Chapter I

History of JUDO
Objectives:
At the end of the chapter, the students should be able to:
1. manifest understanding in the concept of preliminary discipline of JUDO;
2. explain the importance of Judo to mental and physical development;
3. identify the techniques in the art of Judo;
4. demonstrate different techniques of Judo;

Pre-Test:
1. It is one of the eldest Oriental Martial Arts of self Defense..
a. Karate c. Judo
b. Jujit-su d. Taichi
2. Remember, we train for self-protection and not for aggression. This statement is true or
false?
3. Who established KODOKAN JUDO INSTITUTE in Tokyo, Japan in 1882?
a. Daruma c. Gichin Funakoshi
b. Jigoro Kano d. Bodhidharma
4. In Japanese writing and character, DO(suffix) means the gentle and JU(prefix) means way.
a. True b. False
5. The following are maxims of Judo:
a. Character c. Dedication
b. Patience d. all of the above
 INTRODUCTION
Judo as one of the eldest Oriental Martial Arts of self Defense has no hidden mystery from
the outside force, but within the inner self of the individual who attain perfection in this art during
his late time dedication of hard training. When Judo was not very well known in the Western world,
it is a doubting face that a weakling of 120 lbs., Judo player can defend himself and tools to the airs
a bullying 200 lbs., offend-Der over his shoulder, in a flip of his hips in split second, in lightning
speed.
People think there are magic or tricks in Judo, but there is none. Judo can be learned and
achieve by both men, women, Weak, strong, young and old, in a scientific and gradual program of
instructions. There are no secret shortcuts to pro-efficiency. The progress depends on the
individual struggle for the knowledge and techniques of Judo. Who want to learn? And to the
instructor who guides and teaches his unselfish Knowledge, countless times and inexhaustible
effort during that challenge to both of them.
Today, Judo is accepted as one of the Universal Sports during the Tokyo Olympic Games in
1954. A well trained and Disciplined Judo aficionados are regarded as a modern chi-Vary or knight
of the modern society. In the contest they should play and abide with the rules and regulations for
the Way of life, they should stand in principle, to help and protect the weak and the oppressed. For
humanity, they should share something with their neighbors, because judo is one of the stepping
stones to self-respect and spiritual growth of the individual.
A true, sincere and dedicated instructor as well as stud-Dents can touch and learn Judo, not
by money alone but with Love in this arts. A man who does not love Judo will not bother to learn an
inch even for free and it is also true to the instructors, even how much you offer to him for a lesson
if he is greedy and sell 153 of his hidden knowledge, he will not share. To teach and learn Judo
without love is futile.
May this text give satisfaction and guide both the Instructors and students during their
respective program of Instructions.

CODE OF ETHICS
THE RULES AND REGULATIONS INSIDE THE JUDO
(Training Hall)

In every school of Judo, there are rules and regulations to be strictly observed by both
instructors and students as a part of preliminary discipline inside the JUDO, the Training Hall.
1. No shoes allowed inside the JUDO.
2. No smoking inside.
3. Avoid drinking liquor before and after the training session.
4. Execute proper courtesy before and after the training session.
5. Observe seniority by proper salutation of courtesy.
5. Avoid wearing jewels during the instructions.
7. No horseplay or joking inside and in the premises of the JUDO.
8. Avoid speaking indecent words.
 9. Keep feet and fingernails trimmed.
10. Clear your mind and concentrate on one point during the instructions.
11. Avoid coaching, only authorized instructors are allowed to give assistance during
instructions or training.
12. No laughing at the mistakes of others.
13. Only advanced students are allowed to free practice sparring during designated
days.
14. Observe sportsmanship, control and courtesy during advance sparring.
15. Develop self-confidence.
16. Practice modern, gentlemanly and chivalry way of life.
17. Observe cleanliness inside the JUDO.
18. Use equipment properly and place in a proper order after the training.
19. Remember, we train for self-protection and not for aggression.

BRIEF HISTORY OF JUDO

The short history of this art. Viewed the direct important sent of origin, the founder, the
devilment, the acceptance, per-action and the process as one of the international sports of today, he
bloody struggle, the tragic intrigues, the discouragements and hardship of the JUDO to existing
survival from the past, does not sighted, for it needs a volume of chapters to write.

JUDO, originated from the Japanese, traditional martial arts of self-defense known as the Ju-
Jitsu, one of the arts of empty hand or fighting or “great of arms”. In ancient specifically the Feudal
Civilization of Japan, the only weapons were the hands, the knives, swords, stones, spears, bows and
arrows. Use of these feats of arm were used and taught to the emperors and the highest Samurai
Clan with scientific and often deadly skill. The masters of these arts held official positions in the
government and were highly respected. Their teachings were promulgated in many schools that
developed throughout the country.

About (1576-1875) toward the end of the Tokugawa period, the relationship of Japan to the
western world affected the great chance occurred in the new types of weapons and methods of
fighting. The introduction of guns and powders, the used in strategy tactics in warfare were main
reasons and methods of arms were disregarded and fell into a rapid disuse and the interest
diminished accordingly. The masters of these arts lost their government positions and were forced
to seek employment elsewhere. Where feats of arms spread-out to the neighboring countries.

Then a certain young man, in the name of JIGORO KANO, a 23 years old that time and one of
the many great students of old Ju-Jitsu schools, realized that the said arts of self-defense were
disappearing. He set out to revive organized and systematized courses of instruction different from
the old Ju-Jitsu, but the new that fitted to the requirement of Physical Education of Japan's
Universities, colleges and schools. The old ju-jitsu aims only to defense/attack/kills and to survive
in actual combat, whereas Judo aims for mental and physical development, for sportsmanship and
lastly for self-defense.

Jigoro Kano established the KODOKAN JUDO INSTITUTE in Tokyo, Japan in 1882. In the
early 1922, the KODOKAN JUDO was then perfected through an effort of scientific studies. The
western world attracted the mystical arts of Judo, particularly the United States, England, France,
Italy, Russia and other countries, which noted the progress of Judo in the 1930's. Even before World
War1 and II, Judo was one of the integrated subjects for the Military Combative Tactics that kept
secrets. Only then Judo was universally known as one of the International Sports, when it was
entered in the Olympic Games in Tokyo, Japan in 1964.

THE PRINCIPLE OF JUDO

I. THE TRUE MEANING OF JUDO

Judo is composed of two words. The Ju and the Do. In Japanese writing and character, Do
(suffix) means the Gentle and the JU (prefix) means way.

But what is Judo?

"The way to employ mental and physical strength most effectively is proper. Judo is a
compact and laconic expression briefly indicative of Kodokan Judo. "JU" means being natural or in
other words, a way which is natural and accords with the truth of the universe and the human being
has to follow. ALSO IJU" may mean anything reasonable, just and honorable accordingly noble,
namely; the realization of truth, good and beauty. Judo is by means of form technique and grace,
which is acquired by technical training based on the truth, which appears among the activities of
human beings with well-matched will power and physical strength.

Judo literally means an art of way “gentleness” and the Kodokan means a school of studying
the way, the “way” being the concept of life itself.

Therefore "JU" or in other words "being not hampered by anything is to "tolerate" or to

'pacify’ then it is quite natural, that any one going astray or doing wrong should easily be subdued
or tolerated by “JU”.

In explaining Judo, often we say "gentleness often controls sturdiness". Judo shows a free
mental attitude created by gentle and elastic capacity, physical and mental which enables a player
in face of emergency to get his position and act or avert a danger in accordance with the
requirement of time and place given. The true feature of Judo is to show Justice through reasons
that no action is to be done without reason is most important. Action of a man for instance, done
without the unity of mind and body, maybe indecent and cause harm to the people around him. This
unity of mind and body created reason in external presentation. Judo follows a righteous way and is
by no means of more fighting. This is in fact the turning from Jujitsu to Judo and in fact the
enlightenment of Judo. The veryessence to Judo is to defend upon heaven’s will.

II. THE AIMS OF JUDO

There is a difference between Ju-Jitsu and Judo not only in words but also in motion. The
term Ju-Jitsu has been employed since fairly old times together with the Ken-Jutsu (fencing) Bejutsu
(spear fighting) and Kyujutsu (archery). As "Jutsu" means "art" of skill these words mean
respectively the study of how to kill an opponent or how to let the opponent lose his attacking force
or how to defend oneself and with the fight in combat. These studies advanced during the
Tokugawaera, when military areas needed, but Judo aims for Mental and Physical Development,
which implies the history origin and theoretical accepted principles on scientific study of how-to
disturb the balance, not the mind and the body alone but his position into and awareness of your
opponent toward you, the laws of nature, the serenity of mind and its philosophical attachment.
The muscles development, the stamina, endurance, and one's capacity to cultivate limits is a true
essence of physical development.

Sportsmanship - the old Ju-jitsu defies "life" and is ready to “die” and acknowledge life only after
combat when he survives as a victor. In Judo, he should abide with the rules and regulations
embodied in the contest and respect his opponent in every way.

Self-Defense - Judo is also an art of self-defense in accordance to human behavior and justice,
during sudden emergencies when life is involved. As a modern chivalry, the Judo-Ka(practitioner)
should also protect the weak and the oppressed in principle.

III. THE FACTORS OF JUDO

In every martial arts of self-defense, there are four factors as essential and cannot be denied
in every ways as follows:

1. Balance - In general, balance counts on the individual's stability and equilibrium both.

a. Mental Balance - which implied the intellectual average of the learner, the intelligence
he/she learns.

b. Physical Balance - the appearance of the learner; it is difficult to teach the one with a
handicap.

2. Strength - is the power of the individual possessed in:

a. mental strength - can be explained as a mental will (abstract) that can be developed
unlimitedly, the fighting spirit, it is useless to learn the varieties of martial arts of self-
defense when one loses his confidence in the actual situation.

b. physical strength - the individual physical capacity or power to work, lift, move endurance
and stamina. Don’t ever estimate when facing a small opponent. There are small people who
can lift heavy objects that big men cannot.

3. Speed - Deals on the individual fastness both in the:

a. mental speed - the thinking power of strategy of the individual to defeat his opponent in
the future moves.

b. physical speed - the action motivated by the physical body during creative opening,
responses, counterattack of any strategy of the individual.

It is obvious to move without thinking and to think what to move and not to move. In Judo,
one must carefully be aware of the unguarded moment and attack like a lightning in order to apply
his effective technique and win a point

Techniques- It is sometimes known as a trick a hidden develops ideas and knowledge that can be
achieve in the:
 a. Length of Training - the longer you are trained, the seasoned the techniques and effective.
b. Experience in contact and tournament - what you had experienced inside the Judo room
with your partner is not the same in the contest or tournament, inside the Judo room you
should be aware that your partner is a stepping stone to your progress and aware of his
safety. In the contest, you should learn the hardest way to defeat your opponent in any way.
The foul is the part of the game and is only successful when applied unnoticed and with
purposes.
c. By advance research- in Judo, there is only one standard style. The KODOKAN. It is learned
as based in the program of instructions, according to the individual respective progress and
categories. During the actual situation the individual concerned should not be dependent on
the layout of instruction, but rather to set in instinctively, therefore it is the responsibility of
the learner to research the most effective technique suited in his convenient way.

IV. Maxims of Judo:

One of the most important aspect of Judo emphasizes in which respect for one's opponent,
or sportsmanship is the cardinal principle, the maxims which the learner should pass the screening
points can be summarized in the following words:

1. Character - Judo hides the lethal technique that can cripple or even kill an opponent. It is
therefore careful to know the personal background of the prospect to students otherwise
Judo will be harmful or a menace to society.
2. Loyalty- In every organization there is always an oath of allegiance and the said technique
should be handed only to the worthy.
3. Interest - This point is just a mere desire to learn with absence of time, effort and
performance. A wish or a dream cannot achieve the meaning of Judo without actual
participation.
4. Dedication - It is of effort, time and performance involved, but it is still futile and useless
through forceful means of lack of interest.
5. Patience - is the measurement of calmness, self-control. It is sometimes a turning point of
success. A test to discourage, disappointed and even to hurt. It calls for determination.
6. Etiquette - The proper decorum and goodwill to the subject Judo itself, to the partner and
to the sense is. The relationship of oneself to others. Be in harmony, that is to be suited.

V. JUDO TRAINING AND PRACTICE

Judo is practiced in a room or hall known as the DO JO. The floor is covered by the Japanese tatami
mats, 3 x 6foot in an area of 24 to 50 mats, depending on the space area. The floor of the Dojo is
usually supported on the coil spring made of thin resilient flooring. The tatami gives the floor a
smooth hard surface to facilitate use of techniques and minimize sprained injuries, dislocation and
stubbed toes. The rules and regulations should be strictly observed and must be carried on. Special
emphasis is placed on cleanliness by all judoka on their personal hygiene and self-respect, control
and obedience during the formal instructions.

In Judo, a person can set his own place as to how hard and easy he wishes to practice. The
general schedule of training is as follows:

1. Calisthenics - For limbering and warming up, also for developing muscles.
 2. Ukemi - Falling exercise
3. Kata -A pre-arranged method of practicing the techniques.
4. Uchikomi - An exercise for practicing form to develop the correct action for your body in
applying the techniques.
5. Rendori- Is a free exercise, whereby the actual application of techniques is practiced
against a partner who is trying to defend himself or throw you, it is the stage of offense and
defense practiced in order to throw your partner and win a point.

VI. THE JUDO-GI OR UNIPO NI:

In every sports, there is always a distinctive uniform for standard purposes:

1. It gives a feeling of freedom to move.

2. It gives protection against bruises, particularly the elbows, the kneels, during the filing
technique.

3. It gives a support guide to the partner during the performance of the throwing technique.

4. It also gives a precautionary support to oneself during the responses of throwing the technique
or grappling technique.

JUDO PREPARATORY EXERCISE

Judo is composed of throwing, grappling, and tracing technique. Beforehand, Judo has preparatory
calisthenics, lumbering up and muscle-strengthening exercises. The aims of these preparatory
exercises is to give ward up and to tone up the muscles, to make the joints flexible and controllable
and to develop the physique and to develop the strength necessary. Some of the following exercises
are shown in the figure in sequences.

Joints -

1. Body-Loosening: Relax all body muscles, particularly arms, shoulders, legs and joints and
gently lift up and down and shake it.
2. Neck-Twisting- Twist head several times from left to right, then backward and forward;
finally rotate the head in circular motion. Repeat several times.
3. Arm-Stretching: With shoulder relaxed, extend arms and rotate change in big circular
motion in front of the body. First going up, then in reverse direction. Repeat several times.
4. Hip exercises: Swing the arms inside direction as far as it reaches, then reverse the
rotation, without bending the legs.. Repeat several times.
5. Back-Bending Alternate Exercise: On standing open leg bring one hand to the opposite
foot without bending the knees. Then bring the hands up with your back straight and then
opposite hand in the same manner. Repeat several times.
6. Back-Bending-Open-Les Exercise-on open leg standing position, bring both hands
upward leaving backward as it reaches, then the body downward bringing the hands inside
the legs touching the floor without bending knees. Repeat several times.
7. Back-Bending-Close Leg: On a close leg standing position, place hands on the waist bring
the body backward as far as it bends, then bend the body downward, hugging the legs
without bending the knee. The face is touching the knees if possible. Repeat several times.
8. Trunk-Stretching: Open the leg in a wide distance keeping the knee straight. Bring hands
downward as low as possible and rotate the body backward in circular motion, then reverse
the rotation from one direction.
9. Side-S retching: Assume open leg position, then bring one hand over head to the opposite
side, stretching as low as possible keeping the knees straight, then reverse the motion.
Repeat several times.
10. Foot-Exercise : Assume sitting flat on the floor, cross one foot over extended legs and
hold with both hands. First rotate the toes, then the foot for proper blood circulation.
Then change the foot and rotate the same manner. Repeat-several times.
11. Abdominal Exercise: Spread the leg in a wide distance. Keeping the knees straight. Extend
the arms forward from one foot to the other. Bringing the body close to the ankle. Then
close the leg in a straight manner and bring the head as low as possible. Do not bend
the knees. Repeat several times.
12. Side Exercise on Half Flat Sitting Position: On a flat sitting position, draw one foot
on the rear, then bring the hand up and low as long as it can reach. One hand
touching the hollow of the knee, the other touching the shoulder, then reverse the position,
repeating several times.
13. Pelvic Exercise On Flat Kneeling Position : Assume full kneeling position within step
flat on the floor. Then bring the body down, pushing the base of the thigh as low as
it reaches to the floor with the in step flat and repeat several times.
14. Hopping Exercise : On squatting position, hop as far as possible and as high as it
reaches maintaining the whole weight and the balance as it lands. Repeat several times.
15. Head stunt and Bringing Exercise: Assume position with your head supporting your
upper body and your lower body assuming bottoms-up position. Facing down with
hands on the back rotate head up and down against the mat several times. Then
rotate the body, changing direction turning up, to the right or left side using the head
as pivot with hands-on the front body. Repeat several times.
16. Defense Exercise: Assume lying position, facing up with only the shoulder and the
toes touches the mat. Move forward and backward by shifting the weight from the
right side to the left side, the hands thrusting out or pushing out. Repeat several times.
17. Bicycle Exercise: With the shoulders on the floor, keep the legs and hips up straight
then rotate the legs in kicking motion, like riding a bicycle. Repeat several times,
maintaining the balance.
18. Push up Exercise: Assuming a prone position, support the body with the palms of
hands and toes only touching the floor. Bring the body up and down. Repeat several
times.
19. Rope- Skipping: Start with one jump per revolution of the rope; Alternate two
revolutions of the rope. Then two jumps per revolution : Alternate two revolution per
one jump high: Combine moving forward, backward and sideward, Left and Right This
exercise develop lungs capacity, stamina, endurance and rhythmic movement and
tones up elasticity of the body and gives exercise in coordination.
20. Joint- Loosening: Relax muscles and shake all joints, shoulders, elbows, waists,
thighs, knees, ankle and foot joints.
FALLING TECHNIQUE- (UKEMI- WAZA)

One of the most important techniques in Judo is the UKEMI- WAZA. In Judo, your first
enemy to encounter is your self’s fears and the first weapon of the technique for self
confidence when properly learned. Falling correctly and properly will avoid sprain, dislocation
and fracture injuries during the performance of the throwing technique.

