ISKF

KARATE-DO
IN BC
I've taken on this book to give the
members of ISKFBC my point of view
of Karate as I see it after 37 years of
training and over 30 years as a student
of Sensei Y. Yaguchi, one of the most
senior Karate-ka alive and teaching
today. I thank you in advance for
forgiving any errors or omissions.
Joe Dixon
Technical Director ISKFBC of Canada

For ISKFBC members and anyone

with an interest in ISKF Shotokan
Karate-do.

2
Foreword
It is my pleasure to introduce this important work
by Sensei Joe Dixon. He has researched, collected and
organized a comprehensive body of work that captures the
history of Shotokan karate and its introduction to British
Columbia, Canada.
In a style that is engaging, Sensei Dixon relates
history and human interest stories that explain how
Shotokan karate, the ISKF, and ultimately ISKF B.C. has
grown into an organization of major import in Canada and
around the world. His support and dedication to the ISKF
and both Master Okazaki and Master Yaguchi has never
wavered.
Sensei Dixons account of the spread of martial arts
throughout the world and around the province is
substantiated by his own travels throughout B.C. to spread
the technical principles to B.C. branch dojos. His
headquarters dojo in Port Moody has hosted many
seminars, examinations, and Instructor classes, when the
ISKF Masters travel through Canada. His friendly and
inclusive personality makes training and visiting his dojo a
memorable event.
Sensei Dixons book will ensure that the history of
ISKF Karate in B.C. is recorded and available to everyone

Sensei Cathy Cline

8th Dan
Chief instructor, ISKF North West region
Member of ISKF technical committee

The Masters
Shihan G. Funakoshi
Shihan T. Okazaki
Shihan Y. Yaguchi
Picture courtesy of Sensei Tony and Danny Tam

Sensei Yaguchi and myself, grading at Port

Moody, B.C. Dojo
"I have learned more about Karate since I
turned 70, then in all the time before."
Shihan Y. Yaguchi

The more I learn, and the more I understand,

the more I realize I'm just beginning
Joe Dixon
I thank my students for teaching me, and a
special thanks to my Sempai, Sensei Cathy
Cline for her years of pushing me, and her
help within this book. Oss!
Special thanks must go out to Patricia
Schick, a student and friend. She has taken
the time to edit this book, and as a school
teacher found an unlimited number of
grammatical errors. Thanks for your time
and effort and may this book help you with
your own instructor training.

6
Karate history of Joe Dixon
I began training in Karate in 1976, in the town of
Mackenzie, in northern BC. I had just left the Navy and
taken a job up there. My wife went down and joined the
newly started Karate club taught by Sensei Jim Hamilton
from Prince George.
His style was Wado ryu, and at this time He was a Sandan.
He or his senior student, Sempia John Hallam, came to
Mackenzie twice a week. This was a drive of 250 miles
return, so they were very dedicated instructors.
I went down to the Dojo one day to pick up my wife
and watched as Sensei Hamilton did roundhouse kicks to
the cement walls. The whole building would ring with each
kick. I immediately knew this was for me even at the old
age of 29.
I joined up at the next class and found out how difficult it
was to do Karate and smoke two packs of cigarettes a day.
After being repeatedly sick at each class both my wife and I
quit smoking. I have never smoked since, so perhaps
Karate has already saved my life.
After training in Mackenzie for about 8 months I
moved to Coquitlam and joined the Shotokan club in Port
Moody in October 1977. Sensei Gary Johnson was running
a part time club out of Coronation school on Mondays and
Wednesdays plus another club out of Surrey on Tuesdays
and Thursdays.
I trained every class in Port Moody and tried to make as
many as I could in Surrey.
In 1979 Sensei Johnson started up another club in
Maple Ridge and I went out there as His assistant. At this
time I was a purple belt and we had just joined the JKA
under Sensei Nishiyama.
I graded up to 1st Kyu under His training.

In 1983 we joined the ISKF and Karate completely

changed for me. I was the first Black belt graded by Sensei
Yaguchi in BC. We went down to Denver camp that year
and I watched in amazement at the Black belts. They were
years ahead of us, and I knew that I was given my belt to
help build up BC, not because I was the same caliber as
Senseis students.
I look back now and realize that I was at the level of a 3
kyu from BC now. But we grew and trained harder and
within 4-5 years were equal to the rest of the world and
better then some. This has given me the insight on how to
build up a club that is just starting out. Move slow and with
a lot of patience.
I took over the Port Moody dojo from Sensei Johnson in
1993, with 34 students and a $1800. a month rent.
We grew quickly and soon averaged 100 students, with an
even mix of men and women and juniors.
I had some of the best students in BC. Not just for their
Karate but for their organizational abilities. If I wanted to
have a tournament or special training my seniors would do
the job, and I got all the glory.
DAN rank
Shodan
Nidan
Sandan
Yondan
Godan
Rukodan

examiner
Yaguchi
Okazaki
Yaguchi
Yaguchi
Okazaki
Yaguchi

date
11-26-83
12-13-86
4-02-89
6-25-94
8-04-01
03-28-09

certificate no.
A-3598
A-1592
A-0591
IS-CAN-4-0027
IS-CAN-5-0019
CAN-6-0017

8
Coach NCCP

12-02-86

CC198022

Canadian Instructor C Oct/87

B Oct/89
Canadian Judge

D Oct/87
C Oct/89

International Judge D Oct/98

C Oct/99
B Oct/02
International Instructor D
C
B
International Examiner D
C
B

3IC-4
BC5IB
3JD-3
BC02JC
D-04-1098
CJ-134
BJ-134

June/02
June/08
June/10
June/02
June/08
June/12

DI-134-02
CI-134
BI-134
DE-134-02
CE-134
BE-134

I became Technical Director of JKA/BC in 2002, with

Sensei Yaguchi taking over the job of Chief Instructor from
Sensei Johnson.
Keep Training
Joe Dixon
Technical Director
ISKFBC

Content

Title

page

ISKFBC and Karate-do

10

Masters

19

Martial arts

52

Stances

58

Blocks

79

Punches and strikes

88

Kicks and Knee smashes

106

Body movement and power

116

Breaking posture

134

For the instructor

138

Bibliography

195

10

ISKF Karate-do in B.C. Canada

There are hundreds of books and video's to help the
new, and even the experienced student, to train in Karate.
Some of these are produced by great teachers, while others
are suspect in their theory and originality. This book is for
the students of ISKF Karate in the province of British
Columbia, Canada. It contains my thoughts on Karate-do
and its techniques which we have learned from two of the
greatest Masters of modern time. I want this book to be
simple enough for the new student to understand and get a
good grasp of ISKF Karate. It will not go into great detail
on most subjects, but has references, (in parentheses - go
to bibliography), to find the best of these and other
resources to progress in their studies of Karate-do.
ISKF Karate in B.C. is based on the teachings of
Sensei Gichin Funakoshi, the man who introduced Karate
to Japan, and subsequently became the founder of his own
style called Shotokan. We have two of his original students
to teach and guide us in our studies. These gentlemen are
Sensei Teruyuki Okazaki, 10th Dan, Chairman of ISKF,
and Sensei Yutaka Yaguchi, 9th Dan and Vise-Chairman
ISKF. Sensei Yaguchi is also the chief Instructor for ISKF
of B.C.
In order to understand what you are learning it is a
good idea to have a brief history of the art and its
development. The style of martial art which you are
studying has a history going back many generations,
arriving here after development throughout Asia.

11
Ok, what is Karate? Let's keep it simple.
Karate is an oriental form of martial art with its
origins coming from northern China and the island of
Okinawa, Japan.
The word Karate as we use it today comes from two
words, the first, kara means empty or void, such as to
empty the mind of fear or anger. The second part, te, means
hand. So the modern word has come to mean empty hand.
The main objective of Karate as a fighting art is to
disable your opponent as quickly as possible with the least
loss of energy. The ability to do this comes through
extensive training of the body, to use all parts as weapons,
while maintaining control of balance and power.
Modern Karate has developed from these fighting
principals, but has also become a method of physical
fitness, and a sport. The modern day Karate-ka (those who
study karate) can use these fundamental techniques to both
enhance their physical well-being and protect themselves if
attacked. As a sport, Karate is just coming of age, and with
the development of tournament rules the speed and
devastation of karate can be appreciated by practitioners
and spectators alike.
From a physical perspective karate is the
incorporation of the entire body into a mechanically coordinated system so that power which has
been created at different points of the body is finally
channeled into a single area with tremendous force.
(5-Kanazawa-p8).

12
Karate also has a psychological side to it, which
allows the student to come to terms with his own
weaknesses and allow him to understand his own abilities.
Karate, if used properly should enable the practitioner to
understand his opponents thoughts and body language
which allows him to anticipate the reactions of his
opponent. To summarize, I believe that in its simplest form
the definition of karate is "a fighting art which uses all parts
of the body to defend and attack with enough force to deter
further violence while
maintaining the ability to
recover to a natural posture."
One of the best books
out with an explanation of what
Karate truly is, was written by
Sensei Gichin Funakoshi called
(4 - Karate-Do, My way of life)
This book gives the true
concepts of Karate without
saying one style is better than
another. Sensei Funakoshi knew
only Karate, not any style of Karate. The men of his
generation practiced a form of self-defense based on the
practical, not the theoretical.

13
So now you know what Karate is, let's see where it
comes from.
The Oriental culture developed over several
thousands of years, but during this time the class system
has remained paramount in the structure of all the major
National centers. This class system gave rise to both
warrior and religious groups who plied for political
superiority. The Martial Arts as we know of them today are
a direct result of the differences and commonalties between
these two factions.
The history of the Martial arts has been clouded by
claims of both physical prowess that are beyond human
capability, and Spiritual capabilities which cant be proven.
These claims come from the exaggeration of soldiers and
priests, no doubt to enhance their standing amongst the
general population.
Both the Military and religious groups were
founded upon strict rules and traditions. As the martial arts
developed, a strong sense of discipline and strict codes of
action were also tied to the training methods of each of the
schools as they developed. The schools of the different
Martial Arts keep their techniques secret from each other,
and so developed along slightly different lines. These lines
followed the teachings of the head instructor, and would
have been tightly tied to the instructor's background, either
soldier or priest.
The Oriental soldier was dedicated to his feudal
Lord and was sworn to live and die by his pledge of
servitude and his individual honor. This feeling of

14
dedication can now be seen within the various Karate
schools around the world. Most students feel honored to be
taught by their respective Masters and have a feeling of
respect for them, which has all the traditional concepts of
the Asian culture.
The Priests of the Orient had a tradition of poverty,
and lifelong servitude to their respective sects. This can be
seen in todays Martial Arts, the wearing of the traditional
white gi, or suit, by Karate and Judo practitioners comes
from the tradition of everyone being of one class, the poor
or peasant dress. Also the Karate-ka must have an
understanding that his training is life long, and as an art is
never complete.
Did the Martial Arts come from the Oriental culture
or did the culture arise from the use of the martial arts.
They are so tightly interwoven into the very fabric of the
Orient that each has influenced the other from the very
beginning. The Orient has a long history of warfare, yet
their Martial Arts are based on making peace. This is the
way of the soldier and the priest.

15
The history of Karate-do has long been shrouded in
legends, as most of the techniques were passed from
teacher to student verbally, with little written down.
The earliest known practice in Asia goes back to the
sixth century China, when an Indian monk named
Bodhidharma came to China to teach Zen Buddhism at the
Shaolin temple.
He found that the Chinese monks were physically
unable to keep up with his rigorous discipline.
(Pictures from the Shaolin temple by Brian Wolfe)
So he developed
a physical and
mental exercise
regime.
These exercises
became known
as the Shaolin
kempo and over
the centuries moved throughout the Orient.
Many of todays stances and kata are shown in the Shaolin
temple statues and some of the techniques are also used in
Yoga practice, which also
originates in India.
Around the fifteenth or
sixteenth century forms of these
Chinese kempo were brought to
Okinawa on the Ryukyu Islands,
south of Japan. There it was mixed

16
with the Okinawan indigenous fighting forms to become
known as both kara-te (Chinese hand) and To-te
(mysterious hand) and later as Okinawa-te.
The forms went underground with the outlawing of
weapons on the Islands, so many of the teachers only had
one or two students to pass their knowledge on to. This
possibly gave rise to a lot of the legends surrounding the
karate-ka and their abilities to do great physical feats, some
of which are humanly impossible.
During the late
nineteenth century a young
boy named Gichin Funakoshi
began studying under two of
the masters of the time. This
young man became a school
teacher, and using his
professional background
helped bring Karate out of
hiding and into the modern
world.
The first Japanese physical
education exposition was held in 1922, and Sensei
Funakoshi was invited to give a demonstration of this little
known fighting style. The demonstration was a great
success and Sensei Funakoshi was asked to stay and teach
in Japan.

17
He soon realized that this was to be his mission in
life. He started teaching in the Universities and to develop
books on the subject, and was instrumental in changing the
name of Karate from Chinese hand to Karate-do, its
modern name of the "empty hand way". Karate as we know
it today comes from Sensei Funakoshis teachings, and his
main objective was that the art should continue to grow and
develop. Sensei's senior students started calling His
teachings of Karate by his pen name "Shoto". Sensei was
also a calligrapher who used the name "Shoto" to sign His
works. Thus training with Him was to train at the house of
Shoto or Shotokan. To this end organizations such as the
Japan Karate Association and the International Shotokan
Karate Federation were created. Karate is an ongoing,
continuously developing art form whose place in history is
still being made.
Sensei Funakoshi was the main instrument for the
development of Karate into Japanese society, but He had
further expectations for it to become an international art
form.
Due to His age He only saw the
beginning of this movement and
it was left to his senior students
to move his Karate out into the
world at large.

18
One of the most
successful of these students
was Sensei Masatoshi
Nakayama who helped form
the Japan Karate Association
(JKA). He was also
instrumental in developing
rules for tournaments and the JKA instructor training
program. It is the coaches and graduates of this program
who have become the most famous of the Karate-ka of
modern times. We hear names such as Nishiyama, Okazaki,
Kanazawa, Mikami, Yaguchi, Mori, Asai, Shirai, Enoeda,
Ochi and others who went out of Japan to teach all over the
world. The original instructor trainee coach was Sensei T.
Okazaki, who under the watchful eyes of Sensei
Nakayama was given the task of completing the first
reports and practical studies which led to the curriculum
that all future instructors followed.
Sensei Funakoshi is called the father of Modern
Karate, so Sensei Nakayama must be considered the
distributor of Sensei Funakoshi's ideals of Karate-do or the
art of Karate. Nakayama Sensei made Shotokan a
worldwide concept that all other Martial arts have followed
over the last fifty years.

19

For further history of previous Karate masters please read

the inserted paragraphs published on the internet by Darryl
Garrick. (page 23 - 48)

Heroes of Shotokan Karate

Tode Sakugawa (1733 1815)

Peichin Satunushi Sakugawa is the first teacher in the

lineage of Shotokan Karate, who made specific
contributions to the karate we study today. His martial
technique was very different from ours, based on White
Crane Chuan fa, but his ideas about teaching martial arts
were very modern.

20
Sakugawa was born about 40 years before the American
Revolution (March 1733). His father, after being beaten up
by some drunken bullies, died of internal bleeding, when
Sakugawa was only a teenager (about 1750). His father
took several hours to die, and according to various
accounts, spent the time in agonised conversation with his
family. He exacted a promise from his grieving teenage
son, that he would never allow himself to be a hapless
victim of violence.
After his father was buried, Sakugawa sought expert
instruction in the martial arts. He found a Buddhist monk,
Peichin Takahara, who was an expert in Tode. Takahara
was an Okinawan noble who worked as a surveyor and
mapmaker at Shuri Castle. He accepted Sakugawa as an
apprentice, and the teenager studied with Takahara for six
years He was a very enthusiastic and talented student.
We probably would like to think of our karate
ancestors as being well-mannered men of wisdom, but even
wise men begin as passionate and foolish youths.
Sakugawa was very daring and mischievous at twentythree, and one night contrived to push a visiting Chinese
dignitary into a stream for the fun of it. But, the Chinese
Kong Su Kung used his own martial arts knowledge to turn
the tables on the young prankster. Sakugawa was shamed
and humiliated, and was forced to humble himself and
apologise. In his mercy and wisdom, Kong Su Kung invited
Sakugawa to become his student and study White Crane
Chuan Fa with him. Along with the enthusiastic support
of Takahara, Sakugawa accepted the invitation. At the time,

21
the White Crane system was a new and exciting
development, and Takahara probably expected to learn
about it through his student. Sakugawa studied the system
for another six years. While he studied under Kong Su
Kung, Sakugawa was introduced to the principle of
hikite, the pulling back of the hand (like we use in karate
today). Sakugawa is credited for the creation of the first
Dojo Kun, the rules of behaviour for the karate-ka.
Sakugawa was also well known in kobudo circles (a
traditional Okinawan fighting system that uses farming
implements as weapons), and became honoured as the
inventor of the most famous Bo kata Sakugawa no kon.
At the age of seventy-eight, Sakugawa was
introduced to a troubled fourteen-year-old named Sokon
Matsumura, who had a great ambition to become the
greatest fighter in Okinawa. He wanted to study under
Sakugawa, probably to apprentice as the royal bodyguard.
Though, at first Sakugawa hesitated to take on the new
student, he eventually became impressed with the boys
spirit and decided to give him a chance. Important things to
remember about Sakugawa are that he invented the dojo
training system and the original Kushanku Kata (Kanku
Dai, and Kanku Sho as it is known today), and was the first
teacher of Matsumura. Sakugawa did not make the leap
into the raw power of linear karate. Instead he relied
heavily on more circular (or soft) techniques and grappling.
Tode Sakugawa died on August 17th, 1815, at the
age of eighty-two, after training Matsumura for only four
years.

