KARATE

WADO.RYU 3 : 6th Kyu

(8thDan) by Tatsuo Suzuki

Photographs Reginald by Jackson

Speciat thanks are die to Mr. Bob Wignatl ( 3 Dan) of the United Kingdom Karate Federation, for his invaluable assistance in the production of this series.

CONTE NTS TH E BO W( R EI) E XERCISES K I H ONTSU KI& K E RI (B A S IC CHNIOU E S ) TE

1 . Ke t t eJ unz uk i 2 . Ke t t e- G v ak uz uk i 3 . Tobik om iz uk i 4. SurikomiMawashigeri Chudan 5. SurikomiSokuto Chudan

Page

8 10 10 12 16 18 20 20 22 26
26 26 30 33 37 45 45 57 41 41 68

R E N R AKU WAZA (COMB INA TION CHN I O UE S } TE

1 . Ma egerChudan- S o k u to u m i k o m i -Gy a k u z u kChudan i F i 2 . Su r ik om iM aegerC h u d a n -s o k u toC h u d a n -G y a kuzuki hudan i C

U KE ( BLO C KS) SAN BO N U M ITE G

1 . Jo d anUk e lpponme 2 . Jo d anUk e Nihonm e 3 . C hudan aeger i- U k e o h o n me M G 4 . C hudan aeger i- U k e o p p o n me M R

K ATA ( FO R M )
P inan Sh od an P inan Sa nd an

O H YOG U M ITE( SE MI.FRE E FIGHTING)

lpponme

J I YU KUM ITE( F RE EFIGHTING)

+ Professor Hironori Ohtsuka

(THE BOW) REI

that R in e Th er eis a s ay ing th e J a p a n e sM a rti a lA rts " R e i N i H aj i mari ei N i Ow aru."Thi s means MartialArts start and finishwith a bow. Japanese This etiquette is an integralpart of EUDO (or Martial Arts) and without it Budo would be the it sameas streetfighting.Another Budo sayingis, "the more rice on the stalkthe deeper bows becomes. and humbl ethe K arateka d o wn" - t he m or e B u d o tra i n i n gth e mo re c a l m ,di gni fi ed etiquettein order to makehimselfa better person. must practise The beginner

WH Y WE B OWW HE NWE E NTERA ND L E A V ET HE DO J O .

of The Dojo is t he pl a c ew h e rew e l a rn b o th th e s p i ri t and the techni que B udo.W e must not or accidents even this because can leadto dangerous the Dojo with Maliceor Antagonism enter and al ert and the bow i s the foca. we a re i n th e D o j o w e m u s t fe e l purposeful d e at h.W hen for p o int of t his f eeli n g . h e nh e b o w s th e fi rs t ti me a studentshoul dhavedeeprespect hi s W w a n t to s h o wth i s i n h i s b o w. In st r uc t orand s ho u l d , to the time, beforethe trainingstarts, studentis promising train hard When he bows the second and bow saysthat he i s pl eased, that he pur pos e. t t h e e n d o f th e tra i n i n gth e s tu dents A wi th t h ashad enough r a i n i n g .

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T HE B OW
l+

MR. 1. SHtOMITSU

MASAFUMI (7th Dan)

2. Turn the body to the L.

lniii" iF.- nii- tii n'.

knee on the floor; the L' leg remains bent with knee raised. Note l. The head must be the back facing front, straight. Note 2. The feet should not move, Note 3. The feet should be forward with the toes on the floor and the insteps r a ise d .( Se e F ig . 2a.)

3. Turn the body to face about, at the eme time placing the L. knee on the f loor. Note 1. The knees should be slightly apart (about the width of one f ist). Note 2 The insteps should still be raised with toes on the f l oor. (S ee Fi g. 3a).

(1). Wrong View. It is incorrect to have the knees wide aqrt and the hands resting on the knees.

X
TADAYUKI MR. MAEDA (3rd Danl.

4. Move the feet bck so that insteps are touching the floor and sit. This is called "Seiza". Note 1. The eyes should be looking straight ahead. Note 2. The hands should be resting on the thighs clos e t o t h e b o d y , a n d should be r e l a x e d a n d The inwards. turned be should sh oulders relaxed, the elbovvs at sides . Note 3. Keep the back straight an d t h e \ / e i g h t i n the centre of the 6ody.

5. Place the hands slowlY on the floor. They should be close to the sides of the body at the toq of the leg, p a lm s fa cin g th e at Look d o wn wa r d s. opponent.

slowlY Slice lpnds 6. in front of knaes forwrd so that tips of forefingers touch. At the sme time and body forward lan bow. Note L Eyes should be watching opponent's hands (S ee Fi g.6a). Note 2. Do not lean v\reight on hands. N ote 3. A fter the bow w i thdraw hands sl ow l y to the si desof bodv and pl ace the ori gi nal thi ghs i n posi ti on, w i th the body and back upri ght. (S ee Fi gs.4 at 4a).

(4. Wrong View. lf R. insTep is still retiring on floor you cannot sand up quickly.

Note t. Twist the body slig h tty to th e L . flote 2 The back should b straight' Note 3. Keep watching opponent s eyes. ,/

7a. To stand up, bring L. foot forward slightly and rcise knee. At the sme tima instdp of R. foot is raisd and toes brought f orvard.