TYPES OF FALLING TECHNIQUES

1. Two Hands Back Fall- (in three position)

a. Sitting Position
b. Squatting Position
c. Standing Position

2. One Side Back Fall - (in three positions)

a. Sitting Position
b. Crouching per Half Kneeling Position
c. Standing Position

3. Forward Drop Fall ( in three position)

a. Kneeling Position
b. Squatting Position
c. Standing Position

4. Forward Roll/ Tumbling Fall - ( in the position)

a. Two Hands Standing Position
b. One Hand Running Position
c. Combination / One hand running jumping obstacle pyramid falling.

FALLING TECHNIQUE - (UKEMI - WAZA)

A. On Sitting Position:

Instruction:

1. Sit flat on the mat, relax, extend legs forward, and back straight. Avoid tensing.
2. Extend both hands forward with a slight pointing on the opposite shoulder and
ready to fall.
3. Start to fall, by bringing the back to the mat, while bring the less upward
without resistance, just like si- saw ( one and goes up, the other goes down).
 4. As your back touches the mat, slap the mat with the hands, extending 45
degrees sideward from the armpit. Do not out the momentum of your legs and
head up.
5. In the final position, return the legs in this position, without raising the body.
The elbow should be straight, chin tackle in and avoid the back of the head to
touch the mat.
6. Repeat several times.

THE TWO HANDS BACK FALL

B- On squatting position (The Second Position)
Instructions:
1. Assume full squatting position. Extend the arm straight forward back straight, relax, and on the
tip toes manner avoid tensing.

2. Start to fall. The first move is to lower the heels, then sit and bring the back to the mat.

3. Start to fall, by bringing the back to the mat, while bringing the legs upward without resistance,
just like a si-saw (one and goes up, the other goes down).

4. As your back touches the mat, slap the mat with the hands, extending 45 degrees sideward from
the armpit. Do not cut the momentous of your legs and head up.

5. As the final position, return the legs in this position without raising the body. The elbows should
be straight, chin tackle in and avoid the back of the head to touch the mat.

6. Repeat several times.

THE TWO HANDS BACK FALL

C- On Standing Position (The Third Position)
Instructions:
1. Assume standing position . Extend arms straight forward, back straight and forward.

2. Drop the squatting position. Avoid tensing.

3. Start to fall, by bringing the back to the mat, while bringing the legs upward without resistance,
just like a si-saw (One and Goes Up, the other goes down).

4. As your back touches the mat, slap the mat with your hand, Extending 45 degrees sideward from
the armpit. Do not cut the momentous of your legs and head up.

5. Next is the final position. Return the legs in this position without raising the body. The elbows
should be straight, chin tackle in and avoid the back of the head to touch the mat.

6. Repeat several times.

 2. ONE SIDE BACK FALL
( Right & Left Side Fall)
Instructions:

1. Assume the Half sitting Position. (This is the left side one side
Back fall. Extend the left hand forward, slight posting over the opposite shoulder, facing
to the left, the right hand in place on the stomach just touching. Avoid tensing. Relax.

2. Start to fall on the left side by bringing the half side of the body to the mat.
Do not change the position of the hands.

3. As the body goes down, bring the legs upward. (The same theory of the
si- saw.)

4. As the half side of the body touches the mat, slap the mat with the left hand 45
degrees sideward from the armpit. Keep the legs straight and high as possible.
Control the balance.
5. Next the final position. Return the legs back in this position without rising.
The left elbow should extend straight, avoid bending. Face to the left, and avoid your
head touches the mat. Relax and check the legs and feet position.

6. Repeat several times.

2. ONE SIDE BACK FALL

(Right and Left Side Pall)
A - ON SITTING POSITION

(2) ONE SIDE BACK FALL

(Right & Left Side Back Fall)
B - On Crouching or Half Kneeling Position
(Second Position)
(Left Side on One Side Back Fall)
Instructions:
1. Assume crouching or half kneeling. Extend the left leg forward left arm forward, keep back
straight, right hand resting on the stomach. Relax and ready to fall.
2. The first move, drop the heel on the mat, to sitting position, face to left and start to fall.
3.As the body goes down, bring the legs upward (The same theory of the si-saw).
4. As the Half Side of the body touches the mat, slap the mat with the left hand 45 degrees sideward
from the armpit. Keep the legs straight and high as possible. Control the balance .
5. Next is the final position. Return the legs back in this position, without rising. The left elbow
should extend straight, avoid bending. Face to the left, and avoid your head touching the mat. Relax
and check the legs and feet position.
6. Repeat several times.

(3) FORWARD DROP

(The Third Group of Falling Technique)

B - on Squatting Position (The Second Position

Instruction:

1. Assume full squatting position. Extend hands forward, back straight relax and avoid tensing and
ready to drop.
2. The first move is to drop the knees on the mat.
3. Start to drop forward by bringing the body forward to the mat. Extend Hands and ready to land.
4. The final position of forward drop. Note, that the body is straight perpendicular to them at. The
hands extending to the elbows only are supporting the entire upper body, whereas the lower body
are only supported by the tees. Suspend the body from touching the mat.
5. Repeat several times.

CAUTION: (Important)

Avoid the face touching the mat.

(3) FORWARD DROP

(The Third Group of Falling Technique)

A. Kneeling Group of Falling Technique

Instructions:
1. Assume full kneeling position, keep back straight and ready to drop.
2. At one move, stand on knees and on tip toes, extend hands forward and relax, avoid tensing.
3. Start to drop forward by bringing the body forward to the mat. extend hands and ready to
land.
 4. Next is the final position of forward drop. Note that the body is straight perpendicular to the
mat. the hands extending to the elbows only are supporting the lower body and are only
supported by the toes. Suspend the body from touching the mat.

B. On Squatting Position (The Second Position)

Instructions:
1. Assume full squatting position. Extend hands forward, back straight, relax, avid tensing and
ready to drop.
2. The first move is to drop the knees on the mat.
3. Start to drop forward by bringing the body forward to the mat. extend hands and ready to
land.
4. Next is the final position of forward drop. Note that the body is straight perpendicular to the
mat. The hands extending to the elbows only are supporting the entire upper body and are
supported by the toes. Suspend the body from touching the mat.

5. Repeat several times.

C- On Standing Position(The Third Position)

Instruction:

1. Assume standing positions. Extend hands forward, keep back straight, Relax, and avoid tensing.
2. Start to drop forward by bringing the body to the mat, keeping the body straight, the legs are
ready to land.
3. As your land on the mat, keep your body straight and suspended to avoid touching the mat. Keep
the palm of the hands and the arms flat on the mat to support the upper body.
4. Repeat several times.

CAUTION: (Important)
Avoid the face touching the mat.
(4)FORWARD FALLING
(ROLL-IN-TUMBLING)
(The Fourth Group of the Falling Technique)

A- The Two Hands Forward (The First Position)

The forward falling, is just like the one side back fall which also emphasizes the right and
the left side fall. It is the application of the one side back falling forward manner. This instruction
we take is the left side forward fall, the left handed style.

This forward falling is the most important falling technique not in Judo alone, but almost to
the Oriental Arts of Self- Defense. It also encounters techniques from certain deadlock throws, holds
and even as obstacle to hurdle. It must be learned in a proper and careful way to avoid sprain
injuries, dislocation or even fractures.

Do not develop self- confidence upon learning and achieving this technique because it is
highly noted that a beginner does not meet an accident during early stages of the falling technique
to the reason that they are too careful and conscious of their safety while the secondary’s
sometimes perform, these deadly arts of falling techniques too over confident and lack of
seriousness.

INSTRUCTIONS: (The Right & Left Side Forward Full the Left handed style.
1. Assume the position. Bend your body downward, putting the left hand on the mat, slightly
pointing to the right side.
Keeping the both knees straight. Avoid bending. Place the right hand in front of the left hand and
ready to roll- in. Bow your head close to the chest.
2. Start to roll by rolling- in or slide the left arm to the right side without bending the elbow. Keep
your chin tucked in to avoid the head from touching the mat. Kick the left foot against the mat and
start to bring the right leg backward.
3. Kick the left foot against the map and bring the left hand to the right leg forward and start to roll
in circular motion keeping both legs straight when rolling in.
4. As you roll in circular motion, land with your right side the same as on the right side, one side
back fall, and slap the mat with your right hand 45 degrees sideward from the armpit.
5. Next is the final position. Only the right side of the body touches the mat.

(4)FORWARD FALLING (ROLL-IN-TUMBLING)

B-The One hand forward fall (The Second position)
INSTRUCTIONS:

1. Assume on standing position. Raise the left hand alone and ready to bring to the right foot and
ready to bow and roll in.

2. Then slide the left arm to the right foot, bending the body is speed motion, without bending both
knees.

3. With speed inertia of the body weight, roll in in circular motion. Kick the mat with the left foot
and lift high the right foot backward.

4. Apply the one side right side one side back fall.

(4) FORWARD FALLING (Roll-In- Tumbling)

C-The Pyramid FORWARD Falling (the Third position)

This falling technique is nothing more than the product of one sick back fall and the
application of the techniques are the same, however, it demands guts and confidence to do so.
INSTRUCTIONS:
1. Start on the one man pyramid, keep one man in a position as an obstacle to jump over.

2. Keep the distance from the obstacle and apply the technique of the two hands or one hand
forward falling by running, jumping over the obstacle. Avoid touching any part of your body from
the obstacle during the process of the falling technique.

3. Upon mastering this number, increase the numbers of the obstacle and the height. Do not develop
over confidence and be conscious always of your safety and safety of others.

THE APPLICATION OF THE THROW (KAKE)

This is the actual throwing of the opponent. The biggest mistake most beginners commit is
attempting to apply a certain throw before the correction condition of the Kuzushi and the Tsukuri
have been achieved. Remember that Judo is an art of gentle way and is using the opponent's
position, strength and weight to your own advantage and not throwing him by superiority of brute
force alones. When applying a certain throw use your whole body smoothly as a single unit.

All parts of the body must move in harmony. Although each certain throwing technique emphasizes
the use of one part of the body such as the hand, the hips or the foot in a particular way, the
movements of the entire whole body is important in each respective throw. The particular part of
the body mentioned is used to guide the throw of the opponent.

PRINCIPLE IN APPLYING THE THROWING TECHNIQUE

OBSERVE THE FOLLOWING:

1. Do not bend at the waist. When turning, try to keep your stomach slightly forward.

2. Push or pull or lift, using your body by moving in the same directions as your arms.

3. Push or pull and lift the opponent in horizontal direction to unbalance him.

4. Use the Push and Pull maneuver just like steering no.1.

5. Avoid body tensing. Relax. This will give you more power and your movements will not indicate.

6. Never attempt a halfhearted throw.

7. Bend your knees deep and not your waist.

8. Use a quick smooth and strong movement in a good form.

9. Avoid body grasps. Keep your body close to your opponent for better control of the opponent's
body during the throw.

10. Take advantage of the unguarded moment of the opponent.

11. Attack lime and lightning, if there is a slip second chance.

12. be conscious of the safety of your partner; seriousness is most important.

13. Remember, your progress depends on your partner's cooperation. Handle him with care; once
your partner is crippled, you cripple your own progress.

14. Know your strength and control when applying a throwing technique against your partner.

ONE ARM SHOULDER THON (IPFON SPOINAGE)

Instructions:
Both standing in the Right Natural Position. Hold on the Mid-front of your opponent's right sleeve
and push your opponent backward to disturb his balance. As your opponent returns the push, slide
your right foot in front of the opponent's right foot. Then step back with your opponent a
counterclockwise motion around your right foot, This will lead the opponent to his Right Half Front
Balance or Direction No. 3.Pivoting on right toes, turn your body 180 degrees , your back on the
opponent's facing direction. Bond both knees deep and pointing outwards simultaneously, as you
turn pull the opponent's right arm straight out and hock your right arm under his armpit. Clamp his
right arm with arm and forearm, Pull his right arm down and against your chest. Opponent’s
balance is broken to his Front balance or Direction No. 1 Throw your opponent by snapping your
hips backward against your opponent's front body, by springing with knees; with your toes up, pull
him over your shoulder with your arms.

Note:
Bend knees as low as possible stretching outward. Do not bend your back only when coming up
with your knees and toes at the instant of throw, Guide your opponent to correct and proper falling.

BODY DROP (TAI OTOSRI)

Instructions:
1. You and your content standing in the Right Natural Position.
2. Push your opponent to his Left Half Rear Balance or Direction No. , he will respond to push back.
Simultaneously steps back at your left foot around your right foot in counter clockwise motion.
Bend knees as low as possible.
3. At this instance, pull the opponent's right sleeve and Slide your right foot, blocking the
opponent's right. Knee or shim in tip toes in manner.
4. Then pull your right arm around and into your own body with a round twisting motion, draw
your opponent forward with a lifting motion of your left arms, and give a spring with your left leg.
5. As your opponent falls on the right forward fall, assist or guide him to support his weight in a
correct and proper fall, by holding his right aloove.

NOTE:
Do not release left hand hold on his right somewhere as release your right hand hold on his front
left lapel and transfer to support his right arm.
Both Arms shoulder throw (moroteseoinage)

Instructions:
1. Standing together in the Right Natural Position, slightly push your opponent to his Left Half
Rear Balance or Direction No. 6, as that he will return the push, then slide your right foot forward
pointing between his feet and pull his right slowly with your left and pull his right slowly with your
left hand upward.
2. This technique is the serve as one arm shoulder throw , the stepping back the pivot, the
turning and the pushing and pulling technique , except that your right forearm is brought under
opponents right armpit to raise him.

Notes:
a. The right forearm should be under the right armpit.
b. When turning 100 degrees from the opponent, facing direction, turn your hand to the left.
This will give more strength when pulling the ball and lifting your hand to the left. This will give
more strength when pulling and lifting your opponent.
c. Avoid body gaps against your opponent’s body.
d. Bend knees as lowering possible, stretching outward.
e. Throw with a snapping action of your shoulder coming forward and hips backwards.
f. Spring your knees coming up straight with your toes and send your back when dropping
your opponent.

SHOULDER WHIRL (KATA GURUMA)

INSTRUCTION:
1. You are both standing on the right natural position and slightly push him back so that he
will return the pawn.

2. As he push back, let so with your right hand and open your body out, pull your opponent
toward with your left hand upward to disturb his right half front balance or direction No. 5
and slide your right foot forward, pointing particular between his front and creating an
entrance of your shoulder under his left armpit.

3. Grab the back of his right feet tight with your hand from the inside, draw back instantly
your left foot to assume the law defensive position to support the right foot stance.

4. Put your opponent over your shoulder so that his midsection body falls somewhere
between your right shoulder and left, up your opponent by sliding your left foot closer to
your right foot coming up with your toes and the springing of your hips and knees.
Simultaneously pull your opponents pushing the lower body of your opponent upward,
breaking his front balance or direction no. 1.
5. Draw your opponent over your left shoulder in whirling motion.

NOTE:

A. Do not drop your opponent over your head or in front of your feet.
B. Support and guide him during the outbreak of his falling motion.
C. Do not bend your back when entering toward your opponent.

