consortium model was a

concept that was the aim at the foundation of the S.K.U, and it seems to have

worked very well thus far as we have celebrated our 35th anniversary in 2020.

“Keeping in touch with tradition.”

. | Page 202



Jion, Jiin, Jitte Jiai no Kamae & their opening technique.

by D.Kirkham

Article first Published (Aug 2015) Issue # 60


As there is little documented evidence over the origins of the three Shotokan kata

that all start from the same Kata yoi posture of jiai no kamae, Jion, Jiin and Jitte, it is

therefore, mere speculation by educated enthusiasts that is the nearest that we can

hope to get to the truth. Opinions differ as to whether or not the three kata

are actually related? Some modern masters believe they are because they all share

the same "JI" sound as the root in their names, however, JI has several meanings all

of which are dependent upon the written character that is used to depict the word,

but for the purpose of this article and for simplification, we will use the JI character

that translates to "temple", for Ji-on we will accept its meaning to be "Temple

Sound" and for Ji-in its meaning will be "Temple Grounds", as for Jitte, its meaning is

"Ten Hands". But no matter what opinion one holds as to their true meaning maybe

when they are translated, and the same goes for whatever one may believe as to

their point of origin; the consensus seems to be that it is most likely that all three

kata were inspired by and found their way to Japan from China via Tomari in

Okinawa, and there they were taught by master Itosu. This theory is mainly believed

because of the "covered hand" position of the ready posture of jiai no kamae, which

is a typical greeting/posture of the fighting system that is used by the Chinese

Shoalin monks and also because Jion-ji is a commonly adopted name by many

Buddhist temples throughout Japan. It therefore, can be reasonably said that the

three kata are related as a result of having the same distinctive starting ready

position and that many of the techniques that are used are repeated in all three of

the kata, also that all three of the kata have the same overall feeling of performance,

they have similar sequential timing and the style of presentation are also similar to

one another. It is also thought by some masters that Jion, Jiin and Jitte started out

life as one kata and that somewhere on route to Japan, they were sub-divided into

three separate kata and to acknowledge their relationship that is why they all start

with the same jiai no kamae posture. Funakoshi made an attempt to rename Jiin to

Shokyo but it never caught on, as in the Shotokan system it has always been referred

to as Jiin. Sadly of late Jiin has been given lesser importance by some organisations

and it has been unfortunately dropped from their syllabus, but this is not the policy

of the Shotokan Karate Union, as we believe in retaining and keeping alive all of the

original kata of the Shotokan system.

. | Page 203


Jion, Jiin, Jitte (Jiai no Kamae posture)

Jion Kosa Uke (Front View)

(Side View)

. | Page 204



Jiin Kosa Uke (Front View)

(Side View)


Jitte Te-Kubi Uke (Front View)

. | Page 205

(Side View)


First Published August 1985

Revised August 2014 Issue 56

Compiled by D Kirkham

Japanese to English Translations

Japanese

English

Ai ki do 合気道

The way of the spirit of harmony.

Age Uke

Rising Head Block

Aite

Opponent/Training Partner

Ai-Uchi Simultaneous Scoring Technique, No Point Awarded To Either.

Referee Brings Fists Together In Front Of Chest

Aka

Red

Aka (Ao)(Shiro) Ippon

system)

Aka (Ao) (Shiro) Ippon

system)

Red (Blue) (White) Scores one full Point (1 point

Red (Blue)(White) Scores Three Points (3 point

Aka (Ao)(Shiro) No Kachi

Aka (Ao)(Shiro) Waza-Ari

system)

Red (Blue)(White) Wins

Red (Blue)(White) Scores Two Points (3 point

Aka (Ao) (Shiro) Waza-Ari Red (Blue)(White) Scores One Half of a Point (1

point system)

Aka (Ao)(Shiro) Yuko

Aka / Ao / Shiro No Kachi

Ao

Blue

Arigatoh Gozaimashita

Red (Blue) (White) Scores One Point (3 point system)

Red / Blue / White Victorious

Thank you very much.

. | Page 206



Ashi Barai

Foot Sweep

Atemi Waza 当身

body

Refers to blows or strikes to vital points of the head and

Atenai Yoni Warning Without Penalty; Referee Raises 1 Hand In Fist With

Other Hand Covering It At Chest Level And Shows It To Offender.

Atoshi Baraku

Awase Tsuki

Awase Uke

Awase Waza

A Little More Time Left

U Punch

Combination Block

Decision Wins

Ayumi-Ashi 歩み足

Walking

Barai

Bogu

Sweeping Block

Protective Armour Used In Sparring

Budo 武道

The Martial Way

Bunkai 分解 The Analysis of, The Deconstruction of The techniques and

combinations of Kata

Bunkai Honto

Bunkai Honto is the Analysis using the real, the true


Bunkai Omote Bunkai Omote is the Analysis using the obvious, the surface.

Bunkai Ura Bunkai Ura is the Analysis using the hidden, the secret

alternative.

Chakugan Focusing Ones Countenance And Gaze By Fixing The Eyes

Chikara 力 Power, Strength

Chikara No Kyojaku Balancing Of The Use Of Strength

Chiro Brown

Choku Tsuki Standing Straight Punch

. | Page 207


Chudan

Chui

Middle Body Section

Warning

Chukoku Chukoku Is Imposed For The First Instance Of A Minor Infraction

For The Applicable Category.

Dachi Stance

Dai Jodan

Above the head

De-Ai 出会い Directly intercepting meeting an oncoming attack with your

counter attack. also see Tai no Sen

Dan

Higher Ranking Karate-Ka

Dogeza

Bowing From Seiza

Do

Dogi

Dohai

The Way

Karate Uniform

Equal in rank/age to oneself

Doji Jogai

Both Competitors Have Moved Outside The Match Area

Dojo

道場 Training Hall

Dojo Buchō Dojo Captain

Dojo Fuka Buchō Dojo Vice Captain

Do-Kyaku The Moving Leg

Domo Arigatoh Gozaimashita Thank You Very Much

Embusen Directional Line, The Route Of Kata

Empi Elbow

Encho Extension

Enchosen Hajime Beginning Of Extension

. | Page 208



Enpi

Flying Swallow Kata

Enso The Circle Of Enlightenment, The Infinity Circle, Mutual Circle Or "Circle

Of Togetherness

Eshaku Bowing To 15 - 20 Degrees

Fudo Dachi Sochin Dachi Rooted Stance Immovable Stance

Fudoshin 不動心

Immovable Mind totally determined

Fukushin

Assistant Referee Judges

Fukushin Shugo

Judges Conference

Fumidashi 踏み出し

geri.

stamping step, stepping while performing fumikomi

Fumikiri Geri

Fumikomi Geri

Fusen-Gachi

Cutting Kick

Stamping Kick

Victory By Default

Fusenhai

Fusensho

A Loss By Default

A Win By Default


Fusho Tora 負傷虎

Gaijin

Gedan

Gedan Barai

Foreigner

Lower Body Section

. | Page 209

Wounded Tiger by D.Kirkham

Lower Parry Block

Genkan 玄関 Entrance Hall where outdoor shoes are left in a Traditional

Japanese Dojo.

Geri

Go 5

Kicking


Go Dan

Go Kyu

Go No Sen

5th Dan

5th Kyu

Seizing The Initiative Later

Gogi

Consultation

Gohon Kumite

Goshin 護身

Gyaku Hanmi

Gyaku Kaiten

5 Step Sparring

Referring to as REAL COMBAT, ACTUAL FIGHTING

Reverse Half Facing

Reverse Rotation

Gyaku Mawashi Geri

Reverse Roundhouse Kick

Gyaku Shuto Uke Reverse Knife hand block. Also referred to as Ryu Un no

Uke (Block of the flowing cloud).

Gyaku Tsuki

Reverse Punch

Hachi 8

Hachi Dachi

Hachi Dan

Open Leg Stance

8th Dan

Hachi Kyu 8th Kyu

Haishu Uchi Back Hand Strike

Haishu Uke Back Hand Block

Haito Uchi Ridge Hand Strike

Haito Uke Ridge Hand Block

Hajime Begin

Hamni Half Facing

Hangetsu Dachi Half Moon Stance

. | Page 210



Hanshi Example Model teacher of teachers. 8th dan and higher aged 50

years plus

Hansoku

Violation/Rule Infraction/Foul/Disqualification

Hansoku Chui

Score.

Warning With An Ippon Penalty, Ippon Added To Opponents

Hantei

Decision

Hantei Kachi

Winner By Decision

Happo Kumite 八方組み手

8 directional grappling hands

Hara

Stomach

Hassami Tsuki

Scissor Punch

Hata

Flag

Heiko Dachi

Heiko Tsuki

Heisoku Dachi

Parallel Stance

Parallel Punch

Informal Attention Stance Feet Together

Higher Ranking Karate-Ka

Dan Grade


Hiji Uke Elbow Block

Hijun 批准 Ratification

Hikiwake Draw

Hira Ken Tsuki Fore Knuckle Fist Punch

Hiza Knee

Hiza Geri Knee Kick

Hogan 包含 Inclusion

. | Page 211


Hoitsugan 抱一龕 Hugging niche, the name of M.Nakayama's Private Dojo in

Ebisu Tokyo Japan the hornets nest

HokoTenkan

Changing Direction

Hombu / Honbu 本部 Headquarters, Head Office, Main Office

Honoiro

Ichi 1

Ik Kyu

Orange

1st Kyu

Ikken Hisatsu To Kill With One Blow, to kill two birds with one stone, total

committment to your techniques success

Inyo

Ippon

Ippon

Balancing Of And The Correct Use Of The Active And Passive

3 Match Points

One Full Point

Ippon (Perfectly executed technique Full Point Award) highest scoring point

greater than Wazari, Yuko and Koka.

Ippon Ken Tsuki

One Knuckle Fist

Ippon Nukite

Ippon Shobu

1 Finger Spear Hand

One Point Match

Irimi

To Enter Straight In

Itami Wake No Contest

Ititekini Purposefully

Jikan Time Out

Jiku-Ashi Pivot Leg

Jinsoku Ni Swiftly

Jissen 実戦 Referring to as REAL COMBAT, ACTUAL FIGHTING

Jiyu Ippon Kumite Semi Free Fighting

Jiyu Kumite Free Fighting

Jiyu No Kamae Free Style On Guard Position

. | Page 212



Jodan

Jogai

Upper Body Section

Out Of Bounds

Jogai Keikoku

Jogai-Chui

Exit From Fighting Area.

Exit Warning

Joeseki 上席

Front row position at the far right of the Dojo (upper seat).

