BEST KARATE VOL 1

Author: Master Masatoshi Nakayama

Chief Instructor, Japan Karate Association (JKA)

Notes by: Paul Lemuel E. Chavez

KDA Shodan

Karate
- Empty handed art of self-defense in which the arms and legs are
systematically trained and an enemy attacking by surprise can be
controlled by a demonstration of strength like that of using actual
weapons

KIME
- Essence of karate techniques
- An explosive attack to the target using an appropriate technique
and maximum power in the shortest time possible

IKKEN HISATSU
- To kill with one blow

SUN-DOME
- To arrest a technique just before contact with the target
- 1 SUN
o Estimated 3 cm

How to reconcile contradiction between KIME and SUN-DOME:

- Establish the target slightly in front of the opponent’s vital point, it
can then be hit in a controlled way with maximum power, without
making contact

2 ways of using the hand:

- Open
- Closed

KEN
- 6 types of fists

KAISHO
- 11 types of open hand

How to make a fist:

- Fold the fingers so that the tips reach only to the base of the
fingers, then continue to fold the fingers inward
- Continue to hold the fingers inward until the tips are pressed
tightly to the palm
- Press thumb firmly over the 2nd joints of the index and middle
fingers

TYPES OF FISTS:

1. SEIKEN
- Fore fist

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 o Knuckles of index and middle fingers are used to strike the
target. The wrist must be kept tense and unbent. Back of
the hand and the wrist forming a straight line.
 Primarily used in TSUKI- Thrust Punch
o All power of the arm must be concentrated and flow in a
straight line to the knuckles

2. URAKEN
- Back Fist
o Back of the hand and knuckles of the index and middle
finger are used primarily for UCHI- Striking
o Using the spring like power of the elbow, strikes are made in
a sideward or vertical rising movement
o Target: Face or Side of Body

3. KENTSUI
- Hammer Fist
o Attack to the body via the bottom (little finger side) of the fist
- Also known as:
o SHUTSUI
 Hammer Hand
o TETTSUI
 Iron Hammer

4. IPPON KEN
- One Knuckle Fist
o With the middle, ring and little fingers the same as in the
fore-fist, the middle knuckle of the index finger is extended
and the thumb pressed against it. The bridge of the nose,
the point just below the nose and the space between the ribs
are the usual targets for this fist.

5. NAKADAKA-KEN
- Middle Finger Knuckle Fist
o Resembles the fore fist, but the middle joint of the middle
finger is extended and the index and ring fingers are pressed
tightly against the middle finger. The thumb presses against
the index and middle fingers.
o Primary Targets:
 Bridge of nose
 Point below the nose
 Space between the ribs
o Aka NAKADAKA-IPPON-KEN
 Middle finger one knuckle fist

6. HIRAKEN
- Fore Knuckle Fist
o Fingers are bent until the tips touch the palm, and the
thumb is held slightly against the index finger. Knuckles are
used to attack between the ribs or the point just below the
nose

OPEN HANDS

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 - Extended fingers of the KAISHO (Open Hand) must be pressed
tightly together, and the back of the hand and the wrist must form
a straight line. The thumb is bent and held tightly against the
palm. It is important that the base of the thumb should not be
slightly bent.

TYPES OF OPEN HANDS:

1. SHUTO
- Sword Hand
o With the fingers straight and tight together, the outer edge of
the palm is used like a sword, either to block or attack.
o Targets:
 Temple
 Carotid Artery
 Ribs

2. HAITO
- Ridge Hand
o Same as SHUTO, but opposite edge, centered on base joint of
index finger is used
 Used for the same purpose as SHUTO

3. HAISHU
- Back Hand
o Whole surface of back of open hand may be used to strike,
but for most part is used in blocking

4. NUKITE
- Spear Hand
o Fingers are tense, tips slightly bent. In either sideward or
rising motion, the attack can be made to the ribs, side of
body, solar plexus, or the point below the nose
o Only two fingers can form NUKITE:
 Middle and Index Fingers OR
 Index Finger and Thumb
o NIHON NUKITE
 Two Finger Spear Hand

5. TEISHO
- Heel of the Palm
o Formed from the KAISHO by bending back wrist fully
o Useful in sweeping opponent’s attacking arm to one side or
downward
 In attacks, very effective against strikes to the jaw

6. SEIRYUTO
- Ox Jaw Hand
o By bending hand sideways, edge of palm and the wrist come
to form a curve. Palm below the little finger can be effective
in blocking opponent’s forward thrust or in attacking his
face or collar bone

7. KUMADE

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- Bear Hand
o The fingers are folded so that the tips just touch the palm.
The thumb is also folded. The entire surface of the palm is
directed in a powerful attack against the face.

8. WASHIDE
- Eagle Hand
o Tip of the fingers and the thumb are brought together so as
to resemble bird’s peak. Used for attacks to the throat or to
the vital points.

9. KEITO
- Chicken Head Wrist
o Hand is bent outward, with thumb bent and joint and the
fingers flexed. The striking surface is the thumb from its
base to the knuckle. It can be used effectively against the
opponent’s attacking arm or his armpit.

10. KAKUTO
- Bent Wrist
o By bending the hand inward to the fullest extent, the wrist
can become a powerful weapon. It can be used against the
opponent’s punching arm or to strike his armpit.

11. UDE
- Arm / Forearm
o Most important function of the forearm: Blocking
- Four Surfaces of UDE:
o NAIWAN
 Inner Side
o GAIWAN
 Outer Side
o HAIWAN
 Upper Side
o SHUWAN
 Lower Side
- UDE is also known as:
o WANTO
 Sword Arm
o SHUBO
 Stick Arm

12. HIJI / EMPI

- Elbow
o Elbow blow to the face, chest, side, body, etc.
- Basic Types of Attack using EMPI:
o MAI EMPI UCHI
 Forward Elbow Strike
o TATE EMPI UCHI
 Upward Elbow Strike
o USHIRO EMPI UCHI
 Back Elbow Strike
o MAWASHI EMPI UCHI
 Roundhouse Elbow Strike

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 o OTOSHI EMPI UCHI
 Downward Elbow Strike

USE OF FEET AND LEGS:

1. KOSHI
- Ball of the Foot
o Toes Turned Upward to the Maximum Extent possible,
tension kept in the joints and in ankle. Kicks are directed to
the jaw, chest, stomach, groin, etc.
- Aka JOSOKUTEI
o Raised Sole

2. SOKUTO
- Sword Foot
o Toes Curled Upward, Ankle Fully Bent, Outer Edge of the
Foot is used for Side Kick

3. KAKATO
- Heel
o Used for back kicks
- Aka ENSHO
o Round Heel

4. HAISOKU
- Instep
o Ankle stretched, foot and toes are bent fully downward
o This is useful for kicks to the groin

5. TSUMASAKI
- Toe Tops
o Toes kept tightly together, kicks made with the tips
o Primarily used against the midsection

6. HIZAGASHIRA
- Knee
o Useful at close range
o Targets:
 Groin
 Side of Body
 Thigh
o Aka SHITTSUI
 Hammer Knee

STANCES:
- Upper body perpendicular to ground and hips level
- Joints should not be overly tense; no more strength than is
necessary should be used in executing a technique
- Desirable that stance be relaxed

1. SHIZENTAI
- Natural Position

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 o Body is relaxed but in a state of alertness and ready to cope
with any situation
o Knees are relaxed and flexible at all times, so that one can
shift instantly to any defense or attack position
o The principle of the feet varies
o Note the principal guide: Alert Relaxation