22
Sokon Bushi Matsumura (1792 1887)

Sokon Bushi Matsumura is one of two central characters

in the history of karate. Linear karate apparently did not
exist before Matsumura, but it became modern within the
next generation to follow him. Matsumura represents the
second generation before Gichin Funakoshi. He was the
commander of Shuri Castle barracks for fifty years.
It seems clear that Matsumura was a prime mover in the
development of linear power technique, yet it is hard to
prove that this is the case. The reason is that Matsumura
was intelligent, creative, ambitious, and above all ruthless

23
and deceptive. He was a driven man who embraced the
martial arts with over-enthusiastic dedication. At fourteen
he was determined to become the greatest fighter in the
kingdom. At twenty-five he was widely acknowledged at
having achieved his goal.
Here are two stories about Matsumura, which provide an
insight into the type of person he was.
In the first story, Matsumura as a young man was walking
home late at night after having a little too much to drink. A
masked figure suddenly attacked him using a pair of sai.
The attacker threw the sai at Matsumura, who dived to the
ground to avoid it. Then Matsumura drew a tessen (or iron
fan) from his belt and returned the attack. The attacker ran
away with a broken wrist.
There are two important points to this story. The first is that
Matsumura avoided a thrown sai by diving to the ground as
one does in Kanku Dai (this was the kata that was passed
on to Matsumura from his teacher and then passed down to
us through Matsumura himself).
The second point is that Matsumura defeated his attacker
by using a tessen that he carried in his belt. The tessen is a
truncheon disguised to look like a folding fan. Apparently
in skilled hands it is a lethal weapon, and can be used to
give a man a fighting chance against an assailant with a
sword.
The following story concerns King Sho Ko, the first of
three kings Matsumura served as a bodyguard. Sho Ko was
well known as a lunatic. This is often a problem with

24
hereditary kings, and it led to his early retirement when the
Satsuma overlords decided he wasnt reliable.
Shortly after his retirement, Sho Ko announced a spectacle
for his own entertainment. His bodyguard, Matsumura was
to fight a raging bull with his bare hands. You can probably
imagine the look on
Matsumuras face when he learned of this. There was no
way that he could decline without losing face. He had to
fight the bull.
Matsumura faced the bull, but there was no fight. He met
the bull in the middle of the arena, and fixed his gaze on the
animal. The bull apparently lost its nerve and ran away,
much to the delight of King Sho Ko that he awarded
Matsumura with a royal degree, and granted him with the
title of bushi (warrior).
Matsumura is rumoured to be the creator of Patsai
(Bassai) Kata, but according to Bruce D. Clayton in his
book Shotokans Secrets: The Hidden Truth Behind
Karates Fighting Origins, his love of keeping things as a
secret makes this very hard to prove. However, several of
his students practiced and taught this kata, and called it
Matsumura Patsai. If Matsumura is indeed the original
creator of Bassai Dai, than the kata tells us a little more
about him. Bassai Dai is the brown belt 2nd kyu kata of
Shotokan Karate (black belt in some clubs and
organisations). The kata is irregular, powerful, and brutal
and there comes the strong feeling of impatience whilst
practicing it. According to legend Patsai means to break
into a fortress, and that it turns any disadvantage into an

25
advantage. It is very interesting that Matsumura defended
the Shuri fortress, and he did so from a position of extreme
disadvantage
Matsumura was the focal point of a revolution in
combat technique in the middle 1800s. Due to the Shuri
Crucible, he had a different set of combat precedence's than
his predecessors. His discovery of exponential impact gave
him a new tool to exploit. It seems as if he developed most
of the high impact techniques that are used in Shotokan
Karate today.
Matsumura made several trips to China and Japan to study
their fighting styles, including a trip to the famous Shaolin
Temple, and supposedly brought back several kata
including early forms of Naihanchi (Tekki), Seisan
(Hangetsu), and Gojushiho, amongst others. Most accounts
agree that he created the kata Chinto (Gankaku) using
techniques that he learned from a shipwrecked Chinese
martial artist in Tomari. Some accounts also say that he
was the original author of the kata we know as Heian Nidan
(Pinan Shodan), a kata that now forms the core of Shotokan
Karate.
Matsumura is also well known in kobudo circles for his
mastery of the Bo, Sai, and Eku. He is said to have created
kata for all three weapons.
Finally, Matsumura spent over 50 years as the chief
military officer of Shuri Castle, from the mid 1820s until
1879. Its no wonder that his style became known as
Shuri-te.

26
All branches of linear karate descend from Sokon Bushi
Matsumura, most of them through his student, Yasutsune
Itosu.
Itosu Anko Yasutsune (1831 1915)

Itosu Anko was born in Yamagawa Village in Shuri. He is

a legend in Okinawan Karate. He was taught by the
legendary Matsumura Sokon (Bushi) at a very early age.
He is also said to have studied under Shiroma and a
Chinese man who was living in Tomari.
Itosu grew up to be a very powerful man and had
superior strength in his arms, hands and legs it was said
that he could crush bamboo with his vice like grip.
However, several of his students have since said that he
was a very kind, but strict master who not only invented the

27
corkscrew punch (what we use in karate today), but
excelled at it.
He is alleged to have practised striking and punching the
stone walls of the imperial tombs that he passed daily in his
work. Itosu, held the position of Secretary to the
Administration Office for Sho Tai (King of the Ryu Kyu
Islands). He was an educated man, well versed in Chinese
classics, Japanese classics and was an exceptional writer.
His position was terminated in 1879 when the Ryu Kyu
monarchy dissolved.
He once said, A man of character will avoid any
quarrels and loves peace. Thus, the more a karate-ka
practices, the more modest he should be with others. This is
the true karate-ka. These words have guided many masters
throughout the years and are supposed to have influenced
masters such as Gichin Funakoshi.
In April 1901, Itosu introduced karate to the
physical training syllabus at the Shuri Jingo Elementary
School. Years later, he became the karate teacher for the
Prefectural Dai Ichi College and the Prefectural Teachers
Training College. In 1908 he wrote a letter (now referred to
as the Ten Articles of Karate) to the Prefectural Education
Department that led to the introduction of karate to all
Okinawan schools. Itosu is credited for simplifying
Matsumuras kata (apparently there is no plural). Itosu split
the Pinan (Heian) kata into Pinan Shodan, Pinan Nidan, and
Pinan Sandan. He was also credited for creating Pinan
Yondan, and Pinan Godan. He also took the Naihanchi

28
(Tekki) kata and broke it into three kata: Naihanchi
Shodan, Naihanchi Nidan, and Naihanchi Sandan.
His prominent students were Yabu Kentsu,
Funakoshi Gichin, Hanashiro Chomo, Kyan Chotoku,
Chibana Choshin, Tokuda Anbun, Oshiro Chojo, Mabuni
Kenwa, and Gusukuma Shinpan. All of who, would
influence karate-do for years to come.
Below is a letter that was written by Itosu in October of
1908 (Ten Articles of Karate). This letter apparently
preceded the introduction of karate to Okinawan schools
and eventually the Japanese mainland.
"Tode did not develop from the way of Buddhism or
Confucianism. In the recent past Shorin ryu and Shorei ryu
were brought over from china. They both have quite similar
strong points, so, before the changes become many, I would
like to write these down."
(Tode was the original word for Okinawan Karate.)
1. Tode is primarily for the benefit of health. In order to
protect ones parents or ones master, it is proper to attack
an enemy regardless of ones' own life. Never attack a lone
adversary. If one meets a bad character one should not use
Tode but simply parry and step aside.
2. The purpose of Tode is to make the body hard like stones
and iron; hands and feet should be used like the points of
arrows, hearts should be strong and brave. If children were
to practice Tode from their elementary school days, then
they would be well prepared for military service. When

29
Wellington and Napoleon met they discussed the point that
tomorrows victory will come from todays playground.
3. Tode cannot be learned quickly. Like a slow moving
bull, that eventually manages to walk one thousand miles,
if one studies seriously every day, in three or four years one
will understand what Tode is about. The very shape of
ones bones will change. Those who study as follows will
discover the very essence of Tode.
4. In Tode, hands and feet are very important, so they
should be trained thoroughly on the makiwara. In so doing
drop your shoulders, open your lungs, take hold of your
strength, grip the floor with your feet and sink your
inherent energy to your lower abdomen. Practice with each
arm one or two hundred times.
5. When practicing Tode stances, make sure that your back
is straight, drop your shoulders, take your strength and put
the inherent energy into your lower abdomen. The top and
bottom of which must be held together tightly.
6. The external techniques of Tode should be practiced, one
by one, many times. Because these techniques are passed
on by word of mouth, take the trouble to learn the
explanations and decide when and in what context it would
be possible to use them. Go in counter, release; is the rule
of Tode.

30
7. You must decide whether Tode is for cultivating a
healthy body or for enhancing your duty.
8. During practice you should imagine that you are on the
battlefield. When blocking and striking, make the eyes
glare, drop your shoulders and harden the body. Without
hesitation, block the enemys punch and strike! Always
practice with this spirit so that, when on the real battlefield,
you will be prepared, naturally.
9. Watch your step and, do not go beyond yourself during
your practice because the intrinsic energy will rise up, your
face and eyes will turn red and your body will be harmed.
10. In the past, many who have mastered Tode have lived
to an old age. This is because Tode aids the development of
the bones and sinews; it helps the digestive organs and is
good for the circulation. Therefore, from now on, Tode
should be the foundation of all sports lessons from
elementary schools onward. If this is put into practice, there
will be many men who can win against ten aggressors.
"The reason for stating all this is that it is my honest
opinion that all students at the Okinawan Prefectural
Teachers Training College should practice Tode, so that
when they graduate, they can teach the children in the
schools exactly as I have taught them. Within ten years
Tode will spread all over Okinawa and the Japanese
mainland. This will be a great asset to the militaristic

31
society. I hope you will carefully study the words that I
have written."
The vision of Itosu is now realised as the Okinawan
Prefectural Government estimate, that as many as 40
million people now practice karate worldwide (that
estimate was nearly ten years ago)

32
Yasutsune Azato (1828 1906)

Peichin Yasutsune Azato is a very intriguing character,

because very little is actually known about him. Gichin
Funakoshi called Azato the greatest karate master he had
ever met. This is a high praise considering the 20 years that
Funakoshi spent with Itosu. But, like his best friend Itosu,
Azato is one of the grandfathers of modern karate.
Azato himself was another direct student of the formidable
Bushi Matsumura. His role in the Shuri government was
military attach and foreign advisor to the Sho Kings. He
was the hereditary lord of the village of Asato, which was
located between Shuri and Tomari, a little north of Naha.
Azato was Funakoshis first teacher, and Funakoshi was
Azato only student, at least at that time. In his book,
Karate-do: My Way of Life, Gichin paints an amusing
picture of his training under Azato, which was conducted in
the courtyard at Azatos house, secretly after midnight.

33
Azato trained Funakoshi in the Naihanchi (Tekki) kata,
over and over for three solid years. Apparently most
sessions consisted of Funakoshi performing the kata by
lamplight, and Azato sipping tea and muttering, Do it
again. Rarely did Azato unbend and grunt, Good.
Azato and Itosu were close friends, often found in
each others company. They were almost the same age,
shared similar names; similar heritage, similar employment,
and they both loved the martial arts. They were best friends
throughout their lives.
In Azato we have yet another legendary martial
artist and Shotokan forefather in daily attendance with King
Sho Tai at Shuri Castle. He was part of the inner circle, like
Matsumura and Itosu, and often advised the king in
questions of international politics. Funakoshi says that
Azato used his influence to get Itosu the position of
secretary to the king. Its also likely that Matsumura had
something to do with that as well.
Apparently, Azato was a highly trained swordsman,
horseman and archer. He was an expert in jukendo, a form
of bayonet fighting in which you jab your opponent with
the padded end of a carved wooden rifle. He regarded
hands and feet as deadly weapons. However, he was not
impressed with Itosus ability to withstand heavy blows, as
that kind of strategy would be disastrous in a swordfight.
Azato felt that a true martial artist should step out of the
way (of the sword or bayonet) and thus avoid being hit. He
was therefore an expert at lightning fast Tai Sabaki.

34
It is said that Azato, once tested his abilities to the extreme
by challenging a sword master to a match. Azato fought
Yorin Kanna, a master from the Jigen-ryu school of the
sword in Satsuma. Kanna had a sword; Azato used his
bare-hands. The story says that Azato deflected Kanna's
strike with his arm and immobilised the master not once,
but several times.
Unfortunately, Azato drops out of the history of karate at
about the same time as King Sho Tai was forced to abdicate
and move to Tokyo. Rumour has it, that he may have gone
into exile with the king, several other nobles, and court
officials. Funakoshi says cryptically that Azato served as
ambassador to Tokyo for many years. It is also said that
Azato died in 1906 at the age of 78.

35
Gichin Funakoshi (1870 -1957)

Gichin Funakoshi Sensei was born in Shuri, Okinawa in

Yamakawa-cho district on November 10, 1868. The official
district records, however, show that his birth took place in
1870, but in fact he falsified his own records in order to be
able to take the Tokyo Medical School entrance
examination. In spite of passing the exam Funakoshi sensei
never did become a member of the medical profession.
Born a frail child, many members of his family felt that he
was destined for a short and uneventful life. Little did his
family know just how long, and how important his life
would really be.

36
It was during his early primary school years that he was
first introduced to the study "To-de" or "Chinese Hand"
under Master Anko Azato, as his family felt that by
studying the art of karate it might help to strengthen him
physically and thus improve the quality of his life. A good
student Gichin Funakoshi flourished under the tutelage of
Master Azato to whose home he travelled each evening to
practice karate. Later Master Asato would introduce him to
another important teacher under whom he would also
study, Master Anko Itosu. It was these two men more than
any others, who would have the greatest impact on his life.
No longer interested in entering the medical school it was
while studying karate that Gichin Funakoshi decided to
become a school teacher, and so after passing the
qualifying examination, he took charge of his first primary
school class in 1888. It was a profession he was to follow
for more than thirty years.
A high point in Gichin Funakoshi's karate took place on
March 6, 1921 when he had the honour of demonstrating
the art of "Okinawan te" to than Crown Prince Hirohito
during a visit he made to Okinawa. Then, in the spring of
1922, Gichin Funakoshi traveled to Tokyo where he had
been invited to present his art of Tode at the First National
Athletic Exhibition in Tokyo, which had been organized by
the Ministry of Education. After the demonstration he was
strongly urged by several eminent groups and individuals to
remain in Japan, and indeed he never did return to live in
Okinawa. He lived in a small room beside the entrance and
would clean the dormitory during the day when the

37
students were in their classes and work errands as a
gardener too. At night, he would teach them karate.
After a short time, he had earned sufficient means to open
his first school in Meishojuku. Following this, his Shotokan
in Mejiro was opened and he finally had a place from
which he sent forth a variety of students, such as Takagi
and Nakayama of Nippon Karate Kyokai, Yoshida of
Takudai, Obata of Keio, Shigeru Egami from Waseda (his
successor), Hironishi from Chuo, Noguchi of Waseda, and
Hironori Ohtsuka (Otsuka). It is known that in his travels in
and around Japan, while giving demonstrations and
lectures, Gichin Funakoshi always had Takeshi Shimoda,
Yoshitaka (his son), Egami and Ohtsuka accompanying
him. His main instructors in the thirties and forties were T.
Shimoda and Y. Funakoshi.
As it had in Okinawa, the educational system of Japan was
to become a major factor in the spread of karate. By 1924
Gichin Funakoshi had started to introduce karate to several
of the local universities, first at Keio, followed by Chuo,
Tokyo, and Waseda to name but a few. It was through these
universities that he was able to reach a much larger
audience and this contributed greatly to the growing
popularity of karate. Master Funakoshi was finally able to
establish the Shoto-kan dojo in 1936, a great landmark in
the history of karate. Funakoshi sensei was not only a
genius in martial arts, but he was also a literary talent, and
he signed all of his works "Shoto" which was his pen name.
Hence, the dojo where he taught came to be known as

38
"Shoto's school" or "Shoto's kan" which was ultimately
adopted as the official name for his style of karate.
Funakoshi sensei had combined the techniques and katas of
the two major Okinawan styles to form his own style of
karate, as a result, today Shotokan karate-do includes the
powerful techniques of the Shorei style of karate, as well as
the lighter more flexible movements of the Shorin style of
karate. The martial arts world in Japan, especially from the
early Twenties and up to the early Forties, was an ultranationalist moment in history, and they looked down their
noses at any art that was not pure, calling it a pagan and
savage art. Funakoshi overcame this prejudice and finally
gained formal recognition of Karate as one of the Japanese
martial arts by 1941. Needless to say, many karate clubs
flourished on mainland Japan.
In 1924, karate was introduced in Keio University as the
first Karate Club. Others include: Chuo, Waseda (1930),
Hosei, Tokyo University (1929) among others. Another
club was established in Shichi-Tokudo, a barracks situated
in a corner of the palace grounds. Gichin Funakoshi visited
the Shichi-Tokudo every other day to teach. One day, when
Ohtsuka was teaching at the Shichi-Tokudo, a student,
Kogura, from Keio University who had a san-dan degree
(3rd-degree black belt) in kendo (Japanese fencing) and
also a black belt in karate, took a sword and faced Ohtsuka.
All the other students watched to see what would happen.
They felt that no one could face the shinken (open blade)
held by a kendo expert. Ohtsuka calmly watched Kogura
and the moment he made a move with his sword, Ohtsuka

