Shotokan Karate Union COACHING HANDBOOK
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
Shotokan Karate Union | Coaching Handbook
. | Page 0
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Contents
Shotokan Karate Union
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
. | Page 1
Shotokan Karate Union | Coaching Handbook
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
Important Points to look for.........................................................................................42
Basic Practice for Hip Rotation from Front Stance ZENKUTSU-DACHI .................43
Important Points to look for.........................................................................................44
Lunge Punch Jun-Zuki/Oi-Zuki...................................................................................44
Basic Practice for Lunge Punch JUN-ZUKI/OI-ZUKI from HACHIJIDACHI .........44
Important Points to look for.........................................................................................44
Basic Practice for Lunge Punch JUN-ZUKI/OI-ZUKI from Front Stance .................45
Important Points to look for.........................................................................................45
Reverse Punch Gyaku Zuki .........................................................................................46
Basic Practice for Reverse Punch GYAKU-ZUKI......................................................46
Important Points to look for.........................................................................................46
Back Fist Strike Uraken-Uchi......................................................................................46
Basic Practice for Back Fist Strike URAKEN-UCHI..................................................47
Important Points to look for.........................................................................................47
Elbow Strike Empi Uchi ..............................................................................................47
Basic Practice for Side Elbow Strike YOKO-EMPI....................................................47
Important Points to look for.........................................................................................48
Rising Head Block Jodan Age-Uke .............................................................................48
Basic Practice for Rising Head Block JODAN-AGE-UKE ........................................48
Important Points to look for.........................................................................................49
Outside Forearm Block Chudan Ude-Uke/Soto-Uke ..................................................49
Basic Practice for Outside Forearm Block CHUDAN-UDE-UKE/SOTO-UKE ........49
Important Points to look for.........................................................................................50
Downward Block Gedan-Barai....................................................................................50
Basic Practice for Downward Block GEDAN-BARAI...............................................50
Important Points to look for.........................................................................................51
Back Stance Kokutsu-Dachi ........................................................................................51
Important Points to look for.........................................................................................51
Knife Hand Block Chudan-Shuto-Uke ........................................................................52
Basic Practice for Knife Hand Block CHUDAN-SHUTO-UKE ................................52
Important Points to look for.........................................................................................52
Front Kick Mae-Geri....................................................................................................53
. | Page 2
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
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
Important Points to look for.........................................................................................55
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
Important Points to look for.........................................................................................56
Side Kick Yoko-Geri ...................................................................................................56
Basic Practice for Side Snap Kick YOKO-KEAGE....................................................56
Important Points to look for.........................................................................................57
Basic Practice for Side Thrust Kick YOKO-GERI-KEKOMI ....................................57
Important Points to look for.........................................................................................58
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
. | Page 3
Shotokan Karate Union | Coaching Handbook
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
. | Page 4
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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:
Shotokan Karate Union
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.
. | Page 5
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
Shotokan Karate Union | Coaching Handbook
Welcome to the SkU
Shotokan Karate Union
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
. | Page 6
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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.”
. | Page 7
Shotokan Karate Union | Coaching Handbook
. | Page 8
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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 Karate Union
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.
. | Page 9
Shotokan Karate Union | Coaching Handbook
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.
. | Page 10
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
• 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?
Shotokan Karate Union
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.
. | Page 11
Shotokan Karate Union | Coaching Handbook
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
. | Page 12
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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,
. | Page 13
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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”.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
• 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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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)
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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.
. | Page 29
Shotokan Karate Union | Coaching Handbook
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.
. | Page 30
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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.
. | Page 31
Shotokan Karate Union | Coaching Handbook
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.
. | Page 32
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 33
Shotokan Karate Union | Coaching Handbook
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.
. | Page 34
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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.
. | Page 35
Shotokan Karate Union | Coaching Handbook
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
. | Page 36
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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.
. | Page 37
Shotokan Karate Union | Coaching Handbook
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.
. | Page 38
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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)
. | Page 39
Shotokan Karate Union | Coaching Handbook
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”
. | Page 40
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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.
. | Page 41
Shotokan Karate Union | Coaching Handbook
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.
Important Points to look for
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.
. | Page 42
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 43
Shotokan Karate Union | Coaching Handbook
Important Points to look for
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.
Important Points to look for
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
. | Page 44
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Important Points to look for
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.
Shotokan Karate Union
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
. | Page 45
Shotokan Karate Union | Coaching Handbook
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.
Important Points to look for
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.
. | Page 46
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Important Points to look for
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
Shotokan Karate Union
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
Starting from Natural Stance HACHIJIDACHI, SHIZENTAI
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.
. | Page 47
Shotokan Karate Union | Coaching Handbook
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.