MAJOR OUTER –REAPING THROW (OSOTO GARI)

Instructions:
1. You are both standing on the right natural position or on the right defensive position. Try to
pull your opponent hard, so that he may return then pull, as he pulls, do not resist, rather give way.
2. As he pulls you toward him, take a deep step with your left foot along the side of his right
foot. Simultaneously pull his right arm downward and contact your front upper body against his
front upper body and push hard with your right arm downward to break his balance to his right
half rear balance or direction no. 8.
3. At this instance, swing forward with your right foot, behind the opponent’s left log, reaping
attack.
4. Next sweep your right log backward striking the opponent’s back thigh.
5. Assist your opponent on his back fall.
Note:
A. Do not lean backward; rather bend your front upper body with your head.
B. Roll your right hip in contact against the opponent's hip.
C. Swing and sweep the opponent’s leg. Do not just block.
D. Keep your head down, chin in when reaping.

FLOATING TECHNIQUE THROW (UKIWAZA)

1. From the right natural position as shown in figure 1. Step back with your foot. The
opponent’s left foot will follow forward. Try to unbalance him to his left side balance or direction
no. 4 at that instance.
2. Opponent will resist your moves by shifting his weight to his right foot, stepping in that
direction.
3. Do not resist but pull his body horizontally forward in the direction of his right toes. As you
pull your opponent forward, slide your left leg forward across the mat. Then your body turns about
45 degrees drop to the ground by bending your right knee and extending your left leg out straight,
blocking the opponent’s right foot. The breaks to his right half front balance or direction no. 5.
4. As you fall to your left side, throw the opponent by pulling out and then down to your left
shoulder with both hands in circulation motion when pulling and lifting the opponent. As you drop
you’re on the ground, use your left shoulder, the bottom of your right feet and side of the left feet
used as supporting points, slightly arching your back as a spring.

NOTE:
a.The receiver of throw will execute the right forward fall in this technique.
b.Timing is very important.
c.Body and hand action must work together simultaneously.
d.This is one of the dangerous techniques to the opponent’s right shoulder when falling, therefore it
is important that this technique will be executed properly and with extra precautions.

FOUR CORNER THROW (SUMI-GAESHI)

INSTRUCTIONS:
1. Stand together in the right defense position. Push your opponent hard to his rear balance or
direction no.2.so that he will return to push back, do not resist, but rather go with his push.
2. As opponent’s push hard, slide your left foot towards your opponent’s feet, and pull the opponent
with both arms for close contact.
3.As you slide your left foot deep between his legs, heel first, so that it falls in front of your own
right foot and then take a fall straight back. Simultaneously bring your right chin into his inner left
thigh so that your right instep hooks around his left buttocks. This will lead the opponent of balance
or direction no.5.
4. Leave your opponent from below with your right leg and the pulling of both hands, throw your
opponent over your left shoulders.

NOTE:
a. This throw is almost the same as the floating Technique Throw except with use of right leg lifting
between the opponent’s leg buttocks.
b. The receiver of this throw will execute a high forward fall during the progress of the throw.
C.be conscious of the safety of your partner.
d. Raise the opponent with your right leg around his leg buttock. DO NOT KICK.

SIDE WHIRL (YOKO-GURUMA)

Instruction:

1. You are both assuming the right natural position.

2. Push your opponent hard to the rear with both hands, so that he will return the push. As he
does so, do not resist but rather stop back your left foot and pull him. Simultaneously, slide your
right leg across your left leg stretching out.
3. At this moment, fall to your left side and pull and lift your opponent in a circular motion,
which will break the opponent’s balance to his right half front balance or direction no.5.
4. As you drop to your left side, bend your right knee and stretch out your left leg extending
outward. The angle of direction of your body from your opponent’s standing position is
perpendicular to his stance. Opponent passing over your right side, by pulling and lifting in circular
motion.

Note:
a. Do not telegraph your fall.
b. Pivot your left foot 90 degrees to the left as you slide your right leg.
c. Turn your head to the left side as you drop and pull your opponent.
d. Your body will act as a blocking obstacle against your opponent’s legs.
e. Release your right hand hold as the opponent lands on his fall.

STOMACH THROW OR SOMERSAULT (TOMOENAGE)

Instruction:

1. You are both standing together in the right natural position. Push your opponent hard on
his rear. The opponent then will resist and return the push backward.
2. Do not resist, rather increase his push by pulling him toward you. At this moment, step in
deeply between the opponent's legs with your left foot.
3. Drop straight to the ground of your buttocks behind your left heel. Bond your right knee as
you drop and place the sole of your right foot against the opponent's lower abdomen.
4. Simultaneously, pull down the opponent with your hands breaking the opponent's front
balance or direction no.
5. As the opponent falls forward, straighten your right leg and pull down and in with your
arms in a circular motion. Throw the opponent directly passing over your head.

Note:
a. Left opponent’s body with your right leg. Do not kick.
b. Do not pull the opponent towards your face when throwing.
c. The pulling and lifting must be in a circular motion.
d. Timing is very important.
e. Do not rely on your power alone. Use the opponent's inertia.
f. Be careful, this technique is dangerous to the opponent's head, neck and shoulders.
g. Execute this throw properly and correctly.
 
REAR THROW OR INSIDE-OUT-THROW
(URA-NAGE)
Instruction:
1. Stand together with your opponent, in the right natural position. Take stop forward on your
right foot and push your opponent hard as he pushes back, do not resist but pull him hard towards
you, advance your left foot from his right side to his Right Rear Balance. Lower your hips by
bending your both knees and put your body close contact against his.
2. The left side of your chest should contact his body from his right hip to under his arm. Wrap
your arm around his buttock, and put your right hand, fingers pointed up palm down on their right
side of his lower abdomen.
3. When scooping your opponent as if you were going to stretch him out of your left shoulder,
bend your body backward. When the opponent's feet leave the floor, fall backward and throw your
opponent straight behind you over your left shoulder.

Note:
A. This throwing technique is a sacrifice to both receiver and giver of the throw when this
technique at the moment of death.
B. The moment you wrap your arms around your opponent, lift him up.
C. Keep the good tight hold on him with both arms.
D. Assist your opponent when landing on high forward fall.

VALLEY DROP (TANI-OTOSHI)

This throwing technique is very effective as counter to a shoulder whirl throw:

Instruction:
1. Stand together with your opponent in the right natural position. Try to distract the
opponent’s balance. Make a creative opening a moment chance for your opponent for a shoulder
whirl throw.
2. As the opponent takes advantage on this opening for a shoulder whirl throw. Do not avoid
doing so. As the opponent enters for a shoulder whirl, step back with your right foot to a defensive
position with the bending of your both knees.
3. Simultaneously, wrap your right arm on the back of the opponent's neck and take control of
it, while you left arm scooping his right arm under your armpit. At this very moment slide your
right foot at the center of the opponent's foot, while stretching out your left leg straight along your
left.
4. Pull the opponent in a circulation motion to your left side as to fall sideward, breaking the
opponent’s balance to his Right Half Balance or direction no.
Note:
a. Do not let your opponent lift you up for a shoulder whirl throw otherwise you are late to
recover your balance.
B. Take control of your hold when pulling your opponent.
C. Assist and guide the opponent's fall.
Post-Test
1. What are the Judo preparatory exercises in order?
2. What are the two kinds of courtesy in Judo?
3. What are the throwing techniques of Judo?
 
 CHAPTER II

Throwing & Grappling Technique

(NEWAZI)
Objectives:

At the end of the chapter, the students should be able to:

1. identify the composition in the arts of Judo;

2. perform the application of techniques in Judo

THE APPLICATION OF THE THROW (KAKE)

This is the actual throwing of the opponent. The biggest mistake most beginners commit is
attempting to apply a certain throw before the correction condition of the Kuzushi and the Tsukuri
have been achieved. Remember that Judo is an art of gentle way and is using the opponent's
position, strength and weight to your own advantage and not throwing him by superiority of brute
force alones. When applying a certain throw use your whole body smoothly as a single unit.

All parts of the body must move in harmony. Although each certain throwing technique
emphasizes the use of one part of the body such as the hand, the hips or the foot in a particular way,
the movements of the entire whole body is important in each respective throw. The particular part
of the body mentioned is used to guide the throw of the opponent.

PRINCIPLE IN APPLYING THE THROWING TECHNIQUE

OBSERVE THE FOLLOWING:

1. Do not bend at the waist. When turning, try to keep your stomach slightly forward.

2. Push or pull or lift, using your body by moving in the same directions as your arms.

3. Push or pull and lift the opponent in a horizontal direction to unbalance him.

4. Use the Push and Pull maneuver just like steering no.1.

5. Avoid body tensing. Relax. This will give you more power and your movements will not indicate.

6. Never attempt a halfhearted throw.

7. Bend your knees deep and not your waist.

8. Use a quick smooth and strong movement in a good form.

9. Avoid body grasps. Keep your body close to your opponent for better control of the opponent's
body during the throw.

10. Take advantage of the unguarded moment of the opponent.

11. Attack lime and lightning, if there is a slip second chance.

12. be conscious of the safety of your partner; seriousness is most important.

13. Remember, your progress depends on your partner's cooperation and hands him with care;
once your partner id crippled, you cripple your own progress.

14. Know your strength and control when applying a throwing technique against your partner.

ONE ARM SHOULDER THROW (IPFON SPOINAGE)

Instructions:
Both standing in the Right Natural Position. Hold on the Mid-front of your opponent's right
sleeve and push your opponent backward to disturb his balance. As your opponent returns the
push, slide your right foot in front of the opponent's right foot. Then step back with your opponent
a counterclockwise motion around your right foot. This will lead the opponent to his Right Half
Front Balance or Direction No. 3.Pivoting on right toes, turn your body 180 degrees , your back on
the opponent's facing direction. Bond both knees deep and pointing outwards simultaneously, as
you turn pull the opponent's right arm straight out and hock your right arm under his armpit.
Clamp his right arm with arm and forearm, Pull his right arm down and against your chest.
Opponent’s balance is broken to his Front balance or Direction No. 1Throw your opponent by
snapping your hips backward against your opponent's front body, by springing with knees; with
your toes up, pull him over your shoulder with your arms.

Note:
Bend knees as low as possible stretching outward. Do not bend your back only when coming up
with your knees and toes at the instant of throw, Guide your opponent to correct and proper falling.

BODY DROP (TAI OTOSRI)

Instructions:
1. You and your content standing in the Right Natural Position.
2. Push your opponent to his Left Half Rear Balance or Direction No. , he will respond to push back.
Simultaneously steps back at your left foot around your right foot in counter clockwise motion.
Bend knees as low as possible.
3. At his instance, pull the opponent's right sleeve and Slide your right feet, blocking the opponent's
right. Knee or shim in tip toes in manner.
4. Then pull your right arm around and into your own body with a round twisting motion draw
your opponent forward with a lifting motion of your left arms and give a spring with your left leg.
5. As your opponent falls on the right forward fall, assist or guide him to support his weight in a
correct and proper fall, by holding his right aloove.
NOTE:
Do not release left hand hold on his right somewhere as release your right hand hold on his front
left lapel and transfer to support his right arm.

Both Arms shoulder throw (moroteseoinage)

Instructions:
1. Standing together in the Right Natural Position slightly pushes your opponent to his Left
Half Rear Balance or Direction No. 6, as that he will return the push, then slide your right foot
forward pointing between his feet and pull his right slowly with your left and pull his right slowly
with your left hand upward.
2. This technique is the serve as one arm shoulder throws the steeping back the pivot, the
turning and the pushing and pulling the technique , shown figure 2-3-4-5 except the four right
forearms are brought under opponents right arm to raise him.

Notes:
a. The right forearm should go under the right arm.
b. When turning 100 degrees from the opponent, facing direction, turn your hand to the left.
This will give more strength when pulling the ball and lifting your hand to the left. This will give
more strength when pulling and lifting your opponent.
c. Avoid body gaps against your opponent’s body.
d. Bend knees as lowering possible, stretching outward.
e. Throw with a snapping action of your shoulder coming forward and hips backwards.
f. Spring your knees coming up straight with your toes and send your back when dropping
your opponent.

SHOULDER WHIRL (KATA GURUMA)

INSTRUCTION:
1. You are both standing on the right natural position and slightly push him back so that he
will return the pawn.
2. As he push back, let so with your right hand and open your body out, pull your opponent
toward with your left hand upward to disturb his right half front balance or direction
No. 5 and slide your right foot forward, pointing particular between his front and
creating an entrance of your shoulder under his left armpit.
3. Grab the back of his right feet tight with your hand from the inside, draw back instantly
your left foot to assume the law defensive position to support the right foot stance.
4. Put your opponent over your shoulder so that his midsection body falls somewhere
between your right shoulder and left, up your opponent by sliding your left foot closer
 to your right foot coming up with your toes and the springing of your hips and knees.
Simultaneously pull your opponents pushing the lower body of your opponent upward
breaking his front balance or direction no. 1.
5. Draw your opponent over your left shoulder in whirling motion.

NOTE:

A. Do not drop your opponent over your head or in front of your feet.
B. Support and guide him during the outbreak of his falling motion.
C. Do not bend your back when entering toward your opponent.

MAJOR OUTER –REAPING THROW (OSOTO GARI)

Instructions:
1. You are both standing on the right natural position or on the right defensive position. Try to
pull your opponent hard, so that he may return then pull, as he pulls, do not resist, rather give way.
2. As he pulls you toward him, take a deep step with your left foot along the side of his right
foot. Simultaneously pull his right arm downward and contact your front upper body against his
front upper body and push hard with your right arm downward to break his balance to his right
half rear balance or direction no. 8.
3. At this instance, swing forward with your right foot, behind the opponent’s left log, reaping
attack.
4. Next sweep your right log backward striking the opponent’s back thigh.
5. Assist your opponent on his back fall.

Note:
A. Do not lean backward; rather bend your front upper body with your head.
B. Roll your right hip in contact against the opponent's hip.
C. Swing and sweep the opponent’s leg. Do not just block.
D. Keep your head down, chin in when reaping.

FLOATING TECHNIQUE THROW (UKIWAZA)

1. From the right natural position. Step back with your foot. The opponent’s left foot will
follow forward. Try to unbalance him to his left side balance or direction no. 4 at that instance.
2. Opponent will resist your moves by shifting his weight to his right foot, stepping in that
direction.
3. Do not resist but pull his body horizontally forward in the direction of his right toes. As you
pull your opponent forward, slide your left leg forward across the mat. Then your body turns about
45 degrees drop to the ground by bending your right knee and extending your left leg out straight,
blocking the opponent’s right foot. The breaks to his right half front balance or direction no. 5.
4. As you fall to your left side, throw the opponent by pulling out and then down to your left
shoulder with both hands in circulation motion when pulling and lifting the opponent. As you drop
you’re on the ground, use your left shoulder, the bottom of your right feet and side of the left feet
used as supporting points, slightly arching your back as a spring.

NOTE:
a.The receiver of throw will execute the right forward fall in this technique.
b.Timing is very important.
c.Body and hand action must work together simultaneously.
d.This is one of the dangerous techniques to the opponent’s right shoulder when falling, therefore it
is important that this technique will be executed properly and with extra precautions.

FOUR CORNER THROW (SUMI-GAESHI)

INSTRUCTIONS:
1. Stand together in the right defense position. Push your opponent hard to his rear balance or
direction no.2.so that he will return to push back, do not resist, but rather go with his push.
2. As opponent’s push hard, slide your left foot towards your opponent’s feet, and pull the opponent
with both arms for close contact.
3.As you slide your left foot deep between his legs, heel first, so that it falls in front of your own
right foot and then take a fall straight back. Simultaneously bring your right chin into his inner left
thigh so that your right instep hooks around his left buttocks. This will lead the opponent of balance
or direction no.5.
4. Leave your opponent from below with your right leg and the pulling of both hands, throw your
opponent over your left shoulders.

NOTE:
a. This throw is almost the same as the floating Technique Throw except with use of right leg lifting
between the opponent’s leg buttocks.
b. The receiver of this throw will execute a high forward fall during the progress of the throw.
C. Be conscious of the safety of your partner.
d. Raise the opponent with your right leg around his leg buttock.DO NOT KICK.
SIDE WHIRL (YOKO-GURUMA)
Instruction:

1. You are both assuming the right natural position.

2. Push your opponent hard to the rear with both hands, so that he will return the push. As he
does so, do not resist but rather stop back your left foot and pull him. Simultaneously, slide your
right leg across your left leg stretching out.
3. At this moment, fall to your left side and pull and lift your opponent in a circular motion,
which will break the opponent’s balance to his right half front balance or direction no.5.
4. As you drop to your left side, bend your right knee and stretch out your left leg extending
outward. The angle of direction of your body from your opponent’s standing position is
perpendicular to his stance. Opponent passing over your right side, by pulling and lifting in circular
motion.

Note:
a. Do not telegraph your fall.
b. Pivot your left foot 90 degrees to the left as you slide your right leg.
c. Turn your head to the left side as you drop and pull your opponent.
d. Your body will act as a blocking obstacle against your opponent’s legs.
e. Release your right hand hold as the opponent lands on his fall.