39
swept him off his feet. As this was unrehearsed, it attested
to his skill. It also bore out Funakoshi's philosophy that
kata practice was more than sufficient in times of need, and
just as importantly to Master Funakoshi's great ability as a
teacher and Karate technician.
In 1927, three men, Miki, Bo and Hirayama decided that
kata practice was not enough and tried to introduce Jiyu
kumite (free-fighting). They devised protective clothing
and used kendo masks in their matches in order to utilize
full contact. Funakoshi heard about these bouts and, when
he could not discourage such attempts, which he considered
belittling to the art of karate, he stopped visiting the ShichiTokudo. Neither Funakoshi nor Ohtsuka showed up ever
again. It was after this event that Gichin Funakoshi
prohibited sports sparring (the first competitions did not
appear until after his death in 1958).
When Gichin Funakoshi came to mainland Japan, he taught
16 kata: 5 pinan, 3 naihanchi, kushanku dai, kushanku sho,
seisan, patsai, wanshu, chinto, jutte and jion. He kept his
students on the basic ones before they progressed to the
more advanced forms. Actually at least 40 kata were
included in the curriculum, these were later included in the
limited edition but monumental work by Shigeru Egami
"Karate-do for the Specialist". The repetitious training that
Master Funakoshi instituted paid back very well; his
students went on to produce the most precise, exact type of
karate taught anywhere.
Jigoro Kano, the founder of modern judo, once invited
Gichin Funakoshi and a friend, Makoto Gima, to perform at

40
the Kodokan (than located at Tomisaka). Approximately a
hundred people watched the performance. Gima, who had
studied under Yabu Kentsu as a youth in Okinawa,
performed the Naihanshi shodan, and Funakoshi performed
the koshokun (kushanku dai). Jigoro Kano sensei watched
the performance and asked Gichin Funakoshi about the
techniques involved. He was greatly impressed. He invited
Funakoshi and Gima to a tendon (fish and rice) dinner,
during which he sang and made jokes to put Funakoshi at
ease. Irrespective of his sincerity in teaching the art of true
karate, Funakoshi was not without his detractors. His critics
scorned his insistence on the kata and decried what they
called "soft" karate that wasted too much time. Funakoshi
insisted on hito-kata sanen (three years on one kata). Gichin
Funakoshi was a humble man. He preached and practiced
an essential humility.
He did not preach the humility of virtue, but a basic
humility of a man who is rooted in the true perspective of
things, full of life and awareness. He lived at peace with
himself and with his fellow men. Whenever the name of
Gichin Funakoshi is mentioned, it brings to mind the
parable of "A Man of Tao (Do) and a Little Man". As it is
told, a student once asked, "What is the difference between
a man of Tao and a little man?" The sensei replies, "It is
simple. When the little man receives his first dan (degree or
rank), he can hardly wait to run home and shout at the top
of his voice to tell everyone that he has obtained his first
dan. Upon receiving his second dan, he will climb to the
rooftops and shout to the people. Upon receiving his third

41
dan, he will jump in his automobile and parade through
town blowing the horn, telling one and all about his third
dan". The sensei continues, "When the man of Tao receives
his first dan, he will bow his head in gratitude.
Upon receiving his second dan, he will bow his head and
his shoulders. Upon receiving his third dan, he will bow at
the waist and quietly walk alongside the wall so that people
will not see him or notice him". Funakoshi was a man of
Tao. He placed no emphasis whatsoever on competitions,
record breaking or championships. He placed emphasis on
individual self-perfection. He believed in the common
decency and respect that one human being owes another.
He was the master of masters. He died in 1957 at age 89,
after humbly making the largest contribution to the art of
'Karate-Do.

42
Masatoshi Nakayama (1913 -1987)

Masatoshi Nakayama Sensei was born in Yamaguchi

Prefecture Honshu Japan in 1913. In 1937 he graduated
from Takushoko University and went to Peking to study
Chinese. While there he studied various styles of Chinese
fighting.
He was a prominent student of Master Funakoshi Gichin,
the Father of Modern Karate Do and for some 27 years,
until Funakoshi's death in 1957; he closely associated with

43
the master assisting him with instruction and
demonstrations. In doing so, he took a unique opportunity
to assimilate not only the physical techniques, but also the
philosophical aspect of Karate-do from the pre-eminent
authority.
When Funakoshi Sensei passed away, Nakayama Sensei
became the 2nd Chief Instructor of the JKA and in turn,
passed this knowledge on to his students. He was
responsible for the global dissemination of Karate
throughout the 1960's and 1970's where graduates of his
elite Instructor Program were allocated assignments to
establish and develop Karate overseas.
Nakayama Sensei is also credited with setting up the rules
of Shiai (competition). At the time, (the late 1950's) the
move to introduce a competitive aspect to a fighting art was
controversial, however it was done under the supervision of
Master Funakoshi who was initially very resistant to the
idea of competition in any form, feeling that it could be
contradictory to the true nature of Karate-do, and liable to
cause students to lose focus on what was important.
Nakayama Sensei gave a wider Karate audience access to
Master Funakoshi's ideas when he wrote a series of
instructional books, including the famous Dynamic Karate
and later the Best Karate series. He also produced films and
videos providing detailed technical and practical
information on Kata, Kihon and Kumite. These works were
based on an in-depth study of the principles of Kinesiology,
Anatomy and Physiology and made Karate techniques and
explanations globally accessible.

44
Although his residence was in Japan, as Chief Instructor of
the Japan Karate Association, Nakayama Sensei travelled
extensively, giving instruction and presenting
demonstrations of his art. He continued to do so until his
death.
Masatoshi Nakayama Sensei passed away on April 15th,
1987 at the age of 74. He held the grade of 10th Dan. He is
remembered by those who trained with him as a very fair
but demanding, instructor, who showed natural courtesy
and respect to everyone he met.

45

(From the Masters visit to Vancouver and

Port Moody Dojo.)

46
Our Sensei's- I have been asked, have you ever trained in

Japan, my answer is why, their teachers are here?

Okazaki Sensei
Chairman and
Chief Instructor ISKF

Yaguchi Sensei
Vise Chief Instructor ISKF
chief instructor ISKFBC

Recently I was given a copy of a magazine article called

the history of Shotokan Karate
In this article was a reference to the fact that the
JKA had boycotted Sensei Funakoshis funeral because
Sensei Nakayama had not been picked to head up the
arrangements.
This seemed totally out of character with the view
that I had of Sensei Nakayama. Having trained with Him
on two occasions, and being privileged to go to dinner and
having conversations with Him, and having heard many
stories about Him from His senior students, Senseis
Okazaki and Yaguchi.
In order to get the truth I asked Sensei Yaguchi
about this story and He became very upset. So this is the

47
truth of that day as told to me by Sensei Yaguchi, and
confirmed by Sensei Okazaki.
The death of Sensei Funakoshi was a great sadness
throughout the Karate world, not just by Shotokan students
but by all the styles and all the Masters of that time.
Sensei Yaguchi speaks highly of all the organizations that
took part in the ceremonies, especially Wado Ryu and the
University clubs.
So many people participated that each organization
and University took several steps carrying the coffin, than,
the next group moved in and took their turn. The
procession moved onward until it came to the dais where
the senior instructors from all the styles waited. This
included Master Nakayama, and a more junior instructor of
the JKA who had broken His leg and was unable to help
carry the coffin, that was Sensei Okazaki.
At the ceremony there were a number of
demonstrations to honor Master Funakoshi, the JKA gave a
demonstration which featured one of its senior members,
Sensei Nishiyama and a young JKA instructor trainee
named Yutaka Yaguchi.
Sensei Yaguchi spoke with some pride, saying that on this
day's demonstration He was killed (demonstration) three
times by Sensei Nishiyama.
The history of those young years of the JKA and
Shotokan Karate has yet to be written by the Men who
lived it. I asked Sensei Okazaki if the time was coming for
this to happen. He feels that the truth should be told. I hope
that it happens soon.

48
We in ISKFBC have had the opportunity to hear
many of the stories from this time first hand, from the Men
that lived it. It was a time of trial and error, of innovative
thinking. Modern Karate as we know it was born. All the
Masters from all the styles were involved in this journey.
They respected each other and shared their ideas. Master
Funakoshi was the first to go the Japan, and as such held a
place of honor among them all. They didnt have time for
the petty jealousy that we sometimes see today.
Of course great people are too busy building rather
than wasting time trying to tear something down.
The history of Sensei Nakayama can best be
followed in His own words which are written in
(21 - "Conversation with the Master" written by Mr.
Randall Hassell.)
Sensei Yaguchi has recently published His own memoirs in
MIND AND BODY - LIKE BULLET.
In it he describes in His own words the story which
we discussed above.
A comprehensive history of Karate is well written
and explained in a book written by Sensei Okazaki's senior
student, and one of the first 8th Dan from North America,
Mr. Robin Rielly. The name of His book is
( 13 - "Complete Shotokan Karate".)
An excerpt from His book has been modified below to
show the linage of Karate from which ISKFBC belongs.

49

50

51

52
To most people, the Martial arts are considered
more of a sport than a method of warfare. If we go back
into history we find that there is a great difference between
the two.
Martial arts came into being with the first humans
as a means of protection from wild animals, and other
family groups who entered their territories. The use of
weapons for hunting and self-defense can be dated back to
the early cave dwellers and aboriginal peoples of all
continents.
Having control over the easier to attain food and
shelter areas and possibly the group or individuals survival,
was directly related to the ability to use one body and
weapons better than the next group.
In order to become proficient with their weapons a
method of practice would be developed, and in order to
teach their children, a game would be used to stimulate
their interest. This type of practice and games are still
prevalent in South American and South Asian tribes who
have had little contact with modern man.
As Man became more dominant and his numbers
grew, larger settlements developed and we started to see
City States rising on all the continents. It was at this time
that competitions between these cities were organized. The
contests were based on methods of warfare, but the killing
of the opponent was not always allowed. This brought rules
into play and the martial arts were used as a foundation for
Sports.

53
Almost all Sports of today are related in some
aspect to parts of warfare, even running goes back to the
time of the Greeks as a method of sending information as
fast as possible during battle.
Modern man has greater amounts of free time and
with this his attention turns more to Sports for pleasure, and
possibly to fulfill an instinct for survival. Martial Arts to
modern man have become more to develop the mind
through the use of physical stress, and to bring a harmony
to the body and mind.
The martial arts developed as a necessary method
of survival, and the Sports developed from the Martial Arts,
as a necessary diversion, which may check Man's instincts
to fight.
But Karate-do is a fairly recent form of Martial art,
particularly the way we study it. So what are the
differences between sports and Karate-do?
In order to appreciate the differences between Sports and
Karate-do we should first look at the meaning of each.
Sports are defined as "a physical activity engaged in for
pleasure ", and "a source of diversion" (9 Websters
dictionary)
The main concept of Karate-do is in the meaning of
the word "DO" which sets Karate apart from just a method
of self-defense.
The word "DO" represents the ideal of a road or
way (10 Umezawa pp15). The closest western man can
explain this is to call it an art form.

54
Karate-do therefore is described as an Art form
which means, "A skill acquired by experience, study, or
observation"(9 Websters dictionary)
Even though Karate-do has a Sports aspect to it,
which manifests itself in Karate tournaments, it also has an
aesthetic value which allows for the development of the
humanitarian growth of its practitioners. Karate-do is used
for the complete development of a human being, where as a
Sport is to develop a person on a physical plane only.
A Sport generally has an end to the game, with an award
given to the best participants, and is generally for the
pleasure of the practitioners and an audience. Whereas
Karate-do has no ending and the reward is the participation
itself, the main purpose is to develop the mind and body as
one and is often practiced alone and without spectators.
Plus Karate has no limitations due to age or physical
ability. The reward is the practice itself.
In karate we have a sports aspect which is taken
advantage of by about fifteen percent of practitioners. This
makes karate fun, especially for the younger members, but
true Karate is a martial art and so great care must be taken
by instructors not to get caught up in the idea of winning
contests but in training all students in the fundamentals. All
the winners of tournaments have good foundation in the
basics. Without this their technique will fail.
Unlike combative sports, Karate, due to its nature as
a martial art, uses all parts of the body. Karate may have to
be used against another unarmed person or a person with a
variety of weapons or multiple attackers. So it becomes

55
apparent that all parts of the body must be used for defense
and attack.
The organizing of Karate techniques is essential to
allow the student and the teacher to compare different
techniques with each other and thereby understand how
Karate techniques are similar and varied from each other.
Techniques are organized into categories based
upon similarities of motion (snap and thrust), target area,
distance to the target, arm and hand techniques, leg and
foot techniques, upper, middle and lower body areas. It is
these similarities which allow the instructor to build one
technique onto another, and also allow the student to
understand the functions of each technique and how they
relate to each other.
Another factor that is of great importance to the
teacher is the organization of techniques in accordance of
their students skill level. It could be detrimental to a
students development to learn techniques that are beyond
their comprehension or ability to perform. When teaching a
student new techniques it is best to use techniques that
cover a large area and use large muscle groups to perform.
It is easier for a new student to comprehend and use inside
forearm block as compared to chicken head block. The
student should have a thorough understanding of a basic
punch prior to learning the more complex techniques such
as spear hand or one knuckle punch.
When combinations of techniques are used, the
organization of these techniques becomes readily apparent.
For the instructor to use both long distance and close

56
distance techniques in combination without body motion to
change the distance to the target, plus the appropriate
stance for the technique, will only confuse the student as to
which techniques are for what purpose.
As the student progresses in their understanding of
Karate more numerous and technically advanced
techniques can be explained to them, and by fitting into
already understood organization of techniques they are
easier to learn and relate to previously learned functions of
Karate. An excellent example of this is the learning of
Kata. Heian Shodan is perhaps the hardest lesson learned
by a beginner, usually taking three to four months to grasp
its basic form. Yet using the skills learned in Heian Shodan
the next Kata is usually picked up within one to two
months. As in Kata, basis techniques are best learned by
one building upon the other.
Without organization of techniques both the teacher
and student quickly become lost within the complexity of
Karate and its many aspects.

57
The following chapters deal with the techniques of Karate
as explained by myself. Being only a "kyoshi" (instructor),
I don't confess to knowing all the complexities of each
technique. I will therefore pass on how I have
comprehended them from my teachings by a number of
"hanshi" (expert) and a few "shihan" (master) instructors
I have had the privilege of training under. For a more
definitive outline of the techniques I would suggest that the
Karate-ka invest in at least one if not all of the following
books.
1/ Dynamic Karate by M. Nakayama - 1966
2/ Karate the art of "empty hand" fighting by H. Nishiyama
- 1960
3/ textbook of modern karate by T. Okazaki - 1984

58

The Stances
In order to use the different parts of the body as
strong weapons they must be supported on a stable
platform. These platforms are called stances and are the
most important part of your training. With a weak stance all
techniques will fail.
The purpose of any stance is to give stability,
balance and mobility. Stance also allows the changing of
body posture to defend or attack using rotation of hips,
body shifting and vibration.
Stances can be broken down into three basic categories: 1/ Natural stances, Shizen Tai
2/ Basic stances, Kihon-dachi
3/ Sparring stances, Kumite-dachi
The descriptions following are of stances in a
relaxed state, neither attacking, nor defending. All stances
change within themselves due to muscle action as attack or
defensive use of a stance is made. Each stance will have
subtle changes at different times during their application,
preparatory to attack, moment of attack and recovery.
Shizen Tai, the natural stances:There are seven specified natural stances in Karate. The
basic similarities of these stances are in the height of the
hip joint, which is that of the body in a relaxed standing
posture, and the width of the feet, which is never greater
than the widest part of the body, i.e. the shoulders or hips.
The natural stances can be divided into three
groups, the formal, informal and angled postures.

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1/ formal posture or feet together stances
(a) Heisoku-dachi is the attention stance where the
heels and toes are touching
(b) Musubi-dachi is the at ease stance where the
heel touch but the toes are facing outwards at about 45
degrees

Both of these stances offer poor stability and are

seldom used to make techniques from, but are good stances
to use as a starting point to move into other stances or
practice quick recovery of balance from applied techniques.

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2/ informal posture or feet open stances
(a) Hachiji-dachi is the most natural of stances, with
the feet about shoulder width apart and to the sides
of the body. The feet point naturally outward at
about 35 degrees.

61
(b) Heiko-dachi is similar to Hachiji-dachi but the feet
are parallel to each other and pointing straight ahead.

62
(c) Uchi hachiji-dachi is the inward pointing form of
Hachiji-dachi but with the feet pointing inward.

All of these stances allow for greater hip rotation

than the formal stances, and thus allow for stronger
techniques to be applied. The main differences between
these stances is the position of the feet, which is that of the
three basic postures that humans will take when standing
naturally with the legs open to the sides i.e.- outward,
parallel and inward or pigeon toed.