2. HEISOKU-DACHI
- Informal attention stance

3. MUSUBI-DACHI
- Informal attention stance; Toes Out

4. HACHINOJI-DACHI
- Open Leg Stance

5. UCHI-HACHINOJI-DACHI
- Inverted Open Leg Stance

6. HEIKO-DACHI
- Parallel Stance

7. TEIJI DACHI
- T-Stance

8. RENOJI DACHI
- L-Stance

9. ZENKUTSU-DACHI
- Front/Forward Stance
o Back Leg Straight, front leg bent, knee directly over foot,
hips lowered. Back kept directly over the hips and
perpendicular to the ground. Face directly forward.
o Weight Distribution between the front and the rear feet: 6:4
(60-40)
o HANMI (Half-front facing) variation of ZENKUTSU-DACHI
 Torso at a 45 degree angle to front and the head facing
downward
o Strong Position for attacks to frontal targets

10. KOKUTSU-DACHI
- Back Stance
o Feet spread apart with the knee of the back foot bent and
the front leg stretched lightly forward. The hips are lowered,
back kept straight in a half-front facing position.
o Weight distribution between the front and back feet: 3:7 (30-
70)
o Effective for blocking frontal attacks

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11. KIBA-DACHI
- Straddle Leg Stance
o Feet spread to the sides, heels on straight line, weight evenly
distributed between the 2 feet. Hips are lowered directly
downward, back straight and perpendicular to the ground,
body faces directly forward.
o Basic in acquisition of stable posture and training of the legs
and the hips
o Effective for attacking targets to the left or right sides

12. SANCHIN-DACHI
- Hourglass Stance
o Feet spread to the sides, front foot slightly forward. Both
knees are bent and turned inward. Lower abdomen is tense,
upper body is straight and perpendicular to the ground.
o If the feet are too close together or the knees bent too much
inward, stability will be impaired and flexibility would be
lost.
o Strong stance for executing techniques either to the front or
rear or to the left or right, especially defensive techniques.

13. SHIKO-DACHI
- Square Stance
o Like KIBA-DACHI except that feet are outward at 45 degree
angle, and hips are lower.
o Good for training the legs and the hips, strong position for
carrying out offensive techniques to the sides.

14. HANGETSU-DACHI
- Half-Moon Stance
o Similar to:
 ZENKUTSU-DACHI with respect to feet-placing
 SANCHIN-DACHI with respect to turning inward of
knees and other points
o In short, it is the halfway of both stances
o It is effective in both defense and offense but more for
defense

15. FUDO-DACHI
- Rooted Stance
o Knees bent fully as in KIBA-DACHI, but different feet
positions
o One can block an attack and immediately go on the offensive
o Also known as SOCHIN-DACHI

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 16. NEKO-ASHI-DACHI
- Cat Leg Stance
o Front knee turned slightly inward, heel is raised, most of the
body weight is supported by the rear leg, knees are also
bent, rear foot pointed diagonally forward
o One can quickly move out of range of an attack and
immediately counter-attack

STANCE TRAININGS:

1. SHIZENTAI HACHINOJI-DACHI
- Open Leg Stance

2. HIDARI KIBA-DACHI
- Left Straddle Leg Stance

3. MIGI ZENKUTSU-DACHI
- Right front stance

4. HIDARI ZENKUTSU-DACHI
- Left Front Stance

5. MIGI FUDO-DACHI
- Right Rooted Stance

6. HIDARI FUDO-DACHI
- Left Rooted Stance

7. SHIZENTAI

8. MIGI KOKUTSU-DACHI rear

9. HIDARI KOKUTSU-DACHI rear

10. MIGI KOKUTSU-DACHI diagonal to rear

11. HIDARI KOKUTSU-DACHI diagonal to rear

12. MIGI FUDO-DACHI rear

13. HIDARI FUDO-DACHI rear

14. (Note how to walk on stances)

SELF-PREPARATORY EXERCISES:

- Bend forward extend

- Split Bend Forward
- Split Bend Left then Right
- Butterfly Bend
- Seiza Bend
- Knuckle Push Ups
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With Partner:
- Straight Bend
- Split Bend
- Arm Length Bend
- Back To Back Bend
- Heart Stance Formation

With Bar:
- Knee
- KAKATO
- KOSHI
- SOKUTO
- Feet tied
o KOSHI
o SOKUTO
o KAKATO

Principles of Karate Techniques:

- Practice regularly, with maximum concentration and effort in the
execution of each and every movement

I. FORM

Prerequisites of FORM:
1. Good balance
2. High Degree of Stability
3. Order of movements of each part of the body

Good balance is important in kicking

Stability of all joints in the arms and the hands is necessary

Note the changes in the center of gravity

II. POWER AND SPEED

Power of KIME
KIME
- Finish
o Derives from concentration of maximum force at the moment
of impact
o Depends on the speed of the blow or the kick

Punch
- Speed 13m / s
- Power 700 kg
- Important:
o CONTROL ---- SPEED ---- POWER
 Increased by utilizing pairing of forces and reaction

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 III. CONCENTRATION AND RELAXATION OF POWER

Maximum Power
- Concentration of strength on all parts of the body on the target,
not just the strength of the arms and the legs
- Eliminate unnecessary power
- From 0 moving up to 100 then back to 0
- Be alert and prepare

IV. STRENGTHENING OF MUSCULAR POWER

Know which muscles are to be used in each technique and to what

extent they should be used

Less muscles used unnecessarily, less loss of energy

Note the requirement of FULL AND HARMONIOUS OPERATION

V. RHYTHM AND TIMING

3 principal factors:

1. Correct use of power

2. Swiftness or slowness in executing techniques
3. Stretching or contraction of muscles

VI. HIPS

Explosiveness is dependent on hip movement

The hips provide basis for stable spirit, correct form and maintenance of
good balance

VII. BREATHING

Coordinated with the execution of technique

Should adapt to changing situation

Inhale
- Fill lungs full

Exhale
- Do not expel all the air
o Leave 20%

TRAINING

HAND AND ARM TECHNIQUES

UKE
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 - Blocking

Purpose of Blocking:

1. To discourage further attack; The block becomes the attack

2. To parry
3. To block and attack (counter)
4. To unbalance the opponent
5. To withdraw

Essential for effective blocking:

1. Direction of power
- Underneath upward: from attacks to head or upper torso
- Inside Out / Out Inside: from attacks to the chest
- Downward and sweeping outward: From attacks to the abdomen

2. Forearm Rotation and Timing

3. Hip Rotation
- Block and finish with the hips
- Withdraw the other arm at the same time of the block

4. Elbow Position
- All body power in the forearm at the moment of impact
- Elbow should neither be too close nor too far from the side of the
body
o At least equal to fist width

5. Effects of overblocking
- Loss of balance
- Loss of tension in side muscles
- Reduction of body control, difficulty in executing follow up
techniques

6. Block Attack

BLOCKS

A. GEDAN BARAI
- Downward Block
o Basic Block + Preparatory Position in KIHON (Moving Basics)
o Effective against Strikes or Kicks to the Abdomen or Groin
o Use the wrist in blocking downward and to the side
 Use the elbow as pivot, strengthen the arm as you
block in a big downward motion, bring the fist about
15cm above the knee of the forward leg at the finish
 Both forearms rotate, two arms should almost touch
as they pass each other
 Against a strong upward kick, block strongly

B. JODAN AGE UKE

- Rising Block

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- Upper Block against Head Attack
o Used to counter attack aimed above the solar plexus
 Block upward, strongly, with the outer side of the
forearm
 Arms cross at chin height, blocking arm outside,
withdrawing arm inside. Move arms crisply and
powerfully, keeping the elbow of the blocking arm in a
90 degree angle
 Complete the block with the forearm about 10cm in
front of the forehead, fist higher than the elbow, palm
outward. Keep elbow close to the body
 Fist tightened at the moment of blocking, abdominal
muscles should be strongly tightened
 Wavelike flow of power, transmit tension to the
muscles around the armpit, then to the blocking arm

C. CHUDAN UDE UKE SOTO UKE

- Forearm against Body Attack outside inward
o Used against a punch aimed at the chest or face. Deflect the
opponent’s arm to the side, blocking with the outer edge of
the wrist.
1. At the finish, be sure that the elbow of the blocking arm is bent
at about a 90 degree angle and the forearm is almost
perpendicular to the ground. The forearm and the side of the
body should be roughly aligned to avoid overblocking.
2. Fist in front of the chin, the elbow should be about 10cm in
front of the body and the muscles around the armpit tense.
3. Bring the other arm back to the side and form a tight fist.
Rotate the hips in the direction of the block, utilizing the power
to strike the attacking arm with great force.