MAKIWAR AEX E RCIS E S

M ak i w a r a f or c o r r e c t pa r t i c u l a r pun c h i n g . t rai n i n g training is ve r y im p o r ta n t p u n c h i n g te ch n iq u e s, with e m p h a sis The o b je ct of of fo r e - f ist M a kiwa r a

i s t o s t r e n g th e n

th e h ip s a n d is ve r y

t he w r i s t s . J u s t a r m p u n ch in g

bad . Fig. 8. The hips must be twisted sideways wit h t h e b o d y w e i g ht o n th e b a ck le g wh ich is b e n t , t h e b o d y l e a nin gb a ckwa r d s slig h tly. F rg . 9 . N o w t h e h i p s a r e o viste d q u ickly to t he f r o n t a n d t h e b a ck fo o t is tu r n e d to fa ce t he f r o n t , t w i s t i n g o n th e b a ll o f th e fo o t. St ra i g h t e n t h e b a c k le g a n d b e n d th e fr o n t leg . T r a n s f e r a l l t h e we ig h t to th e fr o n t fo o t. F ig . 4 X . K e e p t h e h e e l o f th e b a ck fo o t o n t he f l o o r . T h e e l b o w o f th e p u n ch in g a r m must be kept down. Not e 1 . S h o u l d e r s mu st b e r e la xe d a ll th e t im e . Not e 2 . K e e p t h e e ye s o n th e ta r g e t a ll th e t im e . No t e 3 . P u l l b a c k t h e o th e r h a n d q u icklv to t he h i p . Fig . 1 0 .T h i s i s t h e sa m e te ch n iq u e a s a b o ve bu t n r i k e w i t h t h e e l b o w. Fig s , | | a n d | 2 . T h is te ch n iq u e is fo r SH U T O ( k n i f e h a n d ) . T h e sta n ce is to th e s id e o f t h e M A K I WARA. T h e twistin g o f t he h i p s a n d m o v i n g th e b o d y \^ /e ig h tis th e s am e a s f o r t h e p r w i o u s te ch n iq u e s. F ig , | 3 . T h e s t r i k i n g a r e a is th e sa m e a s th e bot t o m f i s t , b u t t he h a n d is o p e n , Bo th t ets u i a n d s h u t o a r e ve r y g o o d str ikin g t ech n i q u e s , b u t c a r e m u st b e ta ke n n o t to s t r i k e w i t h t h e l i t t l e fin g e r kn u ckle o r th e wr i s t b o n e - o r i n j ur y m a y o ccu r . T h e se t ec h n i q u e s a r e v e r y g o o d fo r a tta ckin g th e t hr o a t , t h e b a c k o f th e n e ck, o r co lla r b o n e . S o m e t i m e s t h e s e t ech n iq u e s a r e o p e n to c o u n t e r - a t t a c k b y t h e fo r e fist, b e ca u seth e y are u s u a l l v d e l i v e r e d in a cir cu la r m a n n e r wh i l e t h e f o r e f i s t i s a str a ig h t p u n ch . F i g s . 1 4 - 1 5 . U R A K EN ( b a ckh a n d a tta ck) T h i s t e c h n i q u e i s th e sa m e a s SHUT O pu n c n rn g .

L*

(3). Wrong View. f orward a. Weight not anough because front leg is straight. b. R. arm straight.

l4). Wrong View. a. R. elbow raised, b, R. heel raied, foot must be flat.

.x

HO WT O MA K E A MAK I WA RAB O A RD

KI H O N.T SUKI & KERI (Bas icTec hniques )

K ETTEJUNZUK I
t6
+17

16. Hidari gmae. Kvu book).

(See 8th.

17. Slide heel of the L foot inwards slightly.

18. R. front kick. (See 8th. Kyu book). N ote l . H ands must not move. Note 2. Keep shoulders r el axed.

19. lmmediately after kick, relax lower part of leg so snaps back foot that slightly. Note. the foot should not be brought back too far. (See Fig. 19a).

20. Step forward with R. foot and punch with R. Junzuki. (See 8th. Kyu book, Junzuk i ).

(5) Wrong View. a. Toes are straight; they should be back. b. Shoulders are too tense.

(6) Wrong View. a. Foot is bent back; instep should ba straight. b. Body leaning back too much.

(7) Wrong View. X a. Kick not focussed. b. Both hands have moved up because shoulders are tense.

2la. 2h. 23a. Turn with Jodan Uke. (See 8th. Kyu book ). 1l

K ETTEG YAKUZUK I
24+25

24. GYAKUZUKI 8th. Kvu book.)

/See

25. Slide heel of the L. f oot inwards slightlY and tvvist body a little to L.

R. Maegeri.

27. lmmediately after kick, relax lower part of leg so sna?s back foot that slightly.

(Side View)

12

28. Place R. foot on floor in Gyakuzuki position with heel up and toes pointing Weight inwards a little. should be on back foot.

29. L. Gyakuzuki. 8th. Kyu book).

(See

(Side View) 3Oa. 3la. Turn with Gedan 8arai.

13

--'+

33

-+-

34

32. Hidari Shizentai. (L Natural Stance). "attention" steq From with L. forward slightly foot keeping both knees straight and hands to sides; body facing front.

33. Slide forward with L. foot, with body leaning forward. Eack foot also slightlY. forward moves Twist L. fist bringing Palm to front.

34. and 35. Move both hands at the sme ttme' the face with L. hand' keep R. hand in the siii*iii guard position on L. chest. y'Vote/. Twist L. fist at end of punch' Note 2. K eep L. arm strai ght duri ng punch' (S ee N ote 3. K eep L. el bow dow n w hi l e punchi ng' wrong vi ew 9.)

X
(8). Wrong View. Pu nch fro m R I H IDA SHIZENTAI and do not bring hands up to the hips first.

