KARATE

WADO-RYU 4 : Sth,4th, 3rd Kyu

by TatsuoSuzuki(8th Dan)Hanshi

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CONTENTS

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PART 1 5th KYU

EXERCISES KIHON TSUKI & KERI (BasicTechniques) 1, Ket t eJunzuki 2. KetteGyakuzuki 3. KetteJunzukiNo Tsukkomi 4. KetteGyakuzukiNo Tsukkomi 5. Tobikom izuki and Naoashizuki 6. Ushirogeri Gedan 7. Sokuto Chudan 8. NidanG er i

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8 8 10 12 14 18 20 21

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KNIFE DEFENCEbv Prof Ohtsuka 2

RENRAKUWAZA (CombinationTechniques) 1. M awashiger i ChudanG yakuzuki Chudan Ushir ogerG edani UShir oger i edanG

2. Sur ikom iSokut oFum ikom i UrakenJodan SANBON GUMITE ( 1. Jodan Uke Sanbonm e No-3) ( Jodan Uke Yonhonm e No.4)

( 2. ChudanM aeger Uke Sanbonm e No.3) i ( i ChudanM aeger Uke Yonhonm e No. 4) 3. ChudanSot o Uke and Uchi Uke OHYO GUMITE(Semi-Free Fighting) Nihonme(No. 2) KATA (Form) 1. PinanSandan 2. PinanYodan

26 29 32 36 38 40
45 45

PART 2 4th KYU

MAWASHIGERI CHUDAN AND JODAN RENRAKUWAZA (CombinationTechniques) 1. M aeger Chudan- Nagashizuki i JodanGyakuzukiChudan 2. SurikomiMaegeriChudan- Nagashizuki Jodan Mawashigeri Chudan i i i 3. M aeger Chudan- Sokut oFum ikom - Ushir ogerG edan G yakuzuki Chudan

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5th KYU
Page 70

KATA (Form) PinanGodan OHYO GUMITE (Semi-FreeFighting) Sanbonme

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KIHON.TSUKI & KERI(BASICTECHNIQUES) 'l. Kette Junzuki 2. KetteGyakuzuki NoTsukkomi Junzuki 3. Kette No 4. KetteGYakuzuki Tsukkomi Nagashizuki 5. 6. Ushir6geriGedan 7. SokutoChudan GeriJodan 8. Nidan TECHNIOUES) RENRAKUWAZA (COMBINATION Chudan Gedan Gyakuzuki Chudan Ushirogeri 1. Mawashigeri 'Jodan Gedan Uraken Fumikomi Ushirogeri Sokuto 2. Surikomi UKE (BLOCKS)

80

PART3 3rd KYU

RENRAKUWAZA (CombinationTechniques) C C 1. S ur ik om iM a e g e ri h u d a n- M a w a s h i geri hudanChudan- GyakuzukiChudan Ushirogeri Jodan 2. MaegeriChudan- Nagashizuki Chudan GyakuzukiChudan- Mawashigeri MaegeriChudan - Sokuto Fumikomi3. Surikomi Chudan- UrakenJodan Ushirogeri SANBONGUMITE U Chudan M ae g e ri k e l P Po n me KATA (Form) Kushanku OHYO GUMITE (Semi-FreeFighting) KIHON GUMITE K I HO N G UM IT EN o .1 K I HO N G UM IT EN o .2 SELF DEFENCE NEKONO MIOJUTSU (The martial art of the cat) DOJO ETIQUETTE DOJO KUN (DOJO MAXIMS) MOKUSO FUDOCHI 98 126 129 130 134 139 146 149 149 149 150

86 90 90
94

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SANBON GUMITE Yonhonme 1. JodanUke-Sanbonme, Yonhonme Uke-Sanbonme, Maegeri 2. Chudan SotoUkeand UchiUke 3. Chudan KATA(FORM) Sandan 1. Pinan Yodan 2. Pinan FIGHTING) oHYO GUMITE(SEMI-FREE Nihonme Jr YU KUMITE(FREEFIGHTING)

Speciatthanksare due to Mr. M. Naydler,MlssD' Gagnonand Miss G. Brown for their invaluableassntance in the productionof this book.

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EXERCISES
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Plates the I to 12. A methodfor strengthening hips lhe movingone leg across otherleg into 12. A side step whichinvolves Kiba Dachistance.As in plate9 the Note 7. In olate9, the stanceis KibaDachiwith backstraight Note 2. When liftingthe leg, keep the body uprightand try to liftthe foot abovelhe knee Note 3. Throughoutthe exercise,keepthe bodyweighl in the centre ln between each move, lhe stanceshould be Kiba Dachi flexible muscles 13 to 15. A methodfor training Note Do not practisevigorouslyat the start.After warmingup, the exercise can be carried out more intensely '16. Traininqlor stomachmuscles. Bothheelsmustbe kept approximat6lysix incheslrom the floor. Hold this positionlor a lew Practise niihutes,whiih should be increasdas the musclesstrengthen. this movemenl with feet together,lhen with the feet crossingalternately (scissoring) 17. Method for stretchingthe musclesof the stomach Note t. The person being liftedmust relaxto enablehis bodyto arch

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(MR .N. I S HI K A W A ) Plates 1 to 6. 1 to 3. 4 to 6. 7 to 8. An exerciseto obtaingood sidewaysbody movementand agility A diagonaljump using the kneesto obtainthe spring.This can be practised foruards or bacrwards A similarmovement, thistimethe feetcross but "8unny hops",usingthe kneesand hipsto obtainpower

KIHON. TSUKI KERI(Basic & Techniques)

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Plates 18 to 23. KETTEJUNZUKI(see6th Kyutor deraits) Plates 24 to 29. KETTEGYAKUZUKI (see6th Kyufor detaits)

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Plates N 30t o34. K E T T E J U N Z U K I O T SUKKOM(Ise e T th Kyu fo r d e ta ilso lJunzuki N oTsukkomi ) 30a to 34a. Note 7. Before kickingMaegeri,twistthe bodyto the front Note 2. When kicking Maegerido not straightenthe body Note 3. Do not move the handsduringthe kick 35a to 37a. MAWATTEJODAN UKE (see 7th Kyu lor details)

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Plates 38t o4 2 . K E T T E G Y A K U Z UKI NOT SUKKOM(Ise e T th Kyu fo r d e tai l sofGyakuzuki N oTsukkomi ) 38a to 42a. Nofe 7. Beforekickinq.twisl the front heel in and twistthe hios Note 2. Kick to a larget which is in-fiontof you 43a and 44a MAWATTEGEDAN BARAI (see 8th Kvu for details)

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TOBIKOMIZUKI and NAGASHIZUKI

46A + 47A --------> 48A

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478

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508

Plates 45 and 45a. These show HidariShizentai,which is the startingand finishingstancefor bothTobikomizuki 51 and 5la. and Nagashizuki (see6th Kyufor details) 46A to 50A TOBIKOMIZUKI 46a to 50a

(1) Wrong View. 1. Left punch not focussing 2. Punchshouldbe to frontof opponentsface 3. Back foot is too far to one side 4. Punching by arm only insteadol whole body 5. Head should be back more out of opponentsreach

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N A GA S H IZU K I b to 50b. Start in HidariShizentai.As the face is attackedwith a punch,slidethe frontfoot torwards, twist l hips so that the back toot slidesto the side. This causesthe punchto travelpastthe face (' rwo tr J"s' ,-te 7. Move the front foot in a straightline turningthe toes in slightly 's ' 'uv 468 and 4ob. Note 2. rhe ouiJrliil'iili'il"'i"r'i,i"Y A/ote3. Do not bend the elbowwhei punching . te 4. Do not turn the fronttoes in too much B-50b-51 AfterpunchingNagashizuki,movethebackfootfoMardhalfwayandthefrontfootback,to urn to shizentai

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and NAGASHIZUKI TOBIKOMIZUKI

46a -----> 47a ---'-'* 4Ba 48a

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MR. USHIRO GERI GEDAN (by H.FUJI)

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Plates 52. Stanceis HidariHanmiGamae 53 to 53a. Move the tront foot to the right /Vote. Move the trontfoot to obtainthe correctdistancebetweenA and D 54 to 54a. Turn the body lo face in the oppositedirection 55A 558. Kick to D's knee or stomachusingthe right heel 55a 55b. Note 7. Before kicking,raise right knee Note 2. Bend the insteo ivote 3. Keep looking away from opponent Note 4. Keep the left knee bent (2) Wrong View. The kick has no powerbecausethe backis notstraight 9p lo 991. After kicking,lower the rightfoot diagonailydown inroR. Hanmicamae rvore t. I ne guard should be changed Note 2. Platet 53 to 55 must be pe-rformed one movement as q be becauseyou must not tookat targetwhen kicking ry.ole P9for9. {icking, the targetmu,st remembered, /Vote4. After kicking,turn quicklywhile keepinggood balance 57 to 57a. Techniquefinishes HanmiGamae Migi

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SOKUTOCHUDAN
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NIDAN GERI (byMr. sHtoMtrsu) M.

63a i 64a -> 65a

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Plates 62. StanceHidariHanmicamae 63 to 65. Jump off the backleg,thenkickwiththe fronttoot 63a to 65a. A/ote7. Belore kicking,the front knee mustbe liftedtowardsthe chest A/ote2- When landing,keep balanceso that you are readyfor anotherlechnique

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Plates 58 to 61. SOKUTOCHUDAN(see8th Kyuand 6th Kyufor details) 58a t o 6l a

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CHUDAN1) MAWASHIGERI

CHUDAN USHIROGERIGEDAN- GYAKUZUKT

Plates 68 to 68a. Before UshiroGeri, ascertainyour target 6 9t o6ga. Wh e n k i c k i n g , d o n o t l o o ka to p p o n e n t,b u tn e ve r th e | e sskickthroughthetarget 71 to71a. RotatethehipswhenpunchingGyakuzuki.stretchthearmtowardsthetarget.Thisisasnap punch

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2) SURIKOMI _ SOKUTOFUMIKOMI USHIROGERIGEDAN-

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rPlates When the toot which performedUshiroGeri stepsdown, bringthe hand down readyfor Uraken | 79 lo 80 79a to 80a (Thisensuresmaximum twistin tne puncnf' hip |

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GUMITE SANBON
(No.3) JODAN UKE SANBONME
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Plates 82 to 83. Preparation(see 7th Kyu for details) 84. Step One. Asteps inwith RJunzukiJodan D steos back R. blocks L 85. StepTwo. Asteps in with LJunzukiJodan D steps back L, blocks R 86 lo 88. Step Three. A steps in with R JunzukiJodan Jodan,deflectingA's punchingarm with his . 'l-moves A tobt diaqonallytd L and counterswith Nagashizuki of I rrearm (see pp 12-io 15 ior details Nagashizuki) punchwill not be deflected or I tote t . keef ihe elbow down when execlting Nagashizuki A's I i) Wronq View. Shows elbow lified too high N6te 2. Sway the head slightlyto avoid the punch t4) Wrong View. Shows D failingto move his head out of reachof A's punch t

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Plates 89 to 91. After punchingat opponent'sface, bring back punchsharply and quickly lf the distance betweenD and his opponentis correct,he can immediately kickMawashigeriChudan. istooclose, should lt D he move L foot sidewaysor backwardsto achievecorrect distance, sothat he can then kick MawashigeriChudan.After kickingMawashigeri, leg is R brought back immediatelywrthoutpause.