D. CHUDAN UDE UKE UCHI UKE

- Forearm against body attack inside outward
o A punch aimed at the chest or face can be blocked with the
inner edge of the wrist.
1. The path of the blocking arm is outside the withdrawing arm
2. The other points given with regard to the outside inward forearm
block are also applicable here

E. SHUTO UKE
- Sword Hand Block
o A basic defensive technique against an attack directed to the
abdomen, chest or face. Edge of the hand is wielded in a
slantwise motion, as if the intention were to cut off the
opponent’s arm.
1. The other hand, instead of being brought to the side, is positioned
in front of the solar plexus with the palm facing upward. Thus it
can be used immediately after the block for a spear hand counter
attack to the opponent’s midsection.
2. From a point beside the ear, the blocking hand is brought forward
and diagonally downward. The blocking hand passes over the
forearm of the other hand, the withdrawing hand passes below the
elbow of the blocking arm.

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3. At the completion of the technique, the elbow of the blocking arm
should form a right angle, and the muscles around the armpit
should be tensed. Take care that the arm does not go too far out
i.e. not beyond the side of the body.
4. Not stepping backward or stepping straight backward will make
the block ineffective. Therefore, step back diagonally.

F. TATE SHUTO UKE

- Vertical Sword Hand Block
o While sweeping the forearm from the inside outward, bend
the wrist, pointing the fingers straight up with the palm
forward. This is useful against punches to the chest or solar
plexus. Unlike the other sword hand block, the elbow is
kept straight.
o This technique can be carried out effectively by taking a side
step or by sliding one foot forward and approaching the
opponent

G. KAKE SHUTO UKE

- Hooking Sword-Hand Block
o With the wrist bent slightly, the forearm is swung widely
from inside outward to hook-block the opponent’s wrist. It is
often possible to grasp his wrist after blocking. As with the
vertical sword-hand block, this technique can be effective
against an attack from the side as well as one from the front.

H. HAISHU UKE
- Back Hand block
o Using the spring power of the elbow, block with the
backhand. Keep the hand and wrist straight, and
concentrate power on the back surface of the hand. This is
to counter a punch to the chest or solar plexus by hitting the
opponent’s upper arm, elbow or forearm.

I. OTOSHI UKE
- Dropping Block

J. HAIWAN NAGASHI UKE

- Sweeping Back Arm Block

K. TE NAGASHI UKE
- Sweeping Hand Block

L. TE OSAE UKE
- Pressing Hand Block

M. TEKUBI KAKE UKE

- Hooking Wrist Block

N. MAEUDE HINERI UKE

- Twisting Forearm Block

O. MAEUDE DEAI OSAI UKE

- Pressing Forearm Block

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 P. KAKUTO UKE
- Bent Wrist Block
o Forearm can be blocked strongly with this, either by striking
upward or by deflecting it to the side

Q. KEITO UKE
- Chicken Head Wrist Block
o This is used to block the opponent’s forearm from
underneath upward

R. SEIRYUTO UKE
- Ox-Jaw Hand Block
o With this, a forearm or leg is blocked with a downward swing

S. TEISHO UKE
- Heel of the Palm Block
o Forearm or leg can be deflected upward, downward, or from
one side to another

Two-Hand Blocks:

T. MOROTE UKE
- Augmented Forearm Block

U. JUJI UKE
- X Block

V. SOKUMEN AWASE UKE

- Side Combined Block

W. RYOSHO TSUKAMI UKE

- Two hand grasping block

X. KAKIWAKE UKE
- Reverse Wedge Block

Blocks against Kicks:

Y. GEDAN KAKE UKE

- Downward Hooking Block

Z. SHO SUKUI UKE

- Sweeping Palm Block

AA. TEISHO AWASE UKE

- Combined Heel of the Palm Block

BB. SOKUTEI MAWASHI UKE

- Circular Sole Block

CC. SOKUTO OSAE UKE

- Pressing Sword Foot Block

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 DD. SOKUTEI OSAE UKE
- Pressing Sole Block

EE. SOKUBO KAKE UKE

- Hooking Foot Block

FF. ASHIKUBI KAKE UKE

- Hooking Ankle Block

ATTACKING

2 types:
- TSUKI
o Punching
- UCHI
o Striking

TSUKI
- Punching

CHOKU ZUKI
- Straight Punch
o When the opponent is directly in front of you, the arm is
straightened and the target is punched with the knuckles of
the fore-fist. The forearm is rotated inward during the
delivery of the punch.
o Depending on the objective (face, solar plexus or abdomen),
these techniques are known as:
 JODAN CHOKU ZUKI
 Upper Straight Punch
 CHUDAN CHOKU ZUKI
 Middle Straight Punch
 GEDAN CHOKU ZUKI
 Lower Straight Punch

In any case, for the punch to be effective, the following basic factors
must be learned and put into practice:

1. CORRECT ROUTE
- The shortest distance is the straight line route, and this is the
correct way to punch. At the same time that the elbow brushes
the side of the body lightly, the forearm should be rotated inward

2. SPEED
- Without great speed, the punch cannot be expected to have much
effect. To maximize speed and power, withdraw the other arm as
fast as possible, thus making use of the pairing of forces

3. CONCENTRATION OF POWER
- A good punch depends on starting from a flexible posture and
keeping unnecessary strength out of the hand and arm. Punch
smoothly but speedily, concentrating all the power of the body at
the moment of impact. The concentration of power must be

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 mastered. Practice by raising the arms in front of the body,
holding the fists level with the solar plexus, and repeatedly
relaxing and tensing all the body muscles.

METHODS OF PUNCHING:

1. GYAKU ZUKI
- Reverse Punch
o The advanced leg and fist are on opposite sides. When the
left leg is in front, punch with the right fist.
o Primarily for counter attacking after a block but is powerful
only when the rotating hips are brought into full play. The
height of the hips and keeping them level is most important.
Straightening the rear leg and shifting the pelvis and center
of gravity forward slightly make the punch strong.
o Effective practice lies in having the rotation of the hips and
upper body lead the arm movement.