32a 14

33a

3tu

36. After punch, pull L. hand back. Note l. To make a strong punc h, t his h a n d m u s t b e pulfed back quickly. Figures 33 to 36 are com plet ed as one movemant.

37. and 38. Pull back foot forward slightly then bring position, front foot back into the SHIZENTAI lowering both hands at same time.

No te Pu n ch w i th al l the b o d y a n d n o t ju st the arm.

x
(1O1. Wrong View. R. hand not on the L. chest L.H. not pulled back enough.

X
(ll). Wrong View. Atacking with both hands at the sme time.

36a

37a

38a

t5

S URIKO M M A WA S HIGRI CHUDA N I E One-step Roundhouse to the middle. kick

39. Hidari Hanmi Gamae (See 8th. Kyu book). HISAOMI FUJII (sth Dan)

40. Surikomi. Kvu book).

(See 8th.

(ll). Wrong View. Hands have been moved during the Surikomi. Hips have been twisted.

'42 L. Mawashigreri. (See 43. Snap foot back after kick thenbut foot down in 7th. Kyu book). front.

CHUDA N S URIKO M SOK UTO I kick to the middle. foot One-step edge
_> 45

45. Surikomt.

18

47. Hidari Sokuto Chudan. See 8th. Kyu book for Sokuto, but attack to solar-plexus instead of knee. Note 1. Keep back straight. r'Vote2 Strike with edge of fo ot , ius t b e l o w a n k l e .

48. Snap foot back after kick.

(13). Wrong View. Back bent forward and hips protuding

X
(12). Wrong View. a. Not looking at opponent. b. Foot not turned enough.

t9

R EN RA K UWAZA (Co mbin at ionTec hniques )

G FUMIK OMl. Y A K UZ UK ICHUDA N S CHUDA N, OK UTO, MAEG ERI punchto the middle. reverse kick to the knee, foot-edge Frontkick to the middle,
* 50 51+5 2

Gamae.

5O. R. Maegeri.

51. After kick, put down in front.

foot

52. L. foot up slightlY.

20

-*

56

53. L. Sokuto Fumikomi. (Se e8t h. Kv u b o o k . )

54. Lower the foot in front Note, Place foot outward s l ig h tly.

55. The fist which is not punching must b in front of chest slightly and not pulled back to hips.

56. The position is the same as at the beginning

21

CHUDA NG Y A K UZ UK ICHUDA N S CHUDA N, OK UTO M S U R IKO M I AEGE RI punchto the middle. kick to the middle, reverse f ront kick,footedge One-step
57*58 --> 59 +6 0

57. Hbari

59. Surikomi

Maegeri.

61. Sokuto to the middte.

63.

Gyakuzuki

to

the

64. beginning; Gamae, )

stance to the (Migi Hanmi

23

An illustration from"EUBlSHl",

an ancient Chinese book on the art of self-delence

MAAI (Distancing)

m th nei Di sta n c ing eans alwa y sk e e p i n g e c o rre c td i s ta n ce, thertoo far apartor too near.Thi s i s in a b so l u t ely s ent ial fre efi g h ti n ga n d i n c o n te s ts . es Wh e n t wo opponent s re s o c l o s e th a t.th e i r h a n d s,hel d i n the ready posi ti onare nearl y a to u ch ing,as s hownla te r i n F i g . 6 5 , th e y a re i n c o rrectl y stanced, ngtoo cl ose.In sucha di bei yo ca se u c an be eas il ys u rp ri s e d y a fro n t k i c k , b y havi ngyour hand grasped, Fi g.66, or b see b e i n gpunc hed y ou r o p p o n e n t, h o n e e dn o t e v e nshi ft hi s body. by w you cannotreachyour opponent n one On th e ot her hand,if y o u r d i s ta n c e p a rt i s to o g re a t, a i p a ce a nds o he will ha v en o d i ff i c u l ty i n a v o i d i n g o u r attack.S eeFi g.67 and 68. , y Th e p r operdis t anc e,h e re fo rei,s to b e n e a re n o u g h knockdow n the opponent a hal f-step to by t fo rwa rd wit h t he lea d i n gfo o t fro m th e re a d y p o s i ti on,but far enoughaw ay to al l ow for ma n o euv rand bodv - s h i fti n q . e

25

U K E (B locks)

Sanbon Gumite. (Three attack sparring.) Jodan Uke. (lpponme).(HeadBlock Number One.)

69. Before the readY Position bow (standing) to each other. (See Ttlt Kv u B o o k ) .

70. Attacker steps back with R. foot into Hidari Gamae. (See 7th. Kyu book).

26

73

71. R. attacker Junzuki to the face (See 8th. KYu book for Junzuki). Defender steqs back with L. foot into B. Jodan Uke. (Se e8t h. K v u b o o k . )

72. Attacker L. Junzuki. defender steps back inta L. Jodan Uke.

R. Junzuki . 73. A ttac ker Defender back with short step, putting L. foot in line with R., L. hand is oqened and dropqed slightly. (See diag. 1). +

f
\ \,

73a

73b

27

74. The body is twisted to L. and punch is blocked with back of L. hand. At the same time, R. hand punch upwards to chin. N o t e 1 . D e f e n d e r s b o d v m u st fa ce L . Note 2. Defenders stance must be S h i k o d a c h i (Se e7 th . Kyu b o o k) with k n e e s b e n t; b o d v a n d fa ce le a n backwards. Note 3. lf the defenders steP back t o o f a r w i t h L . fo o t, th e v will b e o u t o f d i s t a n c e w ith R. co u n te r p u n ch to chin. N o t e 4 . D e f e n d e r m u st m a ke f u ll u se o f h i o - t w i s t f o r b lo ck.