STOMACH THROW OR SOMERSAULT (TOMOENAGE)

Instruction:

1. You are both standing together in the right natural position. Push your opponent hard on
his rear. The opponent then will resist and return the push backward.
2. Do not resist, rather increase his push by pulling him toward you. At this moment, step in
deeply between the opponent's legs with your left foot.
3. Drop straight to the ground of your buttocks behind your left heel. Bond your right knee as
you drop and place the sole of your right foot against the opponent's lower abdomen.
4. Simultaneously, pull down the opponent with your hands breaking the opponent's front
balance or direction no. 1.
5. As the opponent falls forward, straighten your right leg and pull down and in with your
arms in a circular motion. Throw the opponent directly passing over your head.

Note:
a. Left opponent’s body with your right leg. Do not kick.
b. Do not pull the opponent towards your face when throwing.
c. The pulling and lifting must be in a circular motion.
d. Timing is very important.
e. Do not rely on your power alone. Use the opponent's inertia.
f. Be careful, this technique is dangerous to the opponent's head, neck and shoulders.
g. Execute this throw properly and correctly.
 
REAR THROW OR INSIDE-OUT-THROW (URA-NAGE)
Instruction:
1. Stand together with your opponent, in the right natural position. Take stop forward on your
right foot and push your opponent hard. as he pushes back, do not resist but pull him hard towards
you, advance your left foot from his right side to his Right Rear Balance, or Direction no. Lower
your hips by bending your both knees and put your body close contact against his.
2. The left side of your chest should contact his body from his right hip to under his arm. Wrap
your arm around his buttock, and put your right hand, fingers pointed up palm down on their right
side of his lower abdomen.
3. When scooping your opponent as if you were going to stretch him out of your left shoulder,
bend your body backward. When the opponent's feet leave the floor, fall backward and throw your
opponent straight behind you over your left shoulder.

Note:
A. This throwing technique is a sacrifice to both receiver and giver of the throw when this
technique at the moment of death.
B. The moment you wrap your arms around your opponent, lift him up.
C. Keep the good tight hold on him with both arms.
D. Assist your opponent when landing on high forward fall.

VALLEY DROP (TANI-OTOSHI)

This throwing technique is very effective as counter to a shoulder whirl throw shown in this
illustration:

Instruction:
1. Stand together with your opponent in the right natural position. Try to distract the
opponent’s balance. Make a creative opening a moment chance for your opponent for a shoulder
whirl throw.
2. As the opponent takes advantage of this opening for a shoulder whirl throw. Do not avoid
doing so. As the opponent enters for a shoulder whirl, step back with your right foot to a defensive
position with the bending of your both knees.
3. Simultaneously, wrap your right arm on the back of the opponent's neck and take control of
it, while you left arm scooping his right arm under your armpit. At this very moment slide your
right foot at the center of the opponent's foot, while stretching out your left leg straight along your
left side.
4. Pull the opponent in a circulation motion to your left side as to fall sideward, breaking the
opponent’s balance to his Right Half Balance or direction no.5.
Note:
A. Do not let your opponent lift you up for a shoulder whirl throw otherwise you are late to
recover your balance.
B. Take control of your hold when pulling your opponent.
C. Assist and guide the opponent's fall.
 
Grappling Technique (NEWAZI)

The second composition of Judo in general is the Grappling technique or (NEWAZI) in

Japanese terms. It consist of three major groups as follow:

1. Holding Technique – Osaikomiwaza

2. Locking Technique – Kansetwuwaza
3. Choking Technique – Shimowoza
These techniques in general are considered as one of the strongest forms of fighting in Judo.
A worthy Judo-Ka does not rely only on his physical strength alone in this form of fighting, but
rather observes the movement , cautiousness , softness and the weak and the strongest of the
opponent clock is of utmost importance. In practice the grappling technique is used as a follow up
technique after an unsuccessful throw. It is generally a favorite with both young and old, small or
big Judo-Ka as the value of size and strength diminish when on the ground. Sometimes a person is
well versed in one form, the throwing technique will lose confidence in the other form, the
grappling technique and it is generally encouraged that the throwing technique will be taught first
and then the grappling technique after the throwing technique has been mastered . And it is no
reason that a competent or worthy Judo-Ka should not equally be confident in both throwing and
grappling techniques.
1. The holding Technique (Osaikomiwaza) is more of immobilizing and controlling your
opponent’s movement on the mat at a certain time limit in order to win points.
2. The locking Technique (Kansotwuwaza) where pressure is applied against the opponent’s
arms or less in a twisting manner in order to make the opponent yield or surrender.
3. The choking Technique (Shimowaza) is a strangling technique applied on the opponent’s
neck by the use of the hands, arm, legs, and opponent’s lapel.
The following pointers for the holding technique in both offensive and defensive techniques:

HOLDING TECHNIQUE (OSAEKOHIWAZA)

OFFENSIVE:
1. Movement should be with cautiousness, slow, continuous and sure. Know your strategy first
with reason.
2. Do not resist the opponent’s movement if he moves clockwise, go with him, if he moves
counter clockwise, go with him, but if he moves fast, move slowly controlling his movement
balance.
3. Do not stay in a fixed position, but move with the opponent to avoid him from escaping.
4. Avoid body’s gap from the opponent at all times in order to control his movements. Press
your upper body against your body and guard him with both knees and arm.
5. Never approach directly on the opponent, but move in cautiously and be sure, controlling
his body. Try to immobilize one part or side of his body at all times so that you can control him as
you move and shift for an effective position: Every effort should be made to pin down the
opponent's arm and legs.
6. Avoid body tensing, keep your body relaxed.
7. Move with complete body action. If you push or pull, use your whole body –not just the arm
or separately.
8. Shift your weight or change angle of direction into an effective and convenient position so
that your body acts counter balance to your opponent's movements.
9. Apply your strength freely and rhythmically.
10. Distribute your strength throughout your body in accordance with the position you’re in. Do
not let in concentrate in any particular area.
11. The main aim is to break the opponent’s escape and to pin him down.

DEFENSIVE:
1. As the opponent attempts to come into a holding position, keep one arm to hold the
opponent's jacket and push him off with both arms and legs, but do not attempt to kick.
2. Always try to make a gap between your body and your opponent so that he can not control
your movements. Bring your knee against your elbow for more strength and power in
trying to escape or separate from your opponent.
3. Keep the opponent from exerting effort in any part of your body by moving him and to
diminish his energy.
4. Move slowly and cautiously and surely.
5. Try to find a weak place in the opponent’s position. First push away from his weak side,
then as the opponent shifts his weight quickly push to the weak side.
6. When using your shoulder or body in position or pulling, try to push at one spot with both
hands for maximum force with the use of your shoulders and body.
 
CHEST HOLD (KESAGATAME)
Instructions:
1. Approach the opponent by grasping his right arm deep above his elbow, looking your hand
around to the inside of his right arm. Keep his elbow locked against your upper body with your
arms.
2. Sit flat with your right knee close or when his right shoulder, while sliding your left leg
along the rear as fat as possible with the toes curved upward. The ideal distance of the bottom of
your right foot and of your left thigh should be at least 90 degrees.
3. Bring your head lower against the right temple of your opponent's head . Your upper body
should hold tightly to control opponents movement and the rest of your body should be relaxed.
4. While your right hand should reach around the opponent's neck and grasp to hold the
collar.
5. Do not let your opponent’s leg reach your rear leg.
6. If the opponent succeeds in breaking your holding technique, switch or slide into another
position of grappling technique.
Note:
a. Avoid attacking the opponent's eyes, nose, ears, and mouth by means of poking, thrusting,
striking, punching or kicking. It is not allowed.
b. Avoid squeezing the opponent's flesh and pulling the hair.
c. Press or push by the use of legs and arms, but do not kick.
d. Do not tense your body.
e. Holding limited to ten seconds duration.
f. Control his right arm under your left armpit.
 
E:
1. As the opponent attempts to come into a holding position, keep one arm to hold the
opponent's jacket and push him off with both arms and legs, but do not attempt to kick.
2. Always try to make a gap between your body and your opponent so that he cannot control
your movements. Bring your knee against your elbow for more strength and power in trying to
escape or separate from your opponent.
3. Keep the opponent from exerting effort in any part of your body by moving away and to
diminish his energy.
4. Move slowly and cautiously and surely.
5. Try to find a weak place in the opponent’s opposition. First push away from his weak side,
then as the opponent shifts his weight quickly push to the weak side.
6. When using your shoulder or body in position or pulling, try to push at one spot with both
hands for maximum force with the use of your shoulders and body.
7. When the opponent is on top, his body is similar to a table with the arms and legs as four
supporting concerns. Try to dislodge or unbalance him one of those corners in trying to escape
from him.
8. To aim to escape and free from the opponent's holding technique.

SHOULDER HOLD
KATA GATAME

INSTRUCTION:
1. Approach the opponent on either side. Bring the opponent's right arm in case in Right side or vice
versa, upward against your right side of the neck, as Shown in Figure 1 Hock your right arm around
the neck, gripping your own left hand with a cross hand clapping manner. The back of your left
hand should be facing the mat.

2. Bring your head down to the mat, pushing your head against his head and his right arm.
Simultaneously pull your right hand to the left while your head pushes to the right.

3. Your right knee would place into the opponent's right side and the left leg stretched outward,
braces on the toes.
4. If an opponent moves, control him by shifting into an effective position.

NOTE:

a. Avoid the body's grasp in order to control your opponent's movement.

b. Do not stay on the fixed point.

c. Move with the opponent’s move, but slowly and cautiously.

d. Do not give an inch to make your opponent free or escape.

e. Detect opponent's strategy.

SIDE CROSSSS FOUR CORNER HOLD

YOKO SHIHO GATAME

Instruction:

1. Approach the opponent's left side by sliding your left hand between the opponent's legs so that
you can hold the right slide of his belt. Then slide your right over your left shoulder to the base of
his neck, and take a deep hold on the right rear part of his collar or lapel.

2. Figure2, is the reserve hold of Figure 1. Assume kneeling flat position as Shown in Figure 2. This
position controls the opponent's lower and upper body.

3. As you pull with the arms, your chest should cross against his left side.

4. Bring both knees up against his die to control his body. If the opponent attempts to roll you over
his body, use your head to stop your body from going over by touching the mat with it.

5. Shift into either right or left side when the opponent moves into their respective direction in
order to control his movements.

NOTE:

a. Do not stay in a fixed position, move slowly as the opponent moves to disturb his strength and
balance.

b. Control your body on rolling over your opponent's body.

c. Avoid body's gap.

d. Cautiousness is of utmost importance.

UPPER FOUR-CORNER HOLD (KAMISHIHOGATAME)

INSTRUCTION:

1. With your body behind the opponent's head, grasp his belt with both hands, keeping your arm
under his. Keep your elbows clipped against the opponent's shoulder, and his body keeping the
Shown on the ground.

2. as you pull with your arms across the top of your upper body tightly against the top of your
opponent's upper body. Arch your back for better pressure.

3. Slide your both knees forward alongside the opponent's side, your head with your foot stretched
outward, and try to keep your both insteps of your feet flat on the mat.
4. If the opponent attempts to escape, stretch your legs out behind you for better balance and move
your body to maintain a good and effective position.

5. Press your stomach against his fact to immobilize his neck.

6. Press the opponent, shake your balance, control him or your balance by shifting your knees to
another position.

NOTE:

A. Do not let your hand lower below the opponent's body.

B. Be conscious of his legs and knees

C. Maintain his back flat on the mat.

D. Control is movement carefully.

E. Push opponent's body against the mat to control opponent's movement from either side.

F. If an opponent attempt for a head stance, pull him by moving downward toward you.
PILLOW CROSS CHEST HOLD (MAKURA-KESAGATAME)

INSTRUCTION:

1. This technique is slightly similar to a chest. Hold, except your thigh is under the opponent's head
like a pillow and you control his arm.

2. Hook your right arm under his left arm, gripping the inside of your right thigh or the hollow of
your knee. Press your head against his left arm and apply moderate pressure.

3. As the opponent moves for struggle, grasp the opponent's elbow with your left arm for additional
control and better balance.

NOTE:

a. Control the opponent's movement by adding pressure on your upper body against his face.

b. Do not five any space between your front upper body and his.

C. If possible, grasp the opponent's left side of the belt for better control.

POINTERS FOR: CHECKING TECHNIQUE (SHIMEWAZA)

INSTRUCTION:

1. Attack the opponent's front side of the neck when applying pressure for choking. Do not attack
the opponent’s windpipe of the Adam’s apple.
2. The opponent's jacket is useful in lapel choking. Try to reach in deep around his lapel (Rear
Portion) with your hand and apply pressure with the aid of your head.
3. Move your hands slowly into position using your thumb, side of your right hand, and aside of the
right hand to work along the side of your opponent's back, and pressure from the side of your head
against his head.
4. One arm usually applies direct pressure to the neck while the other hand the other side of the
opponent's jackets or head steady.
5. Choking by curving the inside of your waist in an arch and pulling in a circulation motion under
or side of the opponent's neck. Pull the elbow of the choking arm background.
6. Legs are used by choking the opponent's thigh or body, even to the direct point, the neck or arm.
Apply pressure with your legs, as you choke. Your arm should press against the opponent's neck.

DEFENSIVE:
1. Defense against choking is done by controlling the choking arm.
2. Do not panic.
3. Reach back with both hands, grabbing the elbow of the choking arm.
4. Pull down and try to escape by rolling your head out.
5. This defense does not apply to front strangles, but it is still necessary to control the choking arm.
6. If in case of rear choking try to grasp opponent head or free clipping your body and apply
pressure to diminish your opponent's strength or his control, to separate from him
7. If the opponent's black out, immediately release your choke, and immediately without second
delay apply artificial respiration from the lying position, in Japanese term it is known as KUATSU.
8. be serious when applying the choking technique. It is one of the dangerous techniques in Judo.
Observe extra safety precautions
9. When the opponent wishes to surrender, he should tap you to say "MAITTA" or surrender.
10. Observe your opponent there are cases that the opponent fails to tap you. Be conscious of the
safety of your opponent.

NATURAL CROSS COLLAR CHOKE

INSTRUCTION:

1. Approach the opponent at the front, extending both hands in cross manner. The
back of your hands facing towards you.
2. Approach deeply alongside the opponent rear side of lapel with both hands. Palms
should be down with thumb deep under the collar and fingers gripping tightly.
3. Apply pressure to both side of neck by pulling your opponent toward you and with a
cross arm fashion bring our head against opponent either side of neck.
4. Pull your opponent towards you in lying face up position on the ground and control
his movement with the help of your both legs pushing his front body.

NOTE:

a. Clip your elbows close to your side.

b. Pull opponent neck towards you to avoid gap between your head or his.
c. Push opponent hip bones downward with your foot as you apply pressure or effective
strangle.
d. Control opponent movement at all times.

REVERSE CROSS COLLAR CHOKE

INSTRUCTIONS:

1. This technique is almost practically the same as the neutral cross collar choke, except
the position of the hands. The palms are facing towards you.
 2. Approach opponent at the front and take a deep grip as possible on the left side of your
opponent collar with your left hand, put your thumb on the outside.
3. Slip your right hand in other from above or below your left arm, get a deep grip on the
right side of his collar. Put your thumb on the outside.
4. Strangle your opponent by bringing your right hand to the right and your left hand to
the left as if you were going to join your thumb together. Then push your opponent
backward, his back against the mat and bring your toward opponent either side of his
head for more pressure.

NOTE:

a. Keep your elbow close to your sides.

b. Ride your opponent as of the saddle fashion, clapping your knees against the side of his
upper body to control his movements.
c. Avoid gaps particularly your front upper body against his.
d. Observe your opponent responses.

Half Cross Collar Choke(Kata-Juji-Jime)

Instructions:

1. Again this particular technique is almost the same as the natural and reverse cross collar choke,
except the variations of the hands position. Either the right or left hand under crossing each other,
one palm of the hand facing towards you and one palm of the hand facing toward your opponent.

2. Reach in deep grip opponent's left side of his collar with your left hand, palms up. Grasp the back
of his collar with your hand palm down and thumb inside.

3. Pull opponent towards you as you bring your back against the mat. Simultaneously contact your
either side of your head against his to control his movement and better strangle.

Note:

a. Push your feet against the opponent's hipbone as you apply the pressure. Do not kick.

b. Control his movement at all times.

c. If your opponent give a sign of surrender release your strangle immediately without second
delay.
d. Observe the condition of your opponent.

LOCKING TECHNIQUE(KANSETSUWAZA)

Offensive:

1. Before you apply pressure on your opponent's joint, control your strength to avoid injuries on
your opponent.

2. Pressure is exerted only, on elbow joint, by hooking for immobilizing the opponent's arm.

3. Always control the opponent's body so that he cannot escape until pressure is applied.

4. Locking technique are usually applied when the opponent pushes or hold away with a straight
arm. At this time you take advantage of this position and applied lock.

5. Apply pressure slowly as a safety measure because this technique is dangerous.

6. Remember, every lock has its own key to unlock yet when they lock is secured and the key fails to
function, and cannot open the lock, the key is useless. So the same when you attempt to escape from
this technique.