2. OI ZUKI
- Lunge Punch
o From either the natural position or the front stance, move
into a front stance by sliding one foot forward, punching at
the same time with the fore fist on the side of the advancing
foot. Utilize to the fullest the reaction from extending the
supporting leg and from rotating the hips forward. The foot
should be slid smoothly and rapidly without raising the heel.
 Can be more devastating than the reverse punch

3. NAGASHI ZUKI
- Flowing Punch
o This can be executed from the half-front facing position by
stepping diagonally either forward or backward. Power
comes from the movement of the body, and it is especially
effective for a combined block-attack

4. KIZAMI ZUKI
- Jab
o Without moving the front leg, jab by forcefully strengthening
the arm, using the hips and rear leg for power. It can be
decisive, but more often it is used as a diversionary tactic to
be followed by a lunge punch, reverse punch or other
finishing blow

5. REN ZUKI
- Alternate Punching
o Punching effectively with the left and the right fists, using
either reverse punch or lunge punch (2 or 3x)

6. DAN ZUKI
- Consecutive Punching
o Punch repeatedly with the same fist by bending and
extending the elbow rapidly

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7. MOROTE ZUKI
- Two Hand Punch
o This is punching simultaneously with both fists, either
parallel with each other or one above the other

8. AGE ZUKI
- Rising Punch
o Punch from the hips upward, the fist following a half-circle
route. Use the fore fist, especially the knuckles of the index
and middle fingers against the face or chin.

9. URA ZUKI
- Close Punch
o Using the fore fist, punch straight ahead, bringing the palm
inward or upward. Targets are the face, midsection or side
of the body. If the side muscles are not tensed, the punch
will not be effective.

10. TATE ZUKI

- Vertical Punch

11. KAGE ZUKI

- Hook Punch
o Fore fist is employed with the elbow fully bent. Targets to
the side (solar plexus or side of the body) are attacked at a
right angle. When stepping forward and to the side of this
punch, the side muscles tend to relax. Pay special attention
to keeping them tensed.

12. MAWASHI ZUKI

- Roundhouse Punch
o Attack to the face, side of the head or side of the body: the
forefist rises from the hip in a half-circular movement. Since
there is a strong tendency for the elbow to leave the side of
the body, take care to synchronize the arm with the hip
rotation and brush the elbow against the body.

13. AWASE ZUKI

- U Punch
o Both forefists are used, straight punch (palm downward) to
the face, close punch (palm upward) to the abdomen. Punch
simultaneously, straight upward, bringing the power of the
body into full play

14. YAMA ZUKI

- Wide U Punch
o In a half front facing position, lower the forward shoulder.
Keep the head midway between the arms. With elbow
slightly bent, the upper arm follows a slightly curved path to
the face. The lower arm travels a nearly straight path to the
abdomen, with the elbow in a position so that it could be
braised with the hip. Punch simultaneously with the fore
fists, upper palm downward, lower palm upward
 A variation of the U Punch

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 15. HEIKO ZUKI
- Parallel Punch
o Directed against the intercostal area between the nipples.
Using power from the body, punch straight forward with
both fore fists hitting the targets at the same time.

16. HASAMI ZUKI

- Scissors Punch
o From the hips, forefists take a half circle path, outward, then
inward. Effectiveness will be lost if the elbows come too far
away from the body. Punch both sides of the opponent’s
body simultaneously.

STRIKING

In punching, the elbow is straightened and the forearm extended.

Striking with the hand involves bending and straightening the elbow.
With the elbow as the pivot, the forearm moves as though one were,
drawing semicircles, but swiftly and forcefully, making full use of the
snap of the elbow

Both the fist and open hand are used, as in the back fist strike (URAKEN
UCHI), Hammer Fist Strike (KENTSUI UCHI), Sword Hand Strike (SHUTO
UCHI) and so on.

Elbow can also be used to strike. Arm fully bent, elbow aimed at the
target. This is especially valuable for fighting at close quarters, when
freedom of movement of the arm, legs or body has been lost, or when you
are grasped from behind.

Important Point in Striking:

- Use of the snap of the arm
- No strength in the shoulder
- Fist or fingers of the open hand should be tightly closed
- Strike in a wide curve with maximum speed

1. URAKEN UCHI
- Back Fist Strike

2. KENTSUI UCHI
- Hammer Fist Strike

o Using the snap of the elbow, strike in an archlike path,

either horizontally or vertically. Primarily, this is a counter
attack to the face, solar plexus, or the side of the body

a. Use the elbow like a spring. The fist must be tightly

clenched, and to the maximum extent possible, reduce
strength from the elbow

18
 b. In a YOKO MAWASHI UCHI (horizontal strike), the forearm is
parallel to the floor. In a TATE MAWASHI UCHI (vertical
strike), it becomes perpendicular to the floor.

c. It is absolutely necessary that the elbow point in the

direction of the target. Besides snap, effectiveness depends
on the path of the fist being correct and the length of the arc
reaching its maximum.

3. URAKEN UCHI TATE MAWASHI

- Vertical Back Fist Strike

4. URAKEN UCHI YOKO MAWASHI

- Side Roundhouse Back Fist Strike

5. HIJI ATE
- Elbow Strike
o Can be made to the front, back or sides- rising, falling or
turning to the side – when movement of the torso is
restricted, you are grasped from behind, or the opponent
grabbed your arm
o Differ from hand strikes; Should be regarded as ATE WAZA
(Smashing Techniques) aka EMPI UCHI (Elbow strikes)
o Important points:
 Although effective as a counter-attack at close range, it
is a mistake to aim at a target very far away.
 Keep the upper body erect and use the rotation of the
hip. If the torso is off the perpendicular, the strike
may not be ineffective, but it will give the opponent the
advantage.
 Not keeping the fist and the forearm close to the body
will weaken the strike. Brush the arm against the
body as it moves.
 Effectiveness and power come from rotating the
forearm and bending the elbow deeply.

6. TATE HIJI ATE aka TATE EMPI UCHI

- Upward Elbow Strike
o To effective, forearm must be kept close to the body as it is
raised into a vertical position, and since the upper body
tends to twist, care must be taken to rotate the hips in a
plane parallel to the floor and to keep the torso
perpendicular.
o Blocking a frontal attack while stamping forward, counter-
attack to the chin or abdomen.

7. MAE HIJI ATE aka MAE EMPI UCHI

- Forward Elbow Strike
o For a strike with the right elbow, the right fist comes from
the right hip to the left nipple, always touching the body.
The forearm too should be kept as close to the body as
possible.
o This is for attacking the chest or the abdomen of a frontal
target, especially if you have been grabbed from the front

19
8. YOKO HIJI ATE aka YOKO EMPI UCHI
- Side Elbow Strike
o Keeping the forearm close to the target, so that it brushes
the nipples, move it in a perfectly straight line in the
direction of the attack, and utilizing the power of the body.
 A counterattack especially useful when you are
grabbed from the side or when the opponent attacks
from the front then moves to the side.
 Targets:
 Chest
 Side of the Body

9. USHIRO HIJI ATE aka USHIRO EMPI UCHI

- Back Elbow Strike
o Attack directly to the rear with the elbow, strongly and
decisively. It is important that the fist come to the side of
the body.
 Targets:
 Chest and midsection, especially in case of
attempts to grab you from the rear

10. YOKO MAWASHI HIJI ATE aka YOKO MAWASHI EMPI

UCHI
- Side Roundhouse Elbow Strike
o Counterattack made after disposing of a frontal attack
o For a right elbow strike, the right fist is placed in front of the
right nipple: strike strongly, coordinating the elbow with the
rotation of the hips and the forward movement of the body.
o Target is the side of the face or chest

11. OTOSHI HIJI ATE aka OTOSHI EMPI UCHI

- Downward Elbow Strike
o Immediately after the opponent is thrown or pulled
downward, strike from above not with the elbow but with the
force of the whole body. The forearm must be kept vertical
as the hips are lowered, and attention given to the stability
of the lower body
o Counter attack clearly downward, hitting the face, back of
the head or trunk

12. HAITO UCHI

- Ridge Hand Strike

13. SHUTO UCHI

- Sword Hand Strike
o As in the back fist strike, the snap of the elbow and the
rotation of the forearm and hips are main points
o Rotate the forearm fully, so that the palm comes to face in
the opposite direction at the time of the striking
o Attacks can be made either from the inside outward or
outside inward
 From inside outward, rotate hips in the opposite
direction of the strike