28

76. Both step back into opposite stance quickly. N o t e . B e f o r e s te p p in g b a ck, b o th p a u s e s l i g h t l y r e a d y fo r a n y fu r th e r a g g r e s s r v m o v e m e n ts, th e n ste p b a ck e t o g e th er .

77. Both pull back front foot into position shown.

(14). Wrong View. Defender has stepped too far back

(15). Wrong View. a. Defender has blocked with palm of nan d. b. Defender is not leaning bck with h is fxe. c. Defender's hip is not twisted to L. enough and L. foot is not behind B.

X
(16). Wrong V i ew (no a. Defender leaning forward povver). has b. Defenden elbow attek twist (no povrer).

HeadBlockNo. 2 JODANUKE NIHONME.

78+7 9

78. Stan as Jodan uke lqqonme. Attr,cker R. Junzuki to fxe; defendar steg into L. Jodan Uke.

79. Attacker L. Junzuki to face, defender step back with R- Jodan Uke.

80a

81a

(See diag. 2.) at 80 & 81. Attacker R. Junzuki to face; defender steps back and to the R. the eme time face and body move to R. away from punch. The left hand moves upwards from L. hip, blocks attacking arm frori inside, and strikes face. Not e t . T h i s i s a s i m u l t a n eo u s b lo c[ a n d co u n te r - p u n ch , so a rm must be bent and fi st focussed on the face.

X
(17). Wrong View. Arm too straight so cannot punch at the same time. (18). Wrong View. a. Back foot not Placed enough to side. b. EodY not enough to side verY is bloc king so difficult.

8tb 31

82a 82. Defender grips back of attackers nKk or jacket.

83a

pul l s 83. D efender attacker downwards and kicks to body with knee. Both step back into opposite stance (See Fig. 76). N ote 1. The fi ni sh i s the same as Jodan U ke l pponme N ote 2. F rom 8O to 83 i s done qui ckl v as one movement.

( 1 9 ) . Wr o n g V i ew . Atta cke r is not pul l ed d o wn e n o u g h, maktng too co u n te r ' a tta ck weak.

32

C H UD ANM AEG ERI E GOHONME UK Middlefront kick blockNo. 5

87. Once more attac k. D efender steps back again.

85. Anacker R. Chudan Maegeri, defender steps back quicklv.

84. From readv position attacker steps back with R. foot into Hidari Hanmi Gamae.

33

89 and 90. One more moves Defender attack. both feet L. and backward, moving L. foot first (See diag. 3) at the same ttme he sweeps aftackers leg to R. No te 1 . T h e whol e bodY m u st b e m o ve d to L. Note 2. H iPs must be wviste d to L d uri ng bl ock ( Se e Wr o n g View 20) hi P s wvisted wrong way so b lo ck is to o w eak; bad f or p o sitio n co u n te r - a tta cK' No te 3 . HiPs m ust be keP t d o wn with we ight 7O% on b a ck fo o t. No te 4 . lf b lo ck too soon, d e fe n d e r s fin g ers can be kicke d a n d b r o ken. No te 5 . T h e attacki ng l eg sh o u ld b e b locked near a n kle with Pa lm of hand.

9Oa

^)
(201. Wrong View. Eody not moved enough to the L.

@{ $

90b

34

his 92. Defender tw'its hips to R. and punches L. gyakuzuki to kidneYs

35

\
93. Defender pull.s punch guickly as posible. back as

Note. From 89-93 movement.

are done as one

foot to L., then turns quickly into L. stance. Defender steps back into opposite stance. After this both pult front feet back slowly into position Shown.

36

CH U D AN AEGERI E ROP P ONME M UK Middlefront kick block No. 6.

99. Anacker L. Chudan Maepri. Defender step back with R. foot.

97. Attacker R. Chudan Maqeri: defender step back with L. foot.

37

1Ol. Anacker Surikomi. Defender mov6 to R. with R' foot leading' Eee diag. 4.)

102. Attacker L. Maqeri. Defender blocks the sme tnv as Gohonme but from other side.

From lO2-107 is the v,ne x 89-95 but from opposite side

0\
"@.

\*
(22). Wrong View Hips not enough to R.

38

3['

O H Y O GU M ITE ( S e mi-F reeFig htin g)

IPPONM E ( No. 1. )

i i th In OHY O G UM I T E t he s ta rti n g i s ta n c es g re a te r an i n S A N B ON GU MITE becausen the d latterthe attackersteps back in the beginning. Th e D ef enc e lT and A t t ac k si n O H YO G U I\4 E a re mo redi ff i cul t than S A N B ONGU MITE ;freer to a desi gned be easi l yadaptedto mo vi n g and not s o f o rm a l . T h e s ete c h n i q u e s re s p eci al l y fre e -fi ght ing, es t so r s e l f-d e fe n c e . c ont ,

108. Bow to each other but keep looking at each otherc eves.

109. Beady. NOT E.lt i s very i mportant to m a intai n good di stance tr o m the start.

A ttacker | 10. sterrs f orvrard defender steps into Hidari Hanmi bck Gamae.

llla

111. Attacker steps forward and punches to face with Tobikomzuki. defender steqs back with L. foot, swaYing back upper part of bodv, at tfie same time oqening his hand and sweeping Punch to L. rear. f\lote, Block with SHUTO (Knife-hand).

ll2. Attacker pulls back R. hand quickly and raises L. hand to his solar Plexus.

I l2a

I l3a

Attacker , 14. and | 't g pueches with L. GYakuzuki to ribs, pulling hand fuck to L. hip as quicklY x Possible.