DEFENSIVE:

a. Once your opponent has a chance for a joint hold on you, escape before its too late.

b. In the instant that you sense your opponent’s intention to use a locking technique, pull your arm
free, break away and in a recoil thrust the arm out he was attempting to hold and get free.

c. Once your opponent has succeeded in getting a joint held, on you, give the signal immediately that
you give up. Either in vocal sign or by tapping your opponent lightly or on the met by you’re either
had or foot.

ARM LOCK(UDIGATAMI)

Instructions:

1. The opponent is in lying position, face up. Move in from his right side. Your right leg should be up
and bend at the knee with your right foot flat on the mat. Only the toes of your left foot should the
floor.
2. The hand grasping opponent's wrist should place the thumb in the groove between the
opponents hand and wrist bone. Then bend his elbow in over his shoulder as much as possible.

3. Slide your other hand under opponent's right arm, above the elbow and grasp your own wrist.

4. Apply pressure by pulling back, cursing your wrist downward with the hand that grasp
opponent's wrist.

5. At the same time raise your other arm like a bar keeping the hand in place.

Note:

a. Maintain complete control of his left shoulder.

b. Seize either of opponent's one of his arms stretched out.

c. Twist his elbows joint to bend his arm toward over his shoulder.

d. Avoid full pressure to injured opponent's joint.

E. Be conscious of the lingerof his technique.

ARM COIL LOCK(UDE OARAMI)

INSTRUCTION:

1. Here again, the opponent is in lying face up position. Move in over his upper front and reach the
opponent stretched out arm, either the right or the left hand. In case of the opponent’s right arm
stretched, grab him with your left hand just between opponents hand and his forearm. Are sure
your force fingers of your left hand are on the top.

2. Force the palm of the opponents to face straight down against the mat. Bond his elbow to a right
angle (at least 90 degrees) and press his right wrist into his right side.

3. Slide your left had under your opponent’s left upper arm and grab your own right wrist and
apply pressure to control opponent’s movements.

Note:

a. Control your own body balance when on top of opponent’s upper front body.
b. Complete control of your opponents shoulder.

c. Press your upper front body against opponent’s upper front body for better balance and effective
position.

D Control your strength when applying pressure to avoid injuries on opponents joint.

Instructions:

1. Both on standing position with your opponent open your body to the left and move feet
diagonally to the left side, as you seize the opponent’s left hand wrist with your left hand and with
the help of your hand on top gripping the opponent’s left hand wrist together.

2. Clamp your opponents left arm under your right arm and bring him down facing the mat by
bringing your lower body into a sitting flat position extending your both legs open.

3. As on sitting flat position with your legs extending open your rears legs backward for better
balance and effective position to control the opponents struggle.

4. Let your body bend forward on your opponents left shoulder to control completely the
opponents left shoulder elbow.

Note:

a. Control opponent’s left shoulder and elbow from handing to not allow him to do so.

b. Twist opponent’s left hand toward his head in a circular motion.

c. Apply pressure slowly, but accurately and effectively to avoid joint injuries.

d As opponent give signal of surrender, release your lock immediately.

e. Do not stand with your pride against this technique make a sound of surrender when your escape
fails
 Chapter III

HISTORY OF KARATE

Objectives: At the end of the subject, the students should be able to:

1. manifest understanding in the concept of the history of Karate;

2. identify the practice of Karate as an art;
3. explain the particular style used in Karate;
4. develop well-balanced mind and body;

Pre-test:

How well do you Know Karate:

1. Karate means what:

a. fight hard b. empty hand

c. way of the sun d. sparring class

2. Because you know Karate, you have the right to use it at any time you please.
a.true b. false

3. What is Sensei?
a.friend b. instructor
c.student d. hall

4. Courtesy must be practiced, not only during the Karate training period or inside the DOJO
alone but at all times in one’s daily life.
a.true b. false

5. What is DOJO:
a.a place of the way b. room
c. hall d. all of the above

6. Remember, you are train for self-protection and not for self- aggression. This statement
is______.
a.true b. false

WHAT IS KARATE?

Karate is a Japanese word to its writing and character from the translated original Chinese
Kempo or “fist way”. The suffix “te” indicated a hand that permits oneself to defend himself with his
only bare hands and fist without any reasons and the prefix “kara” means emptiness or nothing, like
a clear mirror or crystal water that reflects their surrounding without distortion of the quiet valley
that echoes a sound. It strive more for spiritual enlightenment than that of physical strength and
techniques, so one who could learn the art of Karate, he should free himself of selfish and evil
thoughts, for only with a clear mind and conscience can he understand that which he learned. He
should always strive to be inwardly humble and outwardly gentle and moderate.

Karate literally means an art of empty hand fighting; the art is a form, and the form can be
only an art when it shows through scientific illustration, such as grace and mystical techniques.
Essentially the art of the said Karate is an art of self-defense. In simple words, Karate is designed for
self-protection and not for self- aggression. One effective stroke of Karate properly delivered can
kill a horse or a bull, and what more to a man? But the main principles of Karate never allows
violence, if possible.

The great ancient masters of Karate, Heijen and Tetsujin, were never known to use it
violently throughout their lives. Karate should not be violent, it should deny violent. The complete
meaning of this idea of Karate is a little difficult to convey. Because Karate has an inner meaning
itself, it is a kind of supernatural power and is obtained through mystical means.

To understand the deeper meaning of Karate, one should proficient first to learn the
techniques and the methods and there is doubt that you should grasp the true meaning of what is
Karate.

THE GENERAL PRINCIPLE OF KARATE

The tremendous offensive and defensive power of Karate is well known. Karate is an art
with which one can defeat enemies with a single attack, either the use of fist or feet, without a
weapon. The value of the art depends on the one applying it. If its application is for a good purpose,
then the art is of great value; but if it’s misused, then there is no more evil or harmful art than
Karate. The indiscriminate use of the art of Karate would cause great public concern and one cannot
deny its potential dangers. However, it would be regrettable that pursuit of this mysterious art, of
which one can properly so proud, should be shunned simply because it is too dangerous. The
source of concern is largely based on the misconception arising from instructors or poor character,
who thoughtlessly placed the emphasis of training on the brutal concept of techniques, rather on
the spiritual aspects of the art, and from the misbehavior and poor attitude of Karate learners who
are achieving this art mainly as a technique of fighting, properly concerned and taught and
practiced in the true spirit of Karate, this art is not only the antithesis of present danger, but it in
fact admits few equals as a thoroughly noble martial arts.

Example, the powerful drugs are dangerous. Poison is frightening, however, there is one in
the medical world today who advocates running drugs. The danger of powerful drugs and poison
defends on their usage, and when applied correctly, they can be of great benefit to being. Karate, if
properly used, is certainly dangerous and vicious. But for the same reason that it is dangerous,
Karate too if properly applied, can yield results of great value to save one life concerned.

One who truly trains in this art and actually understands karate is never easily drawn into a
fight, because one should know his potentialities as well as his opponent or opponents. As it is said,
Karate is an art of empty hand fighting and an art does not make the man, the man does make the
art. Students of any art clearly including Karate-do must never forget the cultivation of mind and
body. Those who follow the way of Karate-do must consider courtesy of prime importance. Without
courtesy, the essence of Karate-do is lost.

Courtesy must be practiced, not only during the Karate training period or inside the DOJO
alone but at all times in one’s daily life. The student must humble himself to receive instructions. He
must always be aware of and receptive to criticism from others.

He must be constantly introspective and must readily admit any lack of knowledge, rather
than pretending to know what he does not know. He must free himself from being presumptuous or
self-conceited person. A true Karate-do must never forsake a humble mind and gentle manner.
“Remember, it is the small-minded person who likes to brag upon acquiring some small skill, and
those with little knowledge who carry on as if they were experts as childish. Those who humbly
follow Karate-do will develop confidence, courage, and fortitude.

THE OBJECTIVES OF KARATE

The general aims of almost of the martial arts has the same objectives as follows:

1. For mental and physical development: It is quite nature to know the existence, history,
founder, development, perfection and progress of the subject we are interested beforehand.
The accepted scientific principles, the essential elements and some hidden knowledge or
ideas which sometimes we call it mystical techniques and, in mutual benefits to enrich our
mental achievement that developed upon grasping to our understanding. All that cultivates
to our mind understanding constitutes to the mental development, on the other hand, the
physical development of Karate in such that it requires the body to move in all directions, in
contrast, for example, to the emphasis on the arms in rowing or the legs in jumping. There is
absolutely no need for concern about one- sided development of the body in Karate, and the
fact of uniform development maybe considered to lobe the benefits of Karate. Techniques,
forms and hours of Karate’s drilling does not constitute the physical development alone, but
at the same time it developed the speed, reflexes, endurance and stamina needed for every
practitioner of Karate. Karate as a physical development can be practiced by both sexes,
men and women, young and old, strong and weak, and does not requires specific time, area
and even without a partner. These examples indicate of maintaining one’s health.
2. The sportsmanship: Karate, although said as a man’s ultimate and deadly weapon, can be
classified as a noble sport. It command respect even towards opponent; courtesy, control
and obedient to the rules and regulations embodied in the conscience and tournament. It is
a test of true sportsmanship, courage and clean conscience when one plays to be a victor or
a loser.
3. For self-defense: Karate is a weapon, the ultimate man’s weapon, it is not design to harm
other people but for self- protection and we must try to keep out of harmful way. To protect
oneself, Karate is the method that will give the weak the power to defend themselves
against stronger opponents. The dedicated practitioner of Karate can converts his whole
body into a weapon itself during sudden emergencies when life and honor involved.

THE THREE ESSENTIAL PRINCIPLES OF KARATE

 The remarkable strength manifested by many individual Karate techniques, both offensive
and defensive is not the mysterious things both observers as well as exponent of the art itself. On
the contrary, it is the power result of the effective application of certain well-known scientific
principles to the movement of the body, likewise, knowledge of psychological principles, along with
constant practice, enable the Karate man to find openings and execute the proper techniques at the
proper time, no matter how fast the movement of his opponent or partner. At an advanced stage, it
is even possible for a Karate expert to sense the movements of his opponent before they take place.

Before learning the various individual techniques, it is necessary to have a clear

understanding of the physical, psychological, and the combined physical-psychological principles
which underline them all.

I. Physical Principles
1. Maximum Strength
Any movement of the body defense on muscular expansion and contraction. There
are many factors involved in exerting maximum force through control of these expansions
and contractions.

(A) Force is directly proportionate to the degree of muscular expansion and

contraction which is the principle behind. For example, the coil spring- the more
the coil is pressed down, the greater the force it exerts when released. Many parts
of the human body operate the same way.
(B) The striking power of a force as inversely proportionated to the time required for
its application. This means that in Karate, it is not the muscular strength used to lift
a heavy object that is received but the strength manifested in terms of speed on
muscular expansive and contraction.
In other words, force is accumulate in the form of speed and at the end of the
movement, speed is converted into a striking force. In scientific language, force
equals mass times the square of the velocity.

2. Concentration of Strength

To perform any kind of heavy physical work, concentration of strength is necessary. Even a
great amount of strength will accomplish little if it is dispersed. By the same token a small amount
of strength properly concentrated can be quite powerful. It is no exaggeration to say that the
practice of most Karate techniques is the practice of concentration of strength at the proper time
and the proper place.
 (A) Other things being equal, the shorter the time a striking force is applied, the more
effective it is. This element of concentration in terms of the time is very important
in Karate, for it enables one to move immediately into a series of techniques.
(B) The greater the number of muscles brought into play in performing a given
movement, the greater the concentration of strength. The force which can be
exerted by hands or feet acting alone is relatively small. Therefore, the muscular
power of the whole body should be exerted in such a way that this strength is
concentrated at the point of impact.
(C) Maximum contraction of the body strength depends on effective utilization of the
resultant of forces produced by exertion of the various muscles.
When the muscles are properly coordinated, the resultant force is greater; when
the act is in opposite directions, it is lessened.
(D) Contraction of strength depends not on simultaneous exertion of body muscles,
but on their exertion in the proper order. The muscles of the abdominal and pelvic
region are powerful but slow, whereas those of the extremities are fast but weak.
In order to concentrate the force of both sets of muscles, those of the abdomen
and hips must be brought into play first, and this forced transferred to the point of
impact, either in the hands or feet. This accounts for the common saying in Karate
to move the hips first and the hands and the feet later.

3. Utilizing Reaction Force

This refers to the well-known principles of physics that to every action there is an opposite
and equal reaction. This principles find wide use in Karate, for example, in punching out with a
hand, the other hand is simultaneously withdrawn to the hip, adding reaction force to the punching
hand. Running and jumping is made possible by pressing downward with opposite foot. This is an
important feature in Karate where, for example, in punching- the rear leg is pressed hard against
the floor, and the resulting force is pressed through the body and arm to the striking hand, adding
force to the punch. In even more complex fashion when the hand actually strikes the target, the
shock of the blow is passed through the body to the legs and floor and then is reversed back to the
punching hand adding further force to the blow

4. Use of Breath Control

It is well-known that exhaling aids in contracting muscles while inhaling tends to relax the
muscles. This finds direct applications in Karate, where the breath is sharply exhaled during
the execution of techniques and inhaled after their completion.

II. Psychological principles

Since Karate involved direct contact between two or more human beings, psychological
factors play an important role. In many cases, the psychologically stronger party wins even
when he is outmatched physically. Although this psychological conditioning comes about
naturally until it is almost second nature in the course of Karate training.
 1. Mizu No Kokoro ( A mind Like Water)
This term along with the one in the following section was emphasized in the teaching of the
ancient Karate masters. Both refer to the mental attitude required while facing an actual opponent.
This refers to the need to make the mind calm, like the surfaced of undisturbed water.

To carry the symbolism further, smooth water reflects accurately the image of all the
objects within its range, and if the mind is kept in this state, apprehension of the opponents
movements, both psychological and physical, will be both immediate and accurate, and one’s
responses, both offensive and defensive, will be appropriate an adequate.

On the other hand, if the surface of the water is disturbed, the images it reflects will be
distorted, or by analogy, if the mind is preoccupied with thoughts of attack or defense, it will not
apprehend the opponents’ intention, creating an opportunity for the opponent to attack.

2. Tsuki No Kokoro ( A Mind Like a Moon)

This concept refers to the need to be constantly aware of the totality of the opponent and
his movements, just as moonlights shines equally on everything within its range.

With the through development of this attitude, the consciousness will be immediately
aware of any opening in the opponents’ defense.

Clouds blocking the light of the moon are likened to nervousness or destructions which
interfere with correct apprehension of the opponent’s movements and make it impossible to find an
opening and to apply the proper techniques.

3. Unity of Mind and Will

To use a common analogy, if the mind is compared to the speaker of a telephone, the will is
like the electric current. No matter how sensitive the speaker is if there is no electrical current, no
communication takes place. Similarly, even if you correctly apprehend the movements of your
opponent and are conscious of an opening, if the will to act on this knowledge is lacking, no
effective technique will be forthcoming. The mind may find an opening, but the will must be
activated in order to execute the technique called for.

III. Combined Physical- Psychological Principles

1. Kime (Focus)
Briefly “focus” in Karate refers to the concentration of all the energy of the body in an
instant on a specific target. This involves not only the concentration described above. There is no
such thing as a focus lasting for any measurable length of time. Since successful Karate depends
entirely on effective concentration of body strength, focus is extremely important, and without it,
Karate would become nothing more than a form of dancing. This principle will appear frequently in
the following pages, so a clear understanding of it at this point is desirable.
 To further analyze the concept of focus, take the technique of punching as an example. In
reverse punching, the first is thrust straight out from the body and simultaneously the hips are
being thrust in the direction of the punch so as to transmit the strength of the hips and trunk to the
face of the fist, augmenting its speed and power. Of course speed and power must be carefully
balance, sacrificing speed by exerting too much power into the arm or body must be avoided. Also
the breath control principle explained and plays an important part in focusing, the breath should be
sharply exhaled at the moment of impact. There must be an accompanying mental attitude
deflecting its total concentration of the body’s strength.

As the fist nears the target its speed is increased to its maximum point, and at the moment
of impact the muscles of the entire body are tensed. The effect of this is that the speed is
transformed into power, and the strength of the entire body is concentrated for an instant at the
fist. This, in essence, is what “focus” in Karate means.

It should not be forgotten that this maximum exertion of energy is instantaneous and in the
next instant is withdraw in preparation for the next movement, the muscles are relaxed, the breath
inhaled, and a position appropriate for the next technique. Assumed a Karate technique which is
not focused is ineffective and so much wasted effort.

2. Hen-O (Responding)
This concept refers to the correct apprehension of the opponent’s movements and the
conscious adoption of the proper techniques in accordance with them. Both parts of this process
are performed as a single momentary act and appear to an onlooker almost as a reflex action.