20
  From outside inward, same direction; always rotate
the hips swiftly
o Principal targets:
 Temple
 Carotid Artery
 Side of the Body
o Ridge hand can also be used for this technique

14. UCHI MAWASHI UCHI

- Roundhouse strike, inside outward

15. SOTO MAWASHI UCHI

- Roundhouse strike, outside inward

FOOT AND LEG TECHNIQUES

Kicking
- As important as hand techniques
- Kick has more power than the fist

Pointers in kicking:
- Good balance
o All body weight is supported by one leg and because of the
countershock on impact
o Having sole of supporting foot wholly and firmly planted and
tensing the ankle sufficiently are absolutely essential to
maintaining balance
- One should have the feeling of putting whole body into it
o Use hips fully, but withdraw kicking leg quickly and take up
the position for the next technique, lest the opponent scoop
up or catch the leg
- Length of the arc the foot travels, speed and the snapping
power of the knee determine the force of the kick
o Of importance is the muscular power employed in
straightening the knee

Primary factors in kicking:

1. Bending the knee

- Raise kicking leg straight up, bringing the knee, fully bent, high
and shifting the weight of the leg towards the hips

2. Snap, Bending, Straightening of Knee

Two ways of Kicking:
- Using spring like power of the legs by snapping it fully
- Strongly straightening the knee

In KEAGE,
- After the knee is raised, the knee cap becomes the center of
semicircular movement
- Speed is of the essence

In KEKOMI,

21
 - Knee, in the raised position, is forcefully straightened, kicking to
the front, diagonally to the front and downward, to the side or
diagonally to the side and downward

3. Spring of hips and ankle

- Ankles must of course be made strong through extended training

KICKS:

1. MAE GERI
- Front Kick
o Snap or thrust kick
o Face, chest, abdomen or groin is attacked with the ball of the
foot, toes or instep

a. MAE GERI KEAGE

- Front Snap Kick
o Fully bending and raising the knee of either the front leg or
the back leg to the chest level, kick with a strong snapping
motion
o Foot follows an archlike path with the kneecap as the pivot
o After kicking, bring the leg back to the inner side of the
supporting leg, taking particular care throughout to keep the
hips and upper body straight
o Ball of foot is commonly used, but toes and instep may also
be used
o Always face target squarely for attacks to the face, chin,
chest, groin or thigh

b. MAE GERI KEKOMI

- Front Thrust Kick
o Using ball or heel of the foot, straighten the leg forcefully
from the raised knee position
o Effectiveness comes from keeping the lumbar vertebrae
facing forward and using the power of the hips
o Good for a downward slanting kick
o Targets: Solar plexus, groin, thigh, lower leg

2. YOKO GERI
- Side Kick
o While keeping upper body facing forward, the sword foot can
be used against a target to the side
o Either snap or thrust kick depending on the situation

a. YOKO GERI KEAGE

- Front Snap Kick
o Counterattack against attack from the side, edge of foot can
be used for blocking too
o Kick with the heel, using the snap of the knee that has been
raised to chest level
o Bend ankle fully upward
o To get necessary, strong support of the upper leg, bend the
ankle so the kneecap is directly over the toes and keep the
leg firm

22
 b. YOKO GERI KEKOMI
- Side Thrust Kick
o Target: Jaw, Armpit, Side of Body or Groin
o Path of the foot in kicking and withdrawing be the same
o Using sword foot, deliver the power of the hips as well as of
the snap of the knee, which is, of course, raised as high as
possible
o Longer the distance the foot travels, the stronger the kick
o Directed against: Face, midsection, chest, side of the body or
thigh of an opponent to the side

Variations of Thrust Kick for Close Hand Target:

- FUMIKIRI
o Cutting Kick

- FUMIKOMI
o Stamping Kick

3. MAWASHI GERI
- Roundhouse Kick
o To be effective, hips must be rotated strongly and swiftly
o Against a target in front or slightly to the side, kick with
either the back or the front leg
o Swing the leg in an arc from outside inward, using the snap
of the knee
o Path of Leg must be nearly parallel to floor
o Utilize ball of the foot or instep against face, neck, chest or
side of the body

- GYAKU MAWASHI GERI

o Reverse Roundhouse Kick
 Used to attack opponent’s solar plexus or side of the
body by kicking inside outward

- USHIRO MAWASHI GERI

o Back Roundhouse Kick

4. USHIRO KEKOMI
- Back Thrust Kick
o While facing forward, snap kick or thrust kick to the rear,
using either leg
o Positioning the target, maintaining stability and not being
thrown off balance when the kick lands are difficult, so the
supporting leg must be well planted and firm
o Effective when being grasped or attacked directly from the
rear
o Aim: Face, Solar Plexus, Abdomen, Groin, Thigh, Leg
o Another way of kicking: an arc from outside inward

5. TOBI GERI
- Jump Kick
o Kicking from the top of a high jump

23
Several variations of TOBI GERI:

a. Kicking with the rear leg

b. Springing upward with the rear leg and kicking with the front leg

c. Combination Front Kick

- Making short snap kick to the middle level with one leg, then
immediately following with a big kick to the upper level
o NIDAN GERI
 Two Level Kick

d. TOBI YOKO GERI

- Jumping Side Kick
o Thrust Kicking to the Side and Downward with the Sword
Foot

Essential to Mastering TOBI GERI:

- Necessary to master MAE GERI, YOKO GERI, COMBINATION
KICKS
- Start Practice from Low Level Jump then Gradually Increase the
Height
KATA:
(Inclusive in italics are the note-taker’s notes from other sources on Shorin
and Shorei Katas, division of 26 Shotokan Karate Katas in the two
divisions, the meaning / translation of each katas, and their purported
creator)

2 Groups of Kata:

1. Seemingly simple yet exhibit grandeur, composure and dignity

a. Significance: Building up physique, tempering bones, forging
of strong muscles
2. Suggestive of a flight of swallow, appropriate for acquisition of fast
reflexes and quick movements

EMBUSEN
- Predetermined Performance Line- followed by leg movements
o Should have in mind disposing of enemies coming in 4 or 8
directions and the possibility of a changing performance line

Characteristics of Kata:

1. Number of movements is FIXED; Must be performed in correct

order

2. First movement of the kata and the last movement must be

executed at the same point on the performance line
a. Performance line has various shapes depending on the kata
i. Straight Line
ii. T
iii. I
iv. *

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 v. Etc

3. There are katas that must be learned and kata that are optional
- Katas that Must be Learned:
o Five Heian
o Three Tekki
- Katas that are optional:
o Bassai
o Kanku
o Empi
o Hangetsu
o Jitte
o Gankaku
o Jion
- Other Katas
o Meikyo
o Chinte
o Nijushiho
o Gojushiho
o Hyakuhachiho
o Sanchin
o Tensho
o Unsu
o Sochin
o Seienchin

4. 3 Rules to perform a Kata Dynamically:

a. Correct use of power
b. Speed of movement, fast or slow
c. Expansion and contraction of the body

5. Kata begins and ends with a bow

SHOTOKAN KATA TYPES:

SHORIN-RYU and SHOREI-RYU

I. SHORIN-RYU

- Performed with the mind and bodyset of being FLEXIBLE, SOFT AND SLOW,
WITH QUICK SHARP MOVEMENTS

Shorin-Ryu Shotokan Katas:

Name Meaning Purported Creator

HEIAN / PINAN

“Peaceful Mind”

“Stay Safe” / “Be Protected from Danger”

(Secret Meaning in Chinese Translation)

“It is about using them to stay safe in your journey through karate and life. When used
correctly, they will protect you. But only if you study them deeply. Those who seek shall

25
 find.”

