OTH£f',"800l(SOf

Blackbelt Techniques ill the Martial Arts

:Q"ody-Building and Self-Defense Oompe(mg in Karate

'HTEltEST
Karate: Karate Karate Karate Karate Basic Principles for Young People Kl;lj 1 Power: The Basic Karas within Your Grasp Kung Fu Cor ¥'Qung Peopfe Manual of Karate Wrestling

,Book of Karate and self Defense Tudo Judo: Basic Principlc;s: Junior Judo Jonior Karate
Complete

Translated py Tomoko Murakami and leffr:er Cousminet Illustrations by Toshiakt Mof'ishita Photographs by Kr/ti(JJJslla Ltd,

8'eoolld Printing. J 979 ~Jljljsh translation copyrigllt @, 1978 by Sterling Pu1;Jlishillg Co., Inc. :r~o Park Avenue, New Ycu:iC,N.¥. lQ016 Originally pj!blished in Japan © 1975 by': Kodansha'Ltd., Tokyo. Disttibutidin Australia by Oak Tree Press Q:>., J...td .• P.O. BoX J34, BticIdield Bill, Sydney ZOOO,N.S.W. DIstribut~ in tHe United IGngdam :by:Wa,rd Lo.;:k Ltd., 116 Baker Str~ ,London W 1

Manfl!actur:ed in the United States 01 America

All rights reserved Librazy ()f Congress Catalog OBl'd No.: :n~ 79509 Sterliqg ISBN ()...8Q69~4120.:0 Trade Oak Tree7061-2S.S7-6 4121-9 Library

Forevvord
Karate is eurren fly enjoying wide popularity the world over. We encounter it frequently in books, films, and on television. There are few people Who have not seen, a demonstratiou of brick or wood breaking or a single bate-handed Plan aefe~t a host Qf armed oppenents . .But karate is much mere thacn Oii&. It was developed over a thousand yeats ago, not only as a form of unarmed combat, but as .a way to discipline tile body In erder to improve the spirit, In tills way, a unity of body and spirit Gould be achieved, If this sounds him abstraet, perhaps we can use terms that are easier to deal with. Besid~s COD" ditioning the botly ¥,d improving sReed, strength, and co-ordination, kaFate increases on&~s aiertID<ss and self"awareness. It also teacues confidencenot cockiness or brashness=but.a deep confrdence in one's abilities to deal with the world around him. And with confidence comes calmness and a sense of inner peace. This is the true bvate1 the k~rate that one call practice yeilrs after he can no long~Ii break bricks. But everything must have a beginning and great things cannot be accemplished in a handful of days. In ka-rate, the beginning is the physical ronns--the punches, kicks, and blocks that w.e ve all seen. These are the techniques tfiat enable adept kareteka to perform the seemingly ~pos;si'b)e feats that he does. Tot everyone who studies karate 'achieves s:::a:x:r:)S, but if you are able to master tbe technique~ ~;aj]1x:d in this book, yeu ceuld be one of them. with patience and perseveranee and you are to. find some measure of. Satisfil£tion. You also work with caution, always: bearing in karate is a combat formarrd enables one" a blow of devastating power, Techniques .. ~I! improperly or with. insufficient eare could • to you or others. pursuit of karate be a rewarding. one;

,j1

Contents
Foreword . 1. Fundamentals 1. 2.. S. 4. 5. 6. 7. 8.

11
of Karate

The Hand and Ann as We~pon!l .

Seiken (nOTlrul,1 fist) , Uraken (baek nsf) . l'ega:tana (bandsword) Segatana (reverse handswerd) . Nllkite (piercing hand) . V'ariati{m of nukite . Ippon-nukite (one-finger piercing hand) . Nihon-nukite (two-finger piercing hand) . 9. Keiko (cl).icken beak fist) .

12
13 13

J6 18

21
22. 22

29
23
24

10. OyaY\lbi-ippon-ken (thumb fis1:) . 11. Hitosashi1Ubi-iPRgn-.Ken (forefinger :fiSt) . 12. Nabyubi-ippon-ken, (middle-finger fist) .
13. Tettsui (iron.ll:ammer fist) . 14. Shotei (palm heel thr.ust) 15. Toho (sword peak hand) 16. Heike~ (flat fist) . 17. Koken (are.fist) . 18. Hiji (elbow) .

~4 25
26

27 28

26

28 28
30

19. Kote (forea-rm) . 20. Additional upper body weapons

The Leg as a weapon . 1. Ashigataaa (footswor:ii)

31
31 32

2 Naka-ashi (ball of the foot)

3.. Seashi (instep) . . Soko-ashi (arch)

32
3:4 , 38 3.8 40 41
41 42

36

:5. Kakato (heel) 6. Hiza-geri (knee kick) p,..,..tTrn··inary Exercises ' 1. Wrist exercises .
Exercise for the Achilles tendon
ee exercise Reel and ankle exercise _. T De exercise . Hip exercise . -_Side exercise for roundhouse

43
43 44

block exercise for roundhouse bloo$:

44
45 46

to.

9. Push-ups.
ceg~8tretchiag eRefci:~e .

46
'17

n.

Neck exereise 12. Back stretcbinge'Xercise

l3.Knee-bend exerci~ . 14. FlexibjH\yexerolse for the legs

4'7
4&

4'8
48 49'
49 49

t 5. Finger exercise .
16, Chest'-tQ.-f~dexerei'8e' 11. ShotJ:i-zuke (hip exercisel .

Stances . L Hei'8¢fku.tM'hi (hloqked. foot stl!Jle~) 2" Nfu-subi~tachi (open£oot$tanQ,e) . 3. lle.Hco-tachi (p~ra.llelJQQt sta"iJ.~) . 4. Zenkutsu-ta:C:1ii <forwardstAnclil)
5. Kokutso·tacm(back

5Q 51
51

52
52 53

sta~~

6. fudo-tachi (ready stance] .

s;ta;noo) . '8. lWba-~ehi (hor-se stance.) .

9, $.an~.en-tachi (fighling stI*ltce) 10. "f,suTu.ashi-tachi (r;;rane.stafl:c.~) H. Na:k{l·h.achiji.·taGhi (in'l1e't fig4te E stance) U, $otb·lfaenili·taChi touter'

7: Sruko-t!l,.@Jii QSumo

s:t

54 SA55 56

g6
57

figure 8: stance)',

.'2,

13. tf"ake-ashl.facbl (hdok:ea fontst'an6e') 14: Futa.·;aslii·tachl:(two-legged stafl(ie~ 15. ~Netco-ashi·tachi·(\latstanee) 16. $)i:qntoku,-t~chi or Toboku-ta.chi ('r~shaQed s.ta~) URe (Defense) . l. Defense 'aga:instlrand att~'*,'S'. 2:. Defense againSt lega:t,t~9ks 3. A;tlpZYing'blocldng· techniques,
Applications of Fundame'ntal Oi-tsuki (Lunge Pi.mch) .I, CJn.1f~fI:~-Qi~tsuki middle l

57 58 58
. 59

60

pO
61

TecJmi'tjues

64
12 73

body 1U1l~~puncb) 1. Turllafter Chudan-oi-tsukl (middle body lunge punch) 3. ChlJdan·gyaku.Qi-tsuki (middle body lUIl~ punch from tpe re¥ce.\sepos,ipQn) 4. Jo:aan·Qi"gy.ak:q·tsu:ki (uppel: boqy lunge punch .from the t-e\(et~ep.0si~Qn) . 5. Cbudan·sobii.uke (middle b¢dy 'tlTock from the quts)d~) . 6. Cbudan.M'alm·s&ttHike(ri;lLtW,Je bQdy bloc). {'(om the o:Ut~ide,T:r;qmthe reverse R.Gsition). .. i. l@danr,uke (up:p:t:lt bOdy block). ,8. Jodan·g'ya:ku·uke (upper botly bldck'O'.omibe, revetSe,poSiuori) 9, ZeDkutsu~ftiji-age~uchi (fo.Iwaiia elbow upper: thrul>tJ . . 1.0. :Zenkutsu-gyako·hjJi.age.ucfll (forward elbow upper thrust ffom tfie reverse positi6tl) .
.e, • • • • • • •.•

73 74
74

75.
75 75 75

74

u. Riji:soto.uGi1i

76 76
:76 76, 77

12. Hiji·J.W~Is!u-S<:)t0·uchl
13. San~Jl·tsaki

14. $!,iJisen"IWa.kJ.l·t'suki. (nghting blow from the revers~ positlQn) . 15. Tum ·after Saosen-rs.uki lfi{thting 010\\\1. . . . . , . 16. Tegammi-uke (ha;tfCl.$word bloc.l<) , 17, Turn after Tegataila,-u}l;e(hal1osw0J'd blOOk}. 18, Shotei-uke (palm heel bloclO .

(efbow thrust fr_om the outsid~ ......... (elbow thrust from the outside frqm the reverse P9sition) (figptinEl plow)

77

77
78 78

78

19: 20. 21 \ 22.