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3/ angled posture- front to back

(a) Renoji-dachi or L-stance has the feet positioned at right
angles to each other with the rear foot pointing to the side
and the front foot in line with the rear heel, distance
between the heels is about hip width, toes to the front. This
stance offers good mobility to the front, especially for
kicks, but has little sideways stability

.
(b) Teiji-dachi or T-stance has the feet positioned at right
angles to each other with the rear foot pointing to the side
and the front foot in line with the instep of the rear foot at
about hip width, toes to the front. This stance offers greater
stability to the rear than Renoji-dachi but is even less stable
to the sides.
The angled stances are called left or right, according to
which foot is to the rear.
(3-Okazaki-p65-66)

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Kihon-dachi, the basic stances
There are ten specified basic stances in Karate;
these stances are the training stances used in both basic
training and in Kata training and are the foundation for the
fighting stances.
The basic stances are divided into two groups, the inside
and outside knee tension stances. All of the following
stances are described in a relaxed state, prior to applying a
technique or body movement.
1/ Kihon-dachi, the outside stances
The outside stances are generally used to project the
bodys power outwards towards an opponent who has
remained a great distance away, i.e. long, open fighting
distances. The pressure on the knees and feet are in an
outward direction with the feeling of pressing the outer
edge of the foot into the ground but keeping the sole of the
foot fully in contact with the ground.
(a) Kiba-dachi, straddle stance or horse stance

65
Kiba-dachi gives great support to the sides, but
remains weak to the back and front. The placing of the feet
is directly to the sides at about two shoulder widths with
equal weight distribution. The toes and the knees should
face directly forward with the knees bent towards the toes
so that a plumb line from the outside of the knee falls close
to the big toe. Pressure of the knees outward, with the
feeling of driving the feet into the ground, should be
maintained. Kiba-dachi will fail as a stance unless close
attention is given to the upper body posture, the back must
remain straight and the buttock kept over the center point of
gravity.
(b) Zenkutsu-dachi, or front stance

Zenkutsu-dachi allows for a strong foundation to

the front and when set properly gives quick mobility in a
forward direction. This stance can be used to effectively
block or attack from, and has two postures to achieve this.
The open posture (hanmi) which places the hips and

66
shoulders at an angle of about 45 degrees from the front
and the closed posture (shomen) which places the hips and
shoulders square to the front.
The placing of the feet in this stance should be about two
shoulder widths to the front and about one shoulder width
side to side. When taking this position it is important to
insure that both feet are flat on the ground and pointing
towards the front as much as possible. The weight
distribution is such that about 60 percent of the body
weight is on the front foot. In order to do this, the knee of
the front leg, should be positioned over the foot so that the
angle made by the ankle and knee is forward of the apex of
the arch created by the foot and knee.
As an outside stance the knees should push outwards with
the feeling of driving the outside cutting edge of the foot
into the ground, but also keeping the entire sole of the foot
pressing downward. There are two other slight variations to
this stance. One is to shorten the distance from front to
back in the reverse hanmi posture. This allows for the knee
of the front leg to be forward of the ankle on people with
tight hips or knees. This is demonstrated in Heian nidan
kata.
The other variation is that used in some kata where quick
motion is required to the side followed with a change of
body center position. The hips and stance stay narrow as in
Kiba Dachi and tension should be to the inside. This is seen
in the kata Bassai Dai.

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(c) Kokutsu-dachi, back stance:-

As the name implies the back stance has great

support to the rear and also gives support to the front but
not as great as Zenkutsu-dachi. This stance allows one to
make distance on an opponent without moving away,
simple by shifting the body center to the rear. The loading
of the rear leg like a spring also allows for quick motion to
the front after a defensive move and allows for rotation
away from the opponent.
Kokutsu-dachi uses the rear leg to support about 70
percent of the body weight, and the feet are placed about
double shoulder width from front to back but with the heels
in line or slightly inward, similar to Renoji-dachi or Teijidachi.
It is important to maintain the upper body perpendicular as
there is a tendency for the hips to shift forward which will
make the stance unstable. Another point to watch is the

68
tendency to put pressure on the front heel, make sure that
the front foot remains flat on the ground with the knee
slightly bent and the rear foot pressed strongly down by the
bending of the rear knee over the toes.
(d) Shiko-dachi, Sumo stance or squat stance:Shiko-dachi is similar to Kiba-dachi as the feet are
positioned to the sides at about double shoulder width. The
back and hips are kept over the center of gravity and both
stances are strong to the sides.
Its the positioning of the feet which separates these two
stances, with Shiko dachi the feet are pointed outward at
about a 45 degree angle from center.
This positioning of the feet makes Shiko-dachi stronger to
the front and allows the hips to be lowered to a point where
the thighs are parallel to the ground.
The main disadvantage to this stance as compared to Kibadachi is it doesnt allow for quick changes to other stances,
which inhibits mobility.

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(e) Fudo-dachi, rooted stance (Sochin dachi)

If we take the strength in the forward direction of

Zenkutsu-dachi and combine it with the power and
flexibility of Kiba-dachi we end up with a very powerful,
stable stance called Fudo-dachi.
The feet are placed about two shoulder widths from
front to back as in Zenkutsu-dachi. The distance between
the feet side to side is the width of the shoulders or slightly
wider depending on body type. Both feet are at an angle
from the front of about 30 degrees. The upper body is
turned towards the front and the hips are lowered to allow
for both the front and rear knees to press outward over their
respective foot.
The main points to remember when one is in Fudo-dachi
stance are to keep equal pressure to the front and back,
keep the body perpendicular and the hips low.

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(f) Kosa-dachi, cross leg stance

Kosa-dachi is unlike the other outside stances in that about
90 percent of the body weight is on the support leg with the
other leg crossing over either the back or front of the
support leg.
This stance is usually used to stabilize the body when
moving quickly from one stance to another or jumping in
close to an opponent and breaking his balance. In the 13th
movement of Kata Heian Yondan the body is shifted
forward over a distance greater than a normal shifting
action, so going into a forward Kosa-dachi maintains
balance with the knee of the support foot still moving
forward as in Zenkutsu. In the Kata Heian Godan,
movement #17, the body is shifted to the side from Kiba
dachi to Kosa-dachi, the power is generated to the side to
break balance of opponent, hips and upper body moving as
one, and the support foot remains sideways as in Kibadachi. This stance also allows for the hips to remain low
and the lower body to be protected by the crossed legs.

71

2/ Kihon-dachi, inside stances

The inside stances allow for close and intermediate
distance fighting, with the pressure of the knees inward to
protect the groin area. The closer one gets to his opponent,
the closer the feet move from front to back inwards towards
the center of the hips, while maintaining about hip width
side to side. When very close to your opponent it is difficult
to protect the lower body with the arms so keeping the legs
tight and close to center makes for good defense.
(a) Hangetsu-dachi, half-moon stance

Hangetsu-dachi is a medium distance stance whose

name comes from the movement of the feet when taking
the stance. The foot motion is through the center line of the
body and then sweeps outward to shoulder width, thus
describing an arc in a half moon fashion.
The distance between the feet from front to back is
about one and a half shoulder widths or slightly shorter

72
depending on the karate-ka. The distance side to side is
about one shoulder width and weight is distributed evenly.
The feet are positioned with the front foot turned
inward at about 45 degrees and the back foot towards the
front at about 10 degrees. This allows the knees to be
flexed inward towards the groin, and still gives the body
good flexibility for movement.
(b) Sanchin-dachi, hourglass stance

The Sanchin-dachi is similar to Hangetsu-dachi, in

the fact that the knees are flexed inward for protection, but
this stance is generally used at close distance to the
opponent, so the feet are closer together front to back with
the front heel in line with the back toes side to side.
The distance side to side is about shoulder width
with the front foot pointing inward at 45 degrees and the
back foot straight to the front or slightly inward.

73
The feet form a box or hour glass shape and body
weight is distributed equally around the hips.
This stance is very good for close range fighting as
it gives good cover to the groin and allows for good body
power for techniques such as elbow strikes.
(c) Neko ashi-dachi, cat stance

Neko ashi-dachi allows for good flexibility and

movement, while giving cover to the bodys center. The
stance places about 90% of the weight on the back leg so
stability is poor and dependent on how low the hips are
placed by bending the rear leg.
Foot position is made by bending the back leg with
the foot at about a 45 degree angle, and bringing the front
foot towards the center of gravity so that the heel of the
front foot is in line with the heel of the back foot and at toe
distance front to back.
The front foot is than raised so that only the ball of the foot
is touching the ground and the thigh of the front leg is

74
pressed towards the knee of the supporting leg. Neko ashidachi is a good stance from which to kick with the front
leg, and then quickly shift out of range much like the
slashing movements of a cat. It can also be used as a
sweeping technique, using the heel to pull the attackers leg
forward and breaking balance.
(d) Sagi ashi-dachi, crane stance
This stance is one of the least stable stances because
all the weight is on one foot. Therefore the stance is
generally used to set the body in readiness for further
movement. The retracting leg is pulled to center with the
foot hooking to the back of the supporting legs knee joint,
and the thighs pressed together. This would be a good way
of protecting the retracting leg from an attack, than
countering by moving backwards or to the side or kicking
to the side.
**There is one other non-specified stance used in Karate
Kata which probably fits within the definition of the inside
stances, and that is Orishiku-dachi, the kneeling stance,
which is used in the kata Empi, movement #1 and Gankaku
movement #18.
This stance is taken by bringing the knee of the rear leg
down to the ground near to the supporting leg's heel at
about hip width or less. It is important when taking this
position that the inner thigh muscles are flexed inward to
control the movement to prevent damage to the knee joint,
the knee should not hit the ground. The hip joint must be
fully involved with the motion, with full rotation when

75
going down and coming back up. When rising, the rotation
of the hip should have the feeling of screwing out of the
center, straight up.
Orishiku-dachi is a good close range defense
against a low level kick or to get under a punch or kick to
the middle or upper levels, and allows for grasping and
throwing techniques from the ground.
3. / Kumite dachi, fighting stances
All of the natural and basic stances can be
employed in the fighting stances, the difference lies in the
individual Karate-kas experience and body type.
In general the kumite dachi are held a little higher than the
basic stances to allow greater flexibility and speed, while
the basic stances are slightly lower for more stability and
building of strength.
It can be noticed during kumite that the individual stances
vary within themselves during different times in the fight.
For instance a front stance may be seen to be light on the
feet with the body evenly distributed prior to an attack,
while the same stance is low and wide during contact with
the target, then returning to a high fluid position upon
completion of the attack.
All stances in Karate must use natural body
positions and movements to be properly used. The stance is
the platform on which the whole body sits and therefore is
of great importance in the delivery of all techniques. The
purpose of any stance is to give stability, balance and

76
mobility to allow the changing of body posture to defend or
attack using rotation of hips, body shifting and vibration.
In order to move from one stance to another there
are necessary conditions for stances in accordance with
principles of dynamics.
The definition of Dynamics is a branch of
Mechanics that deals with forces and their relation
primarily to the motion but sometimes also to the
Equilibrium of Bodies. (9- Websters dictionary)
A fundamental aspect, which is inherent in all
stances, is that they have the center of balance for the body
within the area projected by the stance. This area is much
like a platform. As the legs project force towards the
ground an equal amount of force is projected back along
the lines of the leg muscle and bone, towards a central
position. If this force is brought to the bodies center of
Balance no motion is allowed to happen and the body
becomes stable. The lower the center is, the greater the
ability to remain motionless, thus giving equilibrium to the
Stance.
In order to move, one of two things must happen,
both of which require rotation of the hip joint.
1/ the force towards the ground becomes greater than the
force returning, such as to kick off or sudden flexing of the
muscles, or
2/ the center of balance is moved quickly towards one side
of the stabilizing platform or outside of it completely.

77
The greater the force, along with a quicker
acceleration of the center of balance, will define how fast a
person can shift from one stance to another. The ability to
regain the equilibrium of the next stance will determine the
power of any technique used and the ability to move again.
The ability to maintain your center of gravity within
the platform made by the stance gives the body balance. An
athlete who can control his balance while moving his body
from one stance to another will be able to perform
extremely well. This is paramount in fighting, especially
against multiple opponents. When moving from one stance
to another it should be noted that you should pass through a
secondary stance. This allows for an immediate change in
direction half way through an attack or defensive move,
which can be life or death in a fight. An example is moving
from front stance to front stance. One should pass through
cat stance, this brings the knees together and maintains the
hips low throughout the motion and allows for an
immediate change in direction if needed.
An example of the platform areas can be found in
(1-Dynamic Karate page 42)
If you use these diagrams for your own stances and take a
plumb line from the center of your hips and move it outside
the platform you will find your balance broken. The further
outside you go the faster you fall.

78
Weapons for defense and attack
Even though the arms and legs are the most
common parts of the body used in Karate, any part may be
effectively used under certain circumstances. The use of a
head butt, or a body slam to break balance, even a bite to
break a hold, when fighting for your life, everything is fair.
In tournaments we only have one opponent, who may be a
friend, so most of the deadliest techniques are not
allowed!
In Karate all parts of the body can be used either to
punch, strike, block or unbalance an opponent. It is through
extensive training and knowledge passed down from
generation to generation that the appropriate body part is
used when needed.
In a fight for your life the first objective is to save
yourself, or arrest your attacker's initial technique. This is
shown in the Kata as the first application. All Kata start
with a defensive action to the left, this is Yin and Yang.
Before you can attack you must defend yourself, therefore
blocks account for 60% of all Karate techniques.
The body, standing in a natural position, places the
arms at the side and slightly forward of the hips, palms
facing backwards. This is the natural defensive posture for
a human, and all blocks can be made from this position. If
one moves the arms into a middle and lower blocking
position from this natural posture, the distance side to side
should remain the same, but the elbows move forward to
make distance to the target.

79
For a more in-depth understanding of the techniques
described below please refer to Bibliography books 1, 2
and 3.

Blocking techniques
Blocking Techniques
Blocking techniques are the most numerous of all the
techniques used in Karate, and are further proof that the
development of Karate was more to protect the user than to
attack the enemy.
Blocks are divided into two main categories:
1/ Arm Blocks
2/ Leg Blocks
1/ Arm Blocks
Arm blocks account for the greatest number of all
blocks and are used to protect all areas of the body, from all
stances and using both oi and gyaku forms.
The arm blocks are divided into three main categories
according to the area of the body to be protected.
a/ Upper area shoulders, neck and head. (jodan)
b/ Middle area from the hips to the shoulders. - (chudan)
c/ Lower area from the hips downward to the knees.
(gedan)
a/ The upper area is protected by arm movement from:
1/ Down to up shoulder area upward
2/ Outside inward
3/ Inside outward

80
b/ The middle area is protected by arm movement from:
1/ Up to down shoulder downward
2/ Down to up waist upward
3/ Outside inward
4/ Inside outward
c/ The lower area is protected by arm movement from:
1/ Up to down hips downward
2/ Outside inward
3/ Inside outward
The down to up blocks are again divided into
groups by the area of the arm which does the blocking.
These can be either the forearm or one of a number of hand
techniques. The general principles of the basic rising block
can be used to describe how to make upper level blocks and
will be used as the basis to explain them.
Age Uke Rising block
The rising block, starting from a natural posture, is initiated
by a squeezing of the elbows towards the center of the body
and the arms moving towards the solar plexus and crossing
in front of the chest. At this point it is important that the
shoulders dont rise, and energy is directed inward. The
blocking arm should be kept to the outside of the two arms
as they move together and cross the body center at about
solar plexus level.
The blocking arm rises upward with the area of the forearm
just above the wrist moving vertically with the center of the
body. The support arm moves from the center of the chest

81
towards the side of the body, maintaining contact between
the body and elbow as much as possible.
The blocking arm rises with palm of the fist towards the
face until contact to the attacking arm is made, at which
point a strong rotation of the forearm is made until palm is
facing towards the opponent's center. This enables the
blocking arm to maintain connection with the body and
allow full power to be delivered to the block.
At the same time that the blocking arm makes contact and
rotates, the support arm should rotate strongly towards the
side of the body with palm upward to give maximum
support to the block.
The position of the blocking arm at the end of the block
should be about one to two fists away from and just above
the forehead. The elbow is bent at about sixty to sixty-five
degrees.
The rising block can be made with both oi and gyaku
forms, and with the rotation of the hips, is effective moving
both forward and backwards.
The outside inward blocks are again divided into
groups by the area of the arm which does the blocking.
These can be either the forearm or one of a number of hand
techniques. The general principles of the basic outside
forearm block can be used to describe how to make middle
level outside inward blocks and will be used as the basis to
explain them.

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Soto ude uke - Outside inward forearm block
From a natural stance, the blocking arm is raised to
the outside of the body, with the elbow level with the
shoulders and bent at about an eighty to ninety degree with
palm towards the front. The support arm should be raised in
front of the body at about solar plexus height, palm down
and arm extended to make cover.
The blocking arm is brought towards the front of the body
in a circular motion from outside inward using hip rotation.
This motion allows for adjustment to different distances to
the target as it moves towards the body. As the blocking
arm moves, the support arm rotates to palm upward
position with the elbow supporting the side of the body.
When the blocking arm makes contact with the target, the
forearm is rotated fully so that the palm is towards the
blockers face and centered on the opponent and blocker's
centerline. At this point the support arm should be fully
rotated and tight to the side opposite the block with the
feeling of touching the spine with the elbow, and wrist tight
to the side of the body. The feeling of a forearm block to
the middle area should be to cover from the hips to the
shoulders at one time.
The Inside outward blocks are again divided into
groups by the area of the arm which does the blocking.
These can be either the forearm or one of a number of hand
techniques. The general principles of the basic inside
forearm block can be used to describe how to make middle
level inside outward blocks and will be used as the basis to
explain them.

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Uchi Ude Uke - Inside Outward forearm block

The inside outward block from a natural stance is
started with a squeezing action of the elbows towards the
front center of the body and the blocking arm crossing the
center of the body to the opposite side with palm down.
The support arm is directed to the front with palm down
and to make cover.
At this point the feeling should be of bringing power to
your center, but not raising the shoulders. The blocking arm
moves across the body from inside outward using a rotating
action of the elbow and hip. The hand rises from the side
towards the center of the chest and should finish at shoulder
height with palm facing the blocker.
The support arm moves directly to the support side with the
elbow close to the body and rotating so that the palm is up.
The up to down blocks are again divided into
groups by the area of the arm which does the blocking.
These can be either the forearm or one of a number of hand
techniques. The general principles of the basic lower
sweeping block can be used to describe how to make
middle and lower level up to down blocks and will be used
as the basis to explain them.
Gedan barai up to down sweeping block
Gedan barai can be used to make cover on both
middle and lower levels of the body. Most blocking
techniques used against lower level attacks from kicks use

84
a sweeping action rather than a stopping or jamming action
due to the greater power delivered by a kicking leg.
From a natural stance, the blocking arm is brought
across the chest till the fist is at ear level with palm side of
the fist or hand towards the ear and elbow bent so the hand
is almost touching the side of the head. The support hand is
directed towards the target, under the blocking arm with
palm downward and if possible the elbow joints should
come to the center of the chest to protect the solar plexus.
One of the main problems seen with beginners in
practicing the gedan barai block is lifting the shoulders and
losing the connection with the body. The instructor should
give particular attention to this.
The blocking arm is moved across the chest while
straightening the elbow joint. At the moment of contact
with the target the forearm is rotated fully till palm is
facing downward. The arm should be stopped about one to
two fists from the knee and close to the outside edge of the
body. Care should be given that the arm doesnt travel past
the body and open it to further attacks.
The retracting arm is brought directly back to the side of
the body, with palm up, and forearm parallel to the ground.
Gedan barai can be used in both the Oi and Gyaku postures.
2/ Leg Blocks
Leg blocking techniques use the lower leg, heel or sole of
the foot to block or redirect an attack. The area of the body
that can be protected by leg blocks is only limited by the
flexibility of the blocker.