It is the character that creates self-confidence in its practitioner, he knows that his mind
directed reflexes don’t have to “think” what to do.

The Composition of Karate in General

Forms of Karate are commonly known as “techniques”. Karate techniques like the
techniques of other highly developed sports or physical art have been organized over the years of
perfection and modification into a distinct system.

Karate Techniques

Breathing Technique (1)

Vital Points (2)

Stances (3)

Postures (4)

Hand Technique (5)

Foot Technique (6)

 Shifting Technique (7)

Sparring Technique (8)

Others (9)

Code of Ethics

The Rules and Regulations inside the DOJO:

Just like any martial arts of self-defense as practiced in Oriental way, the rules and
regulations inside the DOJO, is the primary to observed by both students as well as the instructors
as part of discipline, respect and good will to both concern;

1. No shoes allowed inside the DOJO.

2. No smoking inside the DOJO
3. Avoid drinking liquor before the training hour.
4. Execute proper courtesy before and after the training session.
5. Observe seniority by proper salutation of courtesy.
6. Avoid wearing of jewels during the practical instructions.
7. No horseplay or joking inside and in the premises of the DOJO.
8. Avoid speaking indecent words.
9. Keep feet and fingernails trimmed.
10. Clear your mind and concentrate in one point during the instructions.
11. Avoid coaching; only authorized instructors are allowed to give assistance during the
instructions.
12. No laughing at the mistakes of others.
13. Only advance students are allowed to free practice/ sparring during the designated days.
(the Jiyu-Kumite)
14. Observed sportsmanship, control and courtesy during advance sparring.
15. Develop self-confidence.
16. Practice modern gentlemanly and chivalry way of life.
17. Observe cleanliness inside the DOJO.
18. Use equipments properly and place in proper order after the instructions.
19. Remember, you are train for self-protection and not for self- aggression.
The Breathing Techniques

Karate, like other martial arts or self-defense is an art, and breathing is one technique of
these arts, and it is an art itself, where every life breath live to it. It is a process of inhalation and
exhalation, during the inhalation phase, it is known as expiration. Breathing is indispensable to
human life. It is said that fresh clean air like that of the mountains breeze and seaside breeze is
necessary for long life, but for that air to be of any value, proper breathing is also vital. Breathing
techniques or methods vary somewhat among various schools of martial arts, by that of Karate is
probably the strictest.

Proper breathing techniques are the very life of Karate. Karate aims for mental and physical
development, for sportsmanship, for self-defense and lastly for the spiritual unity for the advance
perfection and concentration are essential elements through proper practiced of breathing to foster
the frame of mind needed and toward of a desultory attitude, the entire spirit must be concentrated
on one point. Breathing techniques installed into the body is the most important acquisition. For
the progress in Karate’s profession, success in both mental, physical and spiritual unity and
strength depends on proper breathing techniques. Generally there are two types of breathing
techniques that are commonly known in the sports.

1. The Western Breathing Techniques

2. The Oriental Breathing Techniques

The Western Breathing Techniques which are commonly practiced in highly developed
sport, they inhaled through the nose (except in swimming and water exercise) and stored the
inhaled air in their chest, making the abdominal depressed and exhale through the mouth, expelling
the inhaled air, yet it releases down to the abdominal region.

Whereas, the Oriental Breathing techniques, particularly in the world of the principles that
of a balloon. If you put air inside the balloon, the balloon will become bigger, and if you release the
air inside the balloon, it become smaller.

When it applies in breathing, when they inhale through the nose the air goes down to the
abdominal region and stored there, becoming the abdominal bigger. When they exhale through the
mouth, they expelled the inhaled air from the abdominal region, releasing the entire inhaled air
down the navel, compressing and contracting the abdominal muscles.

The Foot Techniques:

In China, the empty hand fighting was divided into two mastery of practiced; the Northern
China concentrates on the maneuver of the hand techniques: punching, strikes, thrusts, slash,
blocks, parry, throws, both in defense and attack, and it is known as the Northern fist. The Southern
part highly developed the mastery of foot techniques: kicks that can cripple or even kill a horse. It
has the power to destroy a door or even a concrete stone block house without any aid of______.

In present day Karate, the hand and the foot techniques are combined in one mastery and it
is known as a man’s ultimate weapon. In foot techniques, a kick and a block can be perform in
various forms of striking and kicking points during the target to its vital points. The following foot
striking surface points are:

1. The Knee: Effective for close range attack

2. The Instep: used for roundhouse kick
3. The Foot Edge: used for sidekick
4. The Sole of the Foot: used for crescent kick and block, parry
5. The Heel of the Foot: used in stomping kick, reverse and roundhouse kick
6. The Ball of the Foot: used for frontal kick and roundhouse kick
7. The Leg Itself

I. The Close Hand

 1. The Fore fist:
The Fore fist is the most powerful striking point when it contact as a punch. An imaginary
straight draw from the center of the forearm to the point of the knuckle of the index finger and the
__________finger, and not at the entire fingers. The vertical line represent the target that when the
striking point contact its target, the knuckles should be in balance. The horizontal line represent the
continuous line of the concentrated maximum strength from the forearm.

2. The Back fist:

The striking point is the back knuckles of the fore fist.

3. The Bottom fist:

One of the most striking points used in attacking hard vital points.

4. One Knuckle fist:

Extend the index finger out from the regular clinch fist and press with thumb. Used to attack
hollow vital points such as temple and hollow of the cheek.

5. Two Knuckle fist:

Extend the index and the middle fingers out, as the same in one knuckle fist.

6. Fore Knuckle fist:

Extend the four fingers to a half bend from a proper fist and press down with the thumb.

II. The Open Hand

1. The Knife Hand:

The Knife hand is one of the most deadly form of striking point in the open hand.
a. The Circle: Represent the striking edge of the hand, the line represent the continuous line of
maximum concentrated strength from the forearm to the striking edge.
2. The Palm Heel
Bend wrist upward or downward to form a less 90% angle.
3. Chicken wrist
4. Chicken Head wrist
5. The Four Fingers Spear Hand
6. The One Finger Spear Hand
7. The Two Finger Spear Hand
8. The Finger Mouth
9. The Chicken Peak
10. The Bear Hand: used to attack ears
11. The Back Hand
12. The Ridge Hand
 13. The OK- JAR

III. Others

1. The Elbow- this is the most respective striking point

2. The Forearm:
a. The Back of the Forearm
b. The Inside of the Forearm
c. The Front of the Forearm
d. The Outside of the Arm

The Karate Stance:

The important element in any sports is the stance. In Karate a strong and well executed
techniques in both defense and offense lies on a large extent on the physical balance and the good
stance. There are several kinds of Karate stance which are based on the factors of strength and
agility without the mastery of well stable stance. Karate techniques such as punching, striking,
kicking and blocking are impossible to perform effectively.

These two above stances are the basic stances in Karate that are used in pre-arranged
sparring, Kata, and rendering courtesy. The respective diagram represents as follows:

1. Stance on a drawn imaginary lines at center of the horizontal and vertical lines. The meeting
point of the two lines is the center of the body’s weight.
2. The vertical line on the front represent the direction of the front balance, the line on the
rear balance whereas the horizontal line of the right represent the direction of the right side
balance and on the left represent the direction of the left side balance.

The feet must be held as described on Figure 1 and 2.

Figure 1. Forward Stance (Zenkutsu- Dachi)

From open leg stance, move one leg forward at about twice of the shoulder width distance
from the rear leg, as shown in the diagram. The front foot is pointing straight forward direction
whereas the rear foot is oblique outside at about 45%. The front leg is bent at the knee and forced
outward so that the knee is directly over the outer edge of the foot. The rear leg is fully straight
incline and keeping the back straight. The bearing of weight on the front leg is 60% and 40% on the
rear leg.

Figure 2. Straddle Stance (KibaDachi)

Open both legs a distance about twice in width of the shoulder and bend knees outward.
The heels should be planted firmly and toes pointing straight forward. The distribution of the body
weight of both legs is 50%-50%. Keep back straight and chest out. All muscles of legs and hips
should be tighten.

Figure 3. Back Stance (Kokutsu- Dachi)

Bend the rear knee and force outward the same as in the straddle stance. Move the opposite
leg forward about twice the width of the shoulder. The direction of the front foot is pointing
straight on Fig.3. Distribution of body weight on the rear leg is 70% and 30% on the front leg. Keep
back straight and chest out.

Figure 4. Cat Stance

With rear foot on the ground, tense the rear knee inward so that it points diagonally
forward and raise the heel of opposite foot in front near the point of the sole of the rear foot with
toes pointing straight forward. Distribution of body weight on the rear is 80% to 90% and 10% to
20% on the front. Keep back straight and chest out.

Figure 5. Diagonal Stance (Sochin- Dachi)

This is a straddle leg stance moving forward direction. The front knee is over the big toe,
while the rear knee is about one foot forward of the big toe. Body weight is evenly distributed on
legs and both knees are bent and tensed outward. Feet are about twice in shoulder width distance.
Keep back straight and chest out.

Figure 6. Hour-Glass Stance (Ganchin-Dachi)

Keep both knees tensed inward with front knees pointing directly over toes and the rear
knee about two inches forward to toes. Toes on both feet are pointing inward and the body weight
is distributed 50%-50% on each leg. Rear toes and front heel are about even with each other and
heels are about shoulder width apart. Keep back straight and chest out.

Figure 7. Diagonal Hour Glass Stance

The diagonal hour glass stance is performed by spreading the legs twice of the shoulder
width from the hour glass stance on Fig. 7. The body weight is evenly distributed on legs.

Figure 8. One Leg Stance

Raise one foot near the point of opposite side of knee with ankle and knee bend. The body
weight is bear fully by the one leg on stationary. Keep back straight and chest out.

Karate Practical Instructions

Like any martial arts of self-defense, Karate’s foremost reason is self-discipline and self-
respect. In the oldest code of the ancient samurai, the warrior says “Discipline yourself before you
rule the nations; do not respect no one unless you respect yourself.”
 Respect means courtesy, and courtesy in the martial arts means the salutations. It is
emphasized on the code that says “busido begins with courtesy and ends with courtesy”. It is one of
the highest cardinal principles that even extend toward the opponent in the modern Karate.

Courtesy, the salutation, can be done by proper bowing.

1. Courtesy from standing to kneeling position.

2. Courtesy from kneeling to standing position.

I. Courtesy from standing position to kneeling position.

On standing position, assume informal stance.

Instructions:

a. At the first move- count 1, draw back the left foot on a half-kneeling position with the left
foot on a tiptoe manner.
b. Then at the second move- count 2, draw back the right foot assuming full kneeling position
in a tiptoe manner.
c. At the third move- count 3, cross the feet with each other sitting on the heel of the feet,
while the insteps resting against the floor .
d. Both hands are resting on the base of the thigh or lap.
Note: On the last position, the instructors and students both will close their eyes for meditation,
concentrations and individual prayers to clean their minds from outside problems and to
concentrate to one point of teaching and learning the arts of Karate. The individual players is to
ensure and avoid that no accidents, injuries, bad thoughts and evil ways may occurred during the
progress of the training.

e. After a minute allowed, the instructor will sound “rei” or bow, meaning ready for
instruction and training, the fourth move-count 4 is to extend the hands forward resting the
palm of the hands on the floor with fingers pointing inside.

II. Courtesy from kneeling position to standing position

Assuming on kneeling position.

Instructions:

a. The first move from this position is to stand on both knees with toes bending against the
floor and return to sitting/ kneeling position; sitting on the heels.
b. Then move the right foot forward to assume right half kneeling position.
c. At the third move, stand on full standing position.
d. As hands resting on the side of hips, bow head slightly for salutation, meaning “ready”.
THE PROPER BELTING

The belt, in any forms of martial arts of self-defense like Karate, Judo, Jujitsu, Kyudo, Kendo
and others is a symbol of attainment; in stages in training and experience. It is an insignia of ranks
being a symbol of respective ranks it is therefore worn properly and distinctively. In the Figures
shown is how to tie the belt properly.

The belt is composed of the following parts:

a. The right wing

b. The left wing
c. The center of the belt
d. The lock
Instruction:

1. Hold the center of the belt with both hands and proportion the belt into equal length.
2. Place the center of the belt under the navel and wrap the belt around the waist as it passes
on the back, change hold of the wings accordingly being careful. Be sure the belt does not
existed.
3. Cross the right wing over the left wing at the center point and then tighten the left.
4. At this point, tie the belt in square knot.
5. The belt should be comfortably snug on the trunk. Lock wings should be pointing
downward in side direction.
HOW TO FOLD A KARATE GI (The Uniform)

1. The Karate Gi is consist of jacket, trouser and the belt.

2. Place the trouser on the jacket.

3. Fold one sleeve over the trouser.

4. Fold the other sleeve.

5. Then fold the bottom of the jacket.

6. Start to fold the jacket from the bottom part.

7. Placing the center of the belt on the middle of the folded jacket, wind the belt around and be sure
both ends of the belt are in the same length.

8. Tie the belt in a square knot manner.

KARATE PREPARATORY EXERCISE

Calisthenics are the important part of warming up exercise in Karate that requires the
maximum control of all the upper and the lower part of the body. It gives a total flexible control
strength and muscular exercise for improving power, speed endurance, stamina, and confidence. It
is divided into limbering exercises, muscle strengthening exercises, exercises for improving the
wind and reaction time exercises. The following exercises are shown in the figures in sequences.
1. Body loosening: Relax all your body muscles, particularly arms, shoulders, legs and joints.
Gently lift up and down by shaking it.

2. Neck exercise: Twist head sideward from right to left with weight pressure several times,
then up and down then into a circular motion and rotate in a reverse motion.
Assume open leg stance.

3. Arm exercise: With shoulder relax, extend arms and rotate in a circular motion and reverse the
rotation in several times. Assume open leg stance

4. Hip exercise: The arms in side direction as far as it reach, twisting the hips, then reverse the
motion. Repeat several times. Assume open leg stance.

5. Back bending alternate: On open leg stance, bring one hand to the opposite foot without
bending the knees, then hands up with the back straight. Do the
same on the opposite hand with the same manner. Repeat several
times.

6. Back bending Open leg: On open leg stance, bring both hands upward, leaning backward as
far as it reach and then bend downward bringing both hands inside
the legs touching the floor without bending the knees. Repeat several
times.

7. Back bending close leg: Place hands on the waist on close leg standing position. Bring the
body backward as far as it bend, then bend the body downward
hugging the legs without bending knees if possible. Repeat several
times.

8. Trunk stretching: On open leg stance, keep the knees straight, bring hands downward,
sideward, and backward in a circular motion. Repeat several times,
then reverse the motion in the same manner.

9. Side stretching: On open leg stance, bring one hand over head to the opposite
side, stretch the side of the body as far as it reach; keeping the knees
straight, then reverse the motion in the same manner and repeat
several times.

10. Foot exercise: Assume one leg stance; hold the foot as shown in the figure. Rotate
the toes, then the foot and stretch upward keeping in good balance.
Then do the same on opposite foot and repeat the same manner.
Repeat several times.

11. Leg- spreading one side: On open-leg stance, extend one leg sideward and bend down
the other leg keeping the leg in straight knee, then push downward
as low as possible.

12. After the toes upward twist the foot sideward.
13. Full- leg Spreading:
14. Rabbit Hopping:
15. Leg Squatting:
16. Back bending sitting exercise:
17. Abdominal Exercise:
18. Bicycle Kick Exercise: Lying with the shoulder on the floor, keep the hips and legs up straight.
19. Push up Exercise:
20. Rope Skipping:
21. Body Loosening:
Note: Toes upward with the heel against the floor. Repeat the same
manner on the opposite leg. Repeat several times.
On open-leg stance, spread both legs on the sides as low as it spread,
keeping both knees straight.
Assume squatting position with hands clasped behind the back. Hop
as far as possible and as high as possible. Keep the balance as it land.
Repeat several meters.
On open leg straddle stance, the partner ride on the laps. Bend knees
as low as possible in full squatting manner and raise it up. Repeat
several times.
Assume flat sitting position and extend both legs
forward, keeping the knees straight with hands holding the ankles.
Let partner stand behind the back and let him push you forward as
low as possible. Then let him pull you up as on flat sitting position.
Repeat several times.
With partner, bring both hands on the back of the head. At one time,
bring the body backward against the floor and then bring it up
bending forward, keeping the head as low as possible between the
knees. Repeat several times.
Then rotate foot and legs in a kicking motion like riding a bicycle.
NOTE: Kick with the heel of the foot. Repeat several times.
Assume the prone position. Support the body with the fore fist
knuckles or the fingers and toes only touching the floor. Bring the
body down and then up with elbows extending full straight. Repeat
several times.
On natural standing position, start with one jump per revolution,
alternate two revolution per one jump high. Combined moving
forward, backward, sideward on left and right side directions. This
exercise develops lungs capacity, stamina, endurance with rhythmic
movements and tones up elasticity of the body and gives exercise in
coordination.
After completing the sequence exercise; relax all muscles and shake
all joints: the shoulders, elbows, thighs, knees, ankles, feet and hand
joints. Repeat several times.
THE BODY SHIFTING

In general, the body shifting in Karate is the motions of movements of the body which are
consist of stepping, slipping, turning, pivoting and combinations of
techniques.