Shotei-gyaku-uke (pahh heel block frOm the. reverse position) Segataoa-uke (Teverse handswerd blook) . Koken-uke (arc fist block) . kaiten-jun-tsuki (!urn and thrust)

18 79 79
79
80

Oi-geri (Lunge.KicK) . 1. Oi-m!Le~geri (~1'Ontlunge kick) ... 2. Oi-roae-geo.?age (frent lun·glr upper lack) l. O.i.;~ogo.,.ged-age (sid¢; lunge, u:pp~1(' d.ck~ 1 4. Oi-mawashi-geti (touTidlio;pse Iungekicki) 5. Oi-asbig-atana (lunge foolsword;) Breathing
1. lbuki .

80

go
8,0

81

81
82

2. Front b!'eathing 3. Back breathing The Pointand C-ire1t11. Mawashi-uke ,(Roundhgllse Bi c-k) 1. Migi-mawasbi-uHe ('1'igllt [Qundliouse bloc~) 2. Hidari-mawaslii-ukeleff IDurianollse hlbck) Enkei-gyaku-tsuki (Reverse Thrust in a Circular Motlort). 1. Hidari-enKei-gyaku-~-su]ij (l¢ft reverse thrust in a citeular motion) 2. Migi-enkei-gyaku-tS):lki,right reverse thrust in '8 circular motion) Tega~afla-Qke (RandswQrd :aJo-dc)
1. Migi~tegatana-uke' (right handsword blocR:) 2. Bidari-t~gatana-ukff-(1e(t haI)dsword bleck) Rhythm in Karate

_86
89
89

82 8l:1. ·&5

90 91

91
91 92

9.4
95 t(;)O

92 9~ 91

3. Kata .
Taikyoku Taikyoku Heino 4 1 3

Heian 5 .
Saiha

104
108

11Z
118 119

. Kumite (Sparring~ . Preparatory 'Iechniques f6r Jiyu-kumire (PreeSpa'tring;) 1. Pteparatory smnce",ll-5lng Morohl (Ooth hands) . 2. Preparatory stance using Enstiin :(cente.r of the eirele ot Qinwheel) 3. Prepan~ory stance using Ryuhen (movingdragofl stante) . ' 4. Preparatory stance' using Maeba (front .part of the wing) 5. Preparatory stance using Biein (tl!:iJ of dragon ~JaIl€e) Ma-ai (Time -ana Sj)ae;e 1l.:ela,1;i€los-h.ip)
So-ou-ma-ai (OM ~teIi) . Yudo-ma-ai (oni:! and a half steps) Gendo-ma-ai (two ste--ps)

u§
1~0
L21

12-1 122

123
1.2-3 123

123

a,

Sanbon-kumite (Three Fotm S",arring) l. Sanbon-kumite using only the arms and hands 2~ Sanban-kumite using legs as attaeking weapons Ippon-Jrumite (One Form Sparring) . Ju-kwnite (Free Sparring) . Tameshiwari 1'IIe Dynamics of Tameshiwati
I. Materials used .

113 124
134 'l.38

150 154
155
ISS

2. Body contact areas . 3. Power and stri.king angle

IS5

4. Speed .. S. Me-thoQ.s " Pract~cing T$meshlW1iiri 1. 'Fa]nes.hiwari using wood boards

2. Tameshlwari 3. Tameshiwari using tiles. using bricks .

[55 156 156

157
· 157 .161 .: l62 _ 164 · 165
162 · 163

4. Tarneshiwari using stones . -.5. Tarneshiwar! using cinder bleeks

6. Special Applications of Kiarate Teehniques .

Everyda>; Techniques for S~lf·aefen.se 1. Wbile sJiaking hand~ ~. Wbilewalld:ii.g,

S. While sifting. 4. Self-defense techniques for a woman walking 5. Self-def.ense techniques u_s:i:I)g umbrellas .

165
166

172 115 17,8:

L81

6. Knife vs. ka:rate . . every<1ay self-defe.,nse teehniques wearing 01 (ttaditio.nal karate costume) Fitness "ExeFcises
7. Practicing Importance a propel," diet j')aily physical and menti\l l;iealth care 1. Basic exerciS"es _

185
190

of

2. B;xercises u:&ina chairs. . 3. Exercises using, a towel .. SP!'CiaI Ttaining Exercises.

1. Exercises using Makiwara (karat~ sftik,ing board) 2. Exercises using the sandbag 3. Exercises using, baseball mitts. 4. .Booshi-geti (kicking, off a nat} and TQbacco-geri. . . 5.Hxerci~e using the Shishaku-bo (l.2-metre-long (4,.foot_'long) tad) 6. Exercises USing barbells'

190 )90 190 200 204 209 202 212

213
217 222
228

2]9
230 233 234 237 238 24:i 245 247 251

7. E{I;ercj_sesusing Sashi (stone weights) . 8. E~ercises using Tetsugeta (iron sandals)

9. 1'he bridge . 10. Exercises for the.handstand 11. The mysterious and amazing body 12. Tumf:lllna. . 7. The New Karate: Mode::rnizing Shiai (Competition Karate)

Ta~esbiwari Scoring Glo~sary

lnaex

1. Fundamen-tals of Karate

12

THE HAND .AND ARM AS WE,APONS

" ~S8ik~n (normal fiet)
This isth~ !;Itrongest a;nq.,the mostd{ective of the 6st positions, ,$eikl4l'1 is used when Nrronning Jodan~t8",uk.i ()lppel: b.ody thrust), a commonp_,psition fOI'attac"kiligthe fac.e-l!J:id tbe jaw; ChiJ.dwHpU,J;i· (middle bCidy thrust), the :{ttac:k posititin fut th¢ chest and the stomach; and Gedilh·tSfJki (lower body thnls't.), flir -attaCking the lower abdonien and groefi. This fist can o-e used in defense as
well as in

attack.

As shown in the first four photos, st~g with the little finge1\bend all fQll~ 'fingers that their tips. a:1"e d]ggi1l8 tightly 10t.o the hand as close to their ba,ses<}s possible. Blind the, thum:b Qvel"the- s~_J)ndjoint~ of the fu;.$t-tW6 :fingers '16 'fuither tighten fist. Wb'en thtestfng "with Jfue -SeiKen. y,-ollshould strike tile object directly with the knuckles of the :first two 'fin~efS~ In tllls .position, if you strike an objeCt with any of the other finger Joints" you will most p.I'obabl¥ inj'W.re yeur hand, A:. punch with.the fist ip the Seiken position 5.hould be th!:'ust s~r-aightout fram the shoulder. In th~ c.or~ect staning p(lS'itipn you should ,tlold tbe . flst w:itlL the palm facing up, tQl;lchib,g you:r.side eaa lev«l with your ·chesL, Then, sirl)u11ane'ously" as you thrust :forward, tum the fist fuwal'a so that at the point of attack the ooject will be.struek by the knuckles of the fitSt two fingers (in the final position, the palm should DOW be fa~ing down). 11:is of utmost imporlance that at this point the arm tbe back of rhe hand, are beld rigidly Jp: a straight line, an~ that the object is b,ei~g st;l'uck fOl'em()~tb~ the :k;nuckles of lliefirst two fingerp . .EQ! beginners, tbe $eikeh -'pQsitjon :isr~poiDJ:ncw.:ded fo_rpracti~d>patjjng in order to avoid s¢flQus. ill-juries while'at'the same fimeexpressing~eat ;poWe!"

so

'the

and

13

C. Seike1i.imawashi-t{J:hi (turning OF roundhouse punch with normalfist) Again, start with the fist in the nermal position. but this time twist your body so that YOIU' list is bidden -fmm the 0Pjlonent. Swing the striking arm outwards from the side ina large li'aIf-cintIe- motion and strike the opponent on the side of the head or behind the car. The twisting of the hips and. the snapping back of the other arm is essential for maximum power: to be geaerated in the striking fist. This punch is mostuseful as&iDst 'a taller' attacker. D. Seiken-ago-uehi (stl/ike: to the jaw With the normal fist) For this punch, the striking nand is held at shoulder level and close to .the body and the wrist is partially turned forward (unlike the previous techniques which have all begun with the- hand in the basic pesition): The power for this punch .is created by fhe sharp pulling. back of the other arm simultaneofis with the forward thrust. Unlike fhe previously described punehes, this one should be pulled back immediately after striking the object.

1S

'~

2. Uraken (back fist)

There are two basio methods for usin$ this fist. In the first, the fi'St'is clenched III the same way as it is in 'the Yeiken position. Howe"Sler, in the Uraken l'ositien the- object is struck by the back of the knuckles rather than ihe front (1). With this

method, the spring aetio.n of the wrist facilitates

the striking t)f an opponent Wh9 is either veryc!ose or at your side. In die second method (2), theftst is heJel in the normal position for Se_ikfQ1. The dift'll:tence is in the thrust, for in this positiQn the punbh is delivered ,,?itb' the' fist palm up. At the moment of impaot; there should, be a, sUglit: twisl in the wrist to maximize thts punch's effectiveness.