Important Points to look for
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
Starting from Natural Stance HACHIJIDACHI, SHIZENTAI
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.
. | Page 48
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Return to Natural Stance HACHIJI-DACHI, SHIZENTAI.
Repeat the sequence 20 times then 20 times more using the other side of the body.
Important Points to look for
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
Shotokan Karate Union
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.
Return to Natural Stance HACHIJI-DACHI, SHIZENTAI.
Repeat the sequence 20 times then 20 times more using the other side of the body.
. | Page 49
Shotokan Karate Union | Coaching Handbook
Important Points to look for
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.
. | Page 50
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Return to Natural Stance HACHIJI-DACHI, SHIZENTAI.
Repeat the sequence 20 times then repeat 20 times more from the other side.
Important Points to look for
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
Shotokan Karate Union
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.
Important Points to look for
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
. | Page 51
Shotokan Karate Union | Coaching Handbook
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.
Return to Natural Stance HACHIJI-DACHI, SHIZENTAI.
Repeat the sequence 20 times then 20 times more using the other side of the body.
Important Points to look for
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
. | Page 52
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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.
. | Page 53
Shotokan Karate Union | Coaching Handbook
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.
. | Page 54
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Important Points to look for
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.
Shotokan Karate Union
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.
. | Page 55
Shotokan Karate Union | Coaching Handbook
Important Points to look for
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.
. | Page 56
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Important Points to look for
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
Shotokan Karate Union
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
. | Page 57
Shotokan Karate Union | Coaching Handbook
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.
Repeat the sequence 20 times then 20 times more using the other side of the body.
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.
Important Points to look for
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.
. | Page 58
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
. | Page 59
Shotokan Karate Union | Coaching Handbook
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
. | Page 60
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
1: Sensei.
2: Dojo Captain or Visitors.
3: Highest Ranking Student
4: Lowest Ranking Student or Ungraded Novice.
. | Page 61
Shotokan Karate Union | Coaching Handbook
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.
. | Page 62
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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.
. | Page 63
Shotokan Karate Union | Coaching Handbook
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.
. | Page 64
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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.
. | Page 65
Shotokan Karate Union | Coaching Handbook
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
. | Page 66
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 67
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
come this temporary setback for the next time that they attempt the same grading
examination.
. | Page 74
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
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.
Shotokan Karate Union
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!
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 79
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
.
.
"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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
.
"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
Shotokan Karate Union
. | 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.
.
Shotokan Karate Union | Coaching Handbook
"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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 85
Shotokan Karate Union | Coaching Handbook
Front Stance & Oitsuki the Mechanics of Stance Transition
by D Kirkham
Article first Published (May 2001) Issue # 3
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
METHOD 1
METHOD 2: Fig 3.1
Shotokan Karate Union
. | Page 91
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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 .
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
1. Yoshitaka Funakoshi. 2. Masatoshi Nakayama.
. | Page 97
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
10. Gichin Funakoshi 11. Masao Kawasoe
. | Page 101
Shotokan Karate Union | Coaching Handbook
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
. | Page 102
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
. | Page 104
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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).
Shotokan Karate Union
. | Page 105
Shotokan Karate Union | Coaching Handbook
25. Body types.
Compare the three different torsos lengths and their proportions in relation to that
of their different lower limb lengths.
. | Page 106
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 115
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Female example 3 "variation of end note"
Female example 4 "variation of end note"
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
Okuri-tsuki, deadly technique? or does it even exist?
by D Kirkham
Article first Published (May 2012) Issue # 47
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 125
Shotokan Karate Union | Coaching Handbook
. | Page 126
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Pressure Points, Ki, Kime.
by D Kirkham
Article first Published (May 2012) Issue # 47
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 129
Shotokan Karate Union | Coaching Handbook
Karate Rankings & Titles
Article first Published (February 1985)
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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.
KenShuSei 研 修 生 Trainee / Apprentice who is learning on the job. Usually
referring to Karate-ka on an Instructors Programme
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
The Elements of Karate Kata
by D Kirkham
Article first Published (February 1982)
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
. | Page 134
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
. | Page 135
Shotokan Karate Union | Coaching Handbook
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
. | Page 136
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 137
Shotokan Karate Union | Coaching Handbook
Are the variations in kata, as important as they are made out
to be?
By Derick Kirkham
Article first Published (May 2015) Issue # 59
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.
. | Page 138
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
. | Page 140
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 141
Shotokan Karate Union | Coaching Handbook
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
. | Page 142
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Pull hands backwards
towards the chest
Jodan Juji Uke
Shotokan Karate Union
Rotate wrists
Chudan Osae Uke
. | Page 143
Chudan Tetsui Uchi
Shotokan Karate Union | Coaching Handbook
Chudan Oitsuki (Side View) Kiai !