I l4 a

42

115 and | 16. Atteker svneps defender iust below his B. ankle with sole of his L. foot. Note 1. Attacker must slreep in a circular movement defender's foot to R' Note 2. During the w\reep R. hand must be pulled to R- hip'

'l 17. After straeping, foot is brought fuck to front. /Vote. Both must watch each other carefully.

4:t

118

| 18a

118 and 119. A ttacker R . to defender's Gyakuzuki kidneys pulling punch back qu,ckly to R. hip. l y'ote. From 1i 5-119 must be done as one movement.

119

1 l9a

120

1 2 0 a n d 1 2 1 . De fe n d er ntoves R. leg forward and turns q u ickly a n d a tta cker ste?s lpck tn oppostte stance. No te . F to m 1 2 0 to f rnrsh i s sa m e a s Sa n b o n Gumi te M a e g e r i Uke Go h o n m e.

KATA
P INA NS HODAN

2nd Half

_g
xlv
vll
XVI l . lll, l v

&

IP*u
F**u
xvil

r. il, Iil, tv
V
I

QXU

X X I I I XVI --XXI. XXIII g;E XVII

Front kick

122 (t)

12sIII)

12a llta)

125 lilb)

| 22. Shizentai. (Natural Stance) 123. Move L. foot stightty to L. and at the sme time both hands to R. side. Face L. Stance ls /. Not e Nek o a s h i ( C a t S t a n c e) ' B ot h k n e e s a r e b e nt s ligh t l Y . Not e 2 . K e e P b o dy f ac in g f r o n t w i t h h e a d t urne d L . B a l l o i L f oot s h o u l d b e r e s t r n g s ligh t l y o n f l o o r w r th heel r a i s e d ; w e l g h t ls m ain l y o n b a c k { o ot {abo u t 7 0 % ) . | 24. Raise R. fist diagonallY across bodY an to nead. At same tine L;-f ist blocks ,o face from L /see Fig l24a) )'""iii using thumb sicle of wist' fa r Uot i t . l f L h a n d is n o t b r o u g h t a c r o s s ! a r 'e , b lo ck will b e " ^ " JgJ , t i u u ( S e e w r on g vie w F is 2 3 ) in" r i f " i h o r r a ( Se e r e m a i n f a cin g f r o n t 6oO v view Fi9, 23 ) wro n g

125a

| 25 and 126- Twist body to L. A t same time bring R f ist down in front of bodv wtth arm straight, block R' bottom fi st D raw L fist back beside right ear. N ote l . L el bow musr be dow n. N ote 2. K eeP N ekoasht $ance and do nol nl ove L. foot. N ote 3. Thi s techni tl ue has tw o P urposes: a. S ci ssorsmovemenl of bl ock w oul d break arm o{ attacker' b. l f bl ock fai l s w i th R fi st L. arm can sti l l bl ock effecti vel Y . (S ee F i q. 126a).

46

126 (llc)

127

12s (ilt)

127 and 128 and 129. Move L. foot back to first position and twist hips to R. At same time pull R. fist back to R. to side and attack temple with L. bottom fist. lsee Fig. l29a). No te Stance i s natural sta n ce and both knees m u st b e strai ght.

l27a ->

129a. Alhen fighting do not pull R. fist back to side as this would pull attacker too close for R. b o tto m fist a ttack. When prcctising the Ka ta h o we ver, pulling fist right d e ve l ops b a ck p o we r tn tne tnovernent.

X
(24). Wrong View. a. L. elbow is up. b. Hips are too high. c. R. block is too high

X
(25). Wrong View. R. hand is not p u lled far bc k shoulders enough are'too tense-

47

t3t (lVa)

132 lIVb)

130. From Fig. 129 move R. foot slightlY to R. and move R. hand acros body. Turn face to R. Nekushi Stance.

131 to 133. Same techniques, but opposite side to Fig. 123-129.

1 3 0(lv ,

S . NE K O A S HI T A NCE(CA TF O O T )
Th e b o d y w e i g h t i s d i s t r i b u t e d 7 0 % o n b a c k foot and 30% on front, with both knees bent. Fr o n t h e e l i s r a i s e d s l i g h t l y w i t h b o d y s t r a i g h t Th e f r o n t f o o t a n d b a c k h e e l a r e a l w a y s o n t h e same line The angle of the body and the back foot. and the distance between the feet will vary in context. This stance resembles the po s i t i o n t a k e n b y a c a t b e f o r e i t a t t a c k s 48

-+

1s5 (VI)

->

136

,37 (VII)

134- Twist hips to R. and bend knea. Lotner R. hand. ly'ote. Turn feet on the spot . Do n o t r n o v e th em. Ke e p R . a r m relax ed.

135a

136. Bring R. foot down close to L. foot. Then move L. foot to front. Open both hands and place L. hand beside R. ear.

t37o

135. R. hand Soto lJke. Same tine R. front kick. lsee l35a). y' y' o te . Blo ck with th u tn b sid e o f R wr ist.

X
t261. Wrong View. is not a. Elock enough to R. b. Shoulders too tense.

49

t38 (VIIa)

t3e (vtlb)

137, 138 and ,39. Move L. hand across fxe and block with Shuto Uke (Knife-hand at the sane block) time, bring R. hand to L. chest, palm facing upvords. Body should face 45% Position to front. of feet should make a right angle with tvro heels in line. Weight about 7O% on back foot.

140 and l4l. Twist hips to L. and bring R. hand up to L. ear. /Vote. Weight should be on L. foot.

| 39a

X
(27). Wrong View' a. Eody too much to front. b. R. hand too far back. c. L. hand too far outside.