A,. Urahef/-s}fomen-ucni (back fist fFop:taj punch) In this position, the stq.ki;ng 11$tis held close to the Dody at about ~h!?ulder :Q,eight,Wi:tl+ bae*: of the tHe hand facing the opponent. Ute fistis then thrust forward to strike the qppenent's fa,ce. 'Pheactual striking; can, either be ft~ directly 'tn front or'frem sligh1,ly above; de~ndtl\g upon the degr.ee of bending in the wrist. 16

B. flraken-sayu-uchi

(back fist one-two punch) Here, the elbows and fists are held-at chest height with the back of the hands facing the opponeru. Then, using the elbows as' P1y0ts., t;hru~t forward and stri}re"With eicltfist-in sequence. These-punches are intenqed mainly for the faee, and each should

, punch is theown.

be pulled back immediately after hitting its mark (this will allow for greater,.sp'eed) ..Maximumpower will be created by the effective twisting pi the !Ups as well as a pushing off from the ppponent as each

C. UrdKell-hizo-u(J1U (baek fist punch to the spleen) In thesta:tti.ng position,the: Bsts are held at navel level, OM· fu. front of the other, Then, using the

elbows as pi'ttots, thrtrst the fist 10 the opponent's side (either to the lefi or right, as needed). The primary target is the gut area. '

11

D. Uraken-:rhttq-tsuki
This punch ing and

(back fist lowe:r"punch)

IS the exact opposite of the Seiken,

ehudan-f§uki in that although the primary positionforward thrust are the .same, you strike with

{he fist palm up. It is particularly us-eful when you are grabbed suddenly by an opponent. Assume a low straddle stance as shown,

3. Tegatana (handsword)
In the handsword (or knifehand) the hand is open. The hUtfib is bent and held tigb,tly ~ga:inst Ute edge of the hand. The four fingers are tensed, naturally curvedand slightly apart. 1'he {}'uter edge of the- hand is 18

primarily used for 'Striking.

A. Tegatalld-sak.otau-uehi bone chop)

ChandSw..ord collar-

Hold the strikfug hand with the p~m facing in, on a level with theear, and 'Swiftly bring the hand £orward~nd clown in an arc-like motion in erdes to hit the ep orient's collarbone. Note that the other hand is also heJd in the Tegatana. position in -pre{iaration for the next blow.
The collarbone lSt-rather weak and a blow to it will cause difficulty in breathing and restriction of arm movement.

B. Te~atana.sako-tsu-uchikomi (handsword collarbone strike) Hold the hand at shoulder height ana thrust forward to strike the opponent's cellarbene, this differs frem the previous technique in1l,la.t there is morefollow-tbrough

after the <~trike.

19.

C. Pegatana-ganmen,..uchi face-chop)'

(handswerd

Hold (he stTikinghand

(Tega{-pma-saK;otSlil-uchi).

as in A

Then bring the

hand sWiftLy down acrass the facti. ear, 011 neck of a.1I 0l?ponent. At the moment Qf con.bict, the elbow should be !\1igbtly bent.

20

D. Tegatana-naka-uchi (hands word cross-bodY chop) Hold the. strikingbJtnd across yourc1(~s-t at the 'Vel of the opposite eat. Then bring the hand diagonally forward across your body jna straight

. . The major targets areen

• throat and arms.

opponent's face"

4. Segatana (rever.se handsword)

In this position, the thumb is tucked into the palm and it is the inner edge of the band that is used to strike. Segatana m~y be used from above or from the side; however, strIDes thrown in this manner are weaker than those of Tegatana, and therefore it is rarely used.

21

5~ Nuki,e (piercing hand) In this position, the hand is held in the same
manner as in Tegatlilla ex~pt that the Mgers [fEe not.separated, It is -impottailt that the fidgeTs never
be bent baG~wardsf as serious injlities to 'the hand -result. The major targets are an opponent's stomach anli throat. .. A blow to Uie solar plexus with, N4kit~wiIl render an opponent unconscious. Another common
QaD

attack point is the lower rib cage (photo A). For the greatest .effect, yon should aim the blow between two ribs. An expert can nearly penetrate the 'body with this technique. An attack to the. threat wJJI po.~sihly cause lethal . damage as this area is very salt and vulnetaole (photo Bl.

6. Variation of nukite
In this variation, the finger~ are bent s~ghtly inwards at th~ first knuckles. This is used when a:ttaokfug witb. a roundhouse blew rather than a

straight thrust. It a,Uows (or greater lessens the danger of a hand injury.

power. and

7. Ippon-nukite (one-finger piercing hand)

Here, the index

finger

(forefinger) is

extended ferward while the other fingers are bent into the palm. and the' 'thumb bends

tightly against the side of the middle ::fi.qger. You thrust with this techniqu~ either with the back of the hand facing to the side or faping up. It is used to attack the _eye (shown in photo A). below theno:;e, the throat, or the lower rib area. For best effect, the index
finger should be bent very slightly inwards,

n-nukite (two-finger ing hand)

the index and middle fingers are
;lmm:d forward, while the other twO fingers

with the thumb touching the mng B illustrates the correct method for
,IJ!:" ~ .!.II

opponent's

eyes.

:13

9. I(eiko (chicken beak fist)

Bend the foul fingers at the knuckles and bring the fingertips together. Then place the thumb undemeath the tip of the middle finger. You strike an opponent from above OE from the side. using a quick 'Snap of the wrist. The ma]pr target :is the eye (photo A). .

10. Oyayubi-ippon-ken (thumb fist)

this is the same as the Seiken position el!:cept that the thumb tip pushes against the area between
the first andsecond joints of the index finger, so that the fi'fst joint of the thumb sticks out. You strike an QPj)on~nt with the thumb joint against the temple or below the ear lobe. CAUTION: This punch

IS

extremely

danger:ous

and could

easily kill an

opporrent; tl1erefore, use it with great care, and never make ~bntaAt during practice. PhQtQ B illu-sttates the correct technique for striking the temple from the side:
B

24

11. H it:osashiyubi-ippon-ken (folllfinger fist)

This position is: sirdilar to the Seiken position, except that the secend joint of the indexffnger should protrude ana the thumb. shoulii pres'S against the side of the ~ai1of the index finger. You may attack: 'either from 'above or from directly in front of an opponent. Targets are (A,) the lower-rib .area, (B) beneath the nose, (C) the mid.dle of the flEl[ehead~ and (D) the. throat.

c 25

12. NakaYlIbt-ippon-ken (middlefinger fist)

This position is similar to Hitosashlyubi~ifJP()n-ken except that it is the second joint Qf the middle :finger

which protrudes. 'Ifiethumb pushes tightly against

tl\ear-ea \5el;ween the first and the second joint of the index finger. Attack procedure and targets are Ute sa-me as for Hitojashjyubi~ippon-kfm. In addition to this position, thereis also a combination of Hitosashi)!JXhi-ippan_-ken, and NtikaY1jbifppofl-ken called Nihofl-ken (two-finger .fist), where the second joints of bota the index and tne middle finger prot(Ude. Also,; there is a technique known as Ryu(ou-k¢Ji (dragon's head fist), where the middle fingel'~s second joint protrudes to form

the point of a triangle with the other fingers' second knuckles slightly protruding to form the triangle's sides. Photo A illustrates sttikiOg beneath the 19werlip using the middle-finger-fist technique,

13. Tettsui (irO!nhammer fist)

For; this technique, the hand is put into the Seiken position. However, here it is the mealy outer ~dge of the hand truths used to strike the opponent. While this is not a sharp blow, it is a heavy and quite powerful weapon. You may attack from abeve to sJrike the head, or shoulder df an opponent, or from: the side in order to strike tile temple, neek, or beneath the ear lobe. Photo B iUUll~ate:s: this techB nique being applied from above to the back of an_o_pponent's neck.

26

14. Shotei (p,alm heel thrust)

Here, you lise the heel of the hand to strike an opponent. The blow is- thrust forward. powerfully in a pushing motion. Targets are the face and- the jaw. Ibis t'Cchnique is- also used against other areas in defense. A. Shatei to the jaw from below. B. Shotei to the spleen nom the side, C and D. The correct stance in preparation fOT perfosmiag the Shotei-ehudan (middle body palm heel thrust). E. Shotei to the stomach.

27

1&. Toho (sword peak hand)

This is the: wedge formed when the thumb is extended away from the rest of the hand. The target (or this technique is the throat Thrust forward and

strike the opponent's throat strongly, as shown in photo A.

16. Heiken (flat fist)

In this position, the fingers are be1,1t at tae second joints as if to make a fist but thet,ips' do not touch fhe palm. It is the first joints of the fingers. and-the palm that strike the 0bject. Typical ~argets are the ear. the cheek, the throat; and the face. GAvnoN: When applib:i to the ear, Heikefl Clan rupture the eardrum.