I to 93. Preparation(see 7th Kyu for details) *-{. Step One. A stepsin with R JunzukiJodan D steps back with R, blocks L 95. StepTwo. Asteps inwith LJunzukiJodan (steps back with L, blocks R

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Plates 96 to 98. Step Three 96a to 98a. A steos in with R JunzukiJodan blockingpunchand behindL. Body leansbackwards, 96b to 98b. O steps back with R foot immediately covering lace with L forearm,from L to R. At the sametime,fist is pulledbackto waist 98, 98a, 98b. After the block,D brings L fist above R hand and twistship (5)WrongView. Thisshowsabadblock-Disnotswayingbackandisnotusinghiptwisttostrengthenthe deflection 30

lates 9, 99a, 99b. D brings back hips so that they are sidewaysto A and attacksuraken to A's stomach Note L When attackingwith Ljraken,do noitwist hips too muchotherwisepowerwill be lost Note 2. Knees must be bent, stanceshould be Shiko Dachi oo, 1ooa,100b. DmovesleftlootslightlytoL,andRfistmovesslightlylromhipandchangestoHaito 01,101a,101b. D tw is ts hi ps toLandatthes ameti meex tends R armands l ri k es tos ol arpl ox us ortogroi n ,ith Haito /Vote 7. From R hand on hips throughto the strike is a singlemovement sakeshouldbe doneonlyto the solarplexus Note 2. Haito is shown as ah attack[o the groinbut for safety's '5) Wrong yiely. L side step too wide so that HaitocannotreachA. Distancewrong,D not usinghip twist, rerefore Haito has no oower 31

MAEGERIUKE SANBONME (No.3)

-> Plates 102. Preparation(see 7th Kyu for details) 103 to 104. Steo One. A kicksR Chudan D steos back intb R HanmiGamae 108

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Plates (8) X 107to 109. S tepTh ree 107a to 109a. A kicksL Surikomi Maeoeri Chudan to his 107b to 109b. D moves half stepback,ind as the kickapproaches stomach,he movesR footslightly R and twists body counter-clock iise, blockingwith R lorearmto deflectkick.Whendeflectingkick,D bringsL hand to L hip /Vofe 7. With Surikomi Maegeri,A does not changeguard Note 2. When D blocksA's-kick,the heel of rightfooi must be up and L kneeshouldbe bent with the weight on the back leg /Vote3. The movementsshould be smoothand unbroken (7) Wrong View. D has moved L leg diagonallyinsteadol straightback (8) Wrong yiew. This block is incorrectbcauseit is done lust with the handwithoutusingthe body.. _ Therelore the block is very weak. The body is also loo far toMard and if the kick is very fast, it will strikeD

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Plates 110, 110a, 110b. Afteflhe block,A shouldbe in balance stilllooking hisopponent but at 1 1 1 , 1 1 1 a ,I I 1 b . Afte r th e kickb lo ck, o e sL Gya ku zu ki toA 'sLki dneys,tw i sti nghi sbodycl ockw i se Dd

| Plates ^r, bringsL f istbackto waist l"' 112 to 112b. D rmmediately the LGyakuzuki, punchis afterdorng l, ruotel. lf D bringsbackfistquickly " much sharoer Note 2. Note D's stance in plate I 12 - both heelsarellat on the ground and both knees bent, the weight is still slightlyon the back leg. Always ' keeo lookino at the opponent.No matterwhat the situation'alwaysbe t.' This is ZANSHIN(Awareness) lr ready to atti'ck or mov'e. lL From the stance as in Plate 112 A moves L foot back acrossR leg and turns body clockwiseto face opponent in 113.A finshesin R stance,D movesR leg back and Jinishes 1ruL stance t,''

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MAEGERIUKE YONHONME (No.4)

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Plates 'I14. Preparation 115and 116 . S t e p O n e A kicksR l\ilaegeri Chudan D steps back with L 117and11 8 . S t e p T w o A kicksL Maegeri Chudan D steps backwith R

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I I Plates 1l 9tol 2.l . S tepThree.W henA begi ns tol i fthi s l egforR Maegeri ,D s l i des tomardfi rs tLfool andthenR pushes thighdown.At the samelime,D doesR Gyakuzuki A's A's . 119a to 121a. L arm is bent.and to and bringsbacktistquickty h^.stomach Notg 1 When D alidesforwaril, he should make his stancelonger,to lower his bodyand makethe btock a I easrer A/ole2. The block with the L arm should be made by usingthe weightof the body,not by bringingdownthe arm or movinoit , !o{9S Thistlchnique,.theblockisnotsoimportant.WhatisimportantisthetimingoftheGyakuzukitothe I'opponentsstomach. .l fthepunc hi s doneatthec orrec tl i meandw i thenoughpow ei ,A w i l l b6unabl etoc arry l i D me. Inl skl ckthrough..Thebl oc k andthe.punc hmus tbedoneatthes ametibti mi ngi s l ool ateortooearl y ,' I the techniquewill be unsuccessful A/ote4. Fist is brought back quicklyto the hip afler the punchwithoutmovingthe stance A moves R foot back left t.J slidesback maintaining stance
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Plates 124.10 . CHUDANSOTO UKE (see7th Kyutor detaits) 131 124, 132to 135. CHUDANUCH|UKE (see7th Kyuforderaits)

O HY OG UM I T EN I H O N M E( N o .2 )
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rtes I 1..3and 140. A slidestirsthis R footand then hrsL. 139band140b.Thesl idei s madetotheopponent' s L.A ' s R foots houl dbeontheouts i deofD ' s foot.A tthe sametime,A doesLJodanGyakuzuki. Whenpunching GyakuzukiJodan, heelotthebacklootshould the be T sed. U blockswlth L hand and draws his headout of range.The blockis madewithopenhandfromL to R, rl sti ngi l attheendand bl oc k i ngw i ththeedgeol thehand-l l i ttl efi ngers i de)S eepl ates l 39to' t39b.A bri ngs rl l K puncnqutcK tyan eranac k 'tote. The L punchis not a feint.A musttry to strikethetarget.lf it werea feintD wouldnotneedlo block 141a,.141b. tw i s ts hi s hi ps c ounterc l oc k w i s eandbri nqs hi s Ll oottow ards hi s R A In lhrs stance,mostof A s weiqhtshouldbe to the rear -

Plates The mainpointof thistechnique to breakthe is opponent's balance. is srmilarto ll OhyoGumite lpponme, but lhe differences mustbe understood 'I36 to 137. Preparation 1 38. S t eoO n e . A s t e o s f o r w a rd toR Ha n m iGa m a e in D steps back into L HanmiGamae 40

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Plates 142, 142a, 142b. StepThree. A movesR footforward behindD's L foot 143, 143a, 143b A hooksopponent's leg just belowthe ankle.A's R fool should L remain nearthe ground and at rightanglesto D s foot.A bringshis leg stratght back. Note 7. Mostof A's weiohtshouldbe on the backleo Alote2. ThehookisdiffdrentfromthesweepinOhyo-Gumitelpponmewhichisdonewiththesoleofthefoot and in a sidewards direction A/ote When doingthis hook,A's bodyshouldbe at 90 degrees D's. 3. to Note 4. A s L kneeihould be bent Alote5. A must breakD's balance withthistechnique. is no goodif he merely lt touches opponent's fool 144. A lowershis R foot 42

Plates I to I 45. Step Four. A slrikesGyakuzuki D's ribs.Forthispunch,hips I rust be twisted clockwisewith body leaningslightlylorward | +6 nfter punctr,A.qringsfist back quicklyand twists hipscounter urOCKWlSe Stralgntens anO OOdy. Stanceshouldbe ShikoDachi Note t. The techniouesfrom 139 to 146 should be done smoothlv I ithout breaks. Platirs 141 to 146should be done as one sequen6eof i rovement I ote 2- A common mistakeis for A to end up too close to D becauseA lailed to lean back and maintaincorrectdistancefor the punchthat tollows the foot hook 47 q1 lo 148. Step Five. KeepZanshin
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43

)INAN SANDAN (see Kyufordetails) 6th

(From BUBtSHI)

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Hachi Ji Dachi.This is the name of the stance. I 9. 149a.Shizentai 150, 150a. 1. L foot moves slightlyto the L, at the same time both handsopen and go lo the R. The head about60 per cent on the R turns to the L to face opponent.The R knee is bent and the weightis distributed |-)t and 40 per cent on the L, and the heel of the L foot is slightlyraised.This stanceis calledMahanmiNo I rkoashi.The side of the body should be facingthe opponent.Boththumbsshouldbe bent intothe palm. quickly | 'te. Both arms should be relaxedin order to execulethe next block with the I5t, t St a. 2. From the same stance both arms are movedin a circularmotionto the L. Blocking back of the L hand. This block is for an attackto the face.The R hand comeslevelwith the forehead,palm [acing N ready for a possibleanack. shoul dbeonemov emenl anddonew i ths peed,bothhands mov i ngatthes ameti me l ,te7. 15O-151 I te 2. The bodyfacesNthroughoutthesemovements the I 'te 3. A punchhust be imagiriedcomingto the head,theretorewhen blocking, L hand goesslightly past the head to dellect the punch (9) Wrong View.fhe weight is on the front leg and cannot be movedeasily.Thumbs are not bent c the nalm and may be eastlyInluredor broken. I | 2, 152a. 3. Move the L foot back to its startingpositionand movethe R foot to the R. Bothteet should I rve the same distance.Al the sametime,drop both handsdownslightlylo aboutshoulderlevel.The head must turn to the R to lace opponent

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Plates | | 3,153a. 4- Movethehandssrrarghlacrossstrghflyupwardstobtock I Af in 3. abovewiththe backof the R hind. Thisist6esime stance in as A rti rstmovementofP i nanS hodan-ex c eptthati npi nanS hodan.the r U arockrs made wrththe thumbsideof the lorearmandthe fistsare clenched. Note. 152-153 shouldbe one smoothmovement

Plates

154, 154a. 5. Movethe R foota hallsleoto the L. Bothleosaresliohtlv f-^']t and lhe R leg is slightly turnedout withthe B heetstighfly offiheI tUnO.