. | Page 144
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Kanku Dai Kata no Kamae.
By Derick Kirkham
Demonstrated by Paul Regan
Article first Published (May 2015) Issue # 59
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
Shotokan Karate Union Kanku Dai Kata no Kamae.
. | Page 145
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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.
. | Page 148
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Variations of Tsukami Uke Bassai Dai, Bassai
Sho, Kanku Sho.
Demonstrated by Paul Regan
Article first Published (May 2015) Issue # 59
Bassai Dai
Shotokan Karate Union
Bassai Sho
. | Page 149
Shotokan Karate Union | Coaching Handbook
Kanku Sho
. | Page 150
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Rising Sun & the Circle of Enlightenment
Shotokan Karate Union
.
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.
Shotokan Karate Union
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.
. | Page 151
Shotokan Karate Union | Coaching Handbook
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
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 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.
. | Page 152
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
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
Shotokan Karate Union
. | Page 155
Shotokan Karate Union | Coaching Handbook
Gichin Funakoshi Yoshitaka Funakoshi Masatoshi Nakayama
.
Hirokazu Kanazawa Keinosuke Enoeda Masao Kawasoe
. | Page 156
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
1 ESPN Sport Science
2 Nakayama, M. (1976) : Dynamic Karate. Tokyo : Kodansha.
3 ESPN Sport Science
4 National Geographic Fight Science
5 ESPN Sport Science
6 ESPN Sport Science
7 ESPN Sport Science
8 ABC Science of Olympic Gold
9 ESPN Sport Science
10 ESPN Sport Science
11 www.autosport.com
12 Wikipaedia
13 ESPN Sport Science
14 Kirkham, D . (2012) "Study of values of Sambon Kumite" Shotokan Karate Union Quarterly Magazine, Issue 46.
15 FSN Sports Science
.
. | Page 161
Shotokan Karate Union | Coaching Handbook
Stance Transition.
by D Kirkham
Article first Published (August 1985)
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | 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.
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Fig 5 displays an anterior view of a
beautifully well balanced ballet position,
one which has poise and symmetry.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
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
. | Page 168
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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 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.
Shotokan Karate Union
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.
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 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
Shotokan Karate Union | Coaching Handbook
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.
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 publications named
previously. 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 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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
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 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.
Shotokan Karate Union
The solid blue circle with a connected blue 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 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
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
. | Page 171
Shotokan Karate Union | Coaching Handbook
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 publications named
previously. 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 driving force of the body’s core to drive the whole
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
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.
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
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 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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
the area of the body from where the body’s core driving force should be initiated
from.
Shotokan Karate Union
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.
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 publications named
previously. One should simultaneously add to them by applying “Shime” by
squeezing / tightening the group of inner thigh muscles in an inwards direction
. | Page 173
Shotokan Karate Union | Coaching Handbook
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 driving force of the body’s core to drive the whole
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
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.
Photo C: 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 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
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 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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
In Fig 5: Photos A: B: & C: one can observe green solid circles, they depict the
visualisation point that every student should concentrate on through visualisation as
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
are involved in “Shime” then see Fig 4.
Fig 4: Anatomy of muscle group used in the application of “Shime”
Shotokan Karate Union
. | Page 175
Shotokan Karate Union | Coaching Handbook
Fig 5: Visualisation points of the body’s core driving force.
. | Page 176
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Preparation to Perform
by D Kirkham
Article first Published (May 1985)
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".
Shotokan Karate Union
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
. | Page 177
Shotokan Karate Union | Coaching Handbook
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
. | Page 178
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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,
. | Page 179
Shotokan Karate Union | Coaching Handbook
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.
. | Page 180
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Circular Breathing
Shotokan Karate Union
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
. | Page 181
Shotokan Karate Union | Coaching Handbook
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
. | Page 182
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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..
Shotokan Karate Union
. | Page 183
Shotokan Karate Union | Coaching Handbook
"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
. | Page 184
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
"Yoi" Fig: 4
. | Page 185
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
. | Page 187
Shotokan Karate Union | Coaching Handbook
Coaching Philosophy
Shotokan Karate Union
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
Shotokan Karate Union
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.
. | Page 188
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Hip rotation.
by D Kirkham
Article first Published (August 1985)
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
.
Shotokan Karate Union
Fig 3 Fig 4
Fig 5
. | Page 189
Shotokan Karate Union | Coaching Handbook
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.
. | Page 190
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
. | Page 191
Shotokan Karate Union | Coaching Handbook
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.
. | Page 192
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Fig 11 External or Lateral hip rotators.
Shotokan Karate Union
Fig 12 Internal hip rotators
. | Page 193
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Kata no Kamae
Demonstrated by P Regan
Article first Published (May 1985)
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.