17. Kokan (arc ftat)

This pO$ition is formed by bending the Wri~t forward, and placing the thumb at the base of file middle finger. An 'Opponent is struck with the esposed outer portion €If the wrist. Tar<gets include the spleen, face, and jaw. You can attack from

""bove, below, or from either side 0f, an opponent. An atlvanced student can also 11$e this as a defensive technique. ~ute that this wrist area is
very sensitive, and When _practicing, you should avoid striking hard ;objects.

A. K:oken to the faee from above. B. KaKen to below the

C.

ear lobe from above.

Eaken to the jaw from below.

D. Koken to the spleen from the side, E. Koken to the side of the neck; with a diagonal blow,

29

19. Kote (forearm)

This is the part of the arm between the elbow and the wrist. It is most often used in defense as abl ek. The fist is held in either the $e'ikien or Tegatana positions. As shown in the pnotos, 'there are (1) forearm, (2) back ferearm, and (B) front forearm. While Kate is mostly used fo;r defense, the back foreaem position may be used fer striking an opponent's jaw.

20. Additional upper body weapons

These are the head, he. shoulder, and the teeth. The head may strike an object from any direction" but the primary t,arget is an epponent's face. When practicing,. do not use the head to strike hard objects. Wlien using the shoulder, be sure to strike with the bony portion,

31

THE LEG AS'AWEAP

Due to the fact that the leg is normally u~c1 to support the awkwar!i to' use as a weapon as compared to !!the ann. Ho stranger than the ann, and because .of its sU'{>et'iorlength can be from a greateJ distance. It is gel\)e~1/y aceepted that the 'leg em

~~!iS

times as much p,ower -as the arm. A beginner musJ expect to lOse Aia b~lance when first learning 'The three Keys to ~ucce~ful mastery ~e: qlainfaining' the center keeping the hips, st.ea:d;v.,. performing tli'e kic,l{s at great speed, and 'm:c-;;:~piIiI:r striking leg to t1fe gtl!lIWd immediately after tbea:tt~ck. Wh~o you have developed sufficient stre,ngth and. flexibility you have acquired t1i.est~nngest weapons ill an unaaned Dian'
comp,efjtiol'l karate, 70 per cent of the winning blows are de}iVi

,1. Ashigatana (footsword)

This 'is the out~r edge or the {G;Qt. a,.~.shown in the photo. Ii attaoK 'he n,ecE;,jaw, spleen, hips, and joints. A .. 'Yoko-geri (side . Note that in this each foot and one sh the vertices of a triangle. Band C, Yoko~geri :front andstde views) 'First:, ;:outra;nsferVOlIlC'1~~:ti:l:, the sup):iorting leg hips steady and the .k:m!es bent, Then pull up the b:::11:::,~ foot to a position just . 'the J(Qe~:of the suppa Now, quiclcty strike out leg, to the 'side and iI' nmed::m:il$ return t(:j the starting ~ittIIllro.

.A'

D.l(anse,tS;u-ger,i (kicks to Remember that amedl:ilIrlty after delivering a kicl4 yo return lhe leg to its Starting "'P()sitibD. This allows for aquic follow·uE Kick, and prevents an
m'

opponent balance.

from catching

you off

12

E~ A#htgattma~J!()ktFgel'it;jQdan (Q,Q1--swprd t@h:n.iquEil)"

(upper. -body side kick us.ing tb~

33

2. Naka-ash' {

D. MaW{lSf(f~geri (roundhouse, kick) This kick s~arts in the same pasitioo as the above; however, tbe bent lffieds brought to tbeside aHd t-hebody is I*.tlt away from tltat

'side. Then, using a large circular metion, extend your foot forward and strike the jaw, face; 'or side. If the timlng is correct, this kick call

expr;ess a tremendous

arnot,!nt efpower.

--

35

3. Seashi (instep)
As shown' in the photos, this is the top of ih~ foot just belDw the arikle, It is used to strik,e the groin, side, neck, and ribs. Tne toes are stretche'd straj'gbt forward.'

A. Maw(Jshi·seaihi7geri

(roundhouse

kick with

the

iastepJ
Ihi$technique·is basically the same as theturning kick 'despribed ilhove, except that an opponent is struck wLt:lLthe instep .rather han the ball, THe chief tm::g~tis the neck.

36

B.

Ktntekt,seaslij-gef'i (testicles kick with the instep) Bmng ttie knee IIp and strike forward .hitting the opponent's tesfieles with the instep. GAUTION: This target is the most vulnerable part of the male

anatomy, so during practice you should never actually strike a sparring partner. Klnteki-seashi:,geri is an excellent kick for woman to use against a,ceat attacker, .

37

4. Sok.o ..ashi (arch)

The arch is usually used for bloekJ.n.g an

opponent's attack. It is always better tQ block a puoch with ash_ook~absorber-l1ke

sqft af;ea;~\rch as the arch, rather than a futrd area, This t(:ohniqtJe is also used t'0 attack -an opponent',s -side or arm wtth a sweeping sideways mofion, (PboteS below show front and' side views of the Soko-ushi defense.)

5., Kakato(heel)
The heel is the pivotal point for turning the body. It is also an effective weapon: There are two Wars in whicb

it can be used offemlively:

A. Niikato-gel'.i (heel kick,

This technique is used wnen the opponent isalreaay on the ground. You bring the leg· UP1 keC?ping it straight with the toes stretched hack. Then bring the heel forcefully down. against th-e. op.P8lnent's hea,d, face, or stomach. This is a.V:erypowerful and dangetpus lcickas all the hodY' weight lsconcentrated in the hee;l.

B. Ushiro-geri (rear kick)

This form of attack is used for strlking an opponent who is behind yO'Q. As illustrated., the cottect techn,ique is to dove YQlJl'· momentum baekWard.s and yOt;!T' heel into the stomach. of an, opp.onent.
.~

39

A. Front 1j.nd side vieW'~of the knee ki~k ~sing either leg.

8. Hiza-geri (knee kick)

The knee is as hard and powerful as. tn.e elbow, and alse is most effectiVe when fighting; in close. Tfie targets are the testicles, stomach, and thighs.

AnElther offensive teeho.ique is to grasp an dpponeol's hair and: slam his face down against
your knee. The knee and upper thigh can also be

used defensi\!ely to block kicks from an opponent.

B. Teclinique c

ef fercing an opponent's faee onto your

knee.

.,0

C. The correct pro-ceo.ure forusing the knee kick to.attaok

an opponent's thigh .

PRELIMINARY EXERGISES
1::0 'pt&ctiq:e kJ\tale ~ective,ty a'n1i safely, YPu must liest c't!nmtion yout btidY. ThesellaSclt e,xercise:sshoWdebe'pen©tmetl often and repeatedly in ower to build up strengt.liand flexibilit)' tabU reduG tnedlahCes: of fujilties).
2

'1_. Wri.st

ex~rciS8S
fip;g,eI,S SD that they l'oint qpwards1 and at th~ same time !'aJ:.seyou:r h~ds over YOUI head, Make. sure tha~ the ~~ban<!$ il!y.' ysstay in CO}lt\\ct w,ith e~qh Qtlj.et.. FiJ1(_lU;y;,.eturn' !lIe bands to eh_est l~el ocs r sboWn,'jn photQ 6,

Start by stending wJth your legs sljghtl¥ &Ji!att. ,(hen-_!;lril}g NUT hands tggc;:t~I1"R~lm~ allq n1);ge.rs ,flat a$\mst on,e 1tEitlt;lter ,(as show.n in 'Ph2~OS, 1 thrQugh6). Apply presSUJ;~~and gradually bi1;'ing yatlt haMs'to cne-&t leVel. The:nstart ,ti.1tl:ling the

EJCercise for the- Achilles tendon Start bj' standing on j't?ur toes. In this position, bend yout knees and drop, your hips. Then, transfer tne bOo_y weight to your heels,at the same Ume> stJ:aighiening- your knees but stil1keepinS' the hips bent. This is one of the. most important:of all the

2.

preliminary exercises because any sudden streng tension the Achliles tendon coltld rupture it. Tnerefor~, it must be strengthe:ned before you attempt an~ strenuous activities,

on

3. Knee exercise
This is primarily afle-xibility exercjse. Bend the _knties deeply~ hold them together with both hanil.s, and r,(!)tate them to the left and then to the ri&b£. _Strong" flexible knees ate essential as they rule the _pivotal points for
jumping .<l:pdkiicking,

4._ Yeeland ankle exercise

Lift one foot at atime andelasti:city. and rotate the heel in
.9.

circular

motion to the left and right. This will improve turning

SOL

Toe exercise

Stand with the feet slighfty spread and the hands grasping ,the, belt [,jft the bi~ toes as farQff the groll.ad- as gossiole without lifting the ether toes or the rest of the feor, Then lift the ilIth¢;l' to~,$ withqut Iiftfng the big

toes .. This exei'~is'e reduce the _possibility of injUries .to the toes resulting. from improper kio-k:in~, tec.Jhni~ues~ es_p~ci~ly when perfonning Nqka"ashi

wi'll

(o,all.of.the"t:t?\!t _kick~.