Ju Dan

Judo 柔道

Ju Kyu

10th Dan

Gentle Way

10th Kyu

Ju Or Jyu 10

Juji Uke

X Block

Ju Jitsu 柔術

Jun Kaiten

Jun-Tsuki

Gentle Art

Regular Rotation

Lunge Punch

Kachi

Winner

Kaeshi 返し

Kagi Tsuki

Kaikomi

To Return To Give Back

Hooking Punch

Bringing the knee up high


Kaisho Waza Open hand technique

Kaiten Rotation

Kaizen 親睦の社会 Continual Improvement, change for the better

Kakato Geri Heel Kick Axe Kick

Kake Uke Hooking Block

Kakiwake Uke Reverse Wedge Block

Kakuto Uchi Bent Wrist Strike

Kamae Te On Guard

. | Page 213


Kamiza 上座

Seat Of Gods

Kancho Head of dojo (literal translation) Head of style/organisation (in practice)

title more than rank.

Kaicho

Kamiza

Kankyaku

Regional Head of style/organisation (in practice) title more than rank.

refers to the front region of the dojo (seat of gods).

Spectator

Kansa

Match Supervisor

Kanto Sho

Fighting Spirit Prize

Karate

Empty Hand

Karate Do 空手道

The Way of the Empty Hand

Karate Ka

Karate Student

Karate Jitsu 唐手術

Empty Hand

The practice of the actual techniques of Karate, the Art of the

Karate Ni Sente Nashi There is no first attack in Karate-Do, Karate always starts

with a defensive technique.

Kata

Formal Exercise

Kata No Ju Taiyoso

The Ten Elements Of Karate Kata

Katsu To Win/Be Victorious

Katte Poised ready for action

Keikoku Severe Warning; Penalty Of Wazari

Keirei Bow To a 30 Degree Angle

Keitai No Hoji Maintaining The Correct Positioning Of Both Ones Movement

And Stance

Keito Uchi Chicken Head Strike

Keito Uke Chicken Head Block

Ken Do 剣道 The way of the Sword

Kensei 牽制 Waza 技 Feinting Techniques

. | Page 214




referring to Karate-ka on an Instructors Programme.

Kenpo 拳法

Keri Ashi

Fist Law

Kicking Leg

Ki

Kiai

Internal Energy Force

Focused Shouting Spiritual Meeting

Kiba Dachi

Horse Riding Stance

Kihaku 気迫 Fighting Spirit

Kihon

Basics

Kihon Ippon Kumite

1 Step Sparring

Kiiro

Yellow

Kikai 機会

Opportunity

Kiken

Renunciation

Kime 決め

Kin Geri

Focus, to decide

Instep Kick

Kiryoku 気力

Willpower Ki (Spirit) Ryoku (Strength)


Kizami Tsuki Jab Punch

Kodansha Senior Blackbelt

Kohai 後輩 Lower Rank Than Oneself, Junior

Koka Judo Term (Small Advantage) lowest scoring point, less than Ippon, Wazari,

and Yuko.

Koko Uchi Tigers Mouth Strike

Koko Uke Tigers Mouth Block

Kokutsu Dachi Back Stance

Koryu Old School / Old Flow / Old way of doing things

. | Page 215


Koshi

Hip, Ball Of The Foot

Koshi 腰 Kaiten 回転

Hip Rotation

Koshi Kamae

Hip Posture

Ku Dan

Ku Kyu

9th Dan

9th Kyu

Ku or Kyu 9

Kumade Uchi

Kumite 組手

Bear Hand Strike

Sparring, Grappling Hands

Kyoku

Breathing And Posture Control

Kyogi 競技

Sporting competition

Kyōryoku 協力

Co-operation Collaberation

Kyoshi 7th And Higher Aged 50 Years Plus "Kyoshi" "Professor" or

"Philosophy".

Kyoushi 教師

A teacher.

Kyu

Lower Ranking Karate-Ka

Ma-Ai 間合い

interval

Distancing between two opponents in combat, literal meaning

Mae Empi Uchi Front Elbow Strike

Mae Geri Front Kick

Mae Tobi Geri Flying Front Kick

Majiri Brawl (Melee)

Make Loser

Makeru To Lose, Be Beaten

Manji Uke Swastika Like But Sign Of Peace Block

Mawashi Empi Roundhouse Elbow Strike

Mawashi Geri Roundhouse Kick

. | Page 216



Mawashi Tsuki

Mawashi Uke

Roundhouse Punch

Roundhouse Block

Mawatte

Turn

Meditation Mokuso

Midori Green

Mienai A Call By A Judge To Indicate That A Technique Was Not Visible From

His/Her Angle.

Mika Tsuki Geri Crescent Kick

Mokuso

Silent Meditation or Contemplation

Mokuso Yame

End Meditation

Mondo Question and Answer dialogue between sensei and student instructional /

inspirational

Morote Uke

Moto No Ichi

Augmented Block

Original Position

Mubobi

Self Endangerment

Mubobi Chui

Muda Na Waza

A Full Point Penalty For Passivity Or Lack Of Spirit

No Added or Wasted Movement

Mudansha

Kyu Grades


Mumobi Warning For Lack Of Regard For One’S Own Safety

Mumobi Keikoku Warning With Waza

Murasaki Purple

Mushin 無心 literally means “mind without mind”. The ability to stay calm under

the stresses and pressures of combat. The Inner Silence.

Musubi Dachi V Stance, Informal Attention Stance Toes Out

Nafuda Kake 名札かけ Notice Board Where Name Plaques Of Students Rankings

Are Placed

Nagashi Tsuki Sliding Flowing Punch

Nagashi Uke Sliding Sweeping Block

. | Page 217


Nakadaka Ippon Ken Tsuki

Middle Knuckle Fist Punch

Namae Ashi

Naore 直れ

Returning Wave

Recover Relax

Naoru

Relax

Neko Ashi Dachi

Cat Stance

Ni 2

Ni Dan

Ni Kyu

2nd Dan

2nd Kyu

Nihon Nukite

Nihon Shobu

Ninshiki 認識

2 Finger Spear Hand

Fighting To Two Points

Recognition

Niramiai

No Do

No Kachi

Nukite

The Pre-Fight Staring Match

Concentration

Winner

Spear Hand Strike

Nyumon Entry Level Student

O Sensei Great teacher, a posthumous term of respect to the founder of or the head

of the style/organisation.

Obi Karate Belt

Ochitsuite Calmly

Oi Tsuki Lunge Punch

Okuri Multi meaning word but in martial Arts circles to follow through, to slide

Okuri Ashi Sliding Leg

Okuri Ashi Barai The Sliding Leg Sweep

Okuri Tsuki Follow Through Punch

. | Page 218



Onegai Shimasu お願いします Translates into, please, if you may, with your

permission; it's a request, a solicitation, an invitation, and is used student to student

when you are inviting a partner to train with you, or student to sensei at the classes

opening ceramony when you ask him to please teach me. (Also see Oss Osu)

Osae Uke Pressing Block

O sensei Great teacher, a posthumous term of respect to the founder of or the head of

the style/organisation.

Oss Osu 押忍 Is a low rent slang abbreviation of Ohayou Gozaimasu

おはようございます some say Onegai Shimasu お願いします. It actually means to

endure but it's also a multi purpose word and is used to show respect or you are in

agreement with or to show that you understand when communicating student to sensei

after a direct piece of instruction from the sensei.

Otagai ni Rei

Otagai-Ni-Rei

Bow To Fellow Students

Bow To Contestants

Otoshi Empi Uchi

Downward Elbow Strike

Otoshi Tsuki

Otoshi Uke

Downward Dropping Punch

Dropping Block

The Application, Involves The Interpretation Of The Bunkai And Then

Taking It To The Next Level. It’s the practical application of karate for self defence.

Oyo 応用

Randori 乱取り

free exchange of Shotokan kumite techniques during the class

Rei

Bow


Reiniku 霊肉 Body And Soul

Ren Geri Combination Kick

Renmei 連盟 A Coming together, A Union of

Renoji Dachi L Stance

Renshi 3rd Dan to 5th Dan Aged 35 Years Plus "Ren" "Polished Tempered" "Shi"

"Person".

Roku 6

Roku Dan 6th Dan

Roku Kyu 6th Kyu

. | Page 219


Ryoku 力 Strength, Power

Ryu

School

Ryu Un no Uke Block of the flowing cloud. Also see Gyaku Shuto Uke (Reverse

Knife hand block).

Sagiashi Dachi

Crane On Rock Stance

Saikeirei

Sakui Uke

Bow To A 45 Degree Angle

Scooping Block

Sambon / Sanbon Kumite

Sambon / Sanbon Tsuki

Three Step Sparring

Triple Punch

San 3

San Dan

San Kyu

3rd Dan

3rd Kyu

Sanbon Shobu

Three Point Match

Sanbon Shobu Hajime

Start The Match

Sanchin Dachi

Hour Glass Stance

Sasae Ashi

Supporting leg

Satori No Wa Ga Hinode To Tomoni Yattekuru The Circle Of Enlightenment

Comes With Every Rising Sun.

Seiretsu Line Up

Seito Deshi Student, pupil of a martial art.

Seiryuto Uchi Ox Jaw Strike

Seiryuto Uke Ox Jaw Block

Seiza Kneeling/Sit Posture

Sempai or Senpai 先輩 Senior, same or higher rank than oneself

Sen Nen Undivided Attention

Sen No Sen Seizing The Initiative Early

. | Page 220



Sensei

Teacher Instructor Master “one who has gone before”

Sensei Ni Rei

Senshin 先心

Sentei Kata

Shi 4

Bow To The Sensei

Future Foresight Vision Enlightened / spirit mind

Intermediate Group Of Designated Kata

Shiai

Tournament, Competition

Shiai Geiko

Shiai-Jo

Shichi Dan

Tournament Practice

Match Area

7th Dan

Shichi or Nana 7

Shido

Shihan

Light Warning

6th and 7th Dan Aged 50 Years Plus “Shihan” Master Instructor

Shikkaku

Shiko Dachi

Shime 締め

Disqualification “Leave The Area”

Square Stance

Squeeze Together / Tighten

Shimoeski 下関

shomen

Shimoza 下座

Lower Side Left Side The West Side Of The Dojo when facing

Lower Seat, The Back, The South Of The Dojo opposite Kamiza


Shinboku no Shakai 親睦の社会 Friendship Society

Shin-Tai-Gi 心技体 Mind Body Technique Advancement

Shin-Tai-Waza 心技体 Mind Body Technique Advancement

Shinpan Referee

Shinpan-Ni-Rei Bow To Officials

Shinza Seat Of Gods

Shiro White

Shita Hiza Below the Knee

. | Page 221


Shitei Kata

Shizentai

Sho Dan

Designated, Assigned, Expected To Know Kata

Natural Stance / Informal Attention Stance

1st Dan Degree

Shobu

Sparring Match

Shobu Hajime

Shobu Ippon

Shobu Sambon

Start The Match Or Bout

1 Point Match

3 Point Match

Shomen

正面 Front Facing, Front Of Dojo, True Face

Shomen Ni Rei

Shoshin 初心

Bow To The Front

Learning / Beginners’ Mind

Shotokan

Shugo

The Hall Of Funakoshi

Judges Called

Shu Ha Ri 守破離 Obey, Break, Digress are the healthy 3 Transitional,

Transactional stages of the learning process between teacher and student. Stage 1:

SHU = To Obey, The Following of the fundamentals without deviation (Student

Stage). Stage 2: HA from the word yabure = To Break, To tear apart, The Free

Thought process effect of self interpretation on actual application, these

interpretations may deviate from tradition thinking (Sensei Stage). Stage 3: Ri from

the word Hanareru = To Seperate, Digress, The Innovation Stage, The Personal

Development stage that deviates from what is thought of as the traditional way

(Master Stage).