The following pointers of the body shifting are as follows:

1. Maintain at all times a good and strong balance.

2. Control your body weight and move smoothly.
3. Maintain correct posture at all times.
4. Do not raise and lower your hips more than necessary, they should move more or less in an
imaginary straight lines, forward, backward, or either right or left side.
5. Do not raise your feet high off the ground; move smoothly with your ball of foot touches the
ground, on the other hand, do not drag with the sole and heel of the foot as you move. It will
lose both speed and balance.

The Stepping

In karate, the stepping means to step in forward, backward, sideward or double step. It can
be move in forward, backward, sideward from the forward stance, straddle leg stance, back
stance, diagonal straddle stance in shifting where a relatively large change of position is
desired.

The Slide Stepping

This method is a shifting of footsteps from one stance to another desired stance. From the
forward stance to the backstance.

NOTE:

1. On forward stance, there are two drawn imaginary lines when stepping in forward and
backward.

2. On back stance, it only used single drawn imaginary line when stepping on forward and
backward.

This shifting from one stance to another desired stance are the combination of any shifting
method of footsteps and other body movement.

The Double Stepping

These shifting methods can be applied from any Karate stance in order to cover a wide
distance or close distance from the opponent and at the same time move the upper part of the
 body smoothly so as to prevent the opponent from anticipating your moves during such
strategy or creative opening.

In double stepping from forward stance, the rear leg should be brought forward to a
position slightly ahead of the body and the front leg, in a tip toe manner. The steps should be
performed smoothly, raising the feet only slightly off the floor. The body, particularly the hips
should continue to face in the same direction. Both knees should kneel moderately. Do not
straighten the legs during the double steps..

In double stepping from the straddle leg stance to straddle leg stance, the first foot, either
right or left, depending the direction to double step in order to cover up or withdrawn from the
distance of the opponent, the side foot is brought up even with the close to the other foot.

Both steps must be performed smoothly and well-balanced, with the foot raised only
slightly off the floor. As the first foot move to cross the second foot, the second foot(the rear
foot) should be brought to a tiptoe manner, bending both knees deep, before it steps to assume
the same distance (straddle leg stance).

The two above mentioned example of the double stepping are also applicable to any Karate
at needs, such as on back stance, cat stance, diagonal straddle stance etc with the same
objectives.

1. Either to cover up a close distance from the opponent.

2. Or to withdraw a wide distance from the opponent.

Post-Test:
1. What are the code of ethics of Karate?
2. Identify the Calisthenics of Karate in order.
3. What are the salutations or proper bowing in Karate?

CHAPTER IV
EMPTY FORE-FIST STRAIGHT
Objectives:
At the end of the chapter, the students should be able to:
1. identify different techniques of Karate;
2. differentiate attacking techniques from blocking techniques;
3. demonstrate different techniques and skills learned on practical examination;

Pre-Test
1. What are the different punching techniques that you know?
2. What are the different blocking techniques that you know?
3. what are the different kicking techniques that you are familiar with?

This punch is probably the most widely used techniques in all Karate close hand form and is
extremely strong, speedy and powerful when the distance of the target is upon the reach. It is a
straight punch of the close fist, which is twisted 180o simultaneously as it move from the origin, at
waist line to the target with arm fully extended.
Principles:
According to the theory of Karate, an imaginary vertical line drawn directly in front of the
center of the body repress at the area at which the greatest strength of the body can be
concentrated when utilized as too punch, strike, thrust and kick. It is also vital target area from the
upper to the lower extremities of the body. Whether aiming at the opponent’s face, stomach or
groin, the blow should strike in this vertical line. Without unduly tensing the muscles of the
shoulders and arms, the close arms and elbow move directly toward the target in the shortest
distance and the fastest speed. As the punching arm moves out for a punch, the other arm is
simultaneously pulled back to the waist line for ready point of the maximum extension of the
punching arm, all of the muscles of the body are stiffened or focused. The focused is momentary
with the coordination of the proper breathing. Exhale with the sound HAI and in the next moment
the muscles are relaxed and ready for the next punch.
Instructions:
1. Assume an open leg stance, shoulders down and relax body. Have a proper fore fist closed
and place the punching hand at the waist line, extend other hand slightly in front of the
body as a guide to the target. Coordinate proper breathing.
2. Thrust the punching hand from the origin straight forward, passing the elbow lightly along
the side and pull the extended hand about the waist line.
3. As the elbow of the punching along the side of the body, twists arms wrist so the arm is
straight at its point of maximum extension.
4. At the same moment, twist and pull the opposite arms to the side for ready position.
Coordinate proper breathing (exhale with sound HAI) this will tense the muscles of the
body.
 5. Punch alternately with the right and then the left hand aiming at the center of the vertical
line as an imaginary target. This is known as “empty punch” because it does not involve
stepping.
6. Beside single alternate punch, practice series of punches, double and triple punch and it is
known as “automatic punches”. These punches are the most important fundamentals in
Karate.
The principle behind twisting the punching arm inward just before an inch to the target: the snap of
the punching arm increase the speed and strength of the blow. The purpose of the pulling of
opposite arm simultaneously with the punching arm is based on the principles of physics, that to
every action there is an opposite and pulled out the stronger and powerful of the opposite hand at
the impact of the blow.
The Reverse Punch (GyakuZuki)
This punch is the adaption of the empty fore fist straight punch. It consist of punching with
the arm which is on the same side as the rear foot on forward stance. This is simply a fore fist
straight punch performed on the forward stance with the hips twisted in the direction of the punch.
The twisting of the hips and the punching arm should coincide simultaneously with focusing on the
body muscles at the impact of blow is released.
Instructions;
1. Stand on forward stance and assume position of the hands as the same of the empty punch.
Coordinate proper breathing. (inhale from the nose)
2. Keep the back straight and twist the hips smoothly as the punching arm move out from the
waist line and pull the opposite arm along the side of the waist line.
3. Thrust the punching arm straight forward in a twisting manner at its maximum extension
with a snap of twisting hips. Pull opposite arm for a ready position. Coordinate proper
breathing (Exhale in the mouth with a sound “HAI”) at the impact of the blow.
Pointers:
1. The power of the reverse punch depends on correct timing of the forward twisting motion
of the hips emphasize practice in synchronizing the twisting of the hips and punching arm.
2. Direct the punch forward at vertical line at the center of your body.
Lunge Punch
Like the reverse punch, the lunge punch is adopted from the empty fore-fist straight punch.
It is performed on the forward stance is which the punching arm is on the same side of the forward
foot which moves forward during the delivery of the punch. The force of the body moving forward
during the punch is used to increase the speed and strength of the punch. Just like the reverse
punch, the lunge punch is an independent technique on close hand form. It is performed commonly
on forward stance and diagonal straddle leg stance.
Instructions:
1. Stand on forward stance placing the punching arm on the wrist line at the same side of the
rear foot. Coordinate proper breathing. (inhale through the nose)
2. Start to move the rear foot.
 3. As the stepping foot passes the front foot, begin to move the punching arm to the same as on
empty fore-fist straight punch method. Keep stepping leg bent. Step only with ball of the
foot. Synchronize the movements of the hips to the punching arm.
4. Stretch the stationary leg, straight incline and thrust the hips forward in a twisting manner
and as the stepping foot completed the full forward stance, simultaneously complete the
punch in a twisting manner and focus the body muscles. Coordinate the proper breathing.
(exhale thru the mouth with the sound “HAI”.
5. Keep back straight and do not lift the rear heel.
The Vertical Fist Punch (Tate-Suki)
This punch is like the fore-fist straight punch except that punching arm is twisted only a half
turn or quarter turn in a vertical position to its maximum extension during the impact of blow. This
can be performed in the manner of reverse punch and in the lunge punch.
The Rising Punch
The origin of the punch is the same as on the mentioned punch except that the punching
arm travel wide. The twisting of punching arm and hips are the same. These can also be performed
on reverse and lunge punch fashion, on forward stance and diagonal straddle leg stance, and on
sitting or lying position.
The Hook Punch
This is one of the effective techniques of the close hand form for attacking from the side for
close quarters. It can be performed with the fore-fist, fore knuckle fist, etc to attack the solar plexus,
temple, ribs, adams apple, etc.
Instructions:
1. This can be performed on open-leg stance, forward stance, straddle leg stance, diagonal
straddle leg stance etc.
2. Start to move the punching arm to the target. The target is along the opposite side of the
body. Simultaneously pull the opposite arm to the waist line.
3. As soon as the elbow of the punching arm passes the hip, the fist is twisted and thrust
directly sideward in a sharp curve. Do not bring the elbow outward from the body. This
point of impact of the blow should be directly in front of the opposite side of the body.
4. Coordinate proper breathing during the focus.

Roundhouse Punch (Mawashi- Zuki)

This close hand form can be performed with the fore-fist, fore-knuckle fist, etc. on open leg
stance , forward stance, straddle leg stance, diagonal straddle leg stance, etc.
Instructions:
1. Assume position natural stance position.
2. Start to move the punching arm to the target. The target is the side but directly in front of
the body. Simultaneously pull the opposite arm to the waist line.
 3. As soon as the elbow of the punching arm leaves the body, the fist form an arc,
simultaneously twist the punching arm outward 180o with the snap of the hips.
4. Coordinate proper breathing during the focus. Focus strongly at the point of impact.
The Close Punch
This is one of an effective close of close hand form in close quarter fighting and is performed
on open leg stance, forward stance, straddle leg stance, diagonal straddle leg stance in reverse or
lunge punch method. This punch is delivered from the waist line to the target with the inside of the
forearm up.
Instructions:
1. Assume natural stance position; coordinate proper breathing.
2. As the punching arm moves from the waist line, keep elbow to the body and withdraw the
opposite arm.
3. Twist the punching arm outward just before focusing with the twisting of the hips. Special
emphasis should be given to tensing of chest muscles while focusing with the coordination
of proper breathing.
The Back Fist Strike (Rikan-Uchi)
A. The Downward Strike:
Although the techniques fall on the striking techniques, yet it is a close hand form. It is
perform with the used of the snapping motion of the elbow to strike with the back of fist. It
is mainly effective in close quarter fighting as to attack the face area and solar plexus of the
opponent. It can be performed on open leg stance, straddle leg stance, diagonal straddle leg
stance, etc. in downward and sideward strike.
Instructions:
1. Assume natural stance position. Focus eyes on the side of the target. Coordinate proper
breathing.
2. The striking fist moves from waist line to the opposite waist line in a circular motion.
Extend the opposite arm to the opposite hip.
3. Hold the elbow of the striking fist stationary and snap the fist downward. Twist the striking
fist outward at the impact of the strike; simultaneously pull the opposite arm for ready
position.
4. Exhale at the impact of strike.

B. Sideward Strike
The motion of this technique is practically the same as that of the downward back fist strike
except of the position of the fist to the target. The elbow of the striking fist is extremely
extended to the maximum reach and the bottom of the striking fist is pointing forward. It
can be performed on open leg stance, straddle leg stance and diagonal leg stance.

Instructions:
 1. Assume natural stance position.
2. Move the striking fist from the waist line to the opposite line in a circular motion with
opposite hand extended on the opposite side.
3. Aim the elbow of the striking fist at the target and twist the waist and snap the striking fist
sideward. Simultaneously pull the opposite hand to the waist line.
4. Release the strike in a snapping motion extending the striking fist straight in horizontal line
with the bottom of striking fist pointing downward. Simultaneously pull the opposite hand
to the waist line for ready position.
Bottom Fist Strike (Tetsu-Uchi)
The bottom fist strike is performed in the same technique as the back fist strike except that
striking surface of one strike is the bottom of the fore-fist. The origin of the strike from the waist
line to the target is practically the same. The twisting of the hips, the striking fist, the snapping
motion and coordination of the opposite hand as guide are all the same as of the back fist strike.
This technique can be performed downward or sideward the head, joints, solar plexus and
especially the hard surface of the opponents body.
The special advantage of this technique is that it presents little danger of injury to the
striking hand during the impact of the strike.
It is commonly adopted on forward stance , on reverse and lunge punch method and on
straddle leg stance and diagonal straddle leg stance.
The Double Fist Punch (Morote- Zuki)
This technique is a fore-fist straight punch in which both hands punches the target at the
same time. The origin of the punching hands is at the waist line to the maximum extension during
the impact of the blows. The twisting of the punching hands before an inch to the target and the
snapping motion of the twisting are synchronized in one action.
Instructions:
1. Assume natural stance position. Coordinate proper breathing.
2. Move both hands from the waist line, passing the elbow at the side of the body at the same
time.
3. Twist both hands before an inch to the target to the maximum extension on the impact of
the blows.
The U-Punch ( Yama-Zuki)
This punching technique is simultaneous punch of the fore-fist straight punch aiming to the
face area and solar plexus at the same time. The other hand is a close punch and the other hand is a
rising punch.
Instructions:
1. Assume natural stance position. Coordinate proper breathing.
2. Execute one hand of a rising punch method and the other hand of a close punch method.
 3. Twist the punching hand or a rising punch an inch before an inch of the target,
simultaneously punch the other hand on a close punch in one snapping motion with twist of
the hips at the maximum impact of the punch.
The Knife Hand Forward Strike
The open hand forms are mainly used for striking techniques. This knife hand strike is one
of the strongest striking techniques in which the snapping force of the elbow and twisting
techniques of the wrist and hips and the used of the edge of the hand.
Instructions:
1. Assume natural stance position.
2. Bring the striking hands at the point of the fore-hand and extend the other hand forward as
a guide. Pass the striking hand smoothly to the point near the ear.
3. Swing the striking hand forward forming on side to the target.
4. Snap the elbow of the striking hand straight forward at the point of the impact and pull the
opposite hand to the waist line. Coordinate proper breathing.
The Knife Hand Forward Strike
Like the knife hand forward strike, this technique is a powerful open hand form. This is
perform in the manner as the knife hand forward strike except that the striking hand travel from
opposite ear to the vital points of the target.
Instructions:
1. Assume open leg stance position.
2. Bring the striking hand over the opposite shoulder at the point near the ear. The palm of the
striking hand is facing the ear. Extend the opposite hand forward as guide.
3. Swing the elbow of the striking hand from the origin forming a wide arc to the target; pull
the opposite hand to the side.
4. Just before the point of impact, twist the arm so that it is facing downward in a snapping
force. Simultaneously pull the opposite hand to the waist line and coordinate proper
breathing.

The Back Hand Strike ( Haishu-Uchi)

This form of an open hand technique is performed in the same manner as the back fist
strike, except that the striking hand is open but the basic principle and method are practically the
same. It is mainly used to attack the face area, ears, solar plexus, etc.
Instructions:
1. Assume open leg stance position.
2. Bring the striking hand passing the opposite waist line and extend the opposite hand in the
opposite direction as a guide.
 3. Move the striking hand in the wide area passing in front of the body to the target points. Pull
the opposite hand along the waist line.
4. Snap the elbow of the striking hand in a forceful motion to a maximum extension during the
impact of the strike. Pull the opposite hand along the waist line. Coordinate proper
breathing.
The Ridge Hand Outside Strike
This technique of an open hand form is like of a knife hand strike. It can also be performed
from outside and inside strike. It is mainly used to attack opponent’s neck, ribs, temple, solar
plexus, etc and also used for blocking.
Instructions:
1. Assume open leg stance position.
2. Bring the striking hand in an open hand passing below the waist line while the opposite
hand is extended forward as a guide.
3. Swing the striking hand upward in a wide arc and pull the opposite hand along the side.
4. Snap the striking hand inward just before the striking target so that the palm of the striking
hand is facing downward and directly in front of the body. Simultaneously pull the opposite
hand for ready position. Coordinate proper breathing.
The Ridge Hand Inside Strike
The ridge hand inside strike is the other variation of the ridge hand inside strike. The
striking point of the striking hand is the same except that the origin travel from the opposite side
and the palm of the striking at the impact of the strike is facing upward.
Instructions:
1. Assume open leg stance position.
2. Move the striking hand to the opposite side near the point below the waist line in an
opening form as the opposite hand is extended as a guide.
3. Swing the striking hand in an inside arc and pull the opposite hand along the side.
4. Twist the striking hand in a snap motion just before the point of impact. Strike the target
with palm of the striking hand upward directly in front of the hips.