85
The lower leg, from the knee to the ankle, can be used to
sweep an attack to the side from either the inside out or the
outside inward.
Uchi Ashibo Kake Uke uses the inside of the leg
with a hooking motion and strong rotation of the body. If
the ankle is used to hook the target, this technique is called
Uchi ashikubi kake uke. The inside to outside version is
called Soto ashibo kake uke.
The heel can be used to block by bringing the foot
over the attack from either the inside or outside, in a
roundhouse motion than dropping the heel onto the target
with a striking feeling. This can cause damage to the target
as well as redirect away from center. These blocks are
called Mawashi Otoshi Kakato uke, outside inward, and
Gyaku mawashi kakato uke for inside outward.
The sole of the foot is the more common area to use
in a leg block and can be seen in a number of Katas. The
Mikazuki geri uke is used to sweep the attack away from
outside inward, and is shown in Bassai Dai and Heian
Godan.
Nami gaeshi is shown in the Tekki Shodan kata, and
can be used to protect the lower front area or escape a low
attack from the side towards the lower leg.
To summarize blocking techniques we must first
realize that they are mainly used to protect the body from
attack. After this, the blocks can be developed in such a
way that they can also be used to bring damage to the
attacking area of the opponent, and make chance for a
counter attack to take place. When making all blocks the

86
hand posture should be made immediately and held
throughout the motion. An example of this is the first move
in Heian Yondan. The hands are opened into shuto or knife
posture before arm movement starts. If your opponent
moves quickly you can still make an open hand technique.
The position of the elbow should be the same distance from
the centerline of the body for all blocks. ( see best Karate
book 2 page 92 )
Further it should be noted that the arm motion is always
coordinated with hip rotation. This usually requires lot of
practice to develop full power.

87

A Master Nakayama special can be found on

http://www.youtube.com/watch?v=W1mTsFa2K48

88

Punches and Strikes

The most natural part of the body to use is the
Hands and Arms, as these are the parts used in everyday
life. The hand can be used in both the open and closed
state, but the muscles and bones must be strengthened to
handle the shock made on contact. This can be achieved
through regular Karate practice and with extra work on a
heavy bag and makiwara.
The open hand is the hardest to use but allows for
greater speed and distance to a smaller and more vulnerable
target and gives one the ability to grasp the opponent at the
end of the strike.
The closed hand allows for greater force to be applied and
makes for easier connection to the center of the body.
The forearm and elbow may also be used to strike and
enable the Karate-ka the ability to fight in close quarters.
In order to make a proper punch or strike, its important to
understand the joints and muscular movement of the hand.
The hand is one of the most complex parts of the
human body and has more bones in it for its size than any
other part of the body.
The hand is divided into three parts, the fourteen
finger bones or phalanges, which are used in spear hand
techniques, the five palm bones or metacarpal which are
used in sword hand and punching techniques, and eight
wrist bones or carpal which are used in palm heel
techniques.

89
The wrist joint and forearm are designed to allow
for rotation of the hand in a greater than 180 degree arc
which lets the hand face both palm upwards and palm
downwards. This is important in Karate in that it allows for
focusing of varied hand techniques to the center of the
body.
The muscles of the hand are joined to those of the
forearm, which gives greater strength to the hand than the
smaller hand muscles could provide by themselves.
One of the amazing things that the hand can do, which is
important in Martial arts, is the ability to have a greater
range of passive motion than that of active motion. This
means that the hand can move in a greater degree of motion
than the muscles can move it. This allows the hand, when
used as a striking object, to flex and absorb great amounts
of shock.
The bone and muscle structure of the hand allows it
to become multiple types of weapons. The fist, palm, back
or either side of the hand can become weapons which when
used with the expansion and contraction of the joints of the
arm and shoulder can become extremely fast and give off
great amounts of energy upon impact, despite a small area
of contact.
The hand is the main weapon of the martial artist,
with over eleven different postures, ranging from the onefingered punch to the straight punch and using all areas,
from the palm heel and bent wrist, to the fingertips. Please
refer to ( 3 Okazaki Modern Karate ) for a complete list
of punches and strikes

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PUNCHING TECHNIQUES
Punching in Karate usually means to thrust the hand
outward from the body's center towards the target with
speed and power.
The most common part of the hand used is the clenched fist
with the two top knuckles of the index and middle fingers
as the striking area.
Other parts of the hand are also used, such as the middle
knuckle of the fingers used individually, or the ends of the
fingers in an open hand punch. These latter hand techniques
are usually used for special target areas of the body, but the
courses of the punches are the same.
Punches are divided into two basic groups,
a/ the one handed punch
b/ the two handed punch.
These two groups are further divided as either reverse or
straight punches.
For our purposes all techniques will be explained from a
natural open leg posture.
ONE HANDED PUNCHES
1/ Choku Zuki - straight punch
2/ Tate Zuki vertical fist punch
3/ Ura Zuki close punch
4/ Age Zuki rising punch
5/ Kizami Zuki short punch
6/ Nagashi Zuki flowing punch
7/ Kagi Zuki hook punch
8/ Mawashi Zuki round house punch

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There are a number of specialty punches such as
ippon ken and nukite which are not included here, but are
explained in the Master Okazaki's book, described above.
TWO HANDED PUNCHES
1/ Awase Zuki U punch
2/ Yami Zuki Mountain punch
3/ Heiko Zuki parallel punch
4/ Hasami Zuki scissor punch
A/ ONE HANDED PUNCHES
1/ CHOKU ZUKI
The straight punch is the most commonly used, and
most powerful of all the punches. It can be readily applied
from both reverse (gyaku) or straight (oi) sides while
remaining in stance or moving from stance to stance.
To initiate a punch from a natural stance the
punching arm is pulled back to the side of the body with the
palm side of the fist upward. The fist should be brought
close to the center line of the body's side, with the feeling
of keeping the elbow close.
The forearm should be parallel to the ground and the
shoulder relaxed.
The other arm is brought to the front of the body and is
extended outward, at arm length, at solar plexus level. The
fist should be palm downward and the shoulder relaxed.
The punch is initiated with the retraction of the
front arm, with an immediate rotation of the forearm and
the movement of the retracting elbow towards the side of

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the body. This initial movement transfers energy to the
opposite side of the body with centrifugal force through the
hip area.
At the instant that the front arm starts to move, the
punching arm is thrust forward towards the target, while
keeping the elbow close to the side of the body and the
forearm remaining palm upward. As the punching arm
moves forward towards the target the retracting arm moves
to the side of the body. When the punch is about half way
to the target, both arms appear the same, with the elbows
tight to the sides and fists with palms up. The retracting
arm is now pulled straight back to the side of the body with
the fist at the center of the side and elbow tight towards the
spine.
The punching arm extends outward with palm up until it
reaches a point close to full extension of the arm and the
shoulder starts to rise. It is at this point that the forearm is
rotated so that the fist is in a vertical position, palm towards
the body centerline.
As the fist travels further full rotation of the forearm is
required to keep control of the power of the punch, with the
fist turned palm down and the tensing of the back, shoulder
and stomach muscles to make the connection to support the
finished punch.

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2/ TATE ZUKI
Tate Zuki is a variation of Choku Zuki. The punch
is started the same as Choku, but doesnt extend to the full
reach of the arm and shoulder. Near the end of the punch,
as the shoulder first begins to rise, or separate from the
body, the fist is turned to the vertical plane, with the thumb
up. The retracting arm is pulled fully back, and the muscles
across the chest and shoulders are quickly tensed to make
support.
Tate Zuki is a good medium range punch and allows for
adjustment in distance from Choku Zuki.
3/ URA ZUKI
Ura Zuki is another variation on Choku Zuki based
mainly on the distance to the target. The fist moves towards
the target as in Choku, as the elbow comes in contact with
the side, but before the feeling of separation of the shoulder
from the body, contact is made with the target. The fist is
held palm upward and the punch is delivered prior to any
requirement to rotate the forearm. The distance that is
covered by Ura Zuki is from the side of the body to the
extreme arm movement prior to the required rotation of the
forearm.
To make this an effective punch the stomach muscles must
be fully contracted along with the muscles of the back and
side together with body vibration.

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4/ AGE ZUKI
Age Zuki gets its name from the fact that the fist
moves from a low to upper target level as the punch moves
outward from the body.
The punch starts out the same as Choku Zuki but as
the elbow passes the centerline of the side of the body the
forearm starts its rotation. The arm is fully rotated and rises
to finish at the target using the center or tips part of the
striking knuckles.
This type of punch is effective as a surprise attack,
or as a combination block and attack. The usual target area
is under the chin.
5/ KIZAMI ZUKI
Kizami Zuki is the Karate equivalent to the boxers
Jab punch.
Kizami means short, which means the shortest and most
direct line towards the target. The punch starts from a
protective posture with the arms towards the front of the
body, normally in a fighting stance. The punch is delivered
with the rotation of the hip and a snapping of the elbow
towards the target. Upon contact the elbow is relaxed to
allow the arm to return to the ready position so that
consecutive punches can be used if required.
Kizami is often used in combination with reverse
Choku Zuki, but is effective on its own, especially when
used as a surprise attack, but requires full use of the hips
and contraction of the upper body.

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6/ NAGASHI ZUKI
Nagashi Zuki is similar to the short punch in that
the fist moves directly towards the target, but in Nagashi
the hips are rotated at about a 45 degree angle to the line of
attack in either a forward or reverse direction. This gives
the feeling of the punch as flowing from the center of the
body and allows the technique to block and strike in one
motion.
The punch ends with full expansion of the upper
body and extension of the arm as in Choku Zuki, without
the snapping back of Kizami Zuki.
7/ KAGI ZUKI
Kagi Zuki is the hook punch and gets its name from
the position of the arm at the end of the punch.
As the punch starts from the side of the body it
resembles all the other punches, but as the arm and elbow
pass the centerline of the bodys side the forearm begins to
rotate from a palm up position to a palm down position.
At the same time that the arm is rotating, the fist is hooked
across the center of the front of the body, finishing with the
arm directly across the chest at about two fists outward
distance. Care must be taken to insure that the shoulder of
the punching arm stays in a natural posture, as there is a
tendency for beginners to shrug the shoulders thus losing
the connection and power of the punch.
A usual method of using Kagi Zuki is to shift the
body sideways while applying the punch. This can be seen
in the Tekki Katas.

96

8/ MAWASHI ZUKI
Mawashi Zuki is unlike any of the other Karate
punches due to the fact that the elbow is allowed to
separate from the body at the beginning of the punch.
The starting position is the same as in Choku Zuki,
but the elbow drives the fist in an arc away from the center
of the body in a half moon shape, than using hip and
shoulder rotation the fist is directed back towards the target.
The fist strikes the target after complete rotation of the
forearm, with the thumb facing downward and the palm of
the hand towards attacker.
This punch is used mainly against the side of the
head, and is good to get around a block or upper level cover
action of the opponent.
B/ TWO HANDED PUNCHES
1/ AWASE ZUKI
This is a combination punch using both arms at the
same time. The upper area is attacked with one arm as in
Choku Zuki, while the lower area is attacked with the other
arm as in Ura Zuki.
Normal targets for this combination are the face and
solarplex. The main drawbacks, to using a combination of
two punches at the same time is the close proximity to the
target while both arms are in use, which makes for
difficulty to protect against a counter attack.

97
Attention to balance must be foremost in the attacker's
mind, with particular attention to the positioning of the
hips, shoulders and head.
2/ YAMI ZUKI
Yami Zuki is similar to Awase Zuki in that the fists are
directed towards an upper and middle level. The main
differences are in the direction of application and body
posture at contact.
The arm directed to the upper area moves in an arc
from the side of the body towards the target. As it moves
upward there is rotation in the forearm so that the palm is
facing down and the head is between the two arms. The
lower arm moves directly to the target as in Ura Zuki. The
trunk of the body leans into the technique, and the upper
arm gives the posture of the mountain, elbow slightly above
the fist.
3/ HEIKO ZUKI
The parallel punch is another combination punch,
but the target area is at the same height for both arms. The
power for this punch is greatly enhanced by stepping
forward into a strong front stance.
Usually a full range of arm movement is used, such as in
Choku Zuki. This punch can be very surprising to an
opponent when used in Ura Zuki or double Kizami Zuki
format.

98
4/ HASAMI ZUKI
The scissor punch is similar to a combination of
middle level roundhouse punches. The two fists leave the
side at the same time travelling on a course like Ura Zuki,
but as the elbows pass the center of the body they move
outwards from the side and drive the fists inward in a
closing motion. Power for this punch comes from the
rotation of the forearms and tightening of the chest muscles
Punching is the most common form of attack used
by Man. The use of the fist and hand to strike another
person was probably the first assault ever made. The punch
has developed into an extremely powerful technique in
Karate. Of all the members of the great apes only Man has
the ability to form a closed fist!

Sensei Y. Yaguchi special #1

http://www.youtube.com/watch?v=5JJz1FCA2w
Sensei Y. Yaguchi special #2
http://www.youtube.com/watch?v=u40ntd
irXlI

99
STRIKING TECHNIQUES
Striking techniques are those using a lateral arm
motion, and the snap action of the elbow joint supported by
the shoulders. The strike can be compared to the slashing
action of a sword, and due to this motion, can be effective
as either an attack or blocking technique.
Also included in the category of strikes, or Uchi, are the
Elbow strikes, even though they are more representative of
the smashing techniques (ate-waza) as described in Master
Nakayamas book Dynamic Karate, p120.
The Striking techniques used in Karate are divided into
three basic groups according to the area used to make
contact with the target. These three areas are as follows,
1/ Fist strikes Kobushi Uchi
2/ open hand strikes Kaisho Uchi
3/ elbow strikes Hiji (Empi) Uchi
Fist Strikes Kobushi Uchi
Fist strikes are further divided into 2 classifications
based on the area of the fist used.
a/ Back Fist Uraken
b/ Hammer (Bottom) Fist Kentsui
1/ Back Fist Uraken
The striking area is the back of the fist supported by
the two knuckles of the middle and index fingers.
There are two methods of delivery
a/ outward (Soto) from body center outward.

100
b/ downward (Otoshi) in line with body center from up to
down.
1/ Outward back-fist strike Soto Uraken Uchi
Soto Uraken is one of the most versatile techniques
in Karate and is used frequently in the Katas. This
technique is used both to attack and defend with, and is
used mainly against hard parts of the body such as the side
of the head or joints like the elbow or wrist. Power is
generated by the snap action of the elbow.
2/ Downward back-fist strike Otoshi Uraken Uchi
Otoshi Uraken is used mainly to attack towards the
front using a strong overhead circular action. The main
areas of attack are the center of the face and the solar
plexus.
When making the back fist strikes it is important to
keep the shoulders relaxed and to use full rotation of the
forearm. The arm should be kept flexed until the elbow is
pointing directly at the target, than the forearm is snapped
outwards to full extension. Upon striking the target the
forearm is relaxed and snapped back to the starting
position.
2/ Hammer Fist Kentsui
The striking area is the bottom of the fist next to the
little finger.
There are four methods of delivery,
a/ Downward Otoshi - in line with the body center from
up to down.
b/ Outward Soto from the inside outward, palm down
c/ Inward Uchi from the outside inward, palm up

101
d/ Double (scissors) Hasami both arms from outside
inward.
1/ Downward Hammer-fist Strike Otoshi Kentsui Uchi
The performance line of this strike can vary
depending on the stance taken and distance to the target.
From a natural stance the fist is raised over the head in a
circular motion with the elbow crossing the centerline of
the body. The fist is then brought down vertically onto the
target. If the distance to the target is close the fist can be
raised only to the shoulder of the opposite side and brought
to the target with a rotating action of the forearm. From a
gyaku posture the fist is brought down from above the
head, but the arm doesnt cross the body.
2/ Outward Hammer-fist Strike Soto Kentsui Uchi
The outward strike moves from across the
centerline of the body to the outside. The forearm is rotated
until the palm is pointing downward and we have full
extension of the elbow joint. This technique gets its power
from the rotation of the striking arm and the full retraction
of the opposite supporting arm.
3/ Inward Hammer-fist Strike Uchi Kentsui Uchi
The inward strike starts from a position outside the
line of the body with the fist at about shoulder height palm
towards the target. As the fist is brought to the target the
forearm rotates so that the palm is facing upwards upon
contact.
Power is generated with the rotation of the forearm and the
rotation of the hips.