Shuseki Shihan 主席師範

Shuto Uchi

Shuto Uke

Sichi Dan

Sichi Kyu

Chief Instructor.

Knife / Sword Hand Strike

Knife / Sword Hand Block

7th Dan

7th Kyu

Sochin Dachi Fudo Dachi

Soji

Soke

Cleaning the Dojo Ritual

Rooted Stance Immovable Stance

Founder of the art/style or his acknowledged and rightful successor. 10th dan.

. | Page 222



Sokumen

to the side, sideways

Sokutei Mawashi Uke

Circular Foot Block

Sonkei 尊敬

Soto Uke

Respect

Outside Block

Sugu Ni

Quickly

Sundome Control: stopping the moment before

Suri Ashi 摺足 Sliding feet, the shuffling of one's feet.

Tachi Agaru

Tai Ki Ban Sei

Stand Up

A great talent matures late

Tai No Sen Seize the Initiative Early similar to Sen no Sen but in Tai no Sen both

bodies move inward together. also see De-Ai

Tai No Shinshuku Refers To The Degree Of Expansion And Contraction, The

Relaxation Or Tension Of The Body

Tai Sabaki

Body Judgement

Taikai

Tournament

Tatami 畳

Japanese Rush Mats

Tate Empi Uchi

Tate Ken Tsuki

Upward Elbow Strike

Vertical Fist Punch


Tate Shuto Uke Verticle Knife hand block.

Tate Uke Vertical Knife Hand Block

Tatte Kudasai Stand Up Please

Teisho Uchi Palm Heel Strike

Teisho Uke Palm Heel Block

Teji Dachi T Stance

Tekubi Uke Bent Wrist Block

Tenkai-Ashi 転回 Pivot

. | Page 223


Tenkan

Divert Convert

Tetsui Uchi

Tokui Kata

Toranai

Torimasen

Hammer Fist Strike

Free Choice, Favoured Speciality Kata

No Point

No Score Or Foul Rendered By The Judges

Toshi 闘志 “fighting spirit” it's especially required when one is being pushed

beyond one's usual physical and mental limits.

Tsugi-Ashi 次足

Pulling the foot towards the supporting leg a shuffle step

Tsukami Uke

Tsukami Waza

Grabbing Block

Grabbing technique

Tsuki

Punch

Tsuki Uke

Tsuki-Te

Tsuzukete

Punching Block

Attacking Partner

Fight On

Tsuzukete Hajime

Resume Fighting - Begin

Tyakugan

Constant Awareness Of What Is The Correct Target Area

Uchi Strike

Uchi Deshi Student who lived and trained with the master.

Uchi Hachi Dachi Inverted Open Leg Stance

Uchi Komi To repeat the same move many times. / Pounding in. / Basic form of

controlled impact.

Uchi Uke Inside Block

Uke Block, to Receive

Uke-Te Defending Partner

Unsoku Feet Movement

Ura Ken Back Fist

. | Page 224



Ura Tsuki

Upper Cut Close Punch

Ushiro Empi Uchi

Ushiro Mawashi Geri

Backward Elbow Strike

Backward Roundhouse Kick

Ushiro Tobi Geri

Flying Back Kick

Wanto Uchi

Wanto Uke

Washi Te Uchi

Forearm Strike

Inside Forearm Block

Eagle Hand Strike

Wazari (Not quite worthy of Ippon. Half Point Award) greater than Koka, and

Yuko but less than Ippon. Half Point / 2 Points

Waza No Kankyu Using The Correct Speed In Relation To Each Individual

Movement In The Kata

Wounded Tiger 負傷虎

Fusho Tora by D.Kirkham

Yakusoku 約束

Promise

Yakusoku 約束 Kumite 組手

Hands

Basic Pre-Arranged Sparring, promised Grappling

Yama Tsuki

Yama Uke

Mountain Punch

Mountain Block

Yame

Finish Stop


Yoi Make Ready

Yoi No Kisin Preparation Of The Mind And Spirit

Yoko Empi Uchi Side Elbow Strike

Yoko Geri Keage Side Snap Kick

Yoko Geri Kekomi Side Thrust Kick

Yoko Tobi Geri Flying Side Kick

Yon Dan 4th Dan

Yon Kyu 4th Kyu

Yori Ashi Sliding The Feet

. | Page 225


Yoshi

Let’s Do It, Get A Move On, Etc

Yudansha

Yukkuri

Black Belt Ranking

Slowly

Yuko (Advantage) greater than Koka but less than Ippon and Wazari. Lesser Point

/ 1 Point / Quarter Point

Yuzen

Air Of Composure

Zanshin 残心

Zenkutsu Dachi

Lingering Mind / Remaining On Guard

Front Stance

Zenshin 全身 Zenrei 全霊

remaining on guard.

Whole Of One’s Body, Mind & Soul remaining alert,

. | Page 226



The 27 Kata of 松涛館 Shotokan Ryu

Hall of Funakoshi school

太極初段 Taikyoku Shodan Kihon Kata First Cause Fundamental Kata

平安初段 Heian Shodan Peaceful Mind, First Level

平安二段 Heian Nidan Peaceful Mind, Second Level

平安三段 Heian Sandan Peaceful Mind, Third Level

平安四段 Heian Yondan Peaceful Mind, Fourth Level

平安五段 Heian Godan Peaceful Mind, Fifth Level

鉄騎初段 Tekki Shodan Iron Horse Riding, First Level

鉄騎弐段 Tekki Nidan Iron Horse Riding, Second Level

鉄騎参段 Tekki Sandan Iron Horse Riding, Third Level

披塞大 Bassai Dai To Penetrate A Fortress Major

披塞小 Bassai Sho To Penetrate A Fortress Minor

観空大 Kanku Dai To View The Sky Major

観空小 Kanku Sho To View The Sky Minor

半月 Hangetsu Half Moon

五十四歩大 Goju Shi Ho Dai Fifty Four Steps Major

五十四歩小 Goju Shi Ho Sho Fifty Four Steps Minor

燕飛 Enpi Flying Swallow

慈恩 Jion Debt Of Gratitude To The Temple

慈陰 Jiin Temple Grounds

十手 Jitte Ten Hands / Ten Pairs of Hands

明鏡 Meikyo / Rohai Bright Mirror

二十四步 Niju Shi Ho Twenty Four Steps

王冠 Wankan King’s Crown

岩鶴 Gankaku Crane On A Rock

壯鎭 Sochin Strength And Calm

珍手 Chinte Rare Unusual Hand

雲手 Unsu Cloud Hands


. | Page 227


The Extra Kata of the Asai Ryu

Fushu

Gankaku sho

Hachimon

Hikioshi no Kata

Hyakuhappo (Hyakuhachiho)

Kashu

Kakusen

Meikyo Nidan

Meikyo Sandan

Rakuyo

Rantai

Roshu

Senka

Sensho

Shotei Dai

Suishu

Seiryu

Tekki Mugen Shodan

Tekki Mugen Nidan

Tekki Mugen Sandan

Dai Ichi Ken

Dai Ni Ken

Dai San Ken

Dai Yon Ken

Zenkutsu-Dachi-No-Kata

Kiba-Dachi-No-Kata

Kokutsu-Dachi-No-Kata

Gyaku-Zuki-No-Kata

Junro Shodan

Junro Nidan

Junro Sandan

Junro Yondan

Junro Godan

Joko Issei

Joko Nisei

Joko Sansei

Joko Yonsei

Joko Gosei

Kakuyoku Shodan

Kakuyoku Nidan

Kakuyoku Sandan

. | Page 228



The 12 Kata of Okinawan 剛柔流 Goju-Ryu

Hard and Soft school

十三 Seisan 13

壱百零八 Suparinpei 108

砕破 Saifa Break / Smash

制引戦 Seiunchin System for pulling in battle

三戦 Sanchin Three Wars

久留頓破 Kururunfa Sudden Attack After Waiting

三十六 Sanseiryu 36

四向戦 Shisochin 4 Front War

転掌 Tensho Rotating Palms / Circular Hands

十八 Seipai 18

撃砕 Gekisai 1 & 2 Pulverize

The 18 Kata of Okinawan 小林 Shorin-Ryu

Shaolin School

普及型 Fukyugata 1 & 2 Wide Reach Kata

平安 Pinan 1, 2, 3, 4, 5 Easy

内半戦 Naihanchi 1, 2, 3 Half way through a battle

安南空 Ananku Fight Against Oppression

腕貫 Wankan King’s Crown

鷺牌 Rohai Heron Image

汪楫 Wanshu Chinese Surname

抜塞 Passai Extract from a fortress

五十四方 Gojushiho 54 steps

戦東 Chinto Fighting to the East

公相君 Kushanku Diplomacy


. | Page 229


The Kata of Okinawan 劉衛流 Ryuei-Ryu

安南 Anan Southern Safety

黒虎 Heiku Black Tiger

巴球 Pachu Spiral

白鶴 Paiho White Crane

二十四 Niseishi 24


制引戦 Seienchin Fight Against Oppression

十三 Seisan 13

白虎 Paiku White Tiger


糸東流 Shito-Ryu

Shinpa (Uechi ryu)

Nipaipo (Gokenki ryu)

青柳 Aoyagi Clam

十六 Juroku 16

明浄 Myojo Bright Clarity

新破 Shinpa New Breakaway

八方掌 Happo Sho Eight Directions Minor

新生 Shinsei 1 & 2 New Life

四方公相君 Shiho Kosokun Four Directions

拳秀 Kenshu Fist Genius

賢掌 Kensho Talented Palms

弐八方 Nipaipo 28 Directions

. | Page 230



糸東流 Shito-Ryu Kata from Goju Ryu (Higashionna Kanryo)

十三 Seisan 13

壱百零八 Suparinpei 108

砕破 Saifa Break / Smash

征遠鎮 Seienchin Put Down a Distant Rebellion


久留頓破 Kururunfa Sudden Attack After Waiting


四向戦 Shisochin 4 Front War

転掌 Tensho Rotating Palms

十八 Seipai 18

雲手 Unshu Cloud Hands

壮珍 Sochin Grand Suppression

糸東流 Shito-Ryu Kata from Shorin Ryu (Itosu Yasutsune)