1. Heian Shodan Peaceful Mind One Anko Itosu

2. Heian Nidan Peaceful Mind Two Anko Itosu

3. Heian Sandan Peaceful Mind Three Anko Itosu

4. Heian Yondan Peaceful Mind Four Anko Itosu

5. Heian Godan Peaceful Mind Five Anko Itosu

BASSAI / PASSAI

6. Bassai Dai To Penetrate a Strong Peichin Takahara

Fortress MAJOR

7. Bassai Sho To Penetrate a Strong Peichin Takahara

Fortress MINOR

KANKU / KUSANKU

8. Kanku Dai To Look at the Sky MAJOR Kanga Sakugawa

9. Kanku Sho To Look at the Sky MINOR Kanga Sakugawa

GOJUSHIHO / USEISHI

10. Gojushiho Dai Fifty-Four Steps MAJOR Sokon Matsumura

11. Gojushiho Sho Fifty-Four Steps MINOR Sokon Matsumura

Other Shorin Katas

12. Enpi Flying Swallow Wang Ji

(Wanshu)

13. Gankaku Crane Standing on a Rock Sokon Matsumura

(Chinto)

14. Wankan King’s Crown Tomari-Te

15. Chinte Rare / Unusual Hand China

ARAKAKI GROUP OF KATAS (Shorin)

16. Nijushiho Twenty-Four Steps Seisho Arakaki

(Niseishi)

17. Unsu Cloud Hands / Parting the Seisho Arakaki

(Unshu) Clouds

26
 II. SHOREI-RYU

- Performed with the mind and bodyset being STRONG, SOLID, WITH HARD
MOVEMENTS, STRONG HARD FOUNDATION

Shorei-Ryu Shotokan Katas:

Name Meaning Purported Creator

TEKKI / NAIHANCHI

18. Tekki Shodan Iron Knight on a Horse One Anko Itosu

19. Tekki Nidan Iron Knight on a Horse Anko Itosu

Two
20. Tekki Sandan Iron Knight on a Horse Anko Itosu
Three
JION KATA GROUP

21. Jion Mercy Jionji Temple

(Name of Buddhist Jionji
Temple Monk-creator) Tomari-Te

22. Jitte Ten Hands / Ten Men Jionji Temple

Tomari-Te

23. Ji’in Inverted Mercy Jionji Temple

(Name of Buddhist Jionji Tomari-Te

Temple Monk-creator)

Other Shorei Katas

24. Hangetsu Half Moon Seisho Arakaki

(Seisan)

25. Sochin Tranquil Force / Preserve Seisho Arakaki

the Peace
Gigo Funakoshi

26. Meikyo (Rohai) Polished Glass / Mirror of Tomari-Te

the Soul
Kosaku Matsumora

Gichin Funakoshi

Brief Preview for the 15 Core Katas:

1. HEIAN SHODAN
(Peaceful Mind 1)
- Techniques: Gedan Barai, Oi Tzuki, Age Uke, Chudan Shuto Uke
- Important training in foot movements and following Embusen

27
 - Master Zenkutsu and Kokutsu Dachi, and get well acquainted with
essentials of Oi Tzuki
- EMBUSEN: I
- # OF MOVEMENTS: 21
- TIME REQUIRED: 40 seconds

2. HEIAN NIDAN
(Peaceful Mind 2)
- Training in the side and front kick
- Changing Directions when executing side kick is particular point
to be learned
- EMBUSEN: I
- # OF MOVEMENTS: 26
- TIME REQUIRED: 40 seconds

3. HEIAN SANDAN
(Peaceful Mind 3)
- Principal aim: Mastery of Forearm Block against Body Attack
- With elbow fully bent, learn to position it about a hand-width from
the body with reliability
- Blocking with the elbow and counter-attacking with backfist strike
or elbow strike
- EMBUSEN: T
- # OF MOVEMENTS: 20
- TIME REQUIRED: 40 seconds

4. HEIAN YONDAN
(Peaceful Mind 4)
- Learning new techniques, like:
o Jumping forward lightly for a vertical roundhouse back fist
strike after making a front kick
 To do it, necessary to have excellent balance in KOSA
DACHI (Crossed Feet Stance)
- EMBUSEN: I with vertical line extending above the upper
horizontal line
- # OF MOVEMENTS: 27
- TIME REQUIRED: FIFTY SECONDS

5. HEIAN GODAN
(Peaceful Mind 5)
- MIZU-NAGARE (Flowing Water) position of the forearm is used in
this kata, for punching
- The forearm and the chest should be parallel
- Master balance, as when doing the KOSA DACHI when landing
after a jump
- EMBUSEN: T-Shaped
- # OF MOVEMENTS: 23
- TIME REQUIRED: FIFTY SECONDS

6. TEKKI SHODAN
(Iron Knight on a Horse 1)
- Stance is KIBA DACHI, which should be strong and stable
- One’s attitude should also show resolute intent
- For the NAMI-GAESHI KICK (Returning Wave Kick), the hips must
be well-set
28
 - EMBUSEN: Straight Line
- # OF MOVEMENTS: 29
- TIME REQUIRED: FIFTY SECONDS

7. TEKKI NIDAN
(Iron Knight on a Horse 2)
- Downward block to the side may be strengthened by placing the
hand of the other arm against the elbow of the blocking arm
- Make a clear distinction between the grasping block and the
hooking block
- EMBUSEN: Straight Line
- # OF MOVEMENTS: 24
- TIME REQUIRED: FIFTY SECONDS

8. TEKKI SANDAN
(Iron Knight on a Horse 3)
- Key points of continuous middle level blocking can be learned
- No matter how fast the performance, the stance should be as
strong and firm as in the other Tekki Katas
- EMBUSEN: Straight Line
- # OF MOVEMENTS: 36
- TIME REQUIRED: FIFTY SECONDS

9. BASSAI DAI
(To Penetrate a Strong Fortress-Major)
- Essence: Forcefulness, Strong Spirit, Overflowing Power
- As if though one were capturing an enemy castle
- Know how to change disadvantage into advantage
- Switching blocks and right use of power are possible ways
- EMBUSEN: T-Shaped
- # OF MOVEMENTS: 42
- TIME REQUIRED: 1 MINUTE

10. KANKU DAI

(To Look at the Sky-Major)
- Picture scenario: Being completely surrounded by enemies
- Paradigm Shift:
o Fast and Slow Techniques
o Powerful or Soft Techniques
o Stretching and contraction of body
o Jumping and crouching
- EMBUSEN: I with vertical line extending above the horizontal line
- # OF MOVEMENTS: 65
- TIME REQUIRED: NINETY SECONDS

11. JITTE
(Ten Hands / Ten Men)
- Numerous, bold and grave movements, may be performed with a
staff in the hands
- Appropriate for learning effective use of hips and for blocking with
staff
- EMBUSEN: Cross Shaped
- # OF MOVEMENTS: 24
- TIME REQUIRED: 1 MINUTE

29
 12. HANGETSU
(Half Moon)
- Forward or backward, circular arm and leg movements,
coordinated with breathing
- Points to learn: Fast and slow techniques, sliding of the feet
- EMBUSEN: Cross Shaped
- # OF MOVEMENTS: 41
- TIME REQUIRED: 1 MINUTE

13. EMPI
(Flying Swallow)
- Has high and low positions, lightly and facilely performed
- Good for practicing quick reversal of body positions
- EMBUSEN: T-Shaped
- # OF MOVEMENTS: 37
- TIME REQUIRED: 1 MINUTE