The Elbow Strike (Empi- Uchi)

This technique is one of a powerful technique used mainly in close quarter fighting. It
consists of five different techniques as follows:
a. The forward elbow strike
b. The rising elbow strike
c. The backward elbow strike
d. The sideward elbow strike
These techniques are used mainly to attack the opponent’s chin, solar plexus, ribs, neck,
lungs, kidneys, etc.
Instructions for the Forward Elbow Strike:
1. Assume open leg stance position. Extend opposite hand forward as a guide.
2. Swing the striking elbow outward at the target and pull the opposite hand along the waist.
3. Move in the striking elbow in an arc toward the target and strike outward in a straight line.
Twists the waist inward of the striking elbows and bend the striking elbow deeply.
Simultaneously pull the opposite hand to the side for ready position. Coordinate proper
breathing.
Instructions for The Rising Elbow Strike:
1. Assume open leg stance position.
2. Extend the one hand forward in a vertical line in front of the body as a guide. Coordinate
proper breathing.
3. Swing the striking elbow upward in a wide arc from the waist line. Twist the hand of the
striking elbow inward and pull the opposite hand along the waist line.
4. With a snapping force, bend the striking elbow deeply so that at the point of impact the
hand of the striking is close to the ear. Simultaneously complete the pulling of the opposite
hand to the side.
The Backward Elbow Strike:
This elbow strike is mainly used to strike in backward direction with the coordination of the
roundhouse punch to the rear with the opposite hand. This technique is made stronger and more
effective.
1. Assume position on a straddle leg stance; bring the hand of the striking elbow at the point
near the ear.
2. Swing the striking elbow in a wide arc from the point near the ear while the opposite hand
from the waist line. Move to execute the roundhouse punch to the rear.
5. Twist hand outward and thrust the striking elbow straight backward. Simultaneously
complete the roundhouse punch to the rear with the opposite hand.
Instructions for the Sideward Elbow Strike:
This elbow strike mainly used to attack the opponents face area, neck, chest, abdomen,
back, kidney, ribs, solar plexus, etc.
1. Assume open lag stance position.
2. Bring the hand of the striking arm at the point near the opposite ear or over the opposite
shoulder, the palm facing the ear while the opposite hand extending to the opposite side of
the target direction as a guide. Move the hand of the striking arm sideward passing in front
of the body.
3. Thrust the striking elbow straight sideward to the point of the target and pull the opposite
hand to the side.
4. Before completing the strike, turn the waist of the striking elbow inward and bend the
elbow. Deeply thrust directly sideward in a straight line. Coordinate proper breathing.
The Rising Block
 This blocking technique is mainly used to block the opponent’s attack on the front of the
body particularly the solar plexus, chest, adams apple and the face area. It consists of raising the
blocking forearm and reflects the block with outer surface of the blocking forearm near the waist to
the center between the elbows.
Instruction:
1. Assume open leg stance position.
2. Bring the blocking hand long near the opposite side and extend the opposite hand forward
as a guide.
3. With the elbow of the blocking arm about 90o, swing the arm of the blocking arm upward
keeping in close to the body.
4. As the blocking arm passes in front of the body, twist the blocking arm inward and pull the
opposite arm to the side.
5. Simultaneously snap forward and focus at a point about three inches out from the top of the
forehead and pull the opposite hand to the side for ready position. Coordinate proper
breathing.
Forearm Block (UDE-UKE)
This is the second kind of the forearm block which uses the outside surface of the blocking
forearm to block an opponent’s front attack.
Instructions:
1. Assume open leg stance position.
2. Bring the blocking hand to the opposite shoulder near the ear and extend opposite hand
forward as a guide.
3. With elbow bend of the blocking arm, swing the blocking forearm from the origin to the
front of the body.
4. Snap the fist of the blocking forearm outward in a twisting motion and focus strongly at the
hand point of impact. Simultaneously pull the opposite hand to the side for ready position.

The Downward Block

This blocking technique which uses the outer part of the forearm from the waist to the
center between the elbow, deflect and block an attack to the area of mid-section of the body from
the shoulder lines to the groin. It is effective in defending against kicking and punching attack.
Instructions:
1. Assume open leg stance position.
2. Bring the blocking arm over the opposite extending forward as a guide.
3. Swing the blocking arm downward from the origin in a strong deflective motion.
4. Simultaneously twist the blocking arm so that the waist is downward and at the same
movement pull the opposite arm to the side for ready position. Coordinate proper
breathing.
The Blocking Techniques
 The true art of Karate is said to “begin” and to “end” with blocking. Another motto is “In
Karate, never make the first move”. The meaning behind both of this expression is that karate ethics
opposes its uses for offensive purposes. Since karate originated and has developed as an art of self-
defense, blocking techniques are highly developed. Most of these are performed with the hands in
which the opponent’s attacking hands and foot is struck, deflected, pressed down, hooked, or in
some other way blocked so that the attack is rendered ineffective. A distinctive feature of manly
karate blocking techniques is that they are “focused” blocks in which the whole strength of the body
is concentrated at the blocking point and then withdrawn. The advantage of this is that they often
inflict such pain on the opponent’s attacking arm or leg that he is discourage from attacking again.
Also this kind of blocks enable one to maintain in his posture and balance and be immediately ready
to perform the next technique, be it a counter attack or another block.
In Karate, the blocking techniques to use in any given situation must be determined on the
basis of the form or attack, the strength of the opponent, one’s own position in relation to that of the
opponent, one’s own strength and other pertinent factors. The following points particularly should
be bear in mind as follows:
1. Make every effort to turn the opponent’s strength to your advantage.
2. Be sure to maintain your own balance and posture in blocking.
3. The blocking hand should not be over-engaged in the block, but should be propagating for
the next technique.
4. While blocking and afterward be sure your posture of position does not defer your
opponent of opening.
5. While blocking you should bear in mind the counter attack you will follow up with.
The Downward Elbow Strike:
This elbow strike technique is most powerful elbow strike among the five techniques of
elbow strike. By the motion of the striking elbow downward and with aid of the body weight during
the point of impact made this technique the most powerful and effective. It is used mainly to strike
the opponent’s chest area, back area and head area when opponent if off balance of in lying
position.
Instructions:
1. Assume position on straddle leg stance or diagonal straddle leg stance. Bring the hand of the
striking arm over the shoulders and coordinate proper breathing.
2. Swing downward the elbow of the striking arm from the origin over the shoulder. As the
striking elbow moves downward, bring the body downward bending both knees in one
synchronized movements.
3. Thrust the striking elbow straight downward, twisting the forearm, so that the palm of the
striking arm is at the point of the shoulder line. Simultaneously drop both knee to assume
flat feet full squatting position to the momentum of the strike.
The Knife Hand Block
The knife hand block is an open hand block and it is a speedy technique and is unique to karate
form. It is used in a wide range of situations mainly to depend against an attack to the front mid-
section vital areas.
 Instructions:
1. Assume open leg stance position.
2. Bring the blocking hand near the ear while extend the opposite hand forward as a guide.
3. Swing the forearm of the blocking hand down diagonally, simultaneously twisting the
blocking forward.
4. At the same time, quickly pull withdrawing opposite to the point near the solar plexus and
complete the blocking. Coordinate proper breathing.
The Augmented Forearm Block
The augmented forearm block is a close hand block which is similar to a forearm inside; the
principle and the basic techniques are the same but it is somewhat stronger and after the blocking
the opposite hand at the point near the elbow of the blocking hand is in a ready position and can
immediately move in to the counter attack or defend against an opponent’s next move.
Adaptations of the Block:
1. As the opponent move in the reverse punch, blocked with an augmented forearm on back
stance.
2. Then the opposite hand move to press the hand of the opponent’s punching hand and the
blocking and moves for an uppercut close punch.
The X-Block
The X-block is divided into two forms:
1. The rising open hand x-block; blocking downward against the attack from the waist line to
the face area; and
2. The downward close hand x-block; blocking downward against a kicking attack from the
abdomen to the groin.
Instructions for the rising open hand x- block:
1. Assume open leg stance position.
2. Thrust both hands in an open form in a straight diagonal lines upward passing in front of
the face.
3. As both hands cross at a point even with the top of the hand and one foot away, complete
the block with a pressing strength.
The downward close hand X-block:
This effective blocking technique requires comparatively little strength and which can be
easily turned to one’s advantage in counter attacking. This is mainly used to defend against a
kicking attack from the abdominal section to the groin.
Instructions for the downward close hand X-block:
1. Assume open leg stance position.
2. Bring both fists in a cross-fist near the side of the body.
3. Thrust both fists strongly downward in front of the body.
 4. At the completion of the block; bring both elbows straight inclined downward as that they
strike at the point in front of the abdomen about one foot away. Coordinate proper
breathing.
The Foot Techniques
The foot, as well as the hands, is the most powerful weapons in karate, not like in other
comparative martial arts of self-defense, the feet are hardly and rigorously trained and made into
the most powerful defective weapons; that is a unique feature in the art of karate.
Even the most common man who without trained their feet, they are inclined to use their
feet both for offense and defense so what more if they have a special training and converted them
into a powerful weapon. In ordinary circumstances, we do not use our feet in a large variety of ways
as we do our hands; therefore it says in karate “make thy feet do as what thy hands can do and
make thy hands strikes as powerful as thy feet”. In simple words, it is a constant practice. It should
be bear in mind that like all karate techniques, not just the feet or hands, but the whole body that
moves during the performance of certain technique used.
The foot techniques are widely used for both offense and to defend, it consists kicking snap
or thrust, jumping flying stomping, turning and blocking.
In kicking, the special attention must be emphasized to the stationary foot, shifting of the
body balance, and the withdrawal of the kicking foot into a good stance.
Since the stationary foot bears the whole weight of the body during the kicking, it must have
a strong stance and balance, especially in the direction of the target, and to withstand the impact of
the shock of the kicking during striking the target. The balance must be shifted in such a way that
the kicking foot bears none of the weight during the kicking and at the same time the weight must
be thrust in the direction of the kick in order to give the strength of the striking force of the kick.
A kick must be like that of a coil spring. The kicking leg should be quickly and smoothly
withdrawn after the kick to avoid from being grabbed or scooped by the opponent and to enable
one to prepare for the next technique, either defense or series of techniques.
The Frontal Snap Kick
Instructions for the frontal snap kick:
1. Assume position on forward stance.
2. Lift the knee of the kicking leg high and close to the chest at the same time bend toes and
ankle upward as much as possible and hold them under tension.
3. Kick upward directly in front of the body in a snapping motion of the knee to the striking
target with ball of the foot.
4. Upon the kicking leg reach to its maximum extension, snap back to withdraw to the
previous position with knee near the point of chest.
5. Then lower the kicking leg backward to assume the original forward stance.
6. Avoid lifting heel of the stationary foot when kicking.
7. Do not lean the body backward or forward when kicking; the body should be kept erect and
balance.
Instructions for the frontal thrust kick:
 1. Assume position on forward stance or back stance.
2. Raise the kicking knee close to the chest.
3. Kick in thrusting manner outward straight to the target. Coordinate proper breathing.
4. Withdraw the knee of the kicking leg close to the chest.
5. Then return to the original position.
The Frontal Kick
This kicking technique is to kick forward in which the striking surface of the kicking foot are
the ball and the heel of the foot. There are three kinds of frontal kick on standing position namely
the:
1. Frontal Snap Kick which makes use of the snapping motion of the knee.
2. Frontal Thrust Kick which the heel of the foot is thrust in a straight line to the target.
3. Frontal Stomp Kick which the ball of the heel of foot is stomp downward in a straight line to
the target.
On Back Stance:
Adaptations:
These frontal snap kick and the frontal thrust kick can be performed from a stationary
position with either the front or the rear leg.
The Side Kick (Yoko-Geri)
Side kick on forward stance:
This kicking technique uses the edge of the foot as the striking surface in a force snapping
and a thrust motion of the knee. These are the three kinds of side kick on standing position, namely:
1. The side snap kick which utilizes the snapping motion of the knee.
2. The side thrust kick which the foot is thrust out in a straight line like a punch.
3. The side stomp kick which the foot is stomp downward to the target.
Instructions for the side snap and thrust kick:
1. Assume on position and coordinate proper breathing.
2. Bring the kicking foot upward.
3. To perform a side snap kick, utilize the snapping motion of the knee joint to jerk the
sideways in an upward arc. At the beginning of the kick the knee should point diagonally
toward the target.
4. To perform a side thrust kick, the origin and the basic principles are the same except when
kicking, thrust the edge of the kicking foot sideways in a straight line direction.
The Side Kick: Adaptation from the straddle leg stance
Instructions:
These kicking technique moves in a sideward direction in a single straight line either
forward or backward directions.
1. Assume position on straddle leg stance.
 2. Turn your face at the direction of the target; kick the kicking foot in a snapping or thrust
motion using the edge of the foot. In case from straddle leg stance, turn 90 o to the direction
of the target when kicking and assume straddle leg stance for the next move.
3. Repeat the same technique kicking the opposite foot on a series moves and kick.
The Roundhouse Kick
This kicking technique which uses the ball of the foot as a striking surface in which the
snapping motion of the knee and the swinging of the hips are utilized simultaneously to attack an
opponent to the front, side or back with ball or instep of the foot.
Instructions:
1. Assume position in forward stance, straddle leg stance or back stance.
2. Bend ankle and knee of the kicking foot sharply and lift up sideways.
3. Swing the hips and kick in a snapping motion of knee joint forward so that the foot moves in
a circular motion to strike to target directly in front of the body.
4. As the kicking leg extend to its maximum strength, withdraw quickly in a circular motion on
the origin.
5. Then return to the original position and coordinate proper breathing.

The Back Kick

The kicking technique uses the heel of the foot as the striking surface in attacking to the
rear or backward direction. Like the frontal and the side kick, the back kick is classified into three
kicks in standing position, namely:
1. The Back Snap Kick ( Ushiro- Geri- Keage) which utilizes the snapping force of the knee
joints to attack the upper part of the opponent’s vital points.
2. The Back thrust kick ( Ushiro- Geri- Kekoni) which utilizes the thrust motion of the heel of
the foot attacking the opponent’s upper vital points.
3. The Back Stomp Kick ( Ushiro- Geri- Kukomi) which uses to attack the opponent on the
ground or throw down.
General Instructions
1. Assume the position on forward stance, back stance, straddle leg stance or diagonal leg
stance with face turning at the back direction. Coordinate proper breathing.
2. Bring the kicking leg similar to the preparatory position in the frontal kick.
3. Bend the supporting leg slightly more than in frontal kick and keeping your eye on the
target to the rear. Swing the thigh of the kicking leg in an arc motion in case on the back
thrust kick and utilize snap of knee and strike the target with the heel.
4. Quickly withdraw the leg of the kicking leg to the ready position.
5. Return to the original position. Repeat the same technique on both legs.
The Crescent Kick ( Mikazuki- Geri)
 This technique uses the sole of the foot as the striking surface. It is mainly used to attack
and to back in a wide circular motion and target to the front or to the side opposite of the kicking
leg.
Instructions:
1. Assume position open leg stance and extend one hand sideward from the side of the kicking
leg as a guide or a target. Coordinate proper breathing.
2. Lift the kicking leg slightly bend at the knee and with a swivel like movement of the hips,
swing foot in an arc to the extending hand as a target focusing in front of the body with the
leg still slightly bend. At the point of impact the toes should be pointing upward and the
target struck with the flat sole of the foot.
3. Withdraw the kicking leg to a bent position in front of the chest.
4. Then assume the original stance on the opposite direction.
The Stomping Kick
This technique is a downward kick which uses the heel, edge and the sole of the foot as a
striking surface to the vital points either to the front, to the rear, to the inside or outside. In the
front and rear stomping kick, the heel is most commonly used as the striking surface; the edge of
the foot is mainly used. The stomping kick is consists of three kinds namely;
1. The frontal stomping kick ( Mae- Geri- Fumikomi)
2. The side stomping kick ( Yoko- Geri- Fumikomi)
a. Outside side stomping kick
b. Inside side stomping kick
3. The back stomping kick ( Ushiro- Geri- Fumikomi)
General Instructions:
1. Assume position and coordinate proper breathing.
2. With ankle bent upward, lift knee high toward the chest.
3. Thrust the kicking foot downward in a straight line to the target (and on the applications)
whether to the front or rear or to the side.
4. After the kick is completed, lift knee to ready position as returning to the original stance.
The Knee Kick
The knee kick is divided into two kinds:
1. The frontal knee kick
2. The roundhouse knee kick
This technique is very effective on the close quarter offense and defense which uses the
knee as the striking surface.
In the frontal knee kick, the preparatory adaptation from the frontal kick is the same; the
position and the release and pull-back to the ready position except that the focus of the strength is
transferred to the knee during the point of impact.
 In roundhouse knee kick, the knee is used as the striking surface. The basic principle and
the adaptation from the roundhouse are practically the same except the focus on the knee during
the point of impact. The circular motion of the release of the kick to the target is the same.
Post-test:
1. List the different punching techniques that you learned in this chapter.
2. List the different blocking techniques that you learned in this chapter.
3. List the different kicking techniques that you learned in this chapter.