平安 Pinan 1, 2, 3, 4, 5 Easy Calmness

内半戦 Naihanchi 1, 2, 3 Half way through a battle

安南空 Ananku Fight Against Oppression

腕貫 Wankan King’s Crown

鷺牌 Rohai Heron Image

汪楫 Wanshu Chinese Surname

抜塞大 Bassai-Dai Extract from Fortress Major

抜塞小 Bassai-Sho Extract from a fortress Minor

止の抜塞 Tomari Bassai

松村の抜塞 Matsumura Bassai

親止の抜崔 Oyadomari Bassai

五十四方 Gojushiho 54 steps

戦東 Chinto Fighting to the East

公相君大 Kosokun-Dai

公相君小 Kosokun-Sho

公相君 Yara Kosokun

時恩 Jion Debt of Gratitude to the Temple

十手 Jitte Ten Hands / Ten Men

寺院 Jiin Temple Grounds

松村の十三 Matsumura Seisan

松村の鷺牌 Matsumura Rohai

二十四 Niseishi 24

止の汪楫 Tomari Wanshu

松風 Matsukaze Pine Wind

糸東流 Shito-Ryu Kata from Chinese White Crane (Go Kenki)

白鶴 Hakutsuru

. | Page 231

White Crane


Shuto (part 1)

by D Kirkham


Revised (November 2015)

Reprinted (November 2015) Issue # 61

手刀 Shuto, Knife hand or Sword hand, is the most parodied of Karate's

techniques, it’s the infamous yet highly misunderstood technique that the general

public refer to as the "Karate chop". While in reality shuto is by no means the only

Kaisho waza (open hand technique), it is however, possibly the most useful and

versatile technique in the arsenal of the Shotokan system. It's a technique that can be

performed either as a block 手刀受 , as a stopping technique or as a strike, which can

be delivered from over the front or the rear leg, as a straight photo 14 or reverse technique

photo 16 delivered from the front, back, cat, horse-riding, natural or rooted stance photo 1 to a

jodan, chudan, or gedan target area, using either the palm up photo 5 or the palm

down photo 4 method of execution.

photo 1

The part of the hand that is used as the weapon to strike with in the performance of

Shuto, is the outer edge of the hand, as marked in Fig : 1, 2 with the red line / area,

which starts from a position at the head of the Metacarpal, Sesamoid bone, which is

situated beneath the base of the little finger the Proximal Phalanx, down to the

Pisiform bone ending before the start of the Lunate Carpal.

. | Page 232




. | Page 233


Fig : 1

Fig : 2

Although the route taken for the delivery of shuto can in some styles of Karate and in

some kata look quite linear, it is however, at its most effective when it has travelled to

its intended target in a circular or angular direction, on the horizontal, or horizontal

and diagonal plane, photo 2, 3 whether it takes the inside to outside route, photo 4 the

outside to inside route, photo 5 or the overhead route that travels downwards describing

an arc on the vertical plane, photo 6.

Photo 2 photo 3

. | Page 234



photo 4 photo 5


photo 6

It has long been my belief that shuto is such a significantly important technique that

the mastery of its performance, from all the stance options, and in its many

configurations, is the mastery of Karate itself. So let us take a look at this highly

versatile technique in more detail, but to appreciate fully what this article is about to

say and to understand what the upper body and upper limbs are supposed to be doing

is only part of the story. Therefore, I strongly recommend that prior to continuing to

. | Page 235


read this article that you invest the time to read Kokutsu Dachi, as it will help you to

appreciate the inter-relationship between stance, hip rotation, timing and what the

upper body and limbs are doing at any given time during the delivery of shuto.

Welcome back, I hope that you will find that your study of the Kokutsu Dachi article

will be helpful to you with the appreciation of this article.

The action of shuto is as if to cut through the opponent’s limb with the cutting edge of

one’s weapon hand.

The hands should be formed by tucking in the thumbs of both hands while firmly

squeeze together the remaining fingers and thus creating rigidity in the outer edge of

the hands as can be seen in the photo opposite.

Because shuto uke is an open handed technique it allows for a quicker delivery of a

follow up technique, such as a grabbing technique (Tsukami Waza), which can be

used to pull the opponent off balance or stop them from moving away whilst you

deliver your immediate counter attack.

As with all of the blocks of the Shotokan Karate system there is a rotation of the lower

arm and hand during delivery, see photo 2 the yellow arrow and the black arrow in

photo 3, and as stated earlier it is at its most effective when the path the whole block

takes is that of a circular direction see the red arrows in photos 2,3.

Don't raise the shoulders during the execution of shuto, to achieve this one should use

the under arm muscles, see Fig : 3 the latissimus dorsi muscles to pull the shoulder

downwards and create further rigidity at the termination point of the technique.

. | Page 236



Fig : 3


When a student first learns to perform shuto uke as with many of the techniques, they

are taught it in its broken down form as can be seen in Photo : 7 A: a pre execution

position, which in this case is the termination point of the previously delivered

technique. B: the midway point is the stage that primes the next technique by

positioning the hands and arms in the correct basic delivery position. The cutting hand

of the technique is positioned above the opposite shoulder, with the palm facing ones

neck but not resting upon it. The opposite hand and arm, Hikite (reaction hand) will

be simultaneously thrust outwards in a positive manner in the direction of the

opponents attacking limb. C: the termination point of the technique, which is the

desired basic form of the technique. The primed blocking arm is unwound in a

rotational manner taking the circular and diagonally downwards route, whilst

simultaneously the outstretched hikite is firmly pulled backwards and forms a right

angle bend at the elbow as can be seen in Photo:2,3. Hikite is not an ornamental

addition to the technique, it is thought by many at its midway point to serve the

purpose of being either deployed as an initial point of blocking contact with the

attacking limb or as a mid-section nukite and at its termination point to be treated in a

similar manner as one would deliver an ushiro empi uchi (backward elbow strike).

The aim of your technique is as if to cut through the opponents attacking limb, as can

be seen in Photo: 8.

. | Page 237


Photo : 7

Photo: 8

As mentioned earlier Shuto is a very versatile technique that can be performed either

as a block, as a stopping technique or as a strike, which can be delivered from over the

front or the rear leg, as a straight or reverse technique delivered from the front, back,

cat, horse-riding, natural or rooted stance to a jodan, chudan, or gedan target area,

using either the palm up or the palm down method of execution. Below are some of

those various configurations of shuto.

. | Page 238



Photo: 9 Photo:10 Shuto Uke in Kokutsu Dachi

Gyaku Shuto Uke in Kokutsu Dachi

also referred to as Ryu Un no Uke

(Block of the Flowing Cloud)


Photo:11 Photo: 12

Bunkai kata Kanku (to view the sky) Shuto is

used as jodan morote shuto uke

. | Page 239

As early as Heian Yondan Shuto

is being utilised in a simultaneously executed

combination ; hidari jodan age shuto uke & migi

jodan shuto uchi


Photo:13 Photo: 14

Gedan Shuto uke in Kokutsu Dachi

Tate Shuto uke (verticle knife / sword hand block)

performed in Fudo Dachi

Photo:15 Photo: 16

Jodan Shuto Juji uke

(Knife / sword hand X block.)

Gyaku Tate Shuto uke ( Reverse verticle knife /

sword hand block) in Fudo Dachi

. | Page 240



Photo 17 (Front View) Photo 18 (Side View)

Jodan Shuto Juji Uchi (Knife / sword hand X strike.)


. | Page 241


Shuto (part 2)

by D Kirkham


Revised (November 2015)

Reprinted (May 2016) Issue # 63

This article is part 2 following on from part 1

that was featured in issue # 61. Part 1 looked

closely at what Shuto is; which part of the hand

is used to execute the technique, the various

routes of delivery and its versatility as a

defensive or offensive technique. It was pointed

out how shuto is the most parodied of Karate's

techniques, it’s the most infamous yet it is

highly misunderstood, it is a technique that

the general public refer to as the "Karate

chop".

So this article will follow on and look at the evolution of the open hand technique that

we now refer to as shuto (knife/sword hand), and how it has morphed through its

various stages; stages that some styles believe are an improvement upon the basic

theme. This article will not suggest as to which example of shuto is the best, nor will

it suggest which variation is better than the rest in a particular situation, as it is my

personal belief that each of the variations have a legitimate place in the history of

karate and in the evolution of this most important technique. The article, will, to the

exclusion of the front weighted stances, focus upon some of the different stances that

place their priority on a back weighted centre of gravity, for execution of the

technique. To appreciate this reasoning please read part 1 of this article and the

article entitled Kokutsu dachi. This article will also look at the theory and demonstrate

the practice of "Treating all of your blocks as attacking manoeuvres!" The evolution

of anything by default means to change, and change causes a degree of disharmony

between the traditionalists and the modernisers; and sadly this is a state that will

continue to exist until the end of time, no matter what walk of life or element

undergoes an evolutionary change. This instinct and resistance to change is as a result

of far too many reasons to address in this article, but for no more important of a

reason than people don't generally like change. This article is not setting out to nor is

. | Page 242



it designed to change the way that you perform shuto knife/sword hand; it is however,

an attempt to make one more aware of the historical evolutionary variations and make

one more tolerant and accepting of them and of the chosen path of others.

..

The Evolution of the technique


.

photo 2 : is a pictorial montage of how the technique has evolved over time.

While the 15 images of photo 2 and those of photos A to M in the right hand column,

are not presented in any specific chronological order and does not profess to be a

complete list of the known variations, they can however, be said that they are a

reasonable representation of the numerous variations that exist. The intent is that

photo 2 & photos A to M will get across the message of how many stages of evolution

that just this one technique has gone through and is still going through. Take into

consideration that the variations were not introduced upon the whim of some

inexperienced individual, but they were revised and taught by serious karate-ka and

were implemented with serious conviction as being a legitimate way to perform the

technique more efficiently; so much so, that later on they were introduced into the

kata of the various style innovators and were taught with specific bunkai, that was

. | Page 243


linked to that variation of the technique. So please do not dismiss any of them without

firstly looking a little deeper into what they may or may not have to offer. Try not

to look at them and immediately convince yourself that they would fail merely

because they differ from the way that you have been taught to do the technique,

and/or what your own perceived concept of what is the correct way to perform the

technique.

photo 2.1 note how the front hand wrist is bent at a right angle to the forearm and the

elbow is bent at right angles to the upper arm, which is held at a high jodan level, with

hikite positioned under the elbow of the front hand and the palm of hikite is facing

downwards. The stance used is similar to cat stance with the weight of the front leg

placed on the ball of the front foot but worthy of note is that while we as shotokan

practitioners refer to this as a form of cat stance some Okinawan styles refer to this

stance as one of several stances that they legitimately refer to as back stances.

photo 2.2 a flat front foot version of a much shortened back stance has been adopted,

hikite has been pulled slightly backwards away from the underneath of the front

elbow and the front arm has been slightly lowered, yet it is still performed

predominantly at a jodan level.

photo 2.3 is a mixture of photo 2.1 above the waist but the front hand has now been

inverted so the palm is facing upwards and similar to 2.2 below the waist.

photo 2.4 the front hand has been re-inverted so the palm is facing downwards and the

front arm has been straightened, thus extending its reach and lowering it to a chudan

level, while hikite remains palm downwards.

photo 2.5 is similar to 2.4 however, hikite is now deployed in a slightly more forward

of a position and the hips are lowered creating a deeper version of cat stance.

photo 2.6 the front hand is positioned between a high chudan and a low jodan and the

front arm is in a slightly more angled position compared to that of the straightened

version of 2.5 and the preference here is for the use of the flat front foot in the

shortened back stance, while hikite is now for the first time in a palm facing upwards

position with hikites forearm raised at the finger tip end of the technique.

photo 2.7, 2.8, 2.9 are held higher than, yet are similar to 2.6 and one could be

forgiven for confusing them with another technique altogether, that of haishu uke

(back hand block) as can be seen demonstrated in photo 2.7 but 2.8 & 2.9 are not

haishu uke, they are shuto uke, and those 2 variations place varying degrees of

importance upon the elevated jodan termination point as being the standard level at

which to terminate the basic technique, unlike Shotokan’s chudan preference.

photo 2.10 is delivered from a more recognisably shotokan longer based kokutsu

dachi (back stance) and with the extended angle of the front forearm compared to that

of 2.9 it gives chudan as its desired termination point for the techniques delivery;

whilst hikite is resting horizontally parallel to but just above the level of the knot of

the belt.