6,. Htp ex:srcise

-S,land witb 'the feet 'WIde .apart and, hands . clasped behind )ion! head, Then bend forward

""lthqut -begding your knees, stl'aiahten up again,

and bend 'backwards a'S ra;r as possible, Practice tfus eJCer;eise until you are gradually -able to do it.' with your -legS cl0Je. t,og~th:er~

7. ,Side exer.cis$ fO'r rCtllodhouse block The roundhouse t)ldck (Mawashi-uke.j is desoribed on page 89. This e~etcise inC"reasestbe flexibility and strength of the side muscles. Frem
jhestarting-pesitiofi (1), pull she lower hand back: against' the side. Start-bending- to the side over that hand, and reach up and over ihe head with the other band (2). Finally, thrust bglth bands towards the-same side as ift-o ard off ail at~cket' (3). Return. to tbe -starting position and repeat on' the opposite side.

8. Back exercise for roundhouse block Twist your body tQwards the back as TaT
as possible (1). Then. bend forward without bellcUng tnc:: .knees and touch the ground (2). Return to.thestanfiing position. Twist your bud}: in 'the opposite direction, and

repeat the exercise,

9. Push-ups
One variation, of the push-up is to 'use only the fis~'S to push off the ground. In anotber, yourrumds. are flat against the

ground. However, the best metngd is to use only the fingertips, starting with all five and gradually reducing the number as your strength increases. You should eventually be "l-ble·to do push-u£s with Only one fingeron each hand. Make- sure that your hips ',neither protrude nor sag when doing.this exercise,

46

to.

Leg-$:trf;ltching eXe;rCI$8

Sit ~ith. your le~sprea4~PArt ~s f;R~ asp_os§ible to oeitheI'"S-ide. Grasp Qn,e,}rn.eewith both hands4tfd gra'duaUy P'-"U until y,pur Ghe.st is over tha;tJtnl<e, beingsure ybu keep the leg1lat on'1heJleor. R'(:turn to thestai:ting positIon. place one !iantl. on".·ea:ch ankle, and tty tofOu(lli ¥our chestto tlle fleor. This exercise is good for stt'et~~ng the calf and thigij.

11. Neck exarcises

Thes!: exel'CiSes are -iffi1ic;n:UmtJfOT d~velQpjng a , stron:!:, flexible neck. whieh wiH prot-ect:the, narlt of th~ spiU'a}CQfd iii this ::3,1'e8.. Th~ e~e[eiS'. s censi;st of rotating the neck around td fhe teft.antl right, forward andoackwards:

ffiusc1es_ which will improve

-any kicking teehnique,

the performance

of

47

12;; Back-st,etching, exercise

Statt -with )''Our legs sp -it wider, apart; then bend forward and supportyQurs~rr on your fists and feet NQw, ssreteh ),olll'1!E_gel' 1J:(ilQ_Y8S far fQrW1J:la ~ p.J:!,ssible, ~nd aeeh ,y(bUr back -withu1.lt t;Ol1C,rnngyour chest to the tlo;Ox,

13. Knee-'bend !lXiercise

)3end YQUL knees and lowel'

y.our hjp,s. Rlate yO,qr; bands on the to:'Qs of'fil'r; kIiee_s anllsttalgHmn yOUT-'"legs while pusliin,gagai st the J,i,ne.e-s, This exercise will aid extension of the legs When perfqrming I\:lW of tqe k,icking teeh(nglles.

14. Flexibility exercise for-the legs

Star'!; by spreading your legs wldeapan. Ben1l. one knee, keeping tl1e €lther Rnee extended, and lower your boa¥. Place. one hand on each knee. Tty to touch the calf (be -extended leg lP the floor boY[!l'e~sing down €!n~he kaee wItb your hanG\. Avoid leanm _8 too far fOT~a.rrldt,. ... J RtJX;at the prQ~edure W'it-lt the (lther leg, ~l

of

.STAN.CES

Of primary imp.0ttance to tlre-suecessful ,performing .of karate is 'Iearning the eorreotstanees, The new st:uden,t of Karate: must:pLace him$'~lf htthe positiQ!I,l @fa; baby and Jearn tostandall overagain. Ukte tbe oa.by'S."YOUI mind must be totally rec,el'l,tiye to ,ne.:w experiences,

so

1. Heisoku-tachi ,(blocked fO(lt s.tance)

In this stance, the feet are held tightly together with the spine and ne~k jn a straight line. The arms should drop naturally to the sides and the fists should be clenched. In this, as in all stances, you must always face straight ahead and relax the innef s~1f by blocking eutall thQUghts.

2. Musubi-tachi (open foot stance) This stance .is jdeniica'l to Heisoku-tac.hi except
that the heels -ere touching, and the toes are separated at a 60" angle. This stance is often used at the beginning ofKumiie and Kata.

51

5. Kokutsu,;,tachi {back stance;~ tQuchingthe

so-that ontl the toes: are The bacltleg is bent and thehips dropped. Two-thirds of the body wei~ht is su~ported by the back leg. the front foot i~-poillted
Ex:re~!i Qne leg forward
1l01;)T.

to the- froqt and, tJte back fOQt tJ)E,1cclolltward.s. The Iegs are shauJdetwitltll apart. Th:U\ stance is
used in Naka~uke (p~e 65) and: Tsuki (page· 141.

6. F-udo-tachi (ready stance) This stance;ls:the same as Heiko·tachi,e~ceRt that the feet ate both . tul"Jiea outwards. The shoulders should be naturallY rei<pred;as tl:li$
is-a preparative stance for action to follow.

S3

7. Shiko-tachi (Sumo stancel

Tllis isa basic st<8.nce oe:Ji\ted from sumo wrel;ffin:g. T!ie legs ate spread apart to twice tIie ,width bf'the slioulilllr,s; With t1ie<mees "bent and the feet turned outwards. The hips are dropped and the spi,ne is ,straight. Tlle llY{ler body s)lould be supported by the hips. In this :po~ition(as. well as Ibenext one), the,center of gr~v1tyjs,mn~,h Jaw!'?): th~ in mos.tothel' stances. Therefore. fOU mustbav~sttong'legs j),ti,d hips for ,gP:Odba14TI"oe:.F01; obvj~'Q$'l'easo:ns", this is not a good,sta,ns;~ fQrexf:~uting swift 'klcking··let<hniqlJes.

,8,., Kiba-~(:bi,(J1or8e 'stanc.)

This st"<Y!~ is the same a§ S7iiku.t(lclil~ i:x~pt thll~ tile fe,e.tare pointed fQrwafd lind tl(;mrio'n is plf.lceed ail, th~ inner parts of the feet, The poslti'On is similat to that of
riding, a berse,

9.. San$e~-tachi (fighting stance) This _is- a common _pllaptice stance. One foot is
_pla<:ed-one step forward sa that its heel is on the same horizontal line as the tees of the back-foot. Both feet are turned in. The distance between 'the toes of each foot is shoulder width. The ten~i0n is _placed along the inner edges- of the feet; allowing for a very stable. posture.

The photos below shp,w how to ,convert from }feiko-tachi (see page 52) to SCf/15.en-ta(:n~ by bringing ene foot towards the other using a circular motion so: that 'the feet brie6y touch and then separate. The moving foot should end up one step in front and' t6 the side of the stationary foot,

55

10. Tsuru-ashi,-tachi (eran,s stance)

Here, the body is supported on one leg, The sole of the raised.foot is JlJ~ced against the inside of the knee, like a crane standing on one leg. In this stance, you should be ready to strike with Yoko-geri (side kick) and 7:1raken (back fist). This is a transitional stance between ~ period. of defense and "attack.

11. Naka-haehiji--taehi

(inner figure 8 stance)

This is named: for ,the resemblance of the position of the feet to, tbe Japanese character for the numeral B, The feet are shoulder width apart, wi'-ththe toes turned in and the' heels turned out. The tension should be placed-along the inner edges of the
feet, spine, and the sides,

S6

12. Soto~ hachiJi~tachi (outer fig ure 8 stance)

This is 'Similar to F'udo-tachi (ready stance) except that the feet: are therefore the stance is mere stable.

wider apart and

13. Kake~ashi~tachi (hooked foot stance)

Like Tsuru-ajhi-tlfchi, this is a transitional stance used td smQuth out conversions from ene movement to another. Starting from any stance, meve one leg backwards-and place it as if hooking .it behind the knee of the other leg. Only the toes tnueh the ground-the back of the foot should be raised, This stance enables you -to do one of two things-to either drop back one step or to prepare fot: executing a kick.

57

14. Futa-ashi-tachi (two-Ieggad _stance)

Stand, with the: feet one shoulder width apart.
Place one foot just .in front of the other with the

toes pointing forward. The-knees should be relaxed, making this a rather loose and versatile preparative 'stance.