14. GANKAKU
(Crane Standing on a Rock)
- Movements picture Crane Standing on one foot on a rock, ready to
pounce on its prey
- Balancing on one leg, the side kick and the use of the back fist can
be appropriately developed
- EMBUSEN: Straight Line
- # OF MOVEMENTS: 42
- TIME REQUIRED: 1 MINUTE

15. JION
(Mercy // OR could be the name of Buddhist Jionji Temple Monk-creator)
- Within calm, smooth, harmonious movements is a fierce fighting spirit
- Learn: Sliding the Feet, Shifting Positions, Turning
- EMBUSEN: I
- # OF MOVEMENTS: 47
- TIME REQUIRED: 1 MINUTE

KUMITE:
- Came into existence only after karate was introduced in Japan proper

Kata vis a vis Kumite

KATA KUMITE

Practiced in order to learn techniques, Application of fundamentals learned in

offensive and defensive, and body kata; kind of sparring
movements

Enemy exists only in the mind’s eye Two men face each other and demonstrate
techniques

- In ancient days, karate was based almost exclusively in kata

- KAKEDAMESHI
o Measurement of power of a punch or block

30
JIYU KUMITE
- Free sparring

3 TYPES OF KUMITE:

1. BASIC KUMITE
- For cultivation of basic techniques, keeping in mind the individual
student’s level of skill

2. IPPON KUMITE
- For studying offensive and defensive techniques, training in body
movements and learning MAAI (distancing)

3. JIYU KUMITE
- No pre arrangement of techniques
- Partners are allowed to make free use of their mental and physical
powers, BUT
o Student must strictly control his punches, strikes and kicks
- Making contact with target is strictly prohibited, so the blow must
be stopped just before it reaches opponent’s vital point
o Can be done easily by a well-trained karateka, regardless of
powerful execution
- Disadvantage for inexperienced:
o Surface aspects; mechanical use of arms and legs, tendency
for fight to become free for all
 IKKEN HISATSU is destroyed; violation of rules of
karatedo
- Requisites:
o MAAI, KUZUSHI, KAKE, TSUKURI, Strategy
o Master Basic and Ippon Kumite

4. GOHON KUMITE
- Five-Step Sparring
o Accuracy and power of strikes and blocks is to be learned,
along with drill in foot movements
- Attacker advances and attacks five times in succession; Blocker
retreats and blocks five times, then counterattacks

5. SAMBON KUMITE
- Three-Step Sparring
o (Same purpose as GOHON KUMITE)

Discussing Kumite:

1. BASIC IPPON KUMITE

- Target is agreed upon beforehand, partners take turns attacking
and defending
o Objective: Learn how to make use of the offensive and
defensive techniques and to understand distancing
o Aka BASIC KATA OF SPARRING
- When sudden attack comes, block should be accurate and strong

31
 - As skill develops, blocker should learn how to counter-attack
simultaneously
- Blocking may be painful, but this should not be an excuse for
haphazard sparring which can lead to injury

2. JIYU IPPON KUMITE

- Objectives: Get the feel of distancing, blocking, attacking, body
movements, shifting of center of gravity and delivering finishing
blow
- Demonstrate variations of techniques occurring in single kata
- Partner announces general area of target, attacks suddenly and
with great strength; Other partner blocks and counter-attacks
o Both can freely demonstrate all techniques they know
- Requirements for both partners:
o Well trained and highly skilled; seems like an actual fight
o No second chances: An attack or a block is all
- Ultimate objective of karate training, preparatory stage for JIYU
KUMITE

3. JIYU KUMITE
- Nothing is pre-arranged; both are expected to exhibit mental and
physical powers at the highest level
- Actual striking is prohibited
- Blocks, blows and kicks must be arrested before hitting the target
o Reason: Hands and feet of a skilled karateka are extremely
dangerous and can inflict fatal injuries
- Only the well-trained are capable of this

EXAMPLES OF THE ABOVE:

- Block attack to the body, counter with MAWASHI GERI to neck

- Attack to chest, step forward and kick to solar plexus
- After attack to head, counter with right YOKO GERI KEKOMI
- Counter JODAN MAE GERI with GEDAN JUJI UKE
- MAWASHI GERI, twisting left arm block, right close punch
- JODAN MAWASHI GERI, Take out opponent’s supporting leg with
YOKO GERI KEKOMI
- YOKO GERI KEAGE vs JODAN ATTACK
- YOKO GERI KEKOMI against CHUDAN ATTACK
- Counter a TZUKI with MAWASHI GERI JODAN
- MAE GERI can be countered with YOKO GERI KEKOMI
- Counter JODAN ATTACK with MAE GERI
- MAWASHI GERI vs MAWASHI GERI- Boils down to who is faster

HISTORY OF KARATE-DO according to Master Masatoshi Nakayama

- TOTE- former name of Karate

o 1922- first demonstration in Tokyo at first National Athetic
Exhibition
o Demonstrated by MASTER GICHIN FUNAKOSHI, President
of Okinawa Shobu Kai (Society for the Promotion of Martial
Arts)

32
 - TOTE
o Aka TE (hand)
 Art of self defense undergoing development in Okinawa
for centuries
o Trade between Okinawa and Chinese Ming Dynasty, TE was
influenced by Chinese fighting techniques (no written record)

Legendary background involving TOTE:

- Unification of Okinawa under King Shohashi in 1429
- Reign of King Shoshin, edict was issued prohibiting practice of
martial arts
- Order prohibiting weapons was promulgated by Satsuma Clan of
Kagoshima after Japanese control of Okinawa in 1609
- TOTE became last means of self-defense; Satsuma Clan also
clamped down on it, thus, it had to be practiced with great secrecy
- No alternative for Okinawans, thus, it developed into deadly art we
know today

Historical evolution from TOTE to KARATE-DO:

- TOTE / KARATE was unknowingly practiced until 1905, when the
normal school in Shuri and Prefectural First Middle School
adopted karate as official subject in physical education
- Its devastating power is known to some extent, referred to as
o REIMYO TOTE (Miraculous Karate)
o SHIMPI TOTE (Mysterious Karate)
- From TOTE, became known as KARATE JUTSU
- 1929, Gichin Funakoshi took the revolutionary step in strongly
advocating that it be changed to KARATE-DO
o Karate was transformed in both appearance and content
from techniques of Okinawan Origin to new Japanese
Martial Art
- 1920s-1930s
o Karate-do’s popularity reached new heights, attracting
students, lawyers, artists, businessmen, judoka, kendoka,
many others
- First Karate Clubs in Japan:
o Keio University
o Tokyo Imperial University
o Shoka University
o Takushoku University
o Waseda University
o Nihon College of Medicine
o Other schools in Tokyo area
- 1930- Kenwa Mabuni (founder of Shito-Ryu Karate) and Chojun
Miyagi (founder of Goju-Ryu Karate) from Okinawa arrived in
mainland Japan
o Formed clubs at Ritsumeikan and Kansai Universities,
Osaka Area
- Miraculous and mysterious karate was transformed into a modern,
scientific martial art
- Funakoshi answered the WHYs of Media on the name of Karate-do,
defending his position
- 1935