. | Page 244



photo 2.11 is very similar to 2.10, but the hikite this time is diagonally raised at the

fingertip end of the technique to the sternum height and therefore creating a more

angular hikite variation than that of 2.10. Often the practical application of this

variation of the technique is performed on a 45 degree inside or outside angular line as

illustrated.

photo 2.12 is performed in what some shotokan practitioners still refer to as a form of

cat stance, whilst other styles legitimately refer to it as one of the variations of back

stance. But no mater which description of the stance one holds as true, the weight

distribution in some cases of this stance is 90% on the back leg and 10% upon the

ball of the front foot, which is considerably less than that of kokutsu dachi which

is 70%/30%, and the weight is finely balanced on the ball of the foot in this example

and not distributed across the whole of the flat foot as in kokutsu dachi as seen in

photos 2.10 and 2.11. The front hand wrist is also bent and angled, while the elbow

angle is reduced when compared to that of 2.11, the technique is still delivered to the

chudan level as a standard and the diagonally angular hikite arm is the same as that of

2.11.

photo 2.13 is performed from a flattened front foot back stance, with a straightening

of the front arm wrist compared to photo 2.12 and an elevating of the technique to the

jodan level. While hikite is lowered to the same level as the belt and the wrist is

rotated from the 2.12 position and the wrist is bent to almost a right angle to the

forearm to form a hikite hand position that resembles a stopping signal.

photo 2.14 fittingly "the cat" performs the technique from a cat stance and elevates a

similar hikite as photo 2.13 but in this example it is held at the sternum level. The

front forearm at the elbow has a bend just as does the wrist of the front arm,

which lowers the front arm slightly, although the techniques still remains more of a

jodan than a chudan level technique.


photo 2.15 the stance remains the same as 2.14 except for a slight lengthening

between the two points of contact with the floor and the front arm has been even more

straightened, slightly lowering it to the upper limit of a chudan level technique. Hikite

has been significantly pulled all the way backwards from the torso to rest in the hip

(koshi) position and a fist has been made of the hikite hand rather than leaving it as an

open hand (although not illustrated here in the 15 variations, it is worthy of note that

there is an open handed hikite version of this variation of the technique, which sees

the open hikite hand also withdrawn from the torso to rest in the hip position).

.

So after reviewing the 15 variations displayed in photo 2 one can see that shuto and its

individual parts morphing, by taking the bend of the wrist of the blocking arm through

an angular range of almost 180 degrees from photo 2.1 to 2.14 And likewise with the

hikite arm from its palm facing down then inverting it so it faces upwards and even

transforming it into a closed fist. While taking the termination point of hikite from

under the elbow of the blocking arm to rest it on the torso and to finally moving it to

rest in the koshi (hip) position, and for it to be lowered vertically and angled from

being level with elbow of the blocking arm through various heights down as far as a

sub hip level position when the technique is executed as a gedan shuto uke as is seen

in kata kanku sho. Its choice of stance has morphed all the way from a higher centre

. | Page 245


of gravity version of cat stance, stopping off at numerous points and making slight

variations on route to the longer based and lowered centre of gravity of the training

length stance of a Shotokan-ryu kokutsu dachi.

A comparison of two physical variations of shuto

Photo 3 Chudan Shuto uke

(Knife / sword hand block.) in a back

weighted stance similar to those in photos :

2.1, 2.5, 2.8

Note the shorter length of the stance base,

the reduced angle of hip rotation, the rear

foot taking the inside line of evasion, the

angled wrist of the front hand, the increased

priority being placed on the rear foot weight

distribution 90/10 and the slightly higher

centre of gravity compared to the

characteristics of the stance in photo 4.

. | Page 246




Photo 4 Chudan Shuto uke (Knife / sword hand block.) in kokutsu dachi similar to those in photos

2.10, & 2.11 Note even a small difference between the positions of the back leg as shown in positions

1a incorrect & 1b correct will have a dramatic effect upon the 70/30 weight distribution of the stance

. | Page 247


There will always be an element of style snobbery within every style of karate and

that snobbery inevitably stimulates some karate-ka to claim that their variation of the

technique is the variation that is the most effective. However, the reality is that the

most effective variation of a technique is the variation that works best for you. And to

get that variation to work for you requires you to practice the technique until it

becomes second nature to you, no matter which variation pathway one chooses to

practice. So having got that out of the way, please review this comparison not as an

attempt to lay claim to which variation is the most efficient or effective, but it has

been done to highlight the physical and tactical variations of the two examples from

photos 3 & 4. To ensure that a fair comparison is being made, the same person is used

to perform both of the techniques in photos 3, 4, & 5. This is in an effort to legitimise

the measurements referred to and to eliminate any potential variables, be those

variables, actual variables or the illusion of a variable due to a difference in body to

limb length ratios, body masses, and the comparative height differences of two

different performers.

Before you start to compare the two techniques, stances and line of evasion tactics,

then you need to come to a conclusion by firstly deciding, "what it is that you require

from a technique?"

Is it Effectiveness you desire?

Effectiveness is doing the right thing to achieve the desired goal, even if the thing that

one does, does not meet the optimal efficiency test, and is considered in no way

aesthetically pleasing to man nor beast, nevertheless, it can be said to be effective,

just as long as it achieves the desired goal. So it is possible for one to be effective yet

not efficient nor aesthetically pleasing.

Is it Efficiency you desire?

Efficiency is doing things in an optimal way to achieve the desired goal, doing things

faster or exerting the least amount of effort to achieve the desired goal are both

examples of efficiency. It could be that one is counter intuitively doing the wrong

thing, yet it can be still deemed as efficient. Equally if it achieves the desired goal in

an optimal way, then it could be said to be both efficient and effective. However, the

combination of effectiveness and efficiency are not always a guarantee of it being

aesthetically pleasing.

Is it Aesthetics you desire?

Aesthetics is a particular theory or held idea of what is and what is not considered as

beautiful or artistic, it's a particular taste for, a particular approach to what one finds

pleasing to ones senses. Aesthetics are very subjective and it does not rely on being

either effective or efficient to be pleasing.

So you make your mind up what it is that you desire from a technique, before doing

the comparison!

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Two variations up close


Photo:5

Two variations of a Chudan Shuto uke (Knife / sword hand block.) This Montage is to aid with the

comparison of the physical variations of Photos 3 & 4

The green vertical line (A) in photo 5, is the starting point where the blocking

performer was initially stood in yoi, the ready position.

It is also the point where the oncoming attackers fist comes to rest and is therefore, the

point of contact where the defenders knife/sword hand would intercept it, and in this

example it will therefore, be the constant, fixed point in the measurement.

The alpha numeric annotations in red highlight the variable measurements of the

movements of the performance of the technique depicted in photo 3 and the alpha

. | Page 249


numeric annotations in white highlight the variable measurements of the movements

of the performance of the technique depicted in photo 4.

Note that none of the following indicators should be taken in isolation to arrive at a

conclusion in one’s comparison, as they all in varying degrees have interdependency

upon each other.

Horizontal lines white (B) & red (C) and the central bullet point along each of those

horizontal lines, intersect the knot on the belt of the performer, and are there to

indicate the height of the hips and the degree of rotation of the hips at the completion

of each of the two techniques, and they display where the centre of gravity, the

balance point for each of the techniques lie.

Note (B) shows a lower centre of gravity and a greater angle of hip rotation,

compared to that of (C).

Horizontal lines white (D) & red (E) indicate the overall length of the stance, which is

a measurement between the points where the weight bearing part of the front and back

feet come into contact with the floor. A diagram of the overall weight distribution of

each of the stances can be seen separately in photos 3 & 4.

Note in (D) the measurement is the distance between the two heel centres, whilst in

(E) it is the distance between the heel centre of the back foot and the ball of the front

foot. Also worthy of note is that (E) takes a slightly greater inside angular line of

evasion away from the oncoming attack in this example, whilst (D) uses an almost

straight line of evasion but on closer study one can see that in (D) it does take a lesser

inside angular line of evasion to that of (E).

(D) is a longer based stance and has a greater surface area of contact with the floor

than that of (E), which are factors that increase ones stance stability. Whilst the

shorter stance of (E) and the use of minimal surface area contact of the front foot both

contribute to an increase in manoeuvrability for stance transition.

Horizontal lines white (F) & red (G) indicate the weight bearing surface areas that are

in contact with the floor for each of the techniques.

White & red bullet point (1) displays the termination point of the defenders front

hand, which will be the point of contact where the cutting edge of the defenders

knife/sword hand would intercept the wrist of the oncoming attackers' fist.

Note the difference in distance between the white & red points 1, 2, 3 are interrelated

and are influenced by other factors such as, the angle of evasion taken, degree of hip

rotation, length of stance, length of pull back of the front leg. Also interesting to note

is that the difference between white & red points 1, 2, 3 remain constant in

comparison to each other, despite the two techniques having very different physical

characteristics.

White & red bullet point (2) indicates the proximity of the knee of the front leg in

relation to that of the oncoming attacker.

White & red bullet point (3) indicates the proximity of the body in relation to that of

. | Page 250



the oncoming attacker.

Note The distance the front leg and body is away from (A) which is the oncoming

attackers' fist, is indicated by white & red bullet points 2 & 3, these measurements

would increase proportionately as the angle of evasion of the defender increases.

Therefore, if the angle of evasion of (D) were to increase to equal that of (E), then the

distance of white & red points 2 & 3 are away from the oncoming attackers fist would

also increase equally in proportion.

White & red bullet point (4) indicates the termination point of the centre of the hikite

hand.

Blocks should be thought of and executed as an attacking manoeuvre.

The heading of this section, "Blocks should be thought of and executed as an

attacking manoeuvre." is a further refined paraphrasing of the theory held by

Masatoshi Nakayama who believed that "Blocks should be viewed as attacks." To

demonstrate the theory let's firstly analyse the step by step actions of the commonly

accepted Kihon training variation of shuto uke; by that I refer to the one that is

generally adopted and taught by the more mainstream Shotokan ryu today, see

Photos 7, 8, 9.