15. Nak.o-ashi-tachi (cat stanc~)

This stance is very similar: to Kokutsu-taehi except that the distance between the front and back feet is narrower. Ninety per cent of the body weight is supported by the back leg: Because the Iront leg is held yery loosely, its great flexibility-allows for vezy.successful kicks.!,t is generally true that the narrower the stance, the faster -the leg actinrr,

16. Shumoku-tachi Dr Toboku-taohi (T -shaped stance)

Place one foot with the toes pointing straight forward. P1.aeJ: the second .fool ~erpet1dicular to thefirstj makfug a 90~angle. The;'heels 'Of both feet are teaching, ana the body faces direetly. forward.

S9

UKE (DEFENSE)
You sh,9llidnever fee1 that d~fense means passivity and accept the role of tile ,underdog; instead; confiderrtly expee ,to wJn every .figh], You ~n nev& imprl1iv'ewitltoU'1>ahsoh:itebe1iefin your own abili:ties,_

1. Defense against hand attacks

You musr develop your defense techniques so that they be,catne, the first step in a counter-attack. Every block Shbuld be tratrsftitmed into some sort, of offensive weapon, With (his in inind, you can understand the importance of'thoroughly mastering the basic defense techniques.

A. Chutlim-tSuld (rofddJe body thrust) blocked by Shate; (palm heel thrust, to the inside. B. The saID.~ defense exeept that the thrus¥ is blocked to the outside. C• ..;, thrust bloc:ke.d by TegatAlUL (handgword). D. A punch blocked nom above.
by

Shotei: (palm heel thrust)

EI A puneh blocked oy Tegatana:"kake (hantlswerd hook). This block is the same as C except that the wrist is turned inwards. with the palm facing down.

F. A punch bloG:ked fo the @utsii±ewith KtJken

(are fist). G. Kokelil ftom. above, H. Koken from below,
1. Hirate-tsukami (flat hand grasp) Even ~hoU'g;hthis is called a "grasp," it is-actually

60

,t¢c,litti-que is ,n;se<;tt:\1.e~ often.

oPJ16p-eJl;t!~f;i%t bt},{

m6rely

~wa:t

_it;!

a:W~. 'l'Jli~

2~Defense 'against I~ a1!facifs

C. 1Jae.geri (front JOok) blocked (lower body sweep). D. Mae-geri (front (palm heel block), kick) blocked

by Gedan-hardi
by Shotei-uke

F. Mae-geri (front kick) blocked by Gedan-tegatanaj~jl-uke Qower body handsword X:;block}. G. Mae-geri (froni kick) blocked by Soko-ashinaka-uke (arch block to the outside). H. Mae-geri (front kick) blocked by Hiza-soto-uke (knee block from the outside).

E. MtJe.geri (front kick) blocked by (Jetlan-juji-uke (lower bod)'! X-b1ock).

62

I. Mae~geri (front kick) blocked by Biza-1Uika-uke QCn~ block to the outside).

It. Mae-geri (front kick) blocked by an arch block

to' the inside,
L~ Mae-geri (front kieIq blocked b~ilie shin to the

J. Mae~geri (front lciek) blocked by the amn frotn the inside.

Inside'. 63

CD

3. Applying blocking techniques

A. Jfxd(J.n-lJ,k~ (upper body block)

In the cqrreet pos.itionJo:r this ,technique, Qlhown ~re), the blocking bani! is held at a distaru:e Qf two :fists from the head, while the other harrd i~ held at cfi~t Ie,vel.

(1} Jbdan-tsuki (uI!per bddy thrust) Jodan-uke (upp~r body block).

(2) V:arious 'app1i~ations of Jodan-uke.

bloc1Ced by

64

m
B. SQto'u/ce (block: fr.o:tn die Q tside) (1) In tbepeJ;'formanoo of'this block, the blocking baud is Iotate0:froma position next to the ear to a point in front Of the eyes. The other hand remains at-chest level. (2) In this block, you should use the muscular area below the elbow when making actual contact. For 'the. most efIecHve block ofa punch, always aim for the opponent's wrist (this is very important to rememb~r~.

c. Naktfuke (hltjlck from the inside) (1) Chu'dllh-tsuki (middle body thrus:t). blocked from the inside. (2) When you iIontioipate a very powerful ~punch" support the blocking arm with:your other arm.

65

D. Tegalana-jodan-uke (hands word u{:! er body blOCK) (1) Side view of Teg410lla-jodan-uke using {he left arm. (2) Tegatan:a-jo.dqp-~/f~ from the front. (.l) fodan-ts!Jki (1,Ip:per bl'dy tbl'llS1) blocked by 'Eeg1J.lAna-jo'dq'fl-uke to the outside .

. E. Sholei"uke (palm heel block) (1) Snotei-,sdtogawa.ue (palm heel block from the outsIde). (2) Shotei~shita-uke(palm heel block from above). (3) Side and front view of Shotei·uke.

66

F. Tegatana-uk» bIClCk~'. . , (1) Tegatantl-u!f.e with the left hand. (2) Migl-JoJian-fiSBld ,(upper body ~brus~ with tl;te right bl).uID hlQcRed
by Hidari-iegatlin~s.iJ1a-uke (hand-, sword block ffom the outside with the left hand). (3) €!iudanTtsuki (middle body thrust) blocked by Tegatana~eadfk'barai (lower body sweep). (4) Trllosit1pn from Tlf$iifana-jodan"1Jke (itpper"body bands word block) tu Ka/t.e-ulCe (hook bI0GK).· .

G-. Kuken-ue-'Ukp (arc ,fist block fWID below) INs technique is used .mnre to deflect tatJ}et tha.n block, an
opponent's punch.
(1)

A right-harrd punch blocked by Koleen (arc fist) with the left

as seen

hancL
~) Koken.ue-uke

frain tbe front and the side.

.I. Segatana-uke (reverse harrdsword bl@ck) (1) Chudan-tsuki (middle bopy thrust) blocked by Segl1tana-uke from the outside. ('2) Chufian-lsuki 'blocked by Hidari.se&atatlq~uke (Iever,se handsword block with the left bartd), When

an opponent's punch is very strong; you can strengthen your block by supporting the- bIoeking !l!'m with your othpr hand. This is a very powerful defense.

K. Shotei-ue ..ulee (palm heel block from below) (1). Front view. ~) Migt-iodan-tsuki (upper body thrust with the right band) blocked. by Sbote'-ue-lI,ke with the left

hand.

,69

L. Ged,an::barai. (lower body sweep) (1) Front view. (2) Side view. ('3) A middle body punch blocked by
Gedan,oarai.

(4) During practise, start in Sansen-tachi (fig.h!in~stance). A119PpOnef).t"s le.ft.band punch should be blocked by the right hand from theinsideJ:'!.Dd a right-hand punch should be 'blocked b~ the left hand, also from ~heinside. (5) Gedgn-barlli (with th~ left haJid) and Mtgi-h,ak{l.;u]{e (right block ftti_m. the inside) bejng performed (frqnt andsjtle vie:ws).
@)

M. Jodcll1duji-fike (upper body X~blQek) (1) Jodan-tJSu}G1 (upper body thru~t~ bJocked b¥
Juji-uke (}(-block).

(.2) Jodan-tsulci blocked by Te,patana-juji-uke()lblock' using rhe handswerd technique).

71

2. Application of
Fundamental Techniques

72

.Ol-TSUKI (,LUNGE PU,N'CR)

5. Chudan-so'to-uke (middle

body block from the outside) This IS the same as ChuQan-oi-tsuki exoeQt tHat instead of an efi'ensivCi} attacs, you -are

performing a defensive block frem the p.u side. When turning at the end of one forward sequence; you pull the left legtp tlie bat;k and gp into - the lef~ for;ward stance (fIidari-

zenkl,ltsu-iaghl).

6. Chudan-gyaku-set(J-uke (middl,e body block from the outside hom the reverse position) ,
This defenSe is the shine as Chudan-so-to-uke except that the right arm bloe;k coincides with the forward step of the Jeft leg, and viet versa,

7., Jodan-uk. block)

(... per body p

This is a defensive technique fer blOCking blows from above. The basic ~roceawe is the same as for those previous1y mentiol}ed, except t!Iat t!le blocJds aimed ]tigher.

8. Jodan-gyaku-\lke (upper b.ody block from the r_everse position) J.:his..- is, the same as .1oiJan-uke exq::pt that
the right liantl block is coincidental with the fOrWard step of the left leg.

75

9. Zenkut8u-hiR"8ge-uchi (forward elbow upper thrust)

Starting from a forward stance, perform ,8. lower body sweep, then I?ut the right leg forward, and at the saPl,e time Rerform an elb.ow ,yp:per thrusj witn the -right- arm.

'Thea eontinl!e op, moving to th~ other sHle.

10. Zenkut8u-g¥8kuhijH)ge~uchi (forward elbow upper thrust f ..om the reverse position)
This is 'tbe il'arnt: as ZenklJts~ hiji~ag,e-uchl' el cept that tne right elbow thrust coincides with the forward step 01 the left leg, and vice versa.