33
 o Funakoshi published KARATE-DO KYOHAN, karate was
firmly established
- 1937
o Various karate societies in Okinawa joined the Japan Martial
Arts Association, branch was established in Okinawa
- Funakoshi changed name to KARATE-DO, and changed the terms
therein to Japanese from Chinese or Okinawan pronunciations,
leading the art to be understood more easily
- Before, Karate-do was only Kata
- Because of Funakoshi, practice was divided into three types:
o Fundamentals (KIHON)
o KATA
o KUMITE
- Young students gathered around Funakoshi and practiced kumite
with great enthusiasm
- Kumite evolved from pre-arranged Kumite to practical Jiyu Ippon
Kumite and Jiyu Kumite aka no-holds-barred
- Kata became extremely refined in Okinawa
- Research into Kumite developed considerably, and as of that time,
karate had almost evolved into perfection
- 1940- First Golden Age of Karate
o Nearly every major university in Japan had its own karate
club
- Early Postwar Years- Karate suffered decline
- Succeeding Years- Karate is practiced more widely than ever,
spreading to many countries throughout the word and ushering in
a Second Golden Age
- Post-War Developments:
o Requests from Allied Forces Stationed in Japan to see
martial arts exhibitions
o Judo, Kendo, Karate-do groups visited military bases 2-3x a
week to perform their respective arts
o Great interest of servicemen in Karate, seeing the art for the
first time in their lives
- 1952
o Strategic Air Command of United States Air Force sent group
of young officers and non-commissioned officers to Japan to
study Judo, Aikido, Karate-Do
 To train physical education instructors
 3 months stiff schedule
 Intense study and practice of Karate
- Great Step Forward for Karate-Do as per Master Nakayama, leader
of men teaching Karate (Chief Instructor of Japan Karate
Association or JKA); 12 years after, 2 or 3 groups came every year
- Training program was evaluated highly, groups began coming from
other countries aside from USA
- Various countries also requested that karate instructors be sent to
train more instructors
o Factor to the worldwide spread of Karate Popularity
- Eventually, interest in holding contests grew stronger as it did in
Kendo and Judo
- October 1957
o First All-Japan Karate Tournament was held (sponsored by
JKA aka Japan Karate Association)

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 - November 1957
o All Japan Student Karate Association sponsored
championship tournament before a large audience
- Greater interest in Karate throughout Japan spurred
- Competitions are being held both in and out of Japan
- World Karate-do Championship Tournament- peak of all Karate
Tournaments
- Contests, dissemination of Karate Abroad are most significant
developments in post-war years

KATA CONTESTS:
- 2 ways:
o RED AND WHITE CONTEST
 Contestants are divided into two groups
 One member from each group performs same kata at
the same time
 Completion of Kata, Flag which is Red or White is
displayed to indicate the winner
o SECOND WAY
 Points are given for each performance
 10 is maximum score
 Contestant with highest number of points win
- Criteria for judging:
o Power
o Spirit
o Moderation
o 3 key points:
 Correct use of power
 Appropriate speed of techniques
 Stretching and contraction of body
- Points are forfeited for mistakes in the order of movements and for
not finishing the kata on the point in the performance line where it
was begun (EMBUSEN)
- No allowance is made for mistakes, however small
- Not always true that a person good in kata wins

KUMITE CONTESTS:
- Preliminary Contest
o Contestant is judged to be the winner if he scores an Ippon
within two minutes (Shobu Ippon Kumite)
- Final Contest
o Must score 3 Ippon in 5 minutes
- Important factors in judging:
o Timing
 Of strike, punch, kick, finishing technique
- WAZA-ARI (Twice Shown Technique), counted as one Ippon
- If neither contestant won,
o One may be declared winner by decision OR
o Match be declared as draw
- Contact with opponent, FOUL
o Responsibility is solely his, he may lose on this basis
- In case of slight foul, he may receive:
o Warning from referee
o Deduction of points

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  But fight continues
- Prerequisite for control of movements:
o Intensive training both mental and physical
 Mark of a skilled contestant
- Bottomline: MASTERY OF BASIC TECHNIQUES

MAKIWARA PRACTICE:
- Soul of Karate
- Should not be missed even for a single day
- Value lies in:
o Strengthening the parts of the body used in attacking and
blocking
o Learning to concentrate power of the whole body in the fist
at the time of impact
- Effective way to learn distancing
- THE WOOD:
o Elasticity is the most important quality
- Preferred:
o HINOKI (Japanese Cypress)- best
o SUGI (Japanese Cedar)- okay
- Rice Straw
o Used to wrap the portion of the board that is hit
o Due to elasticity and absorbency
- Possible Substitutes to Rice Straw:
o Rubber
o Sponge
- PRACTICE:
o Steady and diligent, not hurried
o Strengthening of body should be done by degrees
- Practice that can result in sprained wrists and/or broken skin:
o Hitting too quickly
o Hitting too suddenly

MAKIWARA PRACTICE PROPER:

- START:
o Hit 30x with right fist
o Hit 30x with left fist
- Increase number gradually, until it reaches 150, then eventually
300
- Thrust forefist straight out, rotating hips and using snap of elbow
to the fullest
o There is shock at the moment of impact, but it needs to be
mastered
- For effectivity, wrist must be tensed at impact
- If arm is used like a stick, the blow will not be effective

PRINCIPLES IN MAKIWARA PRACTICE:

1. In the front stance, picture the target as being one fist length in
the back of the makiwara. Distance is very important.
2. Do not lean forward. Straighten the elbow and thrust the fist far
forward, bending the makiwara backward.
3. Elbow is bent slightly backward when the fist hits the makiwara
squarely. At this point use the spring of the elbow and shoulder.

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 Elbow becomes straight. When makiwara returns to its original
position, place the fist slightly on the surface and withdraw the
elbow to the hip with the natural movement of the makiwara. Care
should be taken that the elbow does not go too far out to the side.
4. Elbow, not shoulder, should absorb the force of the makiwara
springing back. Strike will be totally ineffective if the elbow or
shoulders are tense or the body leans even slightly backward
5. Practice using the rotation of the hips in the front stance. Then
change from immovable stance to back stance to front stance,
using movement and rotation of hips. Gradually increase speed of
the strike.

NOTE:
- Target should be one fist in length in back of the makiwara.
Course of the punch should be as long as possible. Particularly
important to use centrifugal force.
1. For punching with sword hand, back-fist or elbow, face the
makiwara diagonally or sideways. Stances: ZENKUTSU-DACHI,
KOKUTSU-DACHI, KIBA-DACHI
2. For use in SOTO or UCHI UKE, necessary to strengthen both the
front and back of the wrists

VITAL POINT TARGETS IN KARATE-DO:

FRONT SIDE

UPPER REGION
1. Coronal suture
2. Frontal fontanel
3. Temple
4. Glabella
5. Eye Socket
6. Eyeball
7. Intermaxiliary suture
8. Behind ear
9. Center of lower jaw
10. Side of Neck
11. Mandible

MIDDLE REGION
12. Supraclavicular fossa
13. Suprasternal notch
14. Sternal angle
15. Xiphoid process
16. Inner side of wrist
17. Fourth intercostal space
18. Back side of upper arm
19. Below the nipples
20. Solar Plexus
21. Inner side of the elbow
22. Seventh intercostal space
23. Eleventh intercostal space
24. Point below the navel
25. Back of the waist
26. Back of the hand

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LOWER REGION
27. Testes
28. Inguinal region
29. Side of the lower thigh
30. Fibula
31. Medial malleolus
32. Instep
33. Outer side of the foot

BACK SIDE

UPPER REGION
1. Coronal suture
2. Behind the ear
3. Third intervertebral space

MIDDLE REGION
4. Back of the hand
5. Back of the wrist
6. Back side of the upper arm
7. Scapular ridge
8. Between fifth and sixth thoracic vertebrae
9. Fourth intercostal space
10. Inner side of the elbow
11. Ninth and eleventh thoracic vertebrae
12. Inner side of the wrist

LOWER REGION
13. Tip of the spine
14. Gluteal fold
15. Soleus muscle
16. Outer side of the foot

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