46

th handsshouldbe brought backwithfistsclenched the hipswrrn to i,..-knuckleslacingdown.Steptorward(N)with L footand blockthe assumedkickwith bothhands,crossing armsin fronlol the body the turningthe fists.The R handshoutdbe abovethe L. ,'' te t. 154to 156shou l d beones mooth mov ement le 2. This is an augmentedblock normallya blockwith one arm v would suffice r"ule 3. The arms shouldbe keptslightly bent ,Vote4. The stance is the same as in Junzuki ( 1o) WrongView. Thef istsaretoo highandthe knuckles notfacing are ( vnwards. The elbows are stickingbut insteadof beingtightto the ly

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47

1 61 - 162

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Plates 157. Step forward into R Hanmi No Neko Ashi, bring both handsslightlydown to the L 158. Block Jodan Uke with the thumbsideol R Jorearm. Bring L hand acrossthe solar plexus, keepingthe arm relaxedand the elbow down. The knucklesshould be facing down. 159. 160. Ap u n c h c o m i n g t o t h e L o fth e b o d ysh o u ld b e im a g in e d a sDbl ocksw i ththeLtorearm,thepal mfaci ng L lo down, kickingsimultaneously Maegeri the sideof A's stomach. Note 7. The R handshouldnotbemoved i/ote 2. The blocking hand must be slightlylowerthan the shoulder (11)Wrongylew. Theblockistoohighandthusineffectual,thekickistoolowandnotwiththeballofthefoot 48 tes { I r and 16 1. Place the L foot to the L side afterkickingleavingthe L hand in the blockingposition l -Jaand 161a 162,162a. TwistthehipstotheL,atthesametimebringingtheLarmlowardsthebodywiththehandopen oalm facino inwards.This hand now simulatesan attacker.Strikewith R Empi il e 1. Afrer kickinowith the L foot, the stanceshouldb the same as in Junzuki wholebodyshouldbe usednotjustthe arm,bothfeetflat on the floor. il e 2. When anac[ing with Empi,trhe ,l r,tOga. MovetheRloottotheLfootandassumeHeisokuDachistance,movetheLhandtotheLhipwith palm upwards, R forearm horizontally acrossto the body palmdown, headfacingR. Theseactionsare performed simultaneously 'l i . Thi si sthe reverseof 160,i .e.bl oc k i ngandk i c k i ngtotheR I 49

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Plates o 165,16 6 b . T h e s ea r e t h er eve r se f 1 6 1 - 1 6 2 palmfacingoutt/vards. the bringing B handto forehead, 167, 168, 169. Open L handstmultaneously j67b, 1 6 8 b ,1 6 9 b . T w i s t i n g th e h ip sto th e L ,th e Rh a n d m o ve sin aw i deci rcul armoti oncl ockw i se,keepi ng to Chudanpunch(see1694).The L handis brought the the elbowsiightlybentto sieep ah assumed toreheadin a naturalrelaxedmanner. to 45degrees The NoTsukkomi. bodyis nowal an angleot The stanceshouldbe the sameas in Gyakuzuki of the direction movement (12) Wrong yiew. The feet are nol as in GyakuzukiNo Tsukkomistance.The R arm sweepis too low. The body is leaning to the R thus makingthe L hand block inetfective (do 170, 170b. Kick R ChudanMaegeri not movethe hands) 171, 171b. After kicking,move forwatd and bring R hand closeto the chest "Uraken" the to wrthR back-fist the 172,172b, 172c. Tne L tootshoulddragtowards R whileattacking opponent's face.The L handshouldmoveto the L hip withthe heelup Note 7. The kneesshouldbe bending Note 2. The kneesshouldbe touching how the block and strikework ivote 3. 169A. 170A. 172A show Note 4. 167 lo 172 arc cafiied out as a combination 50

(12)

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51

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177

__----+

------>

180

._--.--_>

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-.------>

179c

---------+

181c

_-____>

T
Plates 173, 173c. L foot crossesbehind R foot. The bodytwiststo the L 225 degreesinto ShomenNo NekoAshi stance. At the same time, the R fist comes behind L fist and backto R hip and L arm does Soto Uke Jodan. The body should face SE at the end of the movement 1 75t o178 c . K i c k R M a e g e r i , p la ce th e lo o tfo r wa r d a n d p u n ch with RthenL(C hudanR enzuki )tothecentre of the body

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)lates L, twist the to 179. 179c. Move R foot90 degrees facesw. The L handmovesto the R shoulder, R handto hios to the R and blockJodanSotoUke tatc. K i ckLMae geri C hudan I '8t, I

----+

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| 90c

191c

182c

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183c

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Plates a 187,187c. Twisthipsto the L and moveR handto the L sidemoving halfstepfon /ardwiththe R foot downto the chest. 188c, 189, 189c. and blockR JodanSotoUke.The L armshouldmovestraight down Note 1. The L arm blocksa punchto the chestwhilemoving Note 2. The stanceis againHanmiNo NekoAshi downwards. 190. 190c. Steo forwardwiththe L loot and blockJodanSotoUkewhilethe R arm blocks 191. 191c. The technioues the sameas in 187 to I 89c buton the otherside are 55

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Plates of 180 to 184. These are the reverse 174to 178 ruote. 173 to 178 and 179 to 184 are carriedout as a combination 185,185 c . M o v e L f o o t t o t h e L slig h tly.M o ve L h a n d to Rh ip th e n L armmovesi ntoLJodanS otoU ke.TheR block 186, 186c. arm movesdowntotheSolarPlexusblockingaChudanpunch.This is calledMorote Uke The stanceis HanmiNo NekoAshi. /Vote7. The feet shouldbe at rightangles eachother to Note 2. fhe R elbow should touchthe body,the fist slightlyaway from the chest 54

196

------>

197

---+

198

-_+

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_______> 194c

195(2)

.--...--->

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Plates 192 and 193. Hip twist to the teft,block with R hand to the face. Note 7. This stancefrom 191 is Hamni No Nekoashichanqesto Shomen No Nekoashiback foot twisting slightly,Jrontfoot remainsstill. Note 2. Lefl arm stays still while right arm blocks. 1 94. B ot h a r m s p u l l d o w n q u icklyto b e in lin e with th e sid e o fth e b o dv.A tthesameti meR kneel i tl suptokack opponenlsstomach Note 7. L foot remains on floor flat 1 95(1). Rfo o l d o w n i n f r o n t b u tslig h llyto th e sid e o fL fo o t,Rh a n d r a isestofacel evel .Lhandcomesacross to R side. 195(2). L leg stepsbehindand acrosskeeping kneesbentbodystillfacingsamedirection betore. as 56

I I I L I L

Plates Turn the hrpsto the R 225 degreesso that the body is facing N ] 9q, 1_969-. A/ote7. LfootpointsNW A/ote2. The stance is Hanmi No Neko Ashi 197, 197c..The R hand drops to lhe waist blocting a punchwhich is aimedat the chest.See plate2O2Bfor example 9j lhe techniqueagainstan attacker.The L tiand movesin a circleto btockthe face.'Seefig. 202A Note 7. When crossingthe arms lhe L arm shouldmoveto the outsideol the R arm Note 2. Block with wrist and fleshypart of the hand (littlefingerside).This blockis calledKakere A/ote3. The R elbow should touchthe bodv Note.4. The Wo blocks are performedsimultaneously, trom high to low, the otherfrom R to L. Ensure one that the two blocks do not travel in the same direction' ivole 5. Plates 192 to 198 are done as combinations (13)WrongView. TheChudanblockistoolow.TheJodanblocksshowsawristwhichistoobentandwould be ineffective. 199c. The L heel should be placedon the floor and the eves shouldface NE The L hand moves above the head,the R hand movesslilntty to tne.L 200,200c. TheRfootstepsheellirsttowardstheNEintoalongerslancethannormal.Theweighlshouldbe on the L foot

------+

--.---_>

--+

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4th KYU

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K IH O N. TSUK| & KER! ( BASTCTECHNTO UES) 1. 2. 3. 4. 5. 6. 7. 8. KetteJunzuki (see6th Kyu for details) Kette Gyakuzuki(see6th Kyu for details) KetteJunzukiNo Tsukkomi(see5th Kyu for details) KetteGyakuzukiNo Tsukkomi(seeSth Kyu for details) (see5th Kyu for details) Nagashizuki Mawashigeri Chudan Ushirogeri Chudan (seeSth Kyu for details) Sokuto Chudan (see5th Kyu for details)

-----+

__+

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RENRAKU WAZA(COMBTNATTON TECHNTOUES)

1. MaegeriChudan- Nagashizuki Jodan- Gyakuzuki Chudan 2. SurikomiMaegeri Chudan Nagashizuki Jodan- Mawashigeri Chudan Chudan 3. MaegeriChudan- Sokuto GedanGyakuzuki Eumikomi-Ushirogeri

UKE(BLOCKS) SANBON GUMITE

1. Jodan Uke lpponme Sanbonme 2. ChudanSotoUke and UchiUke 3. ChudanMaegeri Uke- Yonhonme, Gohonme
Plates 201,2O2,202c. Transter weighton to the ballof the footand dragthe L tool the towards the R foot. At the same trme,movethe L hand in a circlelrom L to R inside the R arm Note 7. The stanceis HanmiNo NekoAshiwiththe R handnearthelaceatlhe end of the Jodan block doubleblock Note 2. These hand movementsare the exactreverseof the preceding 203, 203c. The L foot moves slowlyback slightlyin a SW direction position, Shizentai i.e. stance, 204,2O4c. The R loot movesbackto it'sstarting while both handsmovedown and become clenched

KATA(FORM)
1. P i n anYodan 2. P i n anG odan

(SEM|-FREE FTGHTTNG) oHYO GUMTTE

Sanbonme

(FREE FTGHTTNG) Jt YU KUMTTE

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CHUDANAND JODAN MAWASHIGERI

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Plates Techniques tor sections Basic Seeprevious 'I to 4a. Mawashigeri byT Maeda Dan kicks 5th

Plates for 5 to 8. Shows application JodanMawashiqeri. Feinta low R kick,then hip twistand executeJodan shouldbe performed This movement Mawashigerr. withouta pausebetweenthe krcks

WAZA RENRAKU
+
--,+ 11 -----> 12 __-t

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1) MAEGERT JODAN- GYAKUZUKI CHUDAN- NAGASHTZUKT C H U D AN

Plates Chudan 9to 12. Maegeri not 9ato 12a. Notet. Thearmsdo move foot line foot downin a straight withtheback Note2. Thekicking comes

Plates twisting hipsto theL andpunching the into tollows through smoothly Nagashizuki, 13 to 14. The combination to the facewhilemoving L footslightly the R to opponent's Note. Bringback handquickly 15to 16. Chudan andtwisthipto the R and punchL Gyakuzuki 15a to 16a. Movethe R footto the R slightly Note. 14 to 16 are performedas one movemenl

--->

18

of. T. SUZUKI

knife Mr. against F. SUGASAWA's

_>.