Shotokan Karate Union
Tekki Shodan.
. | Page 197
Shotokan Karate Union | Coaching Handbook
Bassai Dai.
Kanku Dai.
. | Page 198
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Enpi.
Shotokan Karate Union
Jion, Jiin, Jitte.
. | Page 199
Shotokan Karate Union | Coaching Handbook
Bassai Sho.
Chinte.
. | Page 200
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
Unsu.
. | Page 201
Shotokan Karate Union | Coaching Handbook
Keeping in touch with tradition
Shotokan Karate Union
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Jion, Jiin, Jitte Jiai no Kamae & their opening technique.
by D.Kirkham
Article first Published (Aug 2015) Issue # 60
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
Jion, Jiin, Jitte (Jiai no Kamae posture)
Jion Kosa Uke (Front View)
(Side View)
. | Page 204
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Jiin Kosa Uke (Front View)
(Side View)
Shotokan Karate Union
Jitte Te-Kubi Uke (Front View)
. | Page 205
(Side View)
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
KenShuSei 研 修 生 Trainee / Apprentice who is learning on the job. Usually
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)
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
. | Page 227
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
. | Page 229
Shotokan Karate Union | Coaching Handbook
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
三 十 六 Sanseiryu 36
制 引 戦 Seienchin Fight Against Oppression
十 三 Seisan 13
白 虎 Paiku White Tiger
三 戦 Sanchin Three Wars
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
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
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)
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
Shuto (part 1)
by D Kirkham
Article first Published (February 1985)
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
. | Page 233
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
photo 4 photo 5
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Fig : 3
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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)
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Photo 17 (Front View) Photo 18 (Side View)
Jodan Shuto Juji Uchi (Knife / sword hand X strike.)
Shotokan Karate Union
. | Page 241
Shotokan Karate Union | Coaching Handbook
Shuto (part 2)
by D Kirkham
Article first Published (February 1985)
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
.
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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!
. | Page 248
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Two variations up close
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
Photo: 6 Yoi Photo: 7
. | Page 251
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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 ?
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Photo: 16 Photo: 17
Ms Yuki Mimura
Manabu Murakami
Shotokan Karate Union
. | Page 257
Shotokan Karate Union | Coaching Handbook
Study of the values
of Sanbon Kumite
by D Kirkham
Article first Published (May 1995)
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Chudan Rally
Shotokan Karate Union
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
Shotokan Karate Union | Coaching Handbook
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
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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
. | Page 263
Shotokan Karate Union | Coaching Handbook
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
. | Page 264
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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.
Shotokan Karate Union
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.
. | Page 265
Shotokan Karate Union | Coaching Handbook
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.
. | Page 266
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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 2 first test 5
The average score for test group 1 final test 7
The average score for test group 2 final test 9
Shotokan Karate Union
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
Non karate-ka test group (not tested)
The average score for test group 1 first test 5
The average score for test group 2 first test 5
The average score for test group 1 final test 7
The average score for test group 2 final test 9
. | Page 267
Shotokan Karate Union | Coaching Handbook
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.
.
Technique delivery control
Non karate-ka test group (not tested)
The average score for test group 1 first test 5
The average score for test group 2 first test 5
The average score for test group 1 final test 7
The average score for test group 2 final test 10
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 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.
.
. | Page 268
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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 2 173 mls first test
The average reaction time for test group 1 169 mls final test
The average reaction time for test group 2 168 mls final test
Shotokan Karate Union
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
. | Page 269
Shotokan Karate Union | Coaching Handbook
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.
.
. | Page 270
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
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 average reaction time for test group 1 162 mls first test
The average reaction time for test group 2 161 mls first test
The average reaction time for test group 1 145 mls final test
The average reaction time for test group 2 138 mls final test
Shotokan Karate Union
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.
. | Page 271
Shotokan Karate Union | Coaching Handbook
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.
. | Page 272
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
.
Shotokan Karate Union
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
. | Page 273
Shotokan Karate Union | Coaching Handbook
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.
. | Page 274
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Sanbon Kumite (Drill 2)
Demonstrated by P.Regan & M.Porter
Article first Published (November 2015) Issue # 61
Shotokan Karate Union
. | Page 275
Shotokan Karate Union | Coaching Handbook
. | Page 276
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
. | Page 277
Shotokan Karate Union | Coaching Handbook
. | Page 278
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
. | Page 279
Shotokan Karate Union | Coaching Handbook
. | Page 280
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
. | Page 281
Shotokan Karate Union | Coaching Handbook
. | Page 282
Shotokan Karate Union
Shotokan Karate Union | Coaching Handbook
Shotokan Karate Union
. | Page 283