Photo: 6 Yoi Photo: 7

. | Page 251


Photo: 8 Photo: 9

On the understanding, that each and every one of the elements involved in the

delivery of the technique Photo 7,8,9 (the route taken by both hands, the finished height

of the cutting edge of the blocking hand and that of hikite, hip rotation, timing, weight

distribution and the line of evasion and execution) all have a purpose and are not

performed randomly without meaning. Therefore, a closer study of their applied

meaning is beneficial if one is to appreciate exactly why the adoption of the maxim,

"Blocks should be thought of and executed as an attacking manoeuvre" is a

worthwhile one.

Photo: 10 is the applied variation of Photo: 7, if the attack was aimed in the chudan midsection area.

. | Page 252



The cutting edge of what is commonly perceived as the blocking hand is in the raised

and primed position, situated above the opposite shoulder, where it is ready to deliver,

in this case, its rotated counter-attack. Hikite is thrust outwards and is used as teisho

uke to deflect the attackers' incoming chudan oitsuki. The commonly held perception

is that the cutting edge of the blocking hand of shuto knife/sword hand is thought of

as being the initial point of contact usually when it intercepts the wrist of the

attacker’s oitsuki; however, it can also be effectively utilised as a counter-attacking

manoeuvre just as can be seen in Photo: 11.

Photo: 11 is the applied variation of Photo: 9 shuto is used here as a counter-attacking manoeuvre just

as it is in the second and fourth examples of shuto, when taken from the kata heian shodan.


Here the cutting edge of the shuto knife/sword hand is not being deployed as a block

against the attackers chudan oitsuki but it is being effectively utilised as a counterattacking

manoeuvre with devastating effect by cutting round and downwards against

the clavicle (collar bone) or the carotid artery/jugular vein (side of neck).

. | Page 253


Photo: 12 is another applied variation of Photo: 7, as the attack on this occasion was aimed at the

jodan head section.

In this example the attackers' oitsuki has been elevated to the jodan head section and it

allows the versatility of shuto knife/sword hand to be displayed. The initial point of

contact with the incoming attacker is a simultaneous action of an outwards thrusting

of hikite used as shihon nukite to the attackers' throat and by using the cutting edge

hand of shuto knife/sword hand as a jodan nagashi uke to the wrist of the attackers'

jodan oitsuki, as can be seen in photo 12.

Photo: 13 is another applied variation of Photo: 9 here shuto is again being used as a counter

attacking manoeuvre just as it is in the second and fourth examples of shuto, when taken from the kata

heian shodan, heian nidan, kanku dai and others.

. | Page 254



The two examples shown of the applied variations of shuto uke, I hope go some way

towards highlighting and justifying why it is that Shotokan Karate coaches worldwide

seem to display an almost obsessional over emphasis on the correct use of and the

correct placement of what may appear to the student as an inconsequential aspect of

the technique. I refer to the execution of hikite in particular! And after looking at the

use of hikite in these examples, and applying the same theory to all of our blocks, age

uke, soto uke, uchi uke gedan bari, it then poses the questions, is hikite therefore, the

real block ? And is that why we should think about looking upon the named block,

shuto uke in this case as being an attacking manoeuvre ?


Having observed first hand many times over the past decades, shuto uke being

performed by Masao Kawasoe, who I believe to be one of the greatest ever technician

of the Shotokan style, it was when he was a guest instructor at the now closed

Samurai martial arts centre in Liverpool, that intrigued me the most, as I watched him

very closely, while he performed his personal warm up routine, prior to taking the

class. I observed him slowly performing what seemed to be at the time his

personalised variation on shuto uke. It was not however, the usual Shotokan version

that he would teach and perform himself during the class, as seen in photo 2.11 but it

was a hybrid version, with a stance somewhere between his very distinctive kokustu

dachi and that of an out-stretched neko ashi dachi, where the weight distribution was

very minimal on the front leg, only around 10% of which all was on the ball of the

front foot, leaving 90% of his weight on the back leg, it was similar to the stance as

seen in photo 2.12. His arms did not follow the expected crossing route as outlined in

photos 7,8,9 but they were both elevated parallel to each other and held at a jodan

level, where they were then driven round wards and downwards taking a diagonal

route to their chudan termination point, this was very similar in execution to that of

the gedan shuto uke from kanku sho, and his line of defence was always that of an

inside 45 degree angle. The classical Shotokan appearance of shuto uke, sees the

wrists of both the blocking arm and that of hikite normally delivered with straight

wrists; however, this personalised variation of shuto uke was more akin to that of a

shito-ryu variation of the technique, where the wrist of the blocking arm was angular.

Having observed this respected Shotokan instructor who was at the top of his game in

his chosen style, performing a non Shotokan variation of shuto uke for his personal

use, lead me immediately to the conclusion that there must be something of real value

in practicing variations of techniques from other styles, even for a technician as

accomplished such as he. The benefits of studying and training at technique and kata

from other styles was further reinforced when Hirokazu Kanazawa who for me was

the greatest and most open, expressive and able of the Shotokan instructors, used to

demonstrate and teach tai chi forms and kata from the Goju-ryu style of karate during

his courses. This however, was not my first exposure to practicing karate technique

from another style, as when I was a child and too young to be accepted as a full time

member of a dojo because the age limit in those days in the 1960s was around 16

years of age. I was therefore, reduced to subterfuge in order to take part in any

advertised open sessions that were run at Dojos or organisations who were trying to

increase their membership. That meant that much travelling and very often I didn't

even know the name of the style of karate that the club and I were practicing, and

equally as often I wouldn't get to practice the at the same club or the same style of

. | Page 255


karate on consecutive training sessions. My first karate lesson was with the father of

British karate, Vernon Bell of the British Karate Federation who at that time was

teaching the Yoseikan style of karate. So it was not as if the acceptance of another

theory of how to execute a particular technique was a strange concept to me. But it

was seeing highly accomplished world renowned Shotokan experts that I respected

and who made their living from and run their lives guided by the Shotokan way of

doing things, practice a technique from another style that reinforced the benefits to be

gained from an open mind where technique theory is concerned.

Photo: 14 Photo: 15

The upper limb angles of Masaoe Kawasoe’s

very classy Chudan Shuto uke (Knife sword

hand block)

Masaoe Kawasoe Chudan Shuto uke (Knife /

sword hand block)

I hope that this two part article has firstly made you think about and look differently at

the technique that we know as shuto uke, that it made you look closer than you have

done previously. Secondly I hope that now you will not be so hasty as to instantly

apply style snobbery by dismissing one of the evolutionary variations of how to

execute a technique, especially when it is presented from another styles point of view.

Because, If one takes the time to look closely enough for, then there are still tell-tale

signs of the evolution of technique that are embedded within the traditional kata of

one’s own style.

. | Page 256



Photo: 16 Photo: 17

Ms Yuki Mimura

Manabu Murakami


. | Page 257


Study of the values

of Sanbon Kumite

by D Kirkham


Revised (January 2012)

Reprinted (February 2012) Issue # 46

During a 6 month period of study two separate test groups were observed, both groups

were made up of 25 adult males, of 9th kyu grade, all students were in the age group

18 to 25 years old. The 50 students that took part were taken from two separate dojos'.

Both dojos’ are members of the Shotokan Karate Union and are under the guidance of

the same coach. We used two separate dojos so that members of the study groups

never met each other and were therefore, unable to compare training methods. We

chose the same coach for both groups then the same level of enthusiasm,

methodology, and coaching experience was given to both groups, eliminating as

many variables from the study as was reasonably foreseeable, in other words the test

groups themselves were made up of the same size, same gender, same age, same

experience and the factors affecting the instruction and coaching given to them were

identical, it was just the subject matter delivered that was different, Group 1 were

taught Gohon Kumite exclusively while Group 2 were taught Sanbon Kumite

exclusively. The student’s incentive to commit seriously to the learning programme

was that they were made fully aware that the particular form of kumite that they were

being taught was exactly the syllabus that would appear in their next grading exam

and that they would be required to know and perform it if they were expecting to pass

the kumite section for their next two grading exams. They were also made aware that

these two grading exams would take place over the 6 month period of the study. If

they were successful then it would take them from 9th Kyu to 8th Kyu after the first 3

months of regular training and then after another 3 months regular training if

successful then they would reach 7th Kyu.

So let us look at what is meant in the study by Sanbon Kumite. There are two drill

forms of Sanbon Kumite that we in the Shotokan Karate Union employ and both drill

forms will be explained in detail in this article, and both drill forms were taught to

group 2 during the study. Sanbon Kumite is sparring of three stepping attacks, in both

of its forms Sanbon kumite belongs to the group of Yakusoku Kumite’s pre-arranged

sparring drills. If practiced correctly then they will forge the students’ attitude towards

the adoption of a serious attitude when taking part in kumite. It will teach them an

understanding of Ma-ai distancing, tai sabaki body judgement, the shifting of their

weight distribution, to accurately and strongly attack, block and counter-attack, to

target the vital points the points of atemi, how to deliver controlled techniques and

how to use kiai, and therefore; Sanbon Kumite should be introduced at the earliest

stage of a student’s training career. Therefore, in the Shotokan Karate Union, Sanbon

Kumite is introduced for the first grading exam and the student is tested on it through

to the 7th Kyu stage.

. | Page 258



Before any kumite exchange is allowed to begin there are etiquette and preengagement

formalities to be followed and these were covered in detail in a previous

article entitled; Preparatory positions first published in May 1985 (Revised May 2012)

SKU Quarterly Magazine. After both the Attacker (Tsuki-te ) and the Defender (Ukete)

have performed Rei (bow) to a 30 degree angle (Keirei) towa rds each other in a

display of appreciation that they are both willing to seriously commit to this exchange

as training partners who have the same aim of learning together. And after both have

made yoi the ready position then the conflict may begin.

Role of the Attacker (Tsuki-te). From yoi the ready position, step backwards with

your right leg while simultaneously using the left hand to perform gedan barai

(downward sweeping block). This is the attackers starting position for all drill forms

in the yakusoku kumite group of which gohon and Sanbon kumite belong to. After the

completion of gedan barai, then the attacker clearly announces in a strong voice to the

defender where the target area is that they will be aiming their 3 stepping attacks at.

The defender must remain in yoi and not move during the attackers’ preamble phase.

At this stage both the attacker and the defender should be in the mental state of

awareness known as zanshin, mentally on guard, alert and ready, whilst externally

displaying calmness. Devised over a period around the late twenties early thirties

Sanbon kumite is designated for the development of strength in the delivery of

attacks, blocks and counters, therefore, every technique of Sanbon kumite should be

executed without compromise, however, close attention must be given to the degree

of control that is exercised in respect to the distance of the weapon used and its

termination point and also to the power of the impact that is expressed during the

delivery of the technique; especially in respect to the control of the defenders counter

attack. When after all, the attacker upon the completion of their attacking 3 step rally

will merely stand his ground and he is therefore, a still and compliant target for the

defender to hit when he receives the defenders full blooded counter attack. For the

defender to display zero control over their counter attacking technique would be

grossly disrespectful to their training partner and prove absolutely nothing. This

behaviour is to be discouraged by the coach and fellow students and should be

stamped out immediately.