19a

-------+

Plates to 17,17a. Ihe L fist mustbe broughlbackimmediately the L hip bul is the sameas the preceding the z 18. 1ga. For the combtnation in tne gro Kyusyllabus, comblnatron Chudanafterthe GyaKuzuKl ol t S- t 9a. with the addition L Mawashigeri

MAEGERT 2) SURIKOMT CHUDAN NAGASHTZUKT JODANMAWASHIGERI CHUDAN

20 _--> 21 --+ 22 -> 23

-----+

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-----.>

25a 20a --1> 21a ----> 22a ---+ llates

-------->

26a

----+

27a

---->

Plates 20 to 22. SurikomiMaegeri 2oato22a. Note. Whenperforming Maegeri, nol movethehands Surikomi do in line ??lo 24. After L kick,movefonr/ard a straight and punchL Nagashizuki 23a. Note. B toot slidesslightly the L to

and thenkickR ChudanMawashigeri moveintoR Hanmi Gamae 25, 25a. BeforekickingmoveL footto the L slightly, 26,26a. ^.7,27a

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3) MAEGERICHUDAN SOKUTO FUMIKOMI USHIROGERIGEDAN GYAKUZUKI CHUDAN

______>

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Plates photos3'l and 33 showa Chudan Nole. In this combination, kick,but in 4th Kyuthetechniques Gedan are 2 8, 28a. Ma e g e rC h u d a n i 2 9, 29a. 30.30a. Steoforward 31, 31a. Changeguardand kickSokutoFumikomi

I I

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Plates I n, SZ^. Lts, sga. ' 34, 3aa. 35, 35a. 16, 36a. J I After Sokuto, move L tool forwardand turn lo lace the rear Gedan Kick R Ushirogeri Put R foot down to L and bring L fist to hip Pivotinto Migi HanmiGamaeand punchL Gyakuzuki is The stanceat the end of thiscombination MigiHanmiGamae

P I N A NG O D A N
--------+ ---+ 39 +

1,, ____+

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37a

----+

38a

------->

______>

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I

Plates g 3 7, 37a. S h i z e n t aH a c h i J iD a ch ifa cinN i L Dachiat the sametimeblocking JodanSotoUketo taceW 38, 38a. Turn L intoL ShomenNo Nekoashi 39, 39a. Note. The weight must remainon the R foot ChudanpullingL handbackto L hip. 40, 40a. PunchR Gyakuzuki Do not changethe stance

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].ptes fcl heeltothe L so that g0 lookingE, movingthe_R ,41a. Turn clockwise degreesto face N, butwiththe head TheLlist 42,42a. rheneer"co.etogeiX"i[il;-J;iij;'"h,Ith;iiiistiJptaceoittheRhip]palmupwards acrossthe-body. . miveEo the R, palm down-andwith the arm horizontally 'dt "i.'-f'nJ Yodan i nSnO.usf Ueturtheraway lrom the stomachthan in Pinan f I is. +S". Move R foot E and move the R hand palm down lo the L hip llote l. The arms must cross each olher Note 2. The weight is on the R foot 44,44a,44b. TwtstthebodytotheRintoRshomenNoNekoashiDachisimultaneouslybringlngLfistpalm lpivards to L hip and block R Jodan Soto Uke I I

-.----)>

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rr

.+

46a

_---_>

________>

-------+

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Plates the punchL Gyakuzuki bringing B listto B hip Chudan, 45, 45a, 45b. Fromthe samestance, 46, 46a. Twistthe hipsto the N movingL heelto R heel backto L hip palmup The L f ist must movestraight acrossthe body and palmsdown The R tist moves towardsL side with the arm horizontally Note 1. 46 is the exact reverseof 42 Note 2. Both, head and body,face N 47, 48,4 8 a . S t e p f o r w a r d with th e Rfo o ttwistin g th e h ip to th e NWandbl ockR JodanS ol oU ke,theLhand moves forward to the chest Alote7. .Thestanceis HanmiNo Nekoashi Note2. Ihe L elbow should touch the body with the L fist slightlyawayfrom the chest

I I

L I I

I I

Plates 49. Steo forward with the L loot and both fists to the waist palmsup Note 7. The stance is the same as in Junzuki 50, 50a. Both arms move forwardand block a kickwith the forearm Note t. The arms musl be crossed Note 2. The fists should be twistedso that they finish palmdown Note 3- The stance is the same as in 49 Note4. The R arm shouldbeontopof the Larm Note 5. 49 to 50 are performedas one movement whiledoingthis) t St. St a. Ooen both handsandtwistso thatthe palmsfacethe body(relax th'eminto an upperopen hand block Si, szi. M&; boih ninJi straightup and over ihe headtwrsting Note t. The Jodan block must finishwith the elbowsbent A/ofe2. Keeo the head at the same level - do not liftthe body ' Note 3. 51 to 52 should be performedas one movement

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56b Plates the so the downto thewaist, R handis moved thatit is under L withthepalm 53, 53a. As the armsarebroughl facingdown andthe palmof the L handremains 54, 54a. of R hand is facingupwards /Vote 7. The L wrist does not bend when movingdown touching body the Note 2. Both arms mustfinishparallel the floorwiththe elbows to Note 3. The hands must finish away lrom the body Note 4. The wrists must be crossedat the centre ot the body A/ote5. When loweringthe arms,do not movelhe body down comefromthe stomach should Note 6. The shoulders shouldnot be lense - lhe Dower in should performed be When moving,the powershouldcometromthe centreof the body.All movemenls this mannerto ensuremaximum speedand power (14) Wrong Vlew. The hands are too low and the forearmcannotblockwith power punchL Junzuki the 55, 55a. Fromthe samestance, Chudanpulling B fistbackto the hip 56, 56a, 56b. StepforwardintoR Junzuki Chudan Note. 49 to 56 are carriedout as a combination 74

----\
58b

Plates in the 57, 57a, 57b. Movethe R footto the S crossing lrontof the L, at the sametimelowering bodyand movinothe R arm to the R ear to block with R GedanBarai towards S without moving f ist L the Twist the hipsto the E intoShikoDachiblocking turning the R both Againstan attackfromthe N drawthe Lfoothalffoottowardsthe lootstraightening knees, head quicklyfrom R to L Pullthe R fist to the R hio.Blockwiththe L forearm The stanceis now Shizentai HachiJi Dachi by the Note 7. The L fist is not movedacross body.The blockis executed twisting L arm the vote 2. 59 to 60 are one movement 75

------>

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61a -------+ 62a ____> 624 ____-> 63a

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Fig 264

Fig 265

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76

Plates 6 1 , 6 1 a . S t e p Nwith Rlo o te xe cu tin g REm p ib yo p e n i ngLhandandhi tti ngR el bow ontheLhand(TheL hand simulates opponent's the body) 6 2 4 . A g a i n s t a n im a g in a r ya tta ckfr o m b e h in d with aw eapontotheLl eg,dragtheLfool qui ckl ytow ardsthe 678 67b R foot keepingthe heelup. Bendbolhkneeswhichshouldbe touching palmdown . (168)X 62, 62a. BlockJodanSoto Uketakingthe R handunderthe L. The L listtouches R elbow, the Plates Note. The L elbowshouldbe the sameheightas the L fist,the forearm awayfromthe body 65, 65a,66, 66a.An imaginaryopponentattackswith a stick and sweepsat the legs (see664) (15) Wrong View. Delender cannotblockthe face becausethe arm is too low. The Jodanblock is too low Iump up and twistto the L, whilebringing bothhandsto the hips 6 3 , 6 3 a . M o v e th e L fo o tstr a ig h tb a ckto th e Stwistin gtotheW.B otharmsmustbepul l edback,theLarmon y'ole7. Both feet mustbe liftedup duringthe jump the chest palmdown,the R elbowagainst body the lactorof the jump is heightnotdistance 'tote2. fhe rmportant /Vole7. The face mustlookS the \'t 6A1Wrong yiew. As the leet havenot beenlifted, legswouldhavebeenhit.Thefistsare noton the /Vote2. L foot must be flat on the floor watsl Note 3. The weightmustbe on the R leg 67,67a,67B '67b.A gai ns tani magi nary attac k w i thMaegeri ,w henl andi ngfromthej umpbl oc k thek i c k w i th /Vote These movements 4. mustbe performed a relaxed in manner tr rotharms.The bodyfacesE. 64, 64a. PunchJodantsukito the face Jote 7. Both heelsmustbe uo Note 7. The palm mustbe upwardandthe armstraiqht /ote 2. Legs mustbe bentwiththe kneesopen \ Note2. f he L elbowmustt<juch bodywiththe fislslightly the awaytromthe body Note 3. The back mustbestraight Note 3. The L arm must stay relaxed (168) Wrong Ylew. The backis bent Note4. 62-63In a livesituation stepwouldbe towards awayfroman atlack not the 8, 68a. Stepto lhe S withthe R footheelup,the bodystillfacingE. Bothhandsmoveto the L sidewiththe /Vote5. 62A to 64A shows how the movementworksaoainstattackers atmsoown

JU MP U P

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fist palm up Nofe 7. The stanceis the sameas in Junzuki awayfromthe body Note 2. The L elbowshouldtouchthe bodywiththe L fistslightly A/ote Plates57 to 69 arecombinations 3. 70, 70a, 70b .M o v e t h e L f o o t s t r a ig h ta cr o ssto th e Ra n d twistth e b o d ytotheE crossi ngtheR armunderL the The L arm must lifl slightly, eyesmustlookN line Note t. The feet mustbe in a straight Note 2. Th weightmustbe on the R leg the /Vote The L knee mustbe straight, R kneebent 3. The R arm littsto the R of the head GedanBarai. 71, 71a, 71b. Lowerthe L handto execute Nofe 7- The R arm mustbe in linewiththe body Note 2. The L toes must be turned in 30 degrees (17) Wrong ylew. The armsare not rn a straight withthe body line The L heel is too high.The hipsshouldbe towards R leg the 72, 72a,72b. Movethe L foottothe R footso thattheheelscometogether Note 7. Do not twislthe hios. Note 2. Keeo both armsstill 78