11. Hijl-aoto-uehi

tl;le, outside) This techiliqQe is -very similar to Zeii&uI3u-hiji-age-uehi ex~pt

that

(elbow thrust from

frent and side of an opponent's head fu a sweeping moti'on. The leg and arm movements are tb'e
same as in 9.

the, tbf11St:iS

performed

to the

12. Hiji-gyaku-$oto-uc;bi (elbow thrust from '6\a outside from thaseverse position) This is the same as Hifi-sotouchi ex'Cept that the right elbow outer thrust coincides with the fOl;W4I'd, stt:P of the left leg, and vice versjl.

76

, 3_.Sansen-tsuki {tigbti"_g blow)

perform Migi-ch1:4dqn~tsilkj {right_ ntia91e body tln;:ust).R~,at with. lIid ri--cqui!qn-tsftki (left
Starting from the 'spnsen-tachi (pghting stance,"~

14.. Sans8n-gyaku-tsuki (fighting blow from the reverse position)

This tebbnique is- the sii!IDeas ~be previous one , eJ(._ce-l"t:'Thatthe right arrn thru,st coincides with tlte . fiJ;rwar.d step of the kft leg, and viee versa.

middly body thtl.!,st),

15. Turn .,fter -Sansenuuki (fighting blow)

Starti'ng from the figl:)_tingstance the rig1it 'leg slightly in front (right 1ig_l].ting stance), pivot on, the left leg 1,800 to tPe, left and end-up

-with

in the left iightipg stance.

77

16. Teg.tane-uke (handsword block)

From Hit/ari-gedall-aarai (left lower.body sweep position), step forward with the right leg; this is the back stance (!(OkUlsu-fachj). At the same time, bring the' righ] hand forward in Tegatana-uke. Continue, alternating left and right.

17. Turn after TegatBna-uka (hand.word block)

18. Shotei-uke (palm heel block)

Stand in either the back stance or the e3:t seance, and perf-orm a left lower bOOf swe.ep (fitdari~ge4an-bar:f;l'). Then" put the rig'O,t leg one step£brward and perform a right-palm heel black. Continue, alternating left to right.

Starting from left Tegatana-u.k~ (this is the position you. should be in at the end ofene complete series), turn to the right bypivQting 180 on bothl:ieels. At the same time,
0

gradually- reverse the position of' the hands that you end up in right Tegatr:ma-u.ke position.

so

19. Shotei-gyaku-uke (palm

heel block from the raverse position)

This is the same as Shotei-uke except that the right Shotei-uk.e coincides with the fOl,'ward step of the left leg, QJ).dvice versa.

78

BREATHING
One of the most important aspt:lots of karate is breathing correctiy:.'{he aven~ge person uses his lungs to only 60 per cent of their full capacity, and it is essential fer the karateka (one who practices karate~ to improve Up0D this. The part of the body

that is particularly affected by breathing is ilie lower abdomen, which is 5 to 10 em below the navel. The muscle found in this area must be very strong and taut in order to perform karatewith the utmost efIec,ilvene"s, and the correct breathing technique will improve the muscle tone of this area greatly. Of course, cOJjre6t breathing will also improve the whole body, as well as the mind.

1. Ibuki
This series of breathing techniques is called lbuki in karate, and should be practiced repeatedly on a daily basis. (The pictures at the bottom. of the PIJoEeS show side views of Ibuki.) A-B: Stand with beth hands clenched tightly, and inhale so quietly that no one will Be able to hear you, As you- lnhal , gradually bring your arms up and CC0SS them on eifher side of the head. Inhale slowly and fully, all the time trying to force the air down into the lower abdomen. C-D: When Y0U have inhaled to your fullest eapacity, exhale noisily, ~ryi:ng to force the air eut by using the lower abdomen. While exhaling; uncross your arms and clench your fists and gradually lower them to yoqr stdes. Towards the end of the el(.hruation, tense all the muscles in the body, especially in the abdomen. E: The body at the completion of one breathing

cycle.
82

83

3. Back breatbing
The repeated prac:tiee of (his exercise is very important for the best ~rfo~JIlance in karate, A. Stand with the arms bent slightly at the elbow and the hands held with the palms uE. B. Start to hili.ale,:, graQ1).allybringii:i:g1in.e).tands up to shoulder level.
r • .

61'aduaIfy lower the hands but keep the fingers ;¥Oll were goi'ng to prruS.cl them at opponent.
D,

tensed 'as if

an

E. Holding your breafh,teni;:e the lewerabdemen, sides, and fingertips, 'and extend the bands fomard. F.. From thiS 'position,. relax and exnaJe, gradually lowering your aims to the position in A (palms shouldgradually be turned up:)..

C. Mthe pe:ak6f in:.ilala;tion, stop, ,and tenSe all the :lnusc1~s, e,speeiaUy th~ elbows, legs, and middle fuI.gers.. Gratl~lly' turn the hands palrn down.

85

THE POINT AND CIRCLE

mentioned). alof karate stress linear-motion, aetually the-most effective te6hnique's are tho~e that utilize circular movements. It is interesting to note that th'e martial art'S in India and China stress eircular movements. At:e.oriiing to studies in kinetic energy" the greater the centrifugal force present the greater the distance the circumference of a circle is from \l center, Therefore, the laJrateka shOul~ think of his hips as the q:nter of a circle and perform .his punches as though out~ lining the circumference of a large circle. This will make for much more powerful blows than punches thrown in a direct linear fashion. The teehniques in the photos here illustrate this COllCeI"t of performingpunehes, bloC;:ksan:d sweeps in a circular or ~rVijineat motion. As was previously though manyschools

A. Chudan-naka·uke from the inside)

(middle body Mock

B. Elikei-s'hdtei-shita-uke,

(palm heel

block from above in a circular motion)

C. Tegatana-rraka·uGhi (handsword cross body chop from the inside)

D. Kol%eh~8hotej~uke'(;arG.fist-palm heel
block) E. l'Odqp-uke (up]?er body block) F. Iodan-seiken-tsuki (upper thrust using normal rut) body

86

G. Jod.an-se.iken-ts.uki (front view) At the instant that the fist comes in contact with the object, it should be 'tWisted as illustrated. H. Gedan-oroshi pundh) (:lower b.ody drop

I. ChudarJ,nakfi:.uKe (mIddle body block

ftQItl the inside)

J. Iodan-ak« (upper b6dy block)

K. Gedan-barai (lower body sweep) L. Chudan-naka-uke (middle body block from the inside) to both sides M, Sage-uchi (drop punch) N. Tegatana-urakake-ue·tsuki (handsword back b0Qk~upper pUQcb) O. Enkei-koken-shita-uchi (lower punch using tlie aec fist in. a circular motron) P. Omote-urakalce (front-back. hook)

87

Q. Kaiten-koken-mawashl-orosht (turning-am fist drop punch)

R. BotOle.kak,e.oroJhi-uchi bOQk drep punch) sword book-upper punch)

.. chi. u

(outer band

S. Tegatti1la-u1"akake-Il~·f$Uki(handT. Age-1,fChi (rising strike)

U. Koken-enkei-ue-tsuki (arc fist upper punch in a circular motion) V. Koken.shotei-uke block) (arc, fist-palm heel

88

MAWASHI-UKE
This block is one oftl),e

(ROU.NDH,QUSE BL,OCK)
brought I,lp with

most :i:mportant bJocks

the hands Cf()ssing in front of the

in all of karate.

fac~. -C" The right hand .is now extended straight dcwnwards, while the left arm has eontinued in-j[s circular :path across- the face and out 1'0 'the side.
D. The bands are now in position to bleekpunches: 1!he,figh~'hand at shoulder level proteots the upper bod,yand f-ace, the left band in the hip area protects thelowet body and genital ~a. Bpth_defensesrely on the heels of the hands fOr maximum prsteetioa. K. After the blocks, have ~en perfonned, both arms are-extended i,prwatd with the heels of both hands protruding in Sh()tei-oshi Q:>almheel ~hrust).

1. Migi-mawasbj-uke (right roundHouseblock)

A. Starting from tne parallel stance, raise your right ann and bend it at the elbew, The elbow sfiould be oa a level with -the chest. Nex~" bcingthe left hand across, the frent. of tae chest, tum, it palm downand touch the e1150w of tlie right arm with the wrist of the left hand,
B. Ute right -arm is now extended downwards in a circular motion, while the left arm is being

89

E.

Sid.e view,Qf E.