As referred to earlier the Shotokan Karate Union utilises two drill forms both of

which carry the Sanbon kumite title.

Drill 1 is the shortened three step version of gohon kumite (sparring of 5 stepping

attacks).

Jodan Rally After the pre-engagement formalities have been observed, and the

attacker has announced their intended target area, of “JODAN”, then the attacker

starts the conflict by swiftly stepping forward at lightning speed with the right leg

. | Page 259


while delivering a right handed jodan head height oitsuki. The attackers’ objective is

to deliver three powerful decisive blows, each of which if delivered in isolation would

have a devastating effect upon the defender, enough that it would terminate the

conflict there and then, if not controlled by the attacker or if it was blocked

ineffectively by the defender. After the delivery of each technique both the attacker

and defender should be well balanced before attempting to launch their next

technique; and herein lies the combative challenge and the nature of any kumite

exchange; because it is also the duty of the attacker to succeed with the delivery of

their technique, as they are not taking part merely to be the human punch-bag for the

defender, but they are there to learn how to execute a strong and successful attack.

This is achieved by once they are well balanced and in the correct position to launch

their next attack then they should do so without hesitation and they should not allow

their opponent the luxury of the time to recover between their attacks. Upon the

completion of the third oitsuki the attacker should remain in that final position until

the defender has delivered their chudan gyaku tsuki mid-level reverse punch counter

attack. After the defender has delivered their counter attack then it is up to the attacker

who started the conflict to display that the rally is over. This is done by the attacker

stepping backwards into the yame / yoi position. This gesture of non-aggression from

the attacker indicates to the defender that the rally is now over. Both participants

should remain focused in yoi the ready position awaiting the forthcoming onslaught of

the next rally. The defender in the previous rally will now become the attacker for the

second jodan rally and the attacker in the previous rally will now become the

defender.

Role of the Defender (Uke-te ).

Jodan Rally Standing in yoi the ready position they should be in the mental state of

awareness zanshin awaiting the attacker to launch their 3 stepping jodan oitsuki

attacks. The defenders aim is to intercept each of the attackers deadly blows by

executing 3 jodan age uke rising head blocks while retreating. Stepping backwards

with their right leg making zenkutsu dachi front stance and simultaneously block

jodan age uke with their left arm. Repeat the manoeuvre 2 more times while stepping

backwards in response to the advancing attacker. Immediately after their third jodan

age uke, without pause they are to launch their counter attack with their right hand,

which will be a chudan gyaku tsuki mid-section reverse punch, deliver it with a

powerful Kiai. After which the attacker will indicate that the rally is now over by

withdrawing from the immediate area of conflict they do that by stepping backwards

into the yame / yoi position. At this point the defender should simultaneously step

forward into the yame / yoi position at the same rate and use the same intensity as the

attacker, this is done to maintain the correct constant distance between the attacker

and defender at all times. This motion is as if both participants are magnetically

attracted as they move in a focused and synchronised manner as one unit. Once both

participants are in the yoi position then it is at this stage that their roles are reversed

before starting the second jodan rally, in other words it is where the defender becomes

the attacker and the attacker then becomes the defender. Once they have completed

the second jodan rally they should both have returned to their original starting

positions that are marked up on the dojo floor.

. | Page 260



Chudan Rally


Having completed the two jodan rallies, one rally as the defender and the other rally

as the attacker, then immediately follow them by performing two chudan rallies and

once again one rally will be performed in the role of the defender then one rally in the

role of the attacker. As before the whole exchange starts with both participants in

facing each other standing ready in yoi, then the attacker steps backwards with their

right leg and blocks gedan barai with their left arm, they will announce their intended

target area, which this time will be “CHUDAN”. Then the attacker starts the conflict

by swiftly stepping forward at lightning speed with their right leg while delivering a

right handed chudan mid-section oitsuki. The attackers’ objective as previous stated in

the jodan rally, is to deliver three powerful decisive blows, each of which if delivered

in isolation could be classified by an observer as being executed with the intent of

Ikken Hisatsu (to kill with one blow) and upon delivering their third chudan attack

they should augment it with the use of a powerful Kiai. The defender should respond

to each attack individually, not moving until the attack is launched, only then should

the defender respond. The defenders first move is stepping backwards with their right

leg and blocking with their left arm by delivering a robust chudan soto uke. Each

block should be powerful and delivered with this thought always in mind, “I am

aiming to break that which I come in contact with”, and this is where the concept of

look upon blocking as attacking comes from. Immediately upon completion of their

third soto uke defence and without hesitation then they are to execute their counter

attack using jodan gyaku tsuki head height reverse punch and it is to be delivered with

the assistance of Kiai. The procedure used and described earlier for the jodan rally;

which returns both participants back into the yame / yoi position should be adhered to

and performed identically for this is the ending of the first chudan rally. Just as they

switched roles in the jodan rally it is at this stage the roles are to be reversed again, so

in other words the defender becomes the attacker and visa versa for the second chudan

rally. Once the attacker has made their third attack with the aid of Kiai and the

defender has unloaded their third soto uke and immediately counter attacked with a

jodan gyaku tsuki and augment it with a powerful kiai, then the conflict is over. All

that remains to do is for both participants to follow the procedure to get them back

into the yame position. Then finally observe the bowing formalities before either party

can safely assume naore.

. | Page 261


Drill 2 Essentially follows the same overall framework as Drill 1, however, in Drill 1

there are 2 exclusively jodan and 2 exclusively chudan rallies making 4 rallies per

performance in total, whereas in Drill 2 there are only 2 rallies but each of these

rallies involve defending against multi target areas, 1 jodan punch, 1 chudan punch,

and 1 maegeri attack.

Drill 2 should be introduced when the students display that they are comfortable with

drill 1. Drill 2 helps to eliminate any complacency that may creep in with drill 1 when

students become familiar and competent with it.

Role of the Defender (Uke-te ). From yoi the ready position both participants should

be in the mental state of awareness zanshin waiting for the conflict to begin. The

attacker steps backwards with gedan barai as in drill 1 but in drill 2 he announces

“Jodan, Chudan, Maegeri”. The attacker starts things by launching jodan oitsuki the

first of their 3 stepping attacks. The defenders aim is to intercept each of the attacker’s

deadly blows by executing 1 jodan age uke, 1 chudan soto uke, 1 gedan barai while

retreating. Stepping backwards with their right leg the defender makes zenkutsu dachi

front stance and simultaneously blocks jodan age uke with your left arm. Manoeuvre

2 is in response to the attacker’s chudan oitsuki, the defender steps backwards and

blocks soto uke, manoeuvre 3 is in response to the advancing attacker’s maegeri front

kick. The defender steps backwards for the last time and blocks gedan barai and

immediately without pause or hesitation launches their counter attack with a right

hand chudan gyaku tsuki mid-section reverse punch, it is to be delivered using a

powerful Kiai. At this stage the attacker will indicate that the rally is over by

withdrawing from the immediate area of conflict they do that by stepping backwards

into the yame / yoi position. At this point the defender should simultaneously step

forward into the yame / yoi position at the same rate and use the same intensity as the

attacker, this is done to maintain the correct constant distance between the attacker

and defender at all times. This motion is as if both participants are magnetically

attracted as they move in a focused and synchronised manner as one unit. Once both

participants are in the yoi position then it is at this stage that their roles are to be

reversed before starting the second multi target rally, in other words it is where the

defender becomes the attacker and the attacker then becomes the defender. Repeat the

same 3 stepping manoeuvres and once they have been completed then the second rally

is completed and both participants should have returned to their original starting

positions that are marked up on the dojo floor.

Role of the Attacker (Tsuki -te). From yoi the ready position the attacker steps

backwards with their right leg while simultaneously using their left hand to perform

gedan barai (downward sweeping block). This is the attackers starting position. Next

the attacker will clearly announce in a strong voice to the defender what the target

. | Page 262



area is that they will be aiming their 3 stepping attacks at, in drill 2 it will be “Jodan,

Chudan, Maegeri”. The defender must remain in yoi and not move during the

attackers’ preamble phase. At this stage both the attacker and the defender should be

in the mental state of awareness known as zanshin, mentally on guard, alert and ready,

whilst externally displaying calmness. The attacker starts the conflict by stepping

forward with jodan oitsuki then stepping forward with chudan oitsuki then step

forward with maegeri chudan using Kiai on the maegeri. Then the attacker will

remain in their landing position while the defender launches their counter attack and

delivers it with the use of kiai. All that remains to do is to return both participants to

their original starting positions in Yame, this is the same procedure as outlined in drill

1. Then finally the bowing formalities should be observed before either party can

safely assume naore.

Having defined what we in the Shotokan Karate Union mean by Sanbon kumite, then

let us now look at why and how the study came about and what were its findings.


Sometime ago I was approached by a student who asked me a very simple question,

"Why do we bother with 3 step sparring if we have already learnt 5 step sparring?" by

this he meant drill 1 of Sanbon kumite, but his question started me to think about the

levels of commitment to practicing any of the preparatory kumite forms if this is the

commonly held belief? And it also raised the question of how much more motivated

to extracting the benefits from these and the other forms of preparatory kumite would

the students be if they understood the differences and the benefits of each form? To

find out if this was the commonly held belief or not, then the membership were asked

to take part in a short survey which posed the question, "do they understand and can

they explain the benefits of each of the different forms of preparatory kumite?" The

results were a staggering 94% believed that there was no difference between 5 & 3

step sparring. This response required further investigation, and as a result it came to

light that instructors were only teaching drill 1 of Sanbon kumite. But because the

instructors rightly believed that drill 1 of Sanbon kumite is an abbreviated version of 5

steps sparring then they only taught it fleetingly and they believed that there was no

extra benefit in its long term practice. This belief also led the instructors towards

neglecting to teach drill 2 of Sanbon kumite. Therefore, after a period of consultation

with the yudansha committee and Dojo instructors, it was agreed upon to address this

deficit in the overall learning programme, and it was recommended that the grading

syllabus should be extended to include both the drill forms of Sanbon kumite.

However, before that our first step was to check if these proposed changes were

justifiable and if any changes were made, then would they add any value to the

existing syllabus. As any change to training practices and or grading syllabus content

within the Shotokan Karate Union can only be made for reasons of the improvement

of standards, we therefore, advocated that any changes must be evidence based, and

that is why we chose to conduct research into and compare, gohon kumite and the

both forms of Sanbon kumite.

How and why the test groups were selected.

We selected two karate-ka test groups to observe, and they were monitored over a 6

month period. Both groups were made up of 25 adult males, of 9th kyu grade status,

who had a minimum of 3 months training experience, all of the students who were

involved were in the age group 18 to 25 years old, giving group 1 a 22 years old

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average age, while group 2 had a 21 year old average age. There was also a 25 man

non karate-ka control test group, who were in the same age group and they had a 22

year old average age. The qualifier for them to belong to the non-karate-ka group was

they must have not been involved in any form of martial arts training previously and

they are currently not involved in any form of sports training. This group was tested to

compare and contrast non-athletes against the two karate-ka test groups. The 50

karate-ka students that took part were taken from two separate dojos'. Both dojos’ are

members of the Shotokan Karate Union and are under the sole guidance of the same

coach. We used two separate dojos so that members of the test groups never met each

other and were therefore, unable to compare training methods with their counterparts.