_+ 71b 69b --___:> 70b -----s,Plates the with 69,69a,69b. Twistthe bodyto the S, blocking R JodanSotoUkewhilebringing L armto the chest

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72b

73b

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74b

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Plates 73. 73a. 73b. Move the R foot fonvardto the N.E. crossingthe arms in frontoi the bodywiththe L palm down and the R palm towardsthe face 74,74a, 74b. The hipsare twisted the L and execute to R Gedan Barai,the L hand lifting the sideot the head to Note t. The stanceis the sameas thatshownin 71 but on the oppositeside Note2. The body is now facingN.E. Note3. 70-71aid73-lq are ixecutedas one movement Movethe Flfoot backslowlvintoShizentai HachiJi D ac hi Note. The finalposition shouldbe the sameas the s tarti ngpos i ti on 79

(No. 3) OHYO GUMITE(SANBONME)

Plates themis correct between thatthe distance Both A and D stancesin MusubiDachiensuring 76. As A moves intoHidariHanmiGamaeD stepsbackintoMigiGamae the head D 77 to 78. A steps forward and punchesR Jodan Tobikomizuki. steps back in L stanceswaying back sliqhtlv No te. l-obik o m i z u k i m u s t b e a s na p p u n ch 80 snappunch 79 to 80. A ounchesChudanGyakuzuki as are and i. w-ore fodit<omizuki Gyaliuzuki performed a combination Note 2. Thts must be executedquickly heelis liftedandthe body the Note 3. Withlhe Gyakuzuki, L twistedto the R the feet do not movetorward -t>

->

Plates I r 81a. 81 b. D immediatelyslidesfonaardand punchesL JodanTobikomizuki I ucks to the L to avoid the punch and slides his foot slightlyto the R rl fe l. Wnen D ittacks the iace he must slide in a straifht line.This meansthat A musl movehis loot to the I .riOUeingitampeObn. Ouringtraining,many peoplett to avoidattacking foot. ll D stampson the A s foot, it is A's fault not D's. Note 2. When ducking, move down and to the L { 82a. 82b. A slides forwardso that his leet are behindD, his bodytouchlngD and stietchedacross D's neck.At the same time his L hand grabsthe backof D s knee I A iim s titteO n le 7. A's stanceis Shikodachi iote 2. The reason for A s bodytouchingD is to enablethe throwwhichfollowsneld 83,83a,83b. ArotateshishipstotheRstraighteninghiskn6esandbody.Atthesametimehesweepshis-R upwardsusinghip motionto liftD. [;hO airoii O ndci, ioine H ina oo*nwarddirectidnand liftshis L hana, " moves his hips fonrvard {
I

____+

---+

---+

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87

Plates is so fromthe technique verydrfticult, whenfirst 84. 84a. 84b. A throwsD behindhim.The breakfall practising slowly it this lechnique, shouldbe performed 85 to 85b. A olaces L knee on the floor and raisesR hand /Vote. A's L foot must be placedon the floor with the ball of the toot only in contactwith the floor to 86. 86b. A hitswith a R snao Uraken the head

H les d, ,o 88. D rolls to the R and movesthe L foot acrossthe body.He continues movement the and kneelsup on the L knee with the ball of the foot on the floor Nole. A is in HidariHanmiGamae 8l D moves his R foot backto the Lfoot, twistshis hipsto the L and standsup. Atthe sametimeA moveshis U ot to his R foot and moves his hands down AI-.e 1. Both A and D are back in Musubi Dachi Nofe 2. They never take their eyes off each other

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I I L I I
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( F r o mBUBISHI)

3rd KYU

I I tl t tl t R

KIHON. TSUKT & KER! (BASTCTECHNTQUES) 1. 2. 3. 4. 5. 6. 7. 8. 9. Kette Junzuki (see 6th Kyu for details) Kette Gyakuzuki (see 6th Kyu for details) Kette Junzuki No Tsukkomi (see 5th Kyu for details) Kette Gyakuzuki No Tsukkomi (see 5th Kyu for details) Tobikomizuki (see 6th Kyu for details) Nagashizuki(see 5th Kyu for details) MawashigeriJodan (see 5th Kyu for details) UshirogeriChudan (see 5th Kyu for details) Sokuto Chudan (see 5th Kyu for details)

RENRAKU WAZA(COMBTNATTON TECHNTOUES)

1. SurikomiMaegeriChudan- Mawashigeri Chudan- Ushirogeri Chudan - Gyakuzuki Chudan 2. MaegeriChudan- Nagashizuki Jodan- Gyakuzuki Chudan- Mawashigeri Chudan (see 4th Kyu) 3. SurikomiMaegeriChudan- SokutoFumikomi Ushirogeri Chudan- Uraken .Jodan

tr

UKE(BLOCKS) SANBON GUMITE

1. Jodan Uke.Nihonme. Yonhonme 2. Chudan MaegeriUke.lpponme,Sanbonme, Gohonme

KATA(FORM) KuShanku (SEM|-FREE FTGHTTNG) oHYO GUMTTE

1. lpponme,Nihonme, Yonhonme

KIHON GUMITE '1 lpponme . Nihonme (FREE Jr YU KUMTTE FTGHTTNG)

I l E

RENRAKU WAZA
---+
------> 3 ----*

------> t I

_____>

1) SU RtKOM| MAEGERTCHUDANMAWASHTGERTCHUDAN _ GYAKUZUKI USHIROGERI CHUDAN CHUDAN

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ll 5a. 6,6a. 7, 7a. 1; 8a. Twist the hips to the L, changeguard R ChudanMawashigeri Place the R foot slightlyto the L and face the rear with R heel off the ground L Chudan Ushirogerikicklngwith the heel

Plates 1, 1a. Startin HidariHanmiGamae 2, 2a. Step forward with R foot 3, 3a. L ChudanMaegeri 4, 4a. Placethe L foot down intoHidariHanmiGamae

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JODAN - GYAKUZUKI CHUDAN- NAGASHIZUKI 2) MAEGERT for CHUDAN(see5th Kyu combination details) CHUDAN- MAWASHIGERI

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Plates Uraken which with ol in combination3rdKyu theexception Sokutoand isthe as Thistechnique same thelirst respeclively and is performed instead Mawashigeri Gyakuzuki of

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GUMITE SANBON
IPPONME MAEGERIUKE

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Plates Notes JODAN UKE NIHONME - see 6th Kyu YONHONME - see sth Kyu MAEGERIUKE SANBONME- see sth KYU GOHONME see 6th Kyu

,/
30

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Plates 32. The ready position.Slowlymove the L foot to the W and the R foot to the E, placethe L handover the R both handsooen /Vote 7. The feet must be olaced at shoulderwidth Nofe 2. The hands should be under slighttensionand placeda litfledistancefrom the body 3-,3 399. Slowly raiselhe arms above the head wrthoutbendingthem. Bend the thumbs_ to Note. The shouldersshould be relaxed 34 to 34a. The arms are moved in a circlewith the palmsfacingoutward 35 to 35a. The thumbs are bent with the fingerstouching.This is to show that you have no weapons.The circular movement means peace

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d--es 36. Turn the head to the W and movethe L foot to W. This stanceis Mahanmino Nekoashi,i.e.the body continues to face N Sl lZa. t-it tne I hand in an arc and blockwiththe backof the handand bringthe R handto the solarplexus, pl 1 upward. The body still laces N 3L, J9, 39a. Move the L toot backhalfwaytowardsthe R foot.The R foot is movedto the E, bothhandsmove in an arc so that lhe R hand blockswith the back oJthe hand whilethe L hand movesto protecllhe solar plexus, palm upward.The movementis the oppositeof 37

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44

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46a

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Plates The (as Move the R foot towards the L and straightenboth legs into Hachrli-Dachi in the Readyposition). the is across bodysothal on R hand is clenchedand placed the hipwhilethe L hand,alsoclenched, moved the forearm is oarallelto the chest.The fist is abovethe R list but is palm down The L fist is moved forward quicklyto block ChudanTsukiwith the forearm.The bodydoes not move Tsuki. The bodydoesnotmove Chudan 42,42a. Tne L hand is pulledbackwhilethe R punches A/ote. Plates 40 to 42 are a combination The 43, 43a. The L toot moves to the N and the R arm movesdown and lo the L in a relaxedmovement. to The body continues face N L knee is bent and the R knee is straightened.

(21) x
Plates 4 45. 45a. Twistthe hipsto the w. Bringthe R arm up and blocksoto uke Jodan.As the hipsaretwisted The R footis flat mustbe relaxed. I I tnb arm risesfor the block,the shouldlers and N. Dachi bodyfacing Thetegsarestrarghtened the .l +6". tn" L t"q is movedtoward R intoHachiii the s to ihe R arm is brou6htdown to the hips.The L arm punches the attacker solarplexus Note. 43 to 46 are a combination f 47a. Movethe R footto the E. The L handmovesdownunderthe R hand.The bodystillfacesN f te. Thisstanceisthe reverseotPlate43 l,'1 wrong Vlew. The body is twisted (19) Wrong View. The body is twisted (20) Wrong View. Fne hips are twisted ll ) wrong Vlew. The block is not wide enoughto protectthe face

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101

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Plates 48,49,49a. Twist the hips to the E and block L Soto Uke Jodan The L foot is flat Note. This is the reverseof plate45 50,50a. PulltheLhanddowntotheLhip,theRhandisrelaxedandplacedacrossthe.body,palmdown.The hids are twisted to the R and the L foot movedtowardthe R foot,the headturningto the rear 51, 51a. T h e R a r m i s q u i c k l y b r o u g h tu p in to so to Uke Jo d a n wh ileki cki ngtol hrearw i thR Maegeri

lates 2, 52a. Leavingthe R list in blockingposition,lowerthe R foot in front of the L foot,with the heel off the Piiai on both feet so that the body is facingN in HanmiNo Neko Ashi -3. oround. Thdbodv is facinq S. same tihe executingL Shuto Uke (see 6th Kyu for detailsof ShutoUke) 54, 5?a. Dachi, at thr-l