X
(281. Wrong View. a. Back knee straight. b. Bodv leaning back. c. Weight in middle. d. Hand bent back' wards.

50

142 (vilI)

143(VIIIb)

144 (VrIIb)

145

142, 143 and 144. Move R foot forward into R. Nekoashi stance and Shuto Uke with R. hand. 147 (lXa) 146 llx) -+ -+

t45
.*

149 /X)

145. 146 and 147. Step forvBrd into Uke

Shuto

+l
IJ

t lt

148. Twist hi6 to L. slightly, weight on L. foot. Ering L hand down a little; move slightly f orvnrd and turn into spear hand, as shotllt. Note. Do NOT move R. h and bac k before a tta cking w i th sp e a r h and.

't49. Step forvnrd into stance and Junzuki strike to solar Plexus with spffir-hand. Pull L. hand tuck to L. hip, clench fist.

t4 6 llX. l xo)

(x)

l {e

lb

f.
51

(XU 150

151 (XIa)

-->

152 (Xll)

153(xlla)

in ana l5l. Move L. foot to R' Twist hips to L' tirning bodv 135oblock with L Shuto Uke' Turn on ball of R. foot. A,lote.
t50(xI. xb)

line and 1 52 and 153. Move forvmrd atong the 45o block with R. Shuto Uke.

\ 'q\.l l
'. ,QI )*'"i

'.'l

ts4lxrrr)

_--_.-

| Sg (XIIIa)

156( x l v )

-+

1 5 7 (XI Va)

lil a n d 1 5 5 . M o v e R . foot 9F to R. Twist hiqs dighttV to R. and block with R. Shuto Uke.

156 and 157 Move forward along the 4f block with L. S huto U ke

line and

52

-+

159 (XV)

160(XVa)

1 58 and 15 9 . M o v e L . foot to L. and twist hips to L. Ering R. hand across body and clench fist.

X
Wrong eg. View. Hips twisted f ar, too causing bad balance.

160. Twist hips tully to L. and block with Soto Uke at same tirrre.

l6l. R. front kick.

1574, 160A, t6rA. t634 are explanation of Figs. | 57-r63.

53

t63 (xvl)

''->

t65 (xvlb)

and 162 Gyakuzuki.

,6 3.

hand 165. Twist hips to R. and L. Lower 164. keeping it relaxed. Do not block with L. Shuto Uke at same time. move anything else.

l 6l ( XVl . XVl a x v tbl

q
u

I J

,67 (Xvll

r68(XVrr)

/69 (XVIIa)

167a

166 and 167. L- front kick follotrcd by R. Gyakuzuki.

forvnrd in | 68. Step lovaring Junzuki sance hands to L. at sme time.

169. Eltk with R. Soto Uke placing L. hand as shown. This blek is callad Morote Uke (both hand blocH.

(xtx) 171

172(XIX)

173

17O. Move L. Raise L. hand and bring R. body below L. /Vofe. Rais L.

't72. Step forvnrd along 173. Move R. foot 9f; loot to L. 171. Twist hip to L. l35o Gedan the 450 line and block lotuer R. hand to L. chest. vith across ch6t. and blxk with R. Jodan Uke. A/ote /. Move R. foot 90o; hand across 8arai. l ow er R . hand to L. chest. Note 2. R. heel raised. Do heel. not twist hip. 2. Twist R. hand paf m upwards. -,2

175(xxtt)

176 (XXIII)

174. Twist hip to R. urd 175. Move forward atong block with R. Gedangarai. the 45o line and block
with L. Jodan Uke.

176. Pull L. foot back sfowfv lnto ready position.

N ote. F i gs 149 and K i ai (i e. 169-Wi th l oud shouti ng A i ea!! or Y A H I!).

ft
56

PINAN SAN DAN

Leftrootffi
I st Half 2nd Half

fu.,
X

*,ffi*,
xrrRxrrr

XIV

9^ru

x r v x v

,"fr

@,

$ u,,,

ill,f*

SANDAN 178 '

,79

180(Il

| 77b). Shizentai.

178b) Move L. foot to L' Raise hand and bring. ancl uPvards hand acros L. 6o6Y. KeeP body facing front.

t79b) md tsob).
Twist hips to L and with L. Soto block stance, Uke-Nekoashi bodY facing L

| 8 0 (ll)
(3d. Wrong View. a. Hip is not taisted enough to L. b. Soto Uke too low.

68

tel (ilr)

182 (IIIa)

183 (IIIb)

18a (IIIc)

l 8 l (a ) and 18 2 ( a ) . Bring R. foot up to L. Lower L. hand to R., arros face. Move R. hand to L.

| 82(a).

183(a). L. hand block Gedan Earai; R. hand blxk Soto Uke. Note a. Knees straight. b . Big toes touchi ng because in Nekoashi sta n ce front foot. i s str a ig h t; theretore, wh e n back f oot is b r o u g h t up to i t, the to e s wil l be touchi ng.

| 84(a).

l8l (lll. llla. lllb lllc. l lld, llle)

(31). Wrong View. a. Toes apart. b. Gedan Barai is not to L. enough. c. Soto Uke too high and too far to R.

59

185 (ltla)

186 (llle)

188

1 8 5 a n d 1 8 6 . Blo ck ,U, with R. Gedan Barai and L. Soto Uke-the arm that blocks with Gedan Sarai always mova inside.