F'. Tbe pro.gressipn <!if th,ebands into S_hotei~o~ni(palm heel

tp..r:~~)~

2. tlidari,.mawasln-,uk_lleft-roundhQu$e_ blQek) Thts-is tlie-sameas tlie rig;ht roun!lbou~e block except 'that it.is ,perfoI,lUed itt 1l1e opp'Osit.e dillecJ;iCin.~ ll§ !S:how~n Q. (i" . 4,'

ENKEI-GYAKU-TSUKI (REVERSE THRUST IN A

CIRCULAR MOTION)

1. Migi-enkei-gya(cu-tsuki (right revers,:J thrust in a circular motion) This. technique is especially useful when you are attacked. from behind or from the, side. When attacked in this manner, yap twist your body and perform the TegatanQ.kake (handswof(;t hook), This technique '['orces you to make a Ilmo tum, and C'onspanJpractice Will sharpen, your reaction tlmefor.allmovements of this..Mind.
0

A.. Starting in the forward staIlce, bring your left hand in.front of the genital ar~a in order
to ptotect.it. B. Start moving the left arm up fn the circular motion.
C. Begin to

twist your body towards the left

side as the arm moves b:Clik. D. Then, block the opponent's thrust with Tt;gatam)~kqke (handsword hook).
E. Pulling the opponent off balance the hook, attack with the right arm. with

"2. Hid __i-enkei-'gyaku-t$ll,ki r

This is the same technique the opposite direction.

(left reverse thrust in a circ_ular motion)

performed

in

91

TEGATANA-UKE (HANDSWORD BLOCK)

Of all the bJocks in karate, the handsword, block is the one used most often. This block should be performed in. a semi-circular .motion in Qtdef for it to be most successful, Again. we emphasize the fact that cir~ular movements are essential fQf maxiimrm

'eife:ctivenirs£ ill karate,

1. Migi-tegat~na.uke

(right handsword block)

A.

In the back_stance. bring both ha;nds to a position intfrorrt of the genital: rea. and to the left side of the body.

B. Swing both hands backwards

C. Continue following, a circular 'path until the bands.are on a level with the left ear.
B

D. At this point, the riijl1t hand crosses over in front of 'the. face and statts to descend. The left band begins to drep' towards the chest. E. The riglit hand is nGw itt position to block the

thrust and the left hand is guarding: the vital areas

of the" body.
J,j'. Follow

clrrefuUy the circular hands shown here,

patterns

of the

92

2. Hidari-tegatana-uke (left. hands~ord block)

A. This is the exact op'p_o~ite~ Migi-tl!cgatllt(.J!-I{K:e of :(right handsword bIQc.k). Sliand in the left back stance, andbrillg both hands to a position in front of Kinteki (groin), B. Swing both hands backwaras and to the right ~sideof the body. C., Csrrtinue following a circular motion potiJ, the hands are on a level with th_e right ear. D. At'this point, the left hand crosses over in fr2nt of the face .fI:bd starts to descend. The rigbt happ negins to amp towards the chest

E. The left hand, is now in pesition to block the thrust and the right hand is guardiJ;lg the vital areas of the body. .
F. The circular movements of tbe hlmds.
93

~HVTHM IN KARATE
Rhythm is defined as any kind of movement q_uicltly tban one wha does- not It would be of characterized by the re~ar recurrence of strong ~eat,'aS'sisfance toa karateka. to become involved and ~eak elements. All things in he universe have in the rhythmic oeeurrences in everyday life such rJIythrn" eitberexter1Jill~ like music, or intema\, as music, dance, and so on. ':(hiS will lead to a li~-e the atoJUie s,~ucture 0f ~ rock. J:lt-e_rpartial~~'fication of ~em~nd' and b~dy which <,yilJ serve arts .are -no el'l,cep,t;~o~, nd th;~ SlU.dClll, Who liaS a a ~s tir.)m fo~d~t1Qn fer grfi)'w:thand e~' renee sense of rhythm will.improve in karatamuch mere ill !th)hqnde:rtak;lqg.

:t4~

'~---..-----

94

3. Kata

.Im.

m (~~t~)

TA.KYOKU 1
1. Start in the RuilJJ-tacht-st.anoo (ready stance). 2. 'Turn to the left and assume the HidCtrj-iimkufs'Utach! (I~ft forward stance) white performing Hidari-

geda11-bara"t (left lower bodN o$Weep~ ..

3. Take one step forward with the right foot and perform the Chudan·tsuki (middle body thrust). 4. Swing the body. around preparation for . . . 5; ...
M,j,gj-ge_dan~barai

to the right

180' in

(riegb.t lower "body sweep).

6. Perform a Hiifari-oi-tsuki .(left lunge pnneh),

7. Bdng the left foot back.next to We right. TUrn and step to, the left (left foot sbotiltt: be at a 90" angle to the right foot) and perform Jiidati,geaarzbarai (left lower body sweep).

Migi-selken--chuddh-oi.tsuki
9. Step forward

with, the _tigQ_t foot and perform (ri_gntmiddle bOdy lUllg~ punch using the normal-fist). 8. Step forward

J1tdari-seiken-(}h/.(aan~()i·tS1Jk.r (!ert
10. Step forward

with the left foot und perfonn middle- body lunge f!lQ1ch using the normal.fist), with 'the right foot and ~el'form middle body

Migi-seikell--eku-qall.oi-tsuki (right lunge punGh using the normal1ist).

11. Pivot 270-0to the left on the righ-t foot (the left foot should now be in front). 'Then, perform Hidiirfgedan:Oaral (left lower body sweer:b. 12. Perform Migi-chudan·oi-tsuki body lunge punch),

(right middle

97

13. After performing _Migi-chuC/ah-oi-tsuki. swing the right arm to the right and petf'oJirn Migi-gedanbaret; (right lower ~ody sweep). This entails pivoting 180° to tne right on the left foot. 14. Take one step forward arid perform Hidariseiken-ehudan~oi-tBu1ci' (left middle body lunge punch using the

nornral fist).

15. Bring the left foot 'back .next to the right. Turn and step with the left t~ 90° to the left and _perform HiiJari-gedan-barai (left lower body sweep), 16. Step forward and perform Migi,seilten-chuiJanoi-tsJ,lki (rign:f middle 1?ody lunge PQnoh using the

normal fist).

'@

17. Take one step; fQ!Wardann

perfofthHidaribody lunge

seiK:en-c/i«aati-Q'i4suki
pundt

(left middle using the normal Jist).

18. Tak<f!lone step forward and perform M:igisejke11;-(!hu'([an-oH~uki (Tight middle body Innge. PUI;fQR 'using the normal fist). 19. Turn the back leg areund to the left (the whole body turns 2701'l-),and perform Jiidar;-gei}an-baroi

Oeft lower body sweep).

20. Take one step- f~rw!{rd and ;perfo.ri,1l Migi-

seike,n-chlJdan,-o;-ts1!-ki (right middle bod)( l,unge punsh using the normal fist).
21. Turn to the right, pivoting on tbe·leftfoot 180°" and petform.Migi~gfdan-bqfdi (right 10werbQdy sweep).

22.

Take- one step forward and 'perform Hidari(left .middle eody lunge. punch using the normal fist).

seike1J-chJU1an-oi-tsuk.i

2.t Return te the starting

position.

99

TAIItVOKU 3
1. Starting position is the same as that of the previous- kata.
2. Tum to the left and perform the Hidari~ chudan-nqka-Ilke (left~ middle body block from inside). Here, you should be in the Kokutsu-tachi position (back stance). You win be in this position after each execution of
l{ aka-like.

3. Put the right foot one step forward and perform Migi-oi-tsuki' (right lunge punch) finishing in Zenkutsu-tachi (forward stance), You, will be in this stance following every punch. 4. TurD the right arm to the rfgh~, maj{ing it 180B turn. 5. Perform Migi-€nudan-naka.uke (right middle body block from the inside). At this
time, _ you should be in the Kokutsu-tachi position (bade stance) again. 6; Put the left foot one step forward and perform Hidarl~oi-tsuti (left lunge punch). 7. TUrD the left leg 909 to the left, stepping into Zenkutsu-tac-ht (fcrward'stance) and perform Hldari-gedan-barai (left lower body sweep).

100

8. Take one step forward and perform Migi,jodan-oitsuMi (right upper body lu,nge' punch}.
9. Take one step forward and perform t&u7ci(left' upper body Iunge punch).

Hid4ri~jo.ilan-oi-

10. Then step forward and perform Migijodan-oi.tsuki (right upper body lange punch~. Using the right (09t as a pivoting toot, turn 210 to the left' and perform HidaFi~chudan-naka-uke (left middle body block from the inside).
0

n.

12, 'Fake one step forward and 'perfo~m Migi-chudan-oi· tsuki (right middle bOdY lunge punch).

10t

13. Mak~ a 180 turn to the .right and perform Mfgl"'ciJ,ul/afl.'-tllikq-uke :<right middle body block from the imide).
0

14. Take one step fosward and perform Hithrich,utir:tn-lsukf. (left middle body thrust).
NOTE: The photographs for steps 13 and 14 show the karateka withber hands and feet in the wreng

positions.
15. Mal<:e!l,~Oo tumto tbeleflfand perform Hidari ... ,gff!:id1l~bal'ai 'left 10weL body sweep). 1"ou should be in Ze~kutsUrttiahi position (f'0rwa'fd !it3nce) at this

moment.
16. Step forward and pe~fol'm Migi~Joiliiil. tsuh ... (right upper body thrust),

101