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Plates 55. 56. Steo forward with the R foot (to the N) and block R ShutoUke 57. 58. Steo forward with the L foot and block L ShutoUke 59, 60. Move forward and strike R ChudanNukite.The R hand strikesdirectfrom it's positionacrossthe solar plexus,i.e. it is nol pulledback o eLl 6 1. T heLl e g i s m o v e d a c r o s sto th e Rb e h in d th e Rle g so th a tth e frthntofool i sonthesamel i neasthe heel of the R foot previously 62, 62a. Ihe hips are twistedstronglyto the L and the bodytu.ned to the S (all the techniques have been movingto the N) At the same time the R hand movesfromtheforeheadin an arclo the lronlto blocka punchusingthe palmof the hand.The L handmovesstraight to thetorehead withthepalmfacing the thumbbent up awaylrom head, 63, 63a. R Maegerito the stomach
Fig 354 355

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Plates 64, 65, 65a. Afterthe kick,the R foot is broughtdownandthe kneebent,lowring bodyand keepingthe the L leg straight with the toot flat on the lloor. The heel ol the R foot is raised.At the sametime,the L hand is clenched and the arm straightened GedanBarai.The R handis clenchdand broughtuptotheforehead into 66, 66a. The R hand is movedin an arcto a positionabovethe L kneeblockingan A's kickwilh theforearm, the L fist moves up towards the R shoulder,whilethe bodytwiststo the L 67, 67a. Straightenthe R leg and bring the L leg into Shizentai HachiJi Dachi (22) Wrong yiew. L block incorrectand bodytoo bent

Plates 68, 68a. At the same time,the L hand movesacrossthe bodyto the L sideand blockswiththelorearm.The R irm is pulled back to a positionon the R hip. The face is turnedlo the N. The bodyfaces E Note7. WhenthebodyisraisedlortheLblock,thehipsmustbetwistedstronglytotheRandtheshoulders relaxed /Vote2. Plates 61 and 68a are done in a combination

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Plates direction 69, 69a. These techniquesare exactlythe same as in Plates61 to 68 but in the oppostte 7O.7OA .7Oa 7'l ,71a. 72 73,73a,74,75 76

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Plates 7 7,77a, 77b. T u r n t o t h e S , b r i n g th e fe e tto g e th e r in to He iso ku d a ch i.TheLfi sti smovedacrossthebody, the R fist remainson the R hio and forearm a blockagainst punchto the middle 78, 78b. The L f ist is swungto the L witha straight the simultaneously L leg kicksMaegeri 7 9,79B, 79b. T h e L l e g i s l o w e r e d to th e E,th e b o d yistwiste d to th e Ea n dapunchi sdel i veredw i l hR E mpi (Zenkutsu) The stanceis as in Gyakuzuki

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Plates 80,80b. TheR footi s draw ntotheLl ooti nH ei s ok udac hi .TheLhandi s pul l edtothehi p,theR armc ov ers the chest 81, 81f 82, 828. Thesetechniques the reverse the movements to 79 are of 78 82b /Vote. Plates 77 to 82 are the same as in PinanYodan 83. 83b. 84. 84b. Turn to the E and blockL ShutoUke 85, 85b. Turn to the SE and blockR ShutoUke 86,86b.

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93

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Plates 87, 87b. Turn to the W and blockR ShutoUke 88, 88b. 89. 89b. 90b. Turn to the SE and blockL ShutoUke 91, 91b. T ur n t o t h e S a n d e x e c ute th e te ch n iq u e ssh o wn in Pin a n Yo danseepages:48,49 92. 928. 92b . 93, 93b. 94. 94b.94c

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Plates 96, 96c. Block R Jodan Solo Uke 97, 97c. L anl R Renzuki Chudanto the Solar Plexus ivote. 91 to 98 are a combination 98, 98c. 99, 99c. The L foot is movedto the NW and the body turned 180 degrees anti-clockwise to the N, while both arms are straightened. L handis The open, the R hand clenched '114

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^lates ; I lO, t OOc. The R knee is raisedand the handsare quicklybroughtforwardin lront of the body,withthe palm | 'the L hand tacingthe linlefingerside.The palmol the L handandthe sideof the R fiststrikethe kneeand lift ' srightlyand touch. The back must b kept straight (23) Wrong yiew. The back is not straight,the R hand is nol clenched

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up,as hortdi s tanc eahead.Thearms arebentand t'11t101c. TheR l egi sbentandtheR footpl ac edheel l- re body lowered againstan attackfrom the rear.The L leg remainsstraight,but the L heel is raised.The hanils point inwards frgers ot Ootn -(24) Wrong View. Fhe R heel is not raised,the lingers not paintingin, the hand is flat and the hipst@ high 1O2,1O2c. TheLfoolisbroughlupslightlyandatthesametimethebodyisliftedandturned.lS0degreesto tr C3, 103c. the L so that it faces S. Blockwith L Shuto Uke I l0A. 101A, 103A. Explainsthisdefence 103 is a combination Lote. 99 to

101 A

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110

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Plates 104, 104C, 104c. Stepfonivardinto R Shuto Uke 105, 105c. A 270 degrees turn is made to face W, a long stsp forward is takn with th L toot and th R loot is 106, 106c. brought up into HanmiNo Neko Ashi Dachi,the L hand beingmovdinto Soto Uke at ths same time 107, 1O7c. The fset ar kept still while the R list punchsGyakuzukiand the L is pulldbackto the waist Note. 105 to 107 is acombination

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, Plates I ba. t Ogc.109. The L heel is loweredand the R handcomesacrossthe body.The bodyturns 180 degrees I rthe E. The R loot takes a long stepand the Llootcomes up intoHanmiNoNekoAshi.The R armmovesup llto Soto Uke. The L hand does not move duringthis iechnique 110. I 11. 111c. P unchL R R enrak uW az aC hudan Note t. Same tarqet for both punches to I ote 2. Plates 1O-8 111 is a combination ll

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Plates 112. 112c. Turn to the S. relaxand lowerthe R arm 113, 113c. Raisethe R arm quickly JodanSotoUkewhiledelivering in Maegeri the stomach to 114. Placethe R foot nearthe L and turnto the N. steo intoL ShutoUke The stanceis HanmiNo NekoAshi 115, 11 5 c , 1 1 5 4 . w i s t t h e h ip sto th e fr o n ta n d p u llth e L h a n d d o w nacrosstheS ol arP l exusw i ththebackol T the hand upwardspalmopen. The R hand movesintoNukiteabovethe L hand The stanceis similarto that usedin Junzuki 1154. T h i si s a n e x a m p l e o f 1 5 a n dll5 cin a ctio n 1 (25) Wrong Vlew- L hand is too high to block

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118

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to I Stepforward with the R foot intoa stancesameto that usedin Junzukiand strikewith Nukrte the stomach. ' lhe L hand does not move Note. Plates 1 I 2 to 1 l6 are combinations , tr17,117c.TheR handi s tw i s tedc l oc k w i s eandtheupperbody mov edtow ards thehand,w hi c hmus tnotbe rulledback lf facing E but looking lll 18, 118c. The L leg is movedto the N, the bodyturning 180degreesinto Shikodachi 19, 119c. N strikewith L Tettsui The R handis pulledbackto the R hip Chudan. - 1174, I 18A. These show an exampleof the techniquesin action 'I194.

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Plates 1 2O , 12OcB r i n g t h e L f i s t u p t oth e Re a r ,th e n q u icklym o ve to th e Nw i ththeLfoot.fol l oi /edbytheR .A tthe . Jodan.Thestanceis stillShikodachi 121, 121c. sametime,striketo the L sidewith L Uraken the (26) Wrong View. U,aken is not comingdown vertically, stance is too high 122, 122c. The L foot is movediorward slightlyto the L. The R foot is broughtup intoZenkutsudachi.The 123, 123c. hips are twisted and the L palm is struckwith R Empi Nofe. The hips musl moveintothe Empistrike (27) Wrong Vle!v. The back knee is bent and the Empi is not to the targetbecausethe hipsare not twisted not enough.D is thinkingaboutlhe nextmovement the one he is performing

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Plates t27A 124,124c.Thehi psa retw i s tedtotheR andtheR footbroughttow ards theLi ntoS hi z entai H l c h{ i D ac hi ,at C hudanandLJ odanU k e.Thebody tac es 125,125c,125d. thes ameti meex ec uti ngtw obl oc k s :R Tetts ui E but the head looksS (28) Wrong Vlerau. The stance is too wide, the knees are bent and the R block is too high 126, 126c,126d.TheLtooti s mov edac ros s thehontoftheR footandw i thas tronghi ptw i s tthebody i s - 127, 127c, 127d. turned180degrees faceW in ShikoDachi to I l . TheLarmi smovedi na w i dearc i bbl oc k afrontk i c k thebaJ k oftheLhandfac i ngdow nw ards andtheR hand I is moved uo into Jodan Uke 125A. 127A. exolainthis attackand the delence Note 7. The L and R blocksare execuledsimultaneously a from 117through127constitute combination I Note2. The movements

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Plates 128, 128d. Without moving the body,the R arm is sweptdown to crossbenealhlhe L wrist into a Tensui block.The stanceis stillShikodachi the 129, 129d. With the stancestill Shikodachi, fists are raisedand the handsopened.Both handsare twisted so that the palms face outward,the wristsat all times beingkepttogetherand the thumbsbent tnwaros .128 and 128d (29) Wrong ylew. The stance is too high. lt should be the same as ylew. The stance is too high and he is not lookingat the opponenl.The movement shouldbe (30) Wong with the whole body, not only the foot

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Plates | 132. 132d. The hands are pulleddown quicklyand the fists are clenchedto blockwith doubleTettsui.The Dachi with L 6in?*Jiie againsi tne Oodi and the forearms'horizontal the ground.The stanceis Zenkutsu I tss, tsgo. Nidangeri (see5thKYu) 134, 1i)4d. on landingthe L fist is pulled backto the hips and the R fist strikesuraken Jodan The stance is zenkutsu f Note. 130 to 135 is a combination
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Plates R 36, 136d. The L leg is moved acrossthe R leg and th bodytgrnedto lhe_ through 180degreesto face ,.|, knees being dant. Th R tist swingsdown in front ot the R l9, th L fist bingal the waist the punchesto the L. Bothfists are palm .37, 137d. The L fist punchesto the R blowthe R tist, and the R fist uDwaro (31) Wrong View. The hips ar too high.The knesare nol bent and the body is leaningloMard insteadof I ,eing almost upright and the arms are slightlytowardsthe backof the i gg, t gS. Rapidly,the legs and th body aro straightned this movement lreab tne tnuitles being iurneOoutward.Ths shouldorsare relaxdthroughout 136A, 138A, 139A. Show the purposeof this mov,namdy to blocka front kickand to throwthe attacker Note. The movementsfrom 136 to 139ar a combination pulled in slightly.and. I rc. fo retum to the originat posttion as at the start oJ the fatg The R foot is palms inward, L hand over the R. i rt ine same gme the arm-sare brought down with thehandi open,