187. Move R- foot to rear.

188 and 189. Twist hiqs to R. and block with R. Soto Uke. N ote. Move L. hand i nsi de R . arm. B odY faci ng R . N ekoashi stance.

| 9 0 (V. V a )
t 9t ( V a )

t8s (t v)

(V' 190

L. Gedan E arai l9 l 190. Ering L. foot uP to R foot with R. Gedan Earai Soto U ke. 'l fy'ote. F rgs. 90 - l 91 and L Soto Uke. '181- 186 th e same as

192. Move L. foot to L and bring L hand across borlv. N ote. D o N OT move the body

60

1 93(V ll

-->

194

t 95 ( v lt )

193. Twist hips to L. into L. Nekoashi stance-left Soto Uke.

194 and 195. Step forward into Junzuki stance and strike with spearhand to solar-plexus. L. hand to L. hip with clenched fist.

193 (Vl)

a
61

1e7(vil)

196 and 197. Move L f@t to R and turn bodY to rear. Note. a. Do not rmve L. hand. b. B end b o d y w e l l f o r r a r d b u t keep bac k s t r a i g h t .

backwardsDo NoT lift the bodv il;;;'W;;;-;"vins igsa, zooa-fxphnations of |95-2oo

Move .foot 198, 199and 2OO. r c i i 'nZX i in i i i t' i i a- i i i t"' atta k w th bottom,ist o' "'"",i!l'"i7i''ii,i ribs.Shiko&chi stance to tgsA' 1974'

bact:-a-!d:t^:?::,.':T::::"t1, straish.t

| 97a

| 99a

2OOa

X
(32). Wrong Vievtr. Sody not straight. hand T h e r e fo r e cannot be Pulled str o n g lY b a ck enough.

@'-3

(e

VI

62

2O1. Step fortnrd R. Junzuki.

into

2O2. Turn to rear- Pivot on L. foot. No te . F ists a. L IGHT L Y to u ch in g h ip s. b. Bo th e lb o u n in str a ig h t lin e .

203. R foot forvard, R. fist turn elbow into body.

2M. Twist hi6 to L. and at sanp tinp blrck R. w i th el bow . Shiko&chi starce. /See Fig.20.H.

I
@

l@

202a

"f
@
(33). Wrong View. Fist in vwong position. (33a) Elbow b e ck.

2O3a

2O4a

4/

w)
X
134). Wrorry View Body laning forvnrd and elbow block not in front of body enough.

63

205 (XIIa)

206(xlth)

-+

208{Xilt)

207a

R. hand 206. Pull quicklY back to hiP'

207. Move L. leg to R in front of bodY" at same time twist L. fist with Palm uqqermost' Etbot a into side' both heels raised.

208. Twist hiPs to R. L with and block el bow -S hi kodachi stance.

p
\o

205b 2O5a and 2O5, to solar counter-attack plexus with bottom fist' Not e. K e e P e l b o w d o wn and s t r i k e w i t h a c ' r c u la r toR (See mot ion f r o m L Fig. 2O5 a ) .T h e b a c k o f th e hand m u s t b e u P P e r mo sr '

2u/ta tne^ -^': ltza

2O4a. Elbow block against an attack to solar Plexus. 2O8a and 212a. E xpl anati on of Figs. 2o4,2O7 lnd212'

64

20s (XIIIa)

210(Xrrrb)

2t l

212 (XIV)

2 10 a

2l 1a

212a

209. Anack lower ribs with L. bottom fist.

21O. Pull hand back quickly to L. hip.

2 1 1 . Move R . l eg to L. in f ront of body. At same time twist R. fist with palm uppermost. Elbow into side. Both heels raised.

212. Twist hips to L. At same time blek R. el bow . w i th Shikodachi starrce.

Note. 2 O4 a . E l bow bl ock agai nst an a tta ck to sol ar pl exus. 2 O8 a and 212a. E xpl anati on o f F ig s. 2O4, 2O7 and 212. 2 0 5 a . A fter bl ock attack ri bs with b ottom f i st. 2 O9 a and 213a. E xpl anati on o f F ig s 205,2O9 and 213.

1 8l
o,l
212{Xl V. Xl v a, XIv b}

65

213 (XIVa)

-+

214(xIVb)

.+

215(xv)

216 (XVI)

213. Sane technique as Fig. frS but this time B. hand staysout.

214. Twist L. fist wth patm upqernost. Elbow into side.

215. L. JUNZUKI.

216. Bring R. foot uP in tine uith the L. Do NOT move hands.

213a

-{-

I\
\ \

215( x v l

X
(35). lA/rongView. Bottom fist attack too high. Eack not straight.

\s
\,

66

-+

2r8

-.>

219 (XVII)

220

217 and 218. Turn body to L. 18e' bring L' leg round in line with n.
219rxvil)

2fr. R.

Move R. f@t

to

219. Twist hips to L. slightly, at sme time pull L. hand fuck to L. hip and R. hand quickly to L. shoulder. /See F ig s. and 219 219d.

Note. One meaning of Fi gs. 219 and 221 i s show n i n Fi gs.219A and 2198 and they are al so a means of practising the hip twist. Therefore, the hi F M UST be tw i sted duri ng thi s techni que.

221. Bring L. foot up to R., distance as Fig. 2lA and at same time twist hips to R. slightly and pull R. hand back to R. hip and L. hand quickly to R. shoulder. Keep legs straight and a t han l i tt le wi d e r Shizentai. IX VIII )

(xrx)

222. Pull R. foot in to and the L. slightly, lovmr both han* to Shizentai SLOWLY.

Xtsol. wrong vicw.

a. Knecr. bdnt. b. Too much hip twist. so no c. Etbow tiltd povnr in technique.