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4/ Double Hammer-fist Strike Kentsui Hasami Uchi
The double Hammer fist strike is similar to a
combination of two Inward strikes but a large circular
action is made to the outside before rotating the arms
inward.
The power for this technique comes from forearm rotation
coupled with a strong squeezing of the front of the body
trunk using contraction of both the stomach and chest
muscles.
2/ Open Hand Strikes Kaisho Uchi
Open hand strikes are further divided into three
categories based on the area of the hand used.
a/ Sword hand shuto
b/ Ridge hand haito
c/ Palm heel teisho
1/ Sword hand shuto uchi
The striking area is the edge of the hand between
the wrist and lower knuckle of the small finger. This area is
relatively weak, with small bones and little muscle for
protection. Extreme care must be given in teaching new
students the proper way of making Shuto. Points of major
concern are 1/ keep fingers close together, 2/ support the
other side of the hand with the thumb, 3/ extend the little
finger away from the wrist while keeping the palm flat.
Methods of delivering the sword hand are similar to the
bottom fist, except the starting position is from above the
shoulders and in a downward direction to the target.

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The target areas are usually in the upper torso or neck, so
using the full snap action of the arm, plus rotation of the
hips, makes this strike one of the deadliest blows in Karate.
2/ Ridge hand haito uchi
The ridge hand uses the opposite side of the hand to
the sword hand.
The hand is formed in the same manner as the sword hand
but the thumb is moved under the index finger to allow the
ridge of the hand from the wrist to the last knuckle of the
index finger to be the striking point.
There are two methods of delivery,
1/ inside outward (uchi) from under the support arm,
outward to the target, starting with palm down and ending
with palm up.
2/ outside inward (soto) using the full movement of the
arm outward then swinging inward to the target, the palm is
up at the farthest motion of the arm and rotates to a palm
down position when striking the target.
The main target is the upper torso and neck area.
3/ Palm heel teisho uchi
The palm heel uses the area of the hand composed
of the base of the thumb and the meaty part of the hand
directly ahead of the wrist. The fingers are moved out of
the way by flexing the wrist backwards. As the area used to
strike with has a large muscle pad the palm heel is equally
effective against bony structures such as the head and
joints.

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The methods of delivery are,
1/ outside inward uchi where the arm is extended
outward, then brought inward with a snapping action of the
wrist and elbow at the moment of impact.
2/ rising age teisho uchi where the arm is extended
outward and upward towards the target with the snapping
action of the elbow and forward motion of the hip.
3/ dropping - otoshi teisho - where the arm is extended
above the shoulder and brought down with a snapping
action.
Elbow strikes hiji (empi) uchi
Elbow strikes are further broken down by the direction of
application.
1/ Front - Mae empi uchi
2/ Roundhouse mawashi empi uchi
3/ back ushiro empi uchi
4/ rising age (tate) empi uchi
5/ downward otoshi empi uchi
6/ side yoko empi uchi
Elbow strikes differ from the other strikes, as there is no
snap action of the joint.
The elbow is thrust towards the target and the body is used
to give greater force to the technique. The area of the elbow
used in each technique varies with the direction of the
blow.
1/ Lower elbow region is used in roundhouse, and rising
strikes and initial contact of front elbow strikes.

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2/ Upper elbow region is used in side, downward and initial
contact of back elbow strikes.
3/ The tip of the elbow is used as a finish to both the front
and back strike, but initial contact is made with either the
lower or upper areas, thus providing protection for the
nerves and bone located at the joint of the elbow.
Striking techniques can be used in all stances, with both oi
or gyaku forms.
(Again for a more comprehensive and pictorial coverage
go to bibliography 1, 2 or 3)

106

Kicks and Knee smashes

Lower body area
The feet and legs are used extensively in Karate and
are excellent weapons to keep an opponent at a distance, or
to attack before he can close his distance to you.
The legs are on average six times as strong as the
arms and with their greater length can strike out with
deadly power.
The areas of the
lower body that are
used to strike an
opponent are the
foot, shin and instep,
Knee and hip.
The foot has the
same structure as the
hand and care must
be taken to avoid
injuries due to the
force of the leg on
the small bones of
the foot. In general we use the ball of the foot for forward
strikes, the heel for backward and downward strikes and the
sword foot, which is the side of the foot supported by the
ankle, for side strikes. The instep and sole of the foot used
mainly in round kicks.

107
The knee and shin areas are used for in-close fighting and
the hip can be used to break your opponents balance and
as a fulcrum to throw.
The legs are not used as much as the arms in everyday life
so extra training and stretching must be put into their
training. To use the legs properly we should know the
joints and muscular Movement of important foot
techniques.
The foot contains twenty six bones which make it
the most complex part of the body next to the hand.
In most animals the weight is distributed among
four feet. As humans adopted a bipedal posture during
evolution, the foot took on a difficult double function:
bearing the weight of the entire body, and performing the
complex movements necessary for walking, running, etc.
(12- Calais-Germain p235)
Dorsal flexion is movement of the top of the foot
towards the anterior tibia, or shinbone. This action is
important for Mae Geri techniques as it allows the toes to
bend upward so that the ball of the foot can strike the
target.
Plantar flexion is the movement of the top of the
foot downwards away from the tibia. This is important for
kicks using the instep, such as Mawashi geri jodan.
Both of these actions are made by the ankle joint
which moves over a bone structure called the talus. This
action is moved by a muscle group called the tibialis
anterior which is in the front of the lower leg bone for
dorsal flexion, and the gastrocnemius which is in the back

108
of the leg attached to the Achilles tendon for plantar
flexion.
The foot has limited sideways flexion, so in order to
make stomping or thrusting actions using the sole of the
foot or the heel a combination of motion is used. This
action of directing the foot in abduction and dorsiflexion is
called Eversion. This action is used in front thrust kicks.
Another combination of movements is adduction
and dorsiflexion, which is, called Inversion. This is a
common position of the foot for side thrust and side snap
kicks.
The foot is supported by a number of ligaments
which are extremely strong, as the foot is required to
support the body's weight, plus the forces produced by
jumping and running. The tendons and ligaments are so
strong that usually the bones will break before they tear.
This strength of bone and tissue makes the foot an
extremely powerful weapon when combined with the
power of the legs.
KICKING TECHNIQUES
Kicking techniques are those that use the legs for attacking
or blocking.
The advantages of these techniques are greater distance,
more power and surprise of attack. Kicks can also be used
in all directions and against every part of an opponents
body. The only limitation is on the physical abilities of the
Karate-ka.

109
Areas of contact are:
1/ ball of foot
2/ instep
3/ heel
4/ sole of foot
5/ outside edge of foot
6/ knee
Application of kicks:
1/ snap - close to medium distance
2/ thrust - medium to long distance
The Snap kicks can be generalized as kicks where
the knee is moved in the direction of the target and quickly
followed by the foot. Immediately after contact with the
target the foot is retracted to the start position.
Thrust kicks can be generalized as kicks in which
the knee is raised through the line of the target and the foot
is pointed towards the target. The foot is moved to the
target using the thrust of the knee and hip together and
upon contact the leg is locked out to allow full penetration.
The foot is then retracted back to center while maintaining
original height of the knee.
Classification of kicks according to direction:
1/ front
2/ side
3/ back

110
1/ front kicks:
a/ front snap kick, mae geri keage
Using either the ball of the foot or the instep to
strike with, the knee is raised directly up front along the
centerline of the body in the direction of the target. The
heel should rise back towards the buttocks at the same time,
so that the muscles at the back of the leg are contracted and
the muscles at the front are fully expanded.
When the knee reaches full extension towards the
target, the foot is snapped forward to strike the target at full
extension of the upper and lower leg. To complete the
action, the foot is snapped back to its start position while
the knee remains at original height. After full retraction of
the foot, the knee is lowered to start position.
This kick is used mainly for targets directly to the
front and mainly from groin height and upward. Snap kicks
are for close to medium distances.
b/ front thrust kick, Mae geri kekomi
Using either the ball of the foot or the heel, to strike
with, the knee is raised up the centerline of the body, heel
back and full dorsal flexion of the foot. The foot is then
driven towards the target by the thrusting action of the knee
and hip. At completion of the trust, the leg is locked out
straight to the target. Retraction should be exactly the
opposite from the extension, than lowered to the start
position.

111
This kick is mainly used on targets to the front and
waist height downward, it is very effective for attacking the
knees. Thrust kicks are for medium to far distances.
c/ roundhouse kick, mawashi geri
Using either the ball of the foot or the instep to
strike with, the knee and foot are raised directly to the side
of the body parallel to the ground with the knee fully bent
and heel back tight to the thigh.
Knee motion is then directed towards the target
using the rotation of the hips and upper torso. As the knee
comes in line with the target the foot is snapped to the front
to make contact.
Retraction of the foot is directly back to the thigh
with a snap action and knee is rotated to the side or lowered
to the front to step forward.
This kick is used mainly towards targets to the
front, but which are partially protected. The circular route
of the kick is effective in getting around guards. Originally
this was a close distance kick, but has developed into a
multiple distance technique.
d/ crescent kick, Mikazuki geri
Using both the ball of the foot and the sole to strike with,
the knee moves directly to the front towards the target. The
foot is held back to the thigh with full dorsal flexion.
As the knee rises towards the target the angle of the lower
leg increases to the side and the foot snaps to the target in a
crescent or semicircular movement.

112
Bringing the knee back towards the chest and
snapping the heel back to the thigh makes the retraction.
This kick is very effective as a guard and blocking
technique towards the front.
e/ reverse roundhouse kick, gyaku mawashi geri
Using the ball of the foot or the instep to strike with,
the knee must be raised to the front and across the body
center, the foot coming in front of the supporting leg. The
kick is directed to the front in a semicircular motion from
inside the body center line outward. Retraction is back in
the same course as the kick with the knee remaining in
front for protection. This kick is very effective as an attack
or guard towards the front, especially at groin level.
f/ knee kicks, shittsui geri
All front kicks can be used as knee kicks for close
range attack and defense by keeping the knee fully flexed
and the foot held tightly to the thigh.
Knee kicks require the full range of motion from the
hip joint to allow for forward thrust or circular motion.
These kicks are very effective against an opponent
at close distance.
2/ Side kicks:
a/ side snap kick, Yoko geri keage
The side kick uses the sword foot, the outside edge
of the foot that is supported by the heel and instep.

113
In the side snap kick the knee is raised diagonally to
the body center towards the target. The foot is kept in full
dorsal flexion with the toes turned towards the front as
much as possible, and the foot should remain within the
centerline of the body close to the support leg as long as
possible. As the knee moves to its farthest extent towards
the target, the foot is snapped sideways to strike in an
upward sweeping action.
b/ side thrust kick, Yoko geri kekomi
Using the sword foot as a striking area, the knee is
raised directly up through center, foot parallel to the
ground. The foot is moved towards the target with the
feeling of stepping onto the target. The power of the kick is
generated by the thrusting action of the knee and hip joint.
The kicking leg should be completely straightened and
connected to the support leg at the moment of impact.
c/ Cutting kick, fumikiri geri
This kick is basically the same as the side thrust
kick, but the target is the knees or lower leg. The higher the
knee of the kicking leg is raised to start the thrust, the
greater the force of impact.
d/ stamping kick, fumikomi geri
Using the sole of the foot in a crushing technique,
this kick is similar to the side thrust but the target is usually
the instep, or an opponent who has been thrown to the
ground.

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e/ side roundhouse, yoko mawashi geri
Using the back of the heel or the sole of the foot to
strike the target, the side round house is delivered from a
ninety degree angle from the target by thrusting the leg
straight out to the front of the body and then using the
rotating action of the hips and upper torso, the extended leg
is brought sharply towards the target.
This kick can prove valuable for muscle
development. In order to use the leg to make cover in a full
ninety degree arc from the center front all the way back to
the side of the body the central core must be strong.
3/ back kicks:
a/ back snap kick, ushiro geri keage
Using the back of the heel to attack the target, the
kick starts from the same position as the front kick, but is
moved through center towards the back. As the foot is
extended towards the target the heel is snapped back
towards the thigh muscle to catch the opponent with the
back of the heel.
This kick is usually used against an opponent who
is close behind or grabbing from behind.
b/ back thrust kick, ushiro geri kekomi
Using the bottom of the heel to attack, the kick
starts the same as the back snap kick but is thrust directly
back through center and is fully extended to bring the
power of the supporting leg into play.

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The higher the kick the further the karate-ka must
lean forward at the waist due to the lack of flexibility to the
back by the spine.
c/ back roundhouse kick, ushiro mawashi geri
Using the back of the heel to strike the target, the
leg is raised to the side with the knee and foot at the same
level. Using the rotating action of the spine and hip joint
the leg is brought past the target then the heel is snapped
back towards the thigh.
Kicks have developed from a method of keeping an
opponent at a distance or breaking his balance into an
effective projection of the body equal to the hand
techniques used by Karate-ka. The kick is still in a
developmental stage and we see greater variation
developing every year at tournaments. High kicks are
becoming into greater use now that your opponent isn't
holding onto a 3 foot sword, covering his upper body.

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Body movement and Power

Now that we have the weapons of the body situated
on a firm and stable platform we must move them outwards
from center to make contact with the target. As a biped
animal we have limitations on how we can make power.
There are three methods,
1/ Body rotation
2/ Body shifting
3/ Body vibration
1/ Body rotation allows the power of the large
muscle groups of the hips and legs to be projected onto the
upper body, and to assist in greater speed in the lower
body. The rotating motion of the body trunk causes the
extremities to move outward from center by centrifugal
force. The faster the rotation, the greater the force, and by
using muscle control, the arms or legs are redirected in a
straight line towards a target. The energy of the rotation,
coupled with the accelerating speed transferred to the
extremities, gives greater force to the technique than with
the arms or legs alone.
An example of this principle can be seen in other
sports such as Baseball and Golf. If the practitioner were to
try to hit the ball with just the force from the arms alone
there would be very little distance to the drive. When the
rotation of the hips is added to this motion, great distances
are achieved.
Power is the work done over a period of time. If the
same amount of work, or release of energy, happens in less
time, greater power is released. This is also true in Karate.

117
If the energy to move our fist, or foot is released in a
shorter time span, than greater Power is created. So the
speed of the rotating action of the hips causes greater power
at the extremities, which releases more energy.
The rotation of the body gives speed to the
techniques, and it also transfers the power of one muscle
group to another. To get the greatest benefit from body
rotation, the trunk should be perpendicular and the rotation
should start before the extremities are moved.
Hip rotation is just one of three ways to make
power, but it brings into play the largest muscle groups in
the body. Use of the hips also allows the body to quickly
align itself to make motion in the proper direction.
2/ Shifting action of the body transfers energy from
one position to another, through body movement, by
stepping, jumping or sliding from one stance to another.
The purpose of body shifting is to reposition the body to
either attack or defend, but the power created by this
shifting action is of great use to the Karate-ka when He
develops the ability to transfer it from one part of his body
to another.
The faster the Body is moved, the greater the power at the
end of the motion. As the body accelerates, the mass of the
body, plus its speed, multiply together to form energy. The
arms or legs are projected out from this energy and the
speed of the motion, and the mass of the body are added the
arms or legs. This gives them greater speed and mass than
can be achieved by the arms or legs alone.

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The power of these motions can become even
greater if the timing of body shift and the motion of the
Arm or Leg is such that they reach maximum velocity
together; at the moment contact is made with the target.
One of the greatest drawbacks to shifting the body
is the loss of balance, which can occur unless care is taken
to maintain the center of gravity over top of the hips
throughout the motion. This usually requires lots of
practice, and large, dynamic motions shouldnt be tried
until the Karate-ka is comfortable with the basic motions
learned through training in Kihon and the Heian Katas.
It is very important for beginners to learn their stances
properly before learning to move from stance to stance. A
slow progression in the complexity of movement should be
followed. Motions as described in Okazaki Senseis book,
(3-Okazaki-p89) are of great assistance to Instructors in
leading their students from basic motion to complex
motions.
The power generated by body shifting can also be
enhanced with the use of body vibration and body rotation.
In fact most motions in Karate are a combination of at least
two of these methods of generating power.
The shifting action will create power, but the
important thing in Karate is to bring this power to one point
at precisely the right time. If the shifting action is not
controlled, the timing may be off, or balance lost. If this
happens the energy projected from the body by the shift
could be used against you.

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Body shifting or tai sabaka is the ability to move
from one position to another, and may be done in any
direction, laterally or vertically.
The Dynamics to cause these motions are dependent
on the direction, distance to be covered, and application of
technique during or at the end of the motion.
The objectives of body shifting as stated in the Textbook
of Modern Karate are
1/ to maneuver around a real or imaginary opponent.
2/ to close with or move away from an opponent.
3/ to provide optimal distance when blocking or attacking
actions are carried out.
(3 Okazaki p87)
In order for the body to shift we must use our
Muscular and skeletal systems together. To create motion,
muscles must contract or expand in length and shorten or
lengthen the angle between two or more bones across a
joint.

An interview with Shihan Okazaki on power

distribution
http://www.youtube.com/watch?v=O7SlrTm
Kldw
On the following pages are some exercises for
practicing body shifting.

120

Karate footwork is ashi-sabaki in

Japanese. From Sensei Yaguchi class, written by Joe
Dixon for ISKFBC.

suri-ashi,

Yori-ashi,

tsugi-ashi,

ayumi-ashi,

Fumi dashi ashi

hiraki-ashi

Kae ashi

Suri-ashi - (Kizami zuki)

Suri-ashi is the way we perform most karate footwork. It
is a sliding movement. In karate, we, most of the time,
slide/glide. In Kizami only the front foot moves.
First, we have to acquire the sliding movement. In the
basic stance, Zenkutsu, our right foot is the front foot
and the left foot is the back foot and the left heel is
slightly lifted up.
However, when we move, it is much easier to lift both
heels up slightly.
How slightly do we have to lift our heels up? Just
enough to put a piece of paper between your heels and
the floor.
Have the feeling that you are pushing marbles out of
your way. If you step on them you will slip and fall.