(No. 4) OHYO GUMITE(YONHONME)

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Plates IPPONME(1) see 6th Kyu NIHONME(2) see 5th KYU ( Y O NHO NM E 4 ) This is a seouenceoI: Uraken GYakuzuki Hizageri EmPi 140. Both A and D are in R HanmiGamae 1 41, 141 a, 141 b. A steps forwardwith L foot and strikesat D's headwith R Uraken with his R hand,twistinghs hipsto the L wrthoutmoving O c6versiire R itde of tiis treaO Note 7. D mustkeepwatchingA ivote 2. A's R fist continuestowardthe R hip The 142,'142a,142b.Atrhemomentwhentheurakenwouldimpact,A'shipsshou-ldberotatedtotheR the R in acircletowaidsthe hip;atthesametime, R a1mshoirldnot OewithOrawn,limustconiiruritravetting L handgrabs the D upper arm and pushes it away,while still holdingit

Plates 143, 143a, 143b. A punchesR Gyakuzuki ribs to Chudan(snappunch) the lloating 144,144a, 144b Note 1. 141 to 144 are executedas one movement /Vote2. The L hand must keep hold ol the D's arm 145, 145a, 145b. A stretchshis R hand acrossio orabthe backof D's neck Note. A must ensure that the D's arm is keot to the 6ide of his bodv

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GUMITE KIHON
in be whichcannot practised (ihon Gumite(basicsparring) and is experience gainedin distancing timing, o training was designedvery practicallyin order to attainthe greatestetfectwith th minimumof eftort. Kihbn GumTte will depth be understood. the Th;more theyarepractised moretheir subtle. are iiiele techniques eftremely .PORTANT POINTSIN KIHONGUMITE i.

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Irai meansgaugi ngthe c orrec tdi s tanc e.Thi s i s adi s l anc ew hi c henabl es anA tok noc k dow naD by tak i ng ready position.This is far enoughaway to allowfor manoeuvring bne half step-frori thr-e .150.lJ the distanceapart is too great the D cannot be reachedby A having moved in half a step the touching, are are J 1. lf the opponents so closethattheirhands,heldin the readyposition, nearly I tance is too little IN , B OD YS H IFTIN G DE FE N C E line as he When a beginnerwrthdraws, is aptto retreatin the samedirection the opponent's of attack.But it is it and enticesthe opponent, is easierto wardotf so. iitoqlcalto dTo lf he retreatsin a slightlyditferentdirection, the bodywith the feet th-Jnext attack. lt is imoortantfor both A and D to shiftthe weightof

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lf I rctice must be performedas if actuallyfighting.Thereshouldbe no compromise. a defenderblocks l,,.hout spirit, he should be hit. He should alwaystreatthe attackseriously 4. ZA N S H IN Zanihin means keepinqthe mind alert. For example,eventhoughan opponentis knockeddown in a direct at must not be relaxedfor i moment.The next attackmustbe anticipated all times I iCf. tne concentratio-n

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opponent'sbody must be watched,not only the eyes.One shouldlookthroughthe

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Plates 146, 146a, 1 4 6 b . P u | | o p p o n e ntd o wn with b o th h a n d sa n d a tth e sa meti meki ckw |thR kneetotheso|ar plexus 1 47and148 ' R J o o t s t e p f o M a rd .Ra ise Rh a n d u p a n d a tta ckwith e | b ow behi ndbackol neck 147aand 148a. 147b and 148b. legs Note 7. R foot should be placed betweenopponent's.both R Note 2. L hand shouldgrabopponent's sleevefirmlydown 128

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( K I HONG U M I T E( I P P O NM E)No . 1 )
154 ----------+

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Plates All KihonGumitetechnrques startand end in Musubidachi 152, 153. After bowingto each other,A movesfonvard,D movesback '154. Correct distancemust be maintainedat all limes, i.e. as the A moves forward,the D mustkeep properMaai.The D, whilemovingback, arise. mustfeelthat itwould be possibletoattackshouldthe opportunity The arm that is not blocking/punching should move acrossthe chest The A must alwayspunchthroughthe target.lt is mostimportanttomove the target out of the lineotthe attack.The block is secondarytolhebody shifting The shoulders should be relaxedand kept down, otherwise, the movementswill not be smooth Kihon Gumile are not combination techniques.Eachmovementmustbe compleled belore the next attackstarts

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l-rtes 155,155a.A punchesR Junzuki No Tsukkomi.D blocks by lifting his R fist betweenhis R ear and the A's arm 155b, 156. (The littlefinger should be facingthe ear the forearmshouldbe usedfor the block) I 5a, 156b. Nole. Bolh A and D's L hand shouldbe acrossthe chesl
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157 157 157b. A then slidesforward to the R and punchesto the D's rib with GyakuzukiNo a, , Tsukkomi. i5B;15m, 158b. DimmediatelymoveshisLfoottotheLand'avoidsA'spunchbytwistinghishipstotheB. 159, 159a, 159b. The punch is deflectedto the sidewith D'sforearmand at the sametime he punches-- a --- *- with "---" Note 7. lt is importantfor D to avoid the punch by shiftinghis bodyto the L I Note 2. D's knees shouldbe closetogetherto coverthe groinby tensingthe kneesandthetoesinwardswithl 70 per cent of the weight on the L leg. The R foot shouldnot be withdrawntoo far backwards Nole 3. D keeos his back straioht Note 4. D s second block is do-ne with the knucklesforward

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160. Both A and D move their L leg back and twistthe hipsto the L. This ensuresthat they avoida possible R ounchto their L side Both A and D must always be aware ol the other'sactionsthroughout thesetechniques(Zanshin)

( K I HO NG U M I T E( N I H O N M E) No .2 )
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Plates 'l 161. 161a. 161b. The first stances,anackand block are the same as KihonGumiteNo 162,162a,162b. The A kicks at D R ribs with R SurikomiSokuloChudan i65, i 6G; t O5O. O moves nis L and R feet diqgonallyto the L, at the sametime twistinghis hipsto the L. 164; 164a; 164b. Makingfull use of the twist, D blocksA's kickwith R Gedan Barai woiei. Okeepihisnipsdownandbackstraightandavoidsthekickbytwistinghishipsasmuchaspossible Nofe 2. He wiihdraws diagonallyto the L not straightback ruoie5. it b ontiputis Oacl nts dips and leavesth6 other partsof his body leaningtorward,he will lose his balance ivote 4. D's knees should be touchingand bent' the R heel beingott the ground I 134

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Plates to 165. 165a. 165b. D lowershis handsto his L side,moveshis R legforwards the backof A's R kneewith 166; 166a; 166b. toes inwards,and slidinghis L foot forwardsat the sametime, he strikesupwardsal A' 1 6 7 , 1 6 7 a , 1 6 7 b . sRkid n e yswith RHa ito a n d with LTei sho,tw i sti ngthehi psatthesameti me I I 168, 168a. Note t. D's headmustleanontothe A's back A/ote2. The strike must be with the hip twist not by pushingthe A

S E LF D E FE N C E
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Fig 456 & 459

Plates 169, 170. A moveshis R leg acrosshis L and spinsroundantFclockwise Hidari into HanmiGamai

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NekonoMiojutsu (Themartialart of the cat)

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A largetabbysteppedup and said; "lt seems to me that the cultivationof ki is consideredvery importantin militaryskillsand so I havestudied hard to this end. I now feel that my spirit (ki) is very strong and that I can easirydefeata foe withouteven at fighting. This emerged of its own accordwithoutusingtechniqueconsciously all.The rats runningalong lhe the beams lell straighl into my grasp while I did nothingbut stare intentlyat them. However, sirong ral came without even showing itselfand I cannotunderstandhow this could be." The old cat answeredhim; "You are ableto utilize Forexample,, yourownkiandyou arewelltrained. is good,butit is noteverything. This if you make your movsby a kata your opponentwill probablyrespondin the sameway but what do you do if he does not? How can you defeathim?All ourenemiesare notweakwhilstwearestrong.Eventhoughyou what Mencius {eel your spirit filling the universe,thasis only a shadowol the true ki. lt cerlainlyresembles to described as the vasl spiritol the universebut it is notthe same.lt is likea suddenfloodcompared the roar of a mighty river. Mencius'ki was based on great experienceand manifestedfself as powerbut your ki comes only from your power. philosopherthoughtto beenbornbetween have 372 (Mencius pronounced Meng-tse was a Chinese and 489 B.C.) That is the difference.A corneredrat will attacka cat as he has nothingto lose.Anyonein a similarsituation with victoryordefeat.Then hiswill is as strongas steelandvery hard would bethe same beingunconcerned to overcome. An older, grey cat then steppedforward. He said, "You are right. Howevervigorousit may be, ki is expressedin a materialform and anything my expressed in such a way can be seen.Asfar as myselfis concernedlspent a longtimecultivating mind.I do not use force but try to adopt a peaceableapproachwith othersso as to avoidconflict.lf my enemyis This meansthatany I do not resist.I could describemy art asthat of catchingpebbleswnha curtain. stronger he hostile ratlinds it difficulttomake an attackhoweverstrong may be. Butthal rattodaysubmttedneitherto I my mental vigour or to my attemptsat reconciliation. have neverbeforeseen such an amazingrat." The old cat which had killedthe rat said; "You speak ol harmony,but this does not occur naturally,it is more of an intelleclual approachand you are obsessed with avoidingan attackbyyourfoe. Yourfoewillsensethisdesireevenil it is onlyslight.However, Anything thatyoudo trying to soothe your mindon beinganackedwill leadto a mentalstateakinto laziness. grappling greatfeatswhen oh purpose will mean thatyou will not be naturaland so howcanyou demonstrate you behaveaccordingto your innerfeelingswilh no thoughtthal you will not with an enemy? lt is only when show a premeditaledform and withoutthis your harmonywill be duly invincible. wisdom)cannot However,what each of you has learnedcan certainlybe utilisedbecause'Theway' (divine We situation. do not need be separated from technique.When we fully mobiliseki we createa favourable desires But excessive power it we can attainharmony,on lhe contrarywe becomeinvincible. conscious only comeslrom constant invalidateour behaviourbecausewe can no longerbe natural.This spontaneity 'The Way'. practice of