67

FR E E F IGHTING

fi i n boxi ng,the parti ci pants ght a in In fre e s par r ing Ka ra te , s i n ' ra n d o ri ' i n J u d o a nd sparri ng and basi csparri ng l te c h ni quesearnti n practi ce' a a p p l y ingall t he us u a la tta c k i n g n d b l o c k i n g could be . in earlierchapters)Freesparring sparring(all of which havebeen described semi-free to for only useless beginners it of said to be the essence perfectskill in Karate.Therefore, is not without practise free sparring some beginners lt practiseit, but also dangerous. is wrong that proverb says, 'The longestway As basictechniques. a Japanese first acquiring the essential beyonda trainingyou will not make progress round is the shortestway home.' lf you hurry in freel y i n a gi ven or appl y techni ques fo i ce rta inlim it , bec au s et i s i m p o s s i b l e r y o u to c hange many techniques' situationwithout first acquiring havebecomepopularrecentlyin Japan'people that sinceKaratecontests It is most regrettable with the They haveacquiredthesetechniques have tended to use lessimportant techniques. or skillsasclearfocusing' the art of such and haveneglected sole intention of winning contests, to rvhi chare pecul i ar w down t he o p p o n e n tu n fa i l i n g l y i th o n e punchonl y, both of kn o c k ing and te t i A Ka r at e. not herr ea s o ns th e n e g l e co f b a s i c c h ni ques f orms.'

* Th e n e x t b o o k , 5 t h Kyu , will co ve r fr e e - fig h lin g le ch n iques

68

OHTSUKA HIRONORI PROFESSOR

began Japan'1892'.and was bornin lbaragi' Ohtsuka Hironori Professor h9-1assixyearsold'eventuallv .tiu vosniniyu 'ritt' w.hen ;;;;Gi"s Sninoo okinawan the original He [L."ti"s in" uign"rt Atitnority' also practised karate Master. the Funakoshi, firstreal taulnt by Gichin k"i"t", O"eing arts with his extensive of his Combining knowledge these two maior ohtsukaspentyears Professor in of the MartiaiArts general'. il;rds; wado Rvu'now of thetechnlques modernKarate ;;;;i"t;g andevolvinj to sportand in of th;;;;5;.i schoot drare in ftreworto.For his services theonlyman in Authority Japan, Karate ai of honour hisposition tnenignest to in tn" nittotyof Karate be so honoured' diedin 1982aged90' Ohtsuka Professor Augu:t1?68' Palace' al 2 on Thepicture Page wastakenin England Crystal whenProfessorontsuraui.it"otn"unitedKingdomKarateFederation ChamPionshiPs' Open

GLOSSARY TERMS OF

BLOCKS
KNIFE HANDBLOCK HEADBLOCK LOW BLOCK MIDDLE BLOCK ELBOW BLOCK withotherhand Block position in chest ready (See Fig.169a)

UKE SHUTO JODAN UKE BARAI(UKE) GEDAN CHUDAN UKE HIJIUKE MOROTE UKE

STANCES
,,C A T,,S TA N C E ,,H OR S E -R t D IN G,,S TA N C E (S ee K yu P .39) 7th ,,A TTE N TION ,,S TA N C E

NE K O A S HI CH I DA KIB A DA CHI SH IK O DA CHI H E I S O K U CHI DA

KIKIOJI M IKUZUREFUTANREN
KIK IO J I T h i s i s a H istori calS amuraimaxi m' Being afraid, before fighting,because of the enemv'sreputation. the enemy looks Being afraid because very fierceand strong. trai l n a d e q u a te ni ng.

MIKUZURE

FUTANREN

Any one of these three is enoughto losethe contest for This maxim also appliesto all the martial the Samurai, arts,includingKarate.

'"/r"L
-ff1 e=.,W
^r('

t
.)

tz

TATSUO SUZUKI
in and was Professor Tatsuo Suzuki borninYokohama 1928 by interested Karate theageof 14.Hewastaught in at became in Karate Highest authority Japan, HironoriOhtsuka, Professor and of styleof Karate, receliver the Shiju founder theWado-Ryu of of fromtheGovernment Japan, medal service sport for to Hoosho to of theonlymanin thehistory Karate be so hohoured. is uponas hissuccessor. Professor Suzuki looked Karate, Professor Suzukiwas to of Within years beginning study six the wasawarded thenhighest his awarded thirdDan,andin 1951 grade Wado-Ryu Karate SthDan- for hisoutstanding style in : , courage ability. ' and is Professor inKarate, Suzuki a Inaddition hisaccomplishments to (stick fighting) is a 1stDan and Bo-Jitsu Koryu 2ndDaninTenshin priests, the with Zen He inJudo. hasalsostudied doctrine thehigh Yamamoto SoyenNakagawa. and lateGenpo grade evergiven the by the 8th In 1975he received Dan, highest Wado-Kai. that In Karate-Do organisations, FederationAll-Japan of martial titleof arts yearhe alsoreceived highest Japanese the 'Hanshi'awarded byan Uncle theEmperor Higashikuni. of to him person thistitleinWadowith is Professor Suzuki theonlyliving person thelateProfessor He was Ohtsuka. is Ryu. Theonlyother organisations in up engaged thesetting of Karate at present abroad. ChiefRepresentative Europe the Renmei's as throughout fortheEuropeWado-Ryu Instructor is Professor Suzuki nowChief Wado whose Kai Karate-Do Kingdom to andChairman the United Karate. Schoolof maindojois Professor Suzuki's

fel 323714 Fax:328652 L G. W Aske w& So n ( Pr in te r s) td .,Do n caster'