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Yori-ashi (both feet)

This is the most important karate footwork or ashisabaki .

In the basics, the right foot is the front foot and the left
foot is the back foot. And lift the left heel slightly up.

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When we want to go forwards, we move the front
foot first.

When we go backwards, we move the back foot first.

So in the basics, we move the right foot to move
forwards and the left foot to move backwards.
In Yori-ashi, the back foot never passes the front foot.
It doesn't matter if the right foot is the back foot or the
left foot is the back foot.
The back foot cannot pass the front foot and vice versa.

123
Some Important Points
* It is very common that the beginners drag their feet,
specially the back foot, when they perform this ashisabaki.
No dragging in karate footwork. Never!

Tsugi-ashi
In the basic Karate footwork (Yori-ashi), the front foot
must move first.
But in this footwork, tsugi-ashi, the back foot moves
first and it stops before it passes the front foot.
If the back foot passes the front foot, it is called ayumiashi, which is described below.

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Ayumi-ashi
In ayumi-ashi, we can actually cross our feet like we are
walking, but as in suri-ashi (sliding). It is walking with
sliding, only lift the feet paper thin above the floor.

Fumi dashi ashi

1/ Same foot motion as in Ayumi ashi, but driving in
strongly as in Heian nidan.

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Hiraki ashi (side shift)

Similar motion to Yori-ashi for side shift, when stepping
across, make kosa dachi, then step sideways. Best form
is stepping in front as this keeps hips square.

Shiho Ashi-sabaki ( Yori ashi

Hiraki ashi combination)
Shiho means four directions. We take a step forwards,
backwards, to the right and to the left respectively.

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Before we learn this, we should breifly practice Yori-ashi,
then Hiraki ashi to the right and left.

Mawashi-ashi

This ashi-sabaki is to change the body direction by

pivoting on one foot. It should be acquired slowly but
definitely as one improves his/her karate skills.
1. From the basic stance, take a step diagonally onto the
right foot followed by the left foot.

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2. Move to the left diagonally onto the left foot followed
by the right foot. But the right foot becomes the back
foot.

3. Go to the right as in 1.

4. Repeat 2. and 3.

Kae-ashi
1/ change front and back foot position, using a rotating
action of the hip.
2/ Body center should remain in position, as if rotating
around your opponents center.

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(Please

refer to Best Karate #2, page 60

80 for training methods.)
In Karate, to move the body from one point to
another also requires maintaining a stance at the end of the
motion. The most effective way to move is by going from
one stance to another through a secondary stance to retain
posture and balance. An example of this is the movement
from one front stance to another. The legs should move
through center as if going into cat stance, but the motion is
not stopped but carried through to completion of the next
stance. This use of a secondary stance also allows the
Karate-ka the ability to change the direction of the body
shifting action part way through the motion.
3/ Body vibration is a method of creating power
from the bodys center outward to the extremities. The
concept of making power from vibration is similar to that
of a tuning fork. The energy from tapping the tuning fork is
vibrated back and forth on the forks at a frequency dictated
by the size and rigidity of the material used to make the
forks. The human body is made up of bone, muscle and
tendons; all of which are fairly soft materials and on their
own would absorb any vibration in the body.
In order to create vibration in the body, all the
major muscle groups have to be contracted fully, and at the
same time. It is very difficult to maintain this contraction
for any length of time, so the vibration of the body is
extremely fast and the energy is transferred through the

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muscle and bone from the center of the body outward in a
quick burst of energy.
The use of vibration to create power is complex and
usually only developed in more senior students. When
used, this vibration allows the practitioner to make very
short and powerful techniques, as can be seen in the Tekki
kata. The main muscle groups used to create vibration are
those surrounding the hip joint. A quick, short motion of
the hips from center position and back starts the action.
When the hips return to the start position the muscles
around the hip must be contracted first, followed by the
remaining muscle groups moving from center outward.
Upon completion of all muscles contracting the body must
fully relax in order to recover for the next movement.
Vibration is used extensively with the other
methods of making power, shifting and rotation. In most
cases the vibration comes at the end of the shift or rotation
and adds to that power source.
Vibration allows for all muscles to be used in one
action, and is the main reason for the amazing power at
close distances and when using narrow stances such as
Kiba dachi to the side and Sanchin dachi to the front. All
Karate techniques should contain Vibration.
The ability to move and produce power from the
body is directly related to the ability to expand and/or
contract the proper muscle groups at the right time and in
the right order.
Expansion:

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Body expansion allows energy to move from the
bodys center outward to the extremities. As the technique
on one side of the body moves outwards to the target, the
muscles are controlled in such a way that a connection is
maintained between the striking part of the body, normally
the hand or foot, and the bodies center or trunk area. If this
expansion isnt controlled the joints of the extremity will
open and act as a buffer to the strike. This would lead to a
weak attack and possible loss of balance and recovery time.
In tournament Karate the objective is to score a
point, not destroy your opponent. This means that speed of
technique is of greater importance than power, so a
somewhat shorted expansion can be used.
In Karate, as a Martial art, it becomes a matter of
life or death as to how many times you must strike your
opponent to subdue him. Therefore a stronger and slightly
deeper form of expansion is used. This takes a little longer
to make, i.e.; milliseconds, but has a greater effect.
Contraction:
In our example of expansion it should be noted that
we talked about one side of the body in motion. In order to
gain the greatest amount of power from our center we must
use an equal and opposite force to make balance in the
trunk area.
This force is contraction, which means to bring the
muscle power of the extremities towards center as a
stabling factor. This allows the trunk muscles to tighten
fully in order to support the attack.

131
The main muscles to contract are those closest to
the center, which are the muscles that protect the abdomen
and buttocks. The tighter these muscles are at the moment
of impact, the greater the force from center.
Again it should be noted that speed to gain points is
important in sports Karate, so sub maximal contraction
should be used. This creates a movement similar to a whip
action, which can leave a mark but is unlikely to kill.
To make the technique full power again, a small
amount of speed is given up for full contraction of the
muscles. This is Karate as a Martial art.
It is important for an instructor to understand these
subtle differences in expansion and contraction, and to be
able to teach both, as some students wish to go into
competition and others require self-defense training.
In order to maintain body balance and posture
during fighting it is important to keep our center of gravity
inside our stance platform. This is easy to do if there is
little or no body motion.
We tend to attack or defend ourselves with quick and
powerful arm and leg motions. The very nature of these
thrusts is to move our centers away from our platform, and
to break our balance.
To counter these destabilizing factors we naturally make
the opposite side of the body react in a motion in
opposition to the applied force. This can be seen in the
natural arm swinging motion when we walk. As one arm
moves towards the front, the opposite arm swings towards
the back. The arm motions are generally opposite to the leg

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motion on the same side. These actions and reactions help
the body maintain balance.
In Karate this reaction to motion is more pronounced due to
the fact that the motion is very explosive in nature and
usually comes to a sudden stop i.e.; contact with another
person. In order to maintain posture the reactionary forces
used are in opposition to action taken. Due to the power in
Karate we also require the internal contraction of the large
muscle groups supporting the hips and upper body as a
reaction to most applications.
According to the Websters dictionary reaction is
described as the following,
(9 Websters dictionary p979)
1/ reaction the force that a body subjected to the action of
a force from another body exerts in the opposite direction.
2/ reaction - resistance or opposition to a force, influence or
movement.
In Karate for every action there will be an equal and
opposite reaction.
An example is a punching technique where the main
action is the motion of the arm and fist towards the target.
To balance this, the opposite arm is retracted back to the
opposite side of the body. The faster this arm is retracted,
the greater the force and speed the punching arm has. In its
best form, the retracting arm should be completely back
prior to the full extension of the punching arm.
To move our bodies, the action is to thrust our leg
towards the ground, the reaction of the grounds inability to

133
absorb this thrust propels the body in a direction opposite to
the applied force and equal to the energy not absorbed.
Gravity is a force that reacts directly with a mass in
a vertical plane to the earths center. The greater the mass,
the greater the effect of gravity and if an object has its mass
distributed evenly around its center of gravity, it is said to
be in balance.
In Karate the body mass is supported by a platform
made of the area under the body created by the position of
the feet. The center of this platform is the center point of
balance. The larger this area and the lower or closer to this
point that the mass can get, the more stable the body.
By positioning the body's center of gravity at the
center of this platform, it becomes the easiest position to
maintain balance. Therefore it can be said that perfect
balance happens when the center of gravity and the center
of balance are the same point.
If the bodys center of gravity is shifted from the center of
the platform area but remains inside the platform area,
balance can be maintained but greater energy is required,
i.e. more muscle control and movement. If by shifting the
mass, the center of gravity moves outside the platform area,
than balance can no longer be maintained and the body will
fall.
To correct this, one of two things must happen, the
mass is quickly moved back into the platform area or the
platform area is shifted under the mass, or a combination of
the two.

134
This is most notable when kicking, as the platform
is small i.e., one foot, and large masses are in motion,
causing the center of gravity to leave the platform area. So
the kicking leg must be retracted quickly or the body
shifted in the direction of the kick to assume a new
platform to maintain balance and the ability to recover
stability.
At the other end we have the stance called Fudo
dachi, the rooted stance, which gives us the largest platform
area along with one of the lowest centers. This makes it one
of the most stable stances to fight from.
Body posture is important in order to maintain
balance and allow movement in any direction. Without
good balance the application of techniques is either
impossible or without power.

Breaking Posture
As in all martial arts when an application or form is
perfected, another application or form will be developed to
counter the original. Thus, if a good stance is required to
make a strong technique, a method would have to be
developed to break the stance or balance.
In Karate we have many methods and techniques of
breaking balance.
When breaking an opponents balance both the
physical and psychological concepts must be looked at. The
idea of breaking balance is to make chance for an attack or
escape to take place. By moving a person outside of their
area of balance an attack can be stopped, and an

135
opportunity to attack can be found. This can be done
through sweeping techniques or by breaking their
concentration by unexpected motion or sounds.
In kumite the most common method used for breaking
balance is the leg sweep.
The distance to the target, the leg doing the sweep, the leg
being swept, and the motion of the combatants break the
sweeps into different types. I.e. attacking or retreating.
The purpose of the sweep is further divided into
three basic categories based on the amount or degree of
balance that is broken,
1/ 0 - 30 % changes direction,
2/ 30 70 % causes loss of control and
3/ 70 100% complete upset and falling.
These leg-sweeping techniques come under the
name of Ashi-barai and are described according to the part
of the foot or leg doing the sweep.
1/ Teisoku ashi-barai Sole leg sweep
This is the most commonly used of the sweeps and
can be from the outside inward, striking an opponents
ankle and foot, sweeping it across their line of motion or
from the inside outward, which allows the hooking of the
foot and pulling it forward, breaking the balance. This is
most effective as an opponent steps forward and the front
leg is attacked just before the weight is on the front foot.
The sweep is started with a circular motion to the
outside of center and moving to a position about 30-40
degrees to the front. At this point the leg is snapped back

136
towards the supporting leg in a pulling upward motion.
Either the front or rear leg can be used.
2/ Sokuto ashi-barai Sword foot leg sweep
The outer edge of the foot is used to cut towards the
opponents foot in a semi-circular motion from the front to
the back. This technique is best used when in close to the
attacker and allows for a throwing technique to follow.
3/ Ushiro Kakato ashi barai Back heel leg sweep
The back heel sweep is applied in much the same
manner as the sword foot sweep, but the heel is used to
hook the lower leg and allows you to pull the opponents leg
forward or sideways to break their balance.
4/ Soto Kakato ashi barai Side heel leg sweep
In the side heel sweep the foot doesnt hook the foot
of the opponent but tends to jam it towards the side and
forward. To accomplish this the sweep is started by
positioning your hips sideways to your opponents and
sweeping forward and outwards in a circle.
Psychological breaking of balance
This is less complex than sweeping and can be as
simple as yelling at the attacker. Anything that breaks their
concentration will do. Timing of this is more important
than what is done, for the moment must be used to either
escape or attack before the opponent recovers his
composure.
Breaking balance is to make chance, and whether total
balance is broken or a moment in time is given, the

137
opportunity must be grabbed and a finishing technique
followed up.
The best examples of breaking balance were perfected by
the late Sensei Enoeda.

Enoeda Sensei demonstration

http://www.youtube.com/watch?v=v38XQJ
gK7W0&list=PL78C2549390DB81C2

138

For the instructor:

Teaching Karate; understanding Humanity,
both the Physical and the Psychological.
Karate and Kinesiology
Kinesiology is described as the study of the principles of
mechanics and anatomy in relation to human movement. (9
Websters dictionary)
Karate can therefore be considered a subject of Kinesiology
pertaining to human movement as a Martial Art. All actions
taken in Karate must relate to natural body movement to be
effective and must comply with the principles of mechanics
of a human body or the motion can cause damage to the
practitioner.
The principles of mechanical motion in Karate conform to
those of other sports and movements of the body at work or
play. Two factors, which must be taken into consideration
when making body motion in Karate, especially with the
hands and feet, are speed of motion and compression of
joints and tissue at completion of motion.
The study of Kinesiology pertaining to Karate motions will
allow the Instructor to better understand proper application
of techniques, with less chance of injury to the student.
Muscular action, both expansion and contraction, causes
motion across a joint. This is a system of levers, the bones
being the lever and the muscles being the applied force
across a fulcrum point to create movement.

139
Muscle contraction or shortening is the main force to create
motion, but the ability to relax the opposing muscle group
is also a requirement. One of the main factors in Karate is
speed, which is best accomplished by full motion of both
expanding and contracting muscles. Forces external to the
muscles, such as gravity, centrifugal force and elasticity, or
bounce of the muscles are used to assist this motion if the
motion is completed fully.
The more an instructor studies Kinesiology the greater will
be his ability to teach techniques to students of different
sizes and ages with a lesser chance of the action causing
injury. Each person has a different body type and if Karate
is taught scientifically it will allow for these differences to
be taken into account and allow each person to use and
develop their natural style.
Kata
Kata is sometimes called the essence of Karate. It is
in every respect a form of fighting or sparring.
Kata uses all the techniques of actual combat, but without
an actual foe. The techniques are not hampered and can be
used in their purest form. This allows the practitioner to
teach the body and mind the proper method of making a
defensive or offensive move. With enough practice the
body will remember these actions and will perform them
during actual combat, without the karate-ka having to think
about the techniques.
Kata falls into two categories, Shorei and Shorin. Shorei
Kata are used to develop strength and power while Shorin
Kata develop speed and flexibility.

140
The basic Shotokan kata used for Shorei development are
Tekki, Jion, Jutte and Hangetsui. The basic Shotokan Kata
used for Shorin development are Heian, Bassai, Kanku,
Empi and Gankaku. All practitioners should use both types
of Kata, as each style helps in the development of the other
which creates a balance within the body and mind.
The use of Kata in tournaments helps the Karate-ka to
understand the underlying meanings of each Kata. The
Kata are judged on the following elements
1/ Deportment this is body language, which lets your
opponent know that you are ready
2/ Posture the ability to maintain balance, and face the
proper direction to complete each movement
3/ Stance the proper stance at the right moment gives
stability and power to the techniques.
4/ Basic techniques teaches application of the technique,
also an understanding of the target.
5/ Application of power Teaches how to control your
opponent with the power required, too much gives an
opening, and not enough means getting hit.
6/ Speed of techniques Speed is of the essence in Karate,
usually the first one in wins, but blocking to fast may create
an opening, so speed must be controlled
7/ Expansion and Contraction Full use of the muscles
must be used to make proper motion and power.
Other factors that are taken into account during
tournaments are proper line of movement, rhythm, and
interpretation.

141
Kata are an extremely valuable method of training which
develop muscle and bone strength and enhance balance and
fluidity of motion.
The exact techniques used in the Shotokan kata vary
from organization to organization. If a technique is slightly
different from the way you have been taught that doesn't
mean it's wrong, just different. The kata teach you how to
make a technique, kumite is using the technique. Take what
works for you and keep it, our method of kata is based on
Sensei Nakayama's books, and are used so we all train
together. Any technique that can save your life is a keeper!
Over the last few years Sensei Okazaki has been
giving a specific form of training which I call the ISKF
Kihon Kata. These forms take into account most techniques
and stances used in Karate and are a great training method.
I personally would like to see these placed into our grading
system in the future.

Another important interview with Shihan Okazaki

Sensei Okazaki and friends interview

http://www.youtube.com/watch?v=jVDe056
ERMM

142

OKAZAKI SHIHAN ISKF KATA SETS

Direction as clock face \forward = 12:00

All stances based on main support foot left front stance = left
foot forward, left back stance =left foot back, cat stances same
as back stance.

Front stance = zenkutsu dachi, back stance = kokutsu dachi

Side stance = kiba dachi, square stance = fudo dachi
Half-moon stance = hangetsu dachi, hour glass = sanchin dachi
Cat stance = neko ashi dachi

OKAZAKI SHIHAN BASIC PUNCHING SETS

LEFT LEG FORWARD
1/ step forward left leg to left front stance, down block then
reverse punch stomach level
2/ turn on right leg
step backwards into right front
stance, facing 10:30, make right outside forearm block, then
change to side stance, and shift in making right elbow strike.

143
3/ from side stance make right back fist strike face level, turn
into right front stance, still facing 10:30, make left reverse
punch.
4/ in right front stance make rising block, then step forward into
left front stance, make lunge punch.
5/ from left front stance, step back
with left leg into left
back stance facing 12:00, make right knife hand block. Stay back
stance, reverse punch left hand.
6/ step forward into natural stance finished.
RIGHT LEG FORWARD
1/ step forward right leg to right front stance, down block,
reverse punch stomach level
2/ turn on left leg
step backwards into left front stance,
facing 1:30, make left outside forearm block, then change to
side stance, and shift in making left elbow strike.
3/ from side stance make left back fist strike face level, turn into
left front stance, still facing 1:30, make right reverse punch.
4/ in left front stance make rising block, then step forward into
right front stance, make lunge punch.
5/ from right front stance, step back
with right leg into
right back stance facing 12:00, make left knife hand block. Stay
back stance, reverse punch right hand.
6/ step forward into natural stance finished.