There is a legend which tells of an invinciblerat whichwas killedbv a cat and also of whatthe cat said to the warrior. The moral of this legend is that in budo, ki and not muscularstrength,is the ultimategoal. The greatest kendo masterin Edo was MasterShoken.One day a large rat appearedin his home and ran about one ot the rooms,in broaddaylight. The master took a cat, which he had lookedafterfor some years,placedit in the room,closedthe door and waited in expectation.However,the resullwas not as he ima'gined. catwas bittenbithe ral and ranoff, The howlingwith the pain. Master Shoken then progeededto borrowseveralcals from variousneighbours and placedthem,one after another, into the room. The rat held his ground in a corner,meetingeach challenge6y leapingfon/vard and biting each cat until it was driven away. Angeredby this MasterShokentook a wooden sword and decidedto kill the rat himself.As he entered the room the rat quickly leapt past him and avoidedthe weapcin. The wooden sword smashedthrough the sliding screen doors and the Master was forced to retreat. trrtaster Snofbh now wonderedwhat on earth he could do. He decidedto send his servantKoyboyashi to fetch a cat famous for killingrats,but when Koyboyashi returnedand showedthe catto hisMaster, Master the was disheartenedas the cat was old and did not appearto havesufficientskill. Anyway, he decidedto give it a try and placedthe cat in the room.The rat immediately with becameparalysed frightand was killedand ealenby the old cat. The same night the Masterhad a strangedream,from which he learntmuchcdncerning swordsmanship. In his diary he wrotethe following; "ln the middleof the nightlwaswokenup by a noiseinthe roomnexttome.lquietly arose andlooked intothe room. All the cats that had unsuccessfully tried to kill the rat,were holdinga meeting,reserving seatof the honour for the old cat so that they could learnfrom him." One cat spoke for the assembledcompany. "We are consideredto be the finest rat killers,in lact by sharpening clawsmostcarelullywe are able to our overpower weaselsand ottersaswell.That particular however, rat was unique.Howdid you overpower so it easily? Please teach us the secretof your skill." The old cat smiledand reolied: "You are all capable,young and strong,but you have not yet learnedthe rightway and so you are deleated when taced with anythingunexpected.I would like to hear how each of you havepractised." A lively black cat spoke out; "My master has always been keen lor me to catch rats and so I decidedto learnthis art to the bestof my ability.I learntto wrigglethroughtiny holesand jumpover highscreens,alltypesot acrobatics. I Sometimes would remain still, pretendingto sleep and then suddenlyiump up. I could alwayscatchany rat but this one today was strongerand more aggressivethanI haveeverseenbeforeand so I suffered mosthumiliating the defeatof my life." The old cat sooke: "So far you have acquiredonlytechnique.Yourconscious desiresruleyourmind.Inyearsgonebywe were taught, not only techniquebut initiatedinto "the way". The masterswere wise althoughtheir aclionswere simple. This presentgenerationis obsessedwith techniqueandscornsitspredecessors forthe lackof it, but this generation will merelytire itslfout in the end. Nobodywho relieson techniquealonecan escapethis. Skill can, if given too much impoitance,influenceintelligeirce and leadto contusionbut conversery intelligence itsellcan becomea barrier."

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whichsleptall day and seemed Let me illustrateby means of a story.There was a cat in my neighbourhood totally idle. Howeverthere were no rats to be seen eventhoughthe cat was neverseento catchone. This intrigued me, so I asked the cat to explain.Four times I askedthe questionand four timesthe cat refusedlo answer. lt was not that he was beingevasive,simplythal he did not know whatto say. I then learnedthat he who knowsdoesnotspeakand he who speaksdoesnot know.This particularcatwas Thinkotlhe sage'swords"Hewho able to become unawareot itsown existenceand become'nothingness'. embodies divine valour has no needto kill others." I must say that I am not on the same level as that cat when it comesto the practiceof "The Way" l, (Shoken) heard all this as if I was dreamingbut I woke up and greetedthe elderlycat; " l have studiedfencingfor yearswithoutgainingrealproficienry.By listening tothesecats I learnedmuchof Pleaserevealils secretsto me." the art of fencing. I waht to devotethe rest of my lifeto swordsmanship. The old cat replied; "Rats are my concern, atter all, I am a cat so how can I understand to lhal which is of importance human is beings? The principleotfencing is thatwe do not aim towin. The art enablesustoappreciatewhat lifeand to whaf is death in the face of emergency.So a warriorshouldstriveconstantly cultivatehis mindso as to with his spirituality. learn an art which is commensurate Master, il your mind is unfetteredby intellecluality and suspicionand you havea deep senseof death, will nothing will disturb your mentalequilibriumand difficulties disappear. that ol yourloe and yourselfin However, il your mind is concerndwith trivia it will createa phenomenon, and this preventsyou from exhibilingthe art ot contrast. From that there inevitablyarisesa conlrontation suchaslhiswe lose risingto the occasionwhich is a subtle,spiritualart.What lam sayingisthal in a situation in ourclear mindedness.Howcan we reallyfighttoafinish?Everwinning, thissitualionhas nolhingtodowith whbh is of no importance. ivhat real swordsmanshipstandsfor. 'Nothing'doesnot mean emptiness, mind howeversmall,lieswithinthe We can store nothingin the mindasthe mindhas notorm and if anything, mindsfromattaining tlexibility, olthe spiritpreventsour the spirit willcome to dependon it.Thisdependence ouraim. withthe resultthat ilwegofomard we shallgotootarandifwedo notgowewillremaintoofarfrom alsocausesa problemand in bothcases This mentalactivitywill mean lossoI sell controlbutits insutficiency is as'non possession' the sameas'not we are unable to deal suitablywith the situation.What I understand hoarding' or indeed relyingon anything. The onthecircumstances. BookofChanges When somethinghappens,one is ableto actfreely,depending the says "No thought and no actionand the perfectquiescenceallowsus to know inluitively principleof will this and practisesswordmanship accordingly be near heaven and earth. He who understands "The Way".

DOJO ETIQUETTE
gum etc. 1. No smoking,alcohol, eating, chewing 2. Bow on entering and leavingthe Dojo.To thosewho practiseKaratethe Doio is a sacredplace.Also we and totrain hardand seriously; we bowon leavingto show bow on enteringthe Doioto affirmour intention thanksfor a good lrainingsession 3. Be ouiet 4. When resting,alwayssit cross{egged 5. Show absoluteobedienceto your instructor 6. Call your instructor Sensei from your instructor, "Hai" say 7. To acknowledgeconversationand instruction lf you can't observe Doio etiquette,you will not be welcomein the Doio

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DOJOKUN(DOJO MAXTMS)
1. 2. 3. 4. These Maxims are mottos, the spirit of which serious students of Karate should try to follow if they wish to gain the maximumfrom their training.The Maximsare like the Englishsayings"Service not self', "Deeds not words", "Be prepared",and exemplify an attitude which dictates a way of life. ' ReisetsuO Mamori(stickto the rules).In the Dojogood eliquettemusl be observed the followingrules by Shingi O Omonii (A studentmust have loyaltyfo his/her instructoO. This is the most important thing in Martial Arts. lt is not possiblefor someoneto change Joiitsu ni Oborezu (Teachersand studentsare not all in one).Outsidelhe Doioyou can be friendlywith your Sensei but do not take advantageof this friendship.In the Doio,respectand reverehim Shinkenmi Ni Tesseyo (be serious in your eftorts) No flippancy,chattering,smoking,gum chewing,eatingor drinkingin the Doio you do. The Dojo is not a socialgatheringhall Concentratesolely on Karateand train hard in everything and visitors as well as studentsshall resDect rulesand the Maxims. the

(EmptyMind) MOKUSO
One must Mokuso is part of the trainingof the mind called "Mushin"whichcomesfrom Zen Buddhism. attempt to return to the mentalstale of a new born child - that is - withouta senseof fear, not consciousof theselhingsandthereforehas nolear anddoesnot hesitate distress,pain, cold etc. A babycannotanticipate before moving. An adult knowsfear and is alraid.When attackedhe/she feelstenseand is oftenuseless against the adsailantbecausemovementis restricted. on lf one sees a beautitulflower, normallythe mind concentrates it - but with an emptymind (Mokuso)the mind is aware of everythingelse as well as the flower. techniques, the on Sowhen one fights an enemy - attackingand detending- if onlyconcentrating blocking practised mind is restrictedtothat movement,but if the mind (andblocking enough)thebodyis ableto do the next movement automatically and movementswill alwaysbe natural speed - it is essentialtomovewithoutbeingconscious lf the body istense it iswastingenergyand restricting ot it - that feeling is called "Mushin" Mokuso is part of the trainingfor Mushin

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FUDOCHI
A famous Zen Buddhistof Japan calledTakuanwrote a bookon martialarts and gave it to Taiumanokami Yaqu. a famous swordsman.This book is concernedwith teachingthe spiritof martialartslrom Zen partof the book.What is 'Fudochi'? exampleevenif For The me-dit'ation. conceptol Fudochi'is an important one is threatened with death, one is alwaysbalm and unafraid in any criticalmovementneverlosingthis stateof mind

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TATSUOSUZUKI
Tatsuo Suzuki was born in Yokohamain 1928and Professor interestedin Karate at the age of 14. He was taught by became Hironori Ohtsuka,HighestKarateauthorityin Japan, Professor founder of the Wado-Ryustyle of Karate,and receiverof the Shiju Hoosho medal for serviceto sport from the Governmentof Japan, the only man in the history of Karateto be so honoured. Suzuki is looked upon as his successor. Professor Suzuki six years of beginningto study Karate,Professor Within was awardedhis third Dan, and in 1951was awardedthe then highestgrade in Wado-Ryustyle Karate- sth Dan - for his outstandingcourageand abilitY. Suzuki is in In additionto his accomplishments Karate,Professor a 2nd Dan in TenshinKoryu Bo-Jitsu(stickfighting)and is a'1st Dan in Judo. He has also studiedZen doctrinewith the higti priests,the late Genpo Yamamotoand Soyen Nakagawa. 8th Dan, the highestgrade ever given by the In 1975 he received Wado-Kai.In Federation All-JapanKarate-Doorganisations, of year he also received the highestJapanesemartialarts title of that 'Hanshi' to awarded him by an Uncle of the EmperorHigashikuni. Suzuki is the only living personwith this title in WadoProfessor Ohtsuka.l-Jeis Ryu. The only other personwas the late Professor presentengagedin the setting up of Karateorganisations at abroad. throughout Europeas the Renmei'sChief Representative Instructorfor the EuropeWadoProfessor Suzuki is now Chief Wado Kai Ryu and Chairmanto the United Kingdom Karate-Do Suzuki'sSchool of Karate. whose main dojo is Professor