We chose the same coach for both groups then the same level of enthusiasm,

methodology, and coaching experience was given to both groups throughout the

study. We believe that this eliminated as many variables from the study as was

reasonably foreseeable, in other words the test groups themselves were made up of the

same size, same gender, same age, same experience and the factors affecting the

instruction and coaching given were identical, it was just the subject matter delivered

that was different. Group 1 was taught Gohon Kumite exclusively while Group 2 was

taught Sanbon Kumite exclusively. The student’s incentive to commit seriously to the

research programme was that they were made fully aware that the particular form of

kumite that they were being taught was exactly the syllabus that would appear in their

next two grading exams and that they would be required to know and perform it if

they were expecting to pass the kumite section for their next two grading exams. They

were also made aware that these two grading exams would take place over the 6

month period of the study. If they were successful then it would take them from their

current 9th Kyu status to 8th Kyu after the first 3 months of regular training and then

after another 3 months regular training if successful then they would reach 7th Kyu.

As well as observing the qualitative differences in the performance of the two karateka

test groups, they were also assessed upon had the overall aims of each of the

kumite forms been learnt, specifically had they acquired the skills of distancing,

technique delivery control and has their response reaction time improved. These

factors were monitored monthly and recorded. All but the improvement in response

reaction times are visible by the human eye when the student performs their kumite

drills during training sessions and when performing for their grading exams. Response

reaction times were observed and not any increase in the overall delivery speed of

their technique because the delivery speed of their technique in many ways is

academic if their ability to respond to the opponents attack is slow. So what is meant

by response reaction time? For the purpose of the study, reaction time is accepted to

be the time that elapses between the presentations of a visual sensory stimulus such as

seeing the opponent begin to launch their attack and the time it takes for the defender

to decide upon and launch their subsequent response. Both forms of kumite in the

study are devised to condition the student’s reflex action to instantly respond when a

certain technique is thrown at them. Because the process of choosing a technique to

respond with takes up time, then it is fair to say that if one was able to eliminate the

time it takes to think about and choose a suitable response from the equation then the

overall time taken to deliver a response can be reduced and that is the logic behind the

repetitious nature of the same target area attacking drills which are performed with the

multiple stepping moves of the basic kumite drill forms. In collaboration with a

university student of kinetics, which is the scientific study of human movement, we

settled upon 2 methods of testing and monitoring reaction times. Method 1 was the 12

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inch rule drop test and method 2 was a computer generated visual sensory stimulus

response test.

Methodology used

Skill acquisition observation; as stated previously with the exception of the

improvement in response reaction times, all the skill acquisitions are visibly

measurable by the human eye to an experienced coach when the student performs

their kumite drills during training sessions and during grading examinations. To avoid

variables in the coaching of the subjects the same coach was used and they

exclusively taught both groups for the duration of the study. To eliminate any

unintentional bias in the recording of their performance, an independent assessor

would come once a month and rate the subjects individual performance. They were

rated on their, overall presentation which included the areas of power, speed, sense of

seriousness, as well as the key areas of distancing and the control of technique

delivery. Scores were attributed to individual performances on a scale of 1 to 10. With

1 being equal to a poor and below average performance, 5 being equal to an average

and expected performance for their experience, through to 10 which would be

attributed to an excellent performance that is of the standard that would be expected

of someone who is of two kyu grades higher. The subject’s results were recorded once

a month by the independent assessor for the duration of the study and then the mean

average was recorded and used. As no instruction was given to the non-karate-ka test

group and as they are unable to perform any of the kumite drill forms then their

performance would be irrelevant and therefore, for this one test, they were exempt and

not tested.


Reaction time test : Method 1 : the 12 inch rule drop test is a simple and well

recognised reaction time test, where by the subject is expected to close the index

finger and thumb of their dominant hand around a 12 inch long rule as it passes

through their thumb and finger. The rule is released by the controller without prior

warning to the subject and the further the rule is allowed to travel then the slower the

reaction time is. The subject is allowed five attempts and they are recorded and the

average recorded result is used. Scores below 100 mls and above 1 second are not

taken into account as they are treated as a lucky guess or a momentary loss of

concentration.

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Reaction time test : Method 2 : computer generated visual sensory stimulus

response test involves the subject facing a life size TV screen that has a video running

on it of an attacker who manoeuvres around then at random intervals, they execute a

stepping punch oitsuki. The video is time coded and the timer starts at the frame that

the attacker launches their attack. The subject is wired to a circuit breaker via their

dominant hand. The circuit breaker stops the timer the instant that the subject

launches their gyakutsuki response. Subjects are allowed 5 recorded times per test and

the average time is used and recorded. Scores below 100 mls and above 1 second are

not taken into account as they are treated as a lucky guess or a momentary loss of

concentration.

To put into perspective the results to be presented let us first look at the following

recorded reaction time results that were achieved via response tests. All times are in

milliseconds (mls) and the results are rounded up for ease.

Average reaction time of a non athlete 215 mls.

Average speed of a blink 400 mls.

Average reaction time of a pro baseball player 110 mls.

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Fastest reaction time of an exponent of pistol fast draws 145 mls.

World record speed of pistol fast draw 20 mls as a self-starter (not as a response test).

Usain Bolts' reaction time at the 2008 Beijing Olympic 100 meter final 165 mls.

Reaction times of the other seven finalists 133, 134, 142, 145, 147, 165, 169 mls.

.

The Results

Skill acquisition (scores of 1 = poor and below average, 5 = average and expected for

that experience, 10 = excellent.) Data for the non-karate-ka test group would be

irrelevant for this tests. Therefore, they were not tested.

.

Overall performance (power, speed, sense of seriousness)

Non karate-ka test group (not tested)

The average score for test group 1 first test 5


The average score for test group 1 final test 7



The improvement rate of group 1 from the first to the final test was 2 points, this is the

expected improvement rate that any student should make when measured over the

duration of the test period. However, the improvement rate of group 2 from the first to

the final test was 4 points, this is double the expected improvement rate that any

student should make when measured over the duration of the test period.

.

Distancing






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duration of the test period. However, the improvement rate of group 2 from the first to

the final test was 4 points, this is double the expected improvement rate that any

student should make when measured over the duration of the test period.

.

Technique delivery control








duration of test period. However, the improvement rate of group 2 from the first to the

final test was 5 points, this is over double the expected improvement rate that any

student should make when measured over the duration of the test period and is equal

to students of two kyu grades higher.

.

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Method 1 rule drop test

The average reaction time for non-karate-ka test group 243 mls first test.

The average reaction time for non-karate-ka test group 238 mls final test.

The average reaction time for test group 1 170 mls first test


The average reaction time for test group 1 169 mls final test



The improvement rate of the non-karate-ka test group from the first to the final test

was a 5 mls reduction in response time. This improvement was minimal and was

attributed to familiarity with the testing procedure. The improvement rate of group 1

from the first to the final test was a 1 mls reduction. This also was attributed to

familiarity with the testing procedure. But it is worthy of note that the starting score of

group 1 was better than that of the non-karate-ka group by 73 mls and the final test

gave group 1 a better score than that of the non-karate-ka group by 69 mls. The

difference from group 1's first to final test scores was a 4 mls increase when measured

against that of the non-karate-ka test group and this was attributed to the improvement

rate of the non-karate-ka group and the general nonspecific nature of testing reactions

using method 1. In other words, method 1 has a lack of karate specific participation by

the subject and therefore, no training is required to test at and improve at this method

of testing. Group 1 students were interviewed afterwards and it was revealed that they

didn't see the relevance of method 1 testing when compared to that of method 2. It

was also revealed that there was ambivalence displayed towards method 1 testing by

group 1.

The improvement rate of group 2 from the first to the final test was a 5 mls reduction.

This was also attributed to familiarity with the testing procedure. Again the starting

score of group 2 was better than that of the non-karate-ka group by 70 mls and the

final test gave group 2 a better score than that of the non-karate-ka group by 70 mls.

The 0 mls difference of improvement from group 2's first to final test scores when

measured against that of the non-karate-ka test group was attributed to the

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improvement rate of the non-karate-ka group and the general nonspecific nature of

testing reactions using method 1. In other words, method 1 has a lack of karate

specific participation by the subject and therefore, no training is required to test at and

improve at this method of testing. Group 1 students were interviewed afterwards and

it was revealed that they also didn't see the relevance of method 1 testing when

compared to that of method 2. It was also revealed that there was ambivalence

displayed towards method 1 testing by group 2.

.

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Method 2 computer generated visual sensory stimulus response test

Average reaction time of non-athletes involved in this study 217 mls first test

Average reaction time of non-athletes involved in this study 215 mls final test






The improvement rate of the non-karate-ka test group from the first to the final test

was a 2 mls reduction in response time. This improvement was minimal and was

attributed to familiarity with the testing procedure as no training was given to this

group during the period of the study.

The improvement rate of group 1 from the first to the final test was a 17 mls

reduction. This was also attributed to familiarity with the testing procedure and the

regular training for that specific task.

The improvement rate of group 2 from the first to the final test was a 23 mls

reduction. This was also attributed to familiarity with the testing procedure, the

regular training for that specific task and the training at the multi-level attack areas of

drill 2.

The first score of the non-karate-ka group was by 217 mls, Group 1 was 162 mls

which was quicker than the non-karate-ka group by 55 mls but slower than Group 2

by 1 mls, whose time was recorded at 161 mls.

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The final score of the non-karate-ka group was by 215 mls a 2 mls improvement on

their initial score. Group 1 had a final score of 145 mls an improvement of 17 mls on

their first test, which was quicker than the non-karate-ka group by 70 mls, but was

slower than Group 2 by 7 mls, whose final test time was recorded at 138 mls, giving

group 2 an improvement on their initial score by 23 mls.

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.


Conclusions

1: That nonspecific reaction testing methods are not popular or as effective as other

karate related reaction tests in producing karate activity related results.

2: That even before the intensive test period began, that the non-karate-ka group have

slower reaction times for karate related activities when compared to a student of

karate that may have only 3 months regular training experience.

3: That all kumite activity related training drills will produce a greater improvement

rate if continually practiced over the period of the study; when compared to people

who do not train at all during that period.

4: That while the objectives of Sanbon kumite and gohon kumite are similar, that

training exclusively at both drill forms of Sanbon kumite does produce better

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qualitative results in the areas of overall performance, Skill acquisition and improved

reaction response times.

It was therefore, agreed upon and implemented after the results of the study were

published in 1995, that the grading syllabus of the Shotokan Karate Union should be

amended to include both the drill forms of Sanbon kumite, which was done as a result

of this evidence based research, because it was in the interest of improving overall

standards.

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Sanbon Kumite (Drill 2)

Demonstrated by P.Regan & M.Porter

Article first Published (November 2015) Issue # 61


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