144
RIGHT LEG BACKWARD
1/ right leg step back to left front stance, down block, reverse
punch stomach level
2/ turn on left leg
step forward into right front stance,
facing 10:30, make right outside forearm block, change to side
stance, and shift in making right elbow strike.
3/ from side stance make right back fist strike face level, then
turn into right front stance, make left reverse punch.
4/ from right front stance make right rising block, then step
backwards into left front stance, still facing 10:30, make left
straight punch face level, then reverse punch stomach level with
right arm.
5/ from left front stance move right leg forward
into left
back stance, facing 12:00, make right knife hand block, then
reverse punch left hand.
6/ step backwards to natural stance finished.
LEFT LEG BACKWARD
1/ left leg step back to right front stance, down block, reverse
punch stomach level
2/ turn on right leg
step forward into left front stance,
facing 1:30, make left outside forearm block, change to side
stance, and shift in making left elbow strike.

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3/ from side stance make left back fist strike face level, then
turn into left front stance, make right reverse punch.
4/ from left front stance make left rising block, then step
backwards into right front stance, still facing 1:30, make straight
punch face level, then reverse punch stomach level with left
arm.
5/ from right stance move left leg forward
make right
back stance, facing 12:00, make left knife hand block, then
reverse punch right hand.
6/ step backwards to natural stance finished.

OKAZAKI SHIHAN ADVANCED PUNCH SETS

LEFT LEG FORWARD
1/ make fighting posture left leg forward
2/ shift into left front stance, reverse punch right arm stomach
level, then left straight punch face level.
3/ turn on right leg
step backward with left leg into
square stance facing 10:30, right back fist strike face level, then
left reverse punch stomach level.
4/right jab punch face level, step forward into left half-moon
stance, left ridge hand strike face level, then right reverse
roundhouse punch face level.

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5/ shift left leg to side, make side stance facing 7:30, make left
elbow strike stomach level then back fist strike face level, then
right hook punch stomach level.
6/ using right leg as pivot point,
turn counter clockwise
with left leg facing 12:00, make right back stance with left arm
inside to outside knife hand strike face level, then make
stomach level right hook punch.
7/ from back stance, jab punch face level, then step straight
back into right hourglass stance, then make right upper level
rising elbow strike, then left middle level front elbow strike.
8/ Shift straight backwards make left cat stance with lower level
double pressing palm heel block.
9/ step forward with right leg into natural stance finished
RIGHT LEG FORWARD
1/ make fighting posture right leg forward
2/ shift into right front stance, reverse punch left arm stomach
level, and then right straight punch face level.
3/ turn on left leg
step backward with right leg into
square stance facing 1:30, left back fist strike face level, then
right reverse punch stomach level.
4/left jab punch face level, step forward into right half-moon
stance, right ridge hand strike face level, then left reverse
roundhouse punch face level.

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5/ shift right leg to side, make side stance facing 4:30, make
right elbow strike stomach level then back fist strike face level,
then left hook punch stomach level.
6/ using left leg as pivot point,
turn clockwise with right
leg facing 12:00, make left back stance with right arm inside to
outside knife hand strike face level, and then make stomach
level left hook punch.
7/ from back stance, jab punch face level, then step straight
back into left hourglass stance, then make left upper level rising
elbow strike, then right middle level front elbow strike.
8/ Shift straight backwards make right cat stance with lower
level double pressing palm heel block.
9/ step forward with left leg into natural stance finished
RIGHT LEG BACKWARD
1/ make fighting posture left leg forward
2/ shift backwards with right leg into left front stance, left
straight punch face level, and then right reverse punch stomach
level.
3/ step forward with right leg into square stance facing 10:30
make right back fist strike face level and then left reverse punch
stomach level.
4/right jab punch face level, then step backwards with right leg
into left half-moon stance, left ridge hand strike face level, then
right hook punch face level.

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5/ shift right leg forward to 1:30 into side stance, make right
elbow strike, then back fist strike face level, and then left hook
punch stomach level.
6/ step backward with right leg
into right back stance
facing 12:00, make left inside to outside knife hand strike, then
right close punch stomach level.
7/ from back stance, left jab punch face level, then step forward
into right hourglass stance, make right rising elbow strike, then
left stomach level elbow strike.
8/ shift straight backwards into cat stance, make double lower
level pressing palm heel block
9/ step forward into natural stance finished
LEFT LEG BACKWARD
1/ make fighting posture right5 leg forward
2/ shift backwards with left leg into right front stance, right
straight punch face level, and then left reverse punch stomach
level.
3/ step forward with left leg into square stance facing 1:30,
make left back fist strike face level, and then right reverse
punch stomach level.
4/ left jab punch face level, then step backwards with left leg
into right half-moon stance, right ridge hand strike face level,
then left hook punch face level.

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5/ shift left leg forward to 10:30 into side stance, make left
elbow strike, then back fist strike face level, then right hook
punch stomach level.
6/ step backward with left leg
into left back stance
facing 12:00, make right inside to outside knife hand strike face
level, then left close punch stomach level.
7/ from back stance, right jab punch face level, then step
forward into left hourglass stance, make left rising elbow strike,
then right stomach level elbow strike.
8/ shift straight backwards into cat stance, make double lower
level pressing palm heel block.
9/ step forward into natural stance finished

OKAZAKI SHIHAN BASIC KICKING SETS

LEFT LEG FORWARD
1/from natural stance left leg front kick then step forward 12:00
into left front stance, then right leg front kick, return back to left
front stance.
2/ step backwards with left leg
into side stance facing
10:30, then right front leg side snap kick, place down to right
front stance then left rear leg front kick, then back to front
stance.

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3/ from right front stance, right front leg round house kick,
place back down, then left rear leg round house kick step
forward into left front stance, the right rear leg front kick, place
back into left front stance.
4/ step back with left leg
into left back stance facing
12:00, then front right leg side thrust kick to front, make right
front stance, then left rear leg front kick, place back into right
front stance
5/ step forward into natural stance finished
RIGHT LEG FORWARD
1/from natural stance right leg front kick then step forward
12:00 into right front stance, then left leg front kick, return back
to right front stance.
2/ step backwards with right leg
into side stance facing
1:30, then left front leg side snap kick, place down to left front
stance, then right rear leg front kick, then back to front stance.
3/ from left front stance, left front leg round house kick, place
back down, then right rear leg round house kick step forward
into right front stance, the left rear leg front kick, place back
into right front stance.
4/ step back with right leg
into right back stance facing
12:00, then front left leg side thrust kick to front, make left
front stance, then right rear leg front kick, place back into left
front stance
5/ step forward into natural stance finished

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RIGHT LEG BACKWARD
1/ from natural posture step back with right leg into left front
stance, then front kick with left front leg, return to left front
stance then front kick with back right leg, return to left front
stance.
2/ step forward 10:30
make right leg side snap kick
step down into right front stance, then left rear leg front kick,
back to right front stance
3/ from right front stance front right leg round house kick, place
back into right front stance, step back with right leg into left
front stance still facing 10:30, then left front leg round house
kick, place back down into left front stance then rear right leg
front kick step back into left front stance.
4/ turning on left leg
make right side thrust kick to
12:00, then step down into right front stance facing 12:00, then
rear left leg front kick, step back into right front stance
5/ step back into natural stance finished
LEFT LEG BACKWARD
1/ from natural posture step back with left leg into right front
stance, then front kick with right front leg, return to right front
stance then front kick with back left leg, return to right front
stance.
2/ step forward 1:30
make left leg side snap kick step
down into left front stance, then right rear leg front kick, back
to left front stance

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3/ from left front stance front left leg round house kick, place
back into left front stance, step back with left leg into right front
stance still facing 1:30, then right front leg round house kick,
place back down into right front stance then rear left leg front
kick step back into right front stance.
4/ turning on right leg
make left side thrust kick to
12:00, then step down into left front stance facing 12:00, then
rear right leg front kick, step back into left front stance
5/ step back into natural stance finished

OKAZAKI SHIHAN ADVANCED KICKING SETS

LEFT LEG FORWARD
1/Left leg forward make fighting stance, shift forward into left
front stance then back right leg front kick, step back then front
left leg front kick , return to left front stance.
2/ step back into right square stance facing 10:30,
then
front right leg side snap kick to front, make square stance then
back left front kick, return to right square stance.
3/ from square stance front right leg round house kick, replace
foot to front position, then rear left leg round house kick step
forward into left half-moon stance, then rear right leg front kick
, return to left half-moon stance.

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4/ from left half-moon stance, front leg left side thrust kick to
side,
7:30, then make side stance, rotate hips and make
right front snap kick at 7:30, then return to side stance.
5/ using the right foot as pivot point
turn counter
clockwise and make left back thrust lick to 12:00, place left foot
forward and make right front kick, then place right leg back into
right back stance facing 12;00.
6/ step straight back into right hourglass stance, then right leg,
make lower level sweeping technique, return to right hour glass
stance, back left leg front kick, then return to right hour glass
stance.
7/ shift straight back into left cat stance, make right arm middle
level hooking block, then front right foot snap kick, return to left
cat stance.
8/ step forward into natural stance finished
RIGHT LEG FORWARD
1/right leg forward make fighting stance, shift forward into right
front stance then back left leg front kick, step back then front
right leg front kick , return to right front stance.
2/ step back into left square stance facing 1:30,
then
front left leg side snap kick to front, make square stance then
back right front kick, return to left square stance.
3/ from square stance front left leg round house kick, replace
foot to front position, then rear right leg round house kick step

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forward into right half-moon stance, then rear left leg front kick
, return to right half-moon stance.
4/ from right half-moon stance, front leg right side thrust kick to
side,
4:30, then make side stance, rotate hips and make
left front snap kick at 4:30, then return to side stance.
5/ using the left foot as pivot point
turn clockwise and
make right back thrust lick to 12:00, place right foot forward
and make left front kick, then place left leg back into left back
stance facing 12;00.
6/ step straight back into left hourglass stance, then left leg,
make lower level sweeping technique, return to left hour glass
stance, back right leg front kick, then return to left hour glass
stance.
7/ shift straight back into right cat stance, make left arm middle
level hooking block, then front left foot snap kick, return to right
cat stance.
8/ step forward into natural stance finished
RIGHT LEG BACKWARD
1/ make left fighting stance, then shift right leg back into left
front stance, make front left leg snap kick, return to left front
stance, then right rear leg make front snap kick return to left
front stance.
2/ from front stance rear right leg make front side snap kick at
10:30,
then make right square stance, then rear left leg

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make front snap kick to 10:30, then step back into right square
stance.
3/ from square stance, front right leg round house kick, step
down into square stance, then step backwards into left halfmoon stance, left leg round house kick, make left half-moon
stance then right leg front snap kick return to left half-moon
stance facing 10:30.
4/ from left half-moon stance, right leg make side thrust to
1:30,
step down into side stance, then rotate hips make
left snap kick to 1:30, step back into side stance.
5/ step backward with right leg into right back stance,
then left leg side trust kick to front, 12:00, make right back
stance, then back right leg snap kick to 12:00, then back to right
back stance.
6/ step forward into right hour glass stance then make right leg
lower level leg sweep, return to right hour glass stance, then left
rear leg front snap kick, return to right hour glass stance.
7/ shift straight back into left cat stance, then right front arm
make middle level hook block, then front right leg make snap
kick return to left cat stance.
8/ step back into natural stance finished
LEFT LEG BACKWARD
1/ make right fighting stance, then shift left leg back into right
front stance, make front right leg snap kick, return to right front

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stance, then left rear leg make front snap kick return to right
front stance.
2/ from front stance rear left leg make front side snap kick at
1:30,
then make left square stance, then rear right leg
make front snap kick to 1:30, then step back into left square
stance.
3/ from square stance, front left leg round house kick, step
down into square stance, then step backwards into right halfmoon stance, right leg round house kick, make right half-moon
stance then left leg front snap kick return to right half-moon
stance facing 1:30.
4/ from right half-moon stance, left leg make side thrust to
10:30,
step down into side stance, then rotate hips make
right snap kick to 10:30, step back into side stance.
5/ step backward with left leg into left back stance,
then right leg side trust kick to front, 12:00, make left back
stance, then back left leg snap kick to 12:00, then back to left
back stance.
6/ step forward into left hour glass stance then make left leg
lower level leg sweep, return to left hour glass stance, then right
rear leg front snap kick, return to left hour glass stance.
7/ shift straight back into right cat stance, then left front arm
make middle level hook block, then front left leg make snap kick
return to right cat stance.
8/ step back into natural stance finished

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Kumite
Kumite is fighting. When done without an opponent
we call it Kata, with an opponent we call it Kumite, which
is developed through three basic steps.
1/ Basic one, three or five step Kumite ippon kumite,
sambon and gohon kumite
2/ Semi-free Kumite jiyu ippon kumite
3/ Free Kumite jiyu kumite
1/ Basic Kumite is used to teach an understanding of
distance, target area, control and proper technique for the
circumstances.
The beginner starts with three or five step sparring, which
helps to develop a sense of distance and control. The
movements are usually in a straight line, which is easier for
beginners to understand.
As the beginner progresses we move to one step
sparring which puts greater pressure on the student and
teaches speed and control of technique. At this time the
student is taught to move to the side, out of line of attack,
and how to use the attackers body to protect himself. He
also must learn to use the proper techniques for counters
based upon his distance to the target. As an example, we
sometimes see in grading at this level students using Haito
or choku zuki, when a close distant technique such as empi
would be better, or using Empi when a Kick would be best.

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2/ Semi-Free Kumite lets the student learn to recognize
openings in an opponents defense or posture and to attack
decisively when the opportunity arises.
Semi-free sparring teaches how to adjust for
different distances and angles when attacking and
defending. Even though your opponent knows what the
attack will be, timing and making chance can give semifree sparring the feel of true combat and should be
practiced only after basic one step sparring is mastered. In
Semi- free sparring, the blocking technique is of
paramount, as it teaches the student not only to protect
himself but also to create an opportunity to recover and
counter.
3/Free Kumite allows either side to initiate the attack and
any and all Karate techniques may be used. Strategies must
be developed to create openings in your opponent's
defense. When an attack is made the ability to recover or
make cover after the attack is paramount. The practitioners
of free sparring must have developed control, distance and
timing in order to prevent injuries.
The main strategies to learn are Sen-no-sen and Go-no-sen.
These represent the basic concepts of fighting.
Sen-no-sen is the ability to attack immediately,
without warning, and using speed to overcome ones
opponent. Timing is of the utmost importance, as any
opening in the opponents defense must be taken advantage
of.
Go-no-sen is the ability to create openings in your
opponents defense, and the attack must be decisive, with

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the timing such that the attack is immediately started as the
opening is being made. To hesitate is to fail and possibly
lose.
I once had a conversation with Sensei Yaguchi
about the first movement in Bassai-Dai, and the slight
difference in his movement and that of Sensei Okazaki.
His answer was that he fought with Go-no sen and Okazaki
Sensei fought with Sen-no-sen and the difference can be
seen in their kata and karate.
As Kumite practice became more popular, Sensei
Nakayama developed a method of Judging and controlling
distance, which has allowed for the tournament Kumite to
become practical.
The tournament Kumite differs from the Martial Kumite in
the fact that killing or disabling the opponent is not the
ultimate goal. Scoring a point by striking the target area
with great speed before your opponent can respond is the
aim of tournament Kumite. This allows the contestants to
concentrate on greater speed but with less focus and power.
Both aspects of Jiyu-kumite should be studied, but don't
forget that the true purpose of a martial art is not in winning
put in survival itself.
Karate and Self-defense
Self-defense is the main purpose of Karate as a
Martial art. The main training of Sensei Funakoshi was that
Karate was to be used as a last resort, and never to strike
first. This is also seen in the fact that the greater number of
Karate techniques are those used as blocks to protect the

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Karate-ka, as well as to disable but not destroy the
opponent.
The best form of Self-defense is to insure that you
never put yourself in a position where an attack is
inevitable. To walk down a dark alley in an area of any
large city today is to place ones self at a disadvantage. To
defend ones self, an awareness of your surroundings and
any people near you is paramount.
If after all other precautions are taken, and an attack
has started, the first response must be to defend against the
initial attack. This can take the form of a blocking
technique, a diversionary tactic, such as yelling, or if
possible escape by running away.
Karate techniques are built around the premise of
defending against an attack from one or more opponents.
After the initial attack is defended against, an immediate
feeling, or action, to make cover to protect the body from
further attack should be taken. This can be accomplished by
a quick counter attack, by making distance, or breaking
your opponents balance. If after making cover an opening
appears in your opponents posture an immediate attack
should be made to stop any further aggression. Making
cover again will enable you to escape or prepare for any
further attacks from other opponents.
In self-defense the steps are;
1- defend, or make chance
2- make cover
3- counter attack and,
4- make cover,

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These will enable the defender to protect himself, whether
he uses basic Karate techniques, or more refined techniques
such as throws or grappling techniques.
The above also works against weapons such as
knives and clubs, but the Karate-ka must control his
distance from his opponent. By maintaining a close
proximity to the attacker you can control his body
movement. This allows you to keep control of the arm
holding the weapon, especially from the elbow joint.
Self-defense is remaining calm and in control of
your feelings under duress. Self-confidence developed
through hard training accomplishes this. There are no short
cuts.
When the Japanese first viewed Karate, They were
most impressed by the Physical development of the young
men who had been training in this new Martial Art.
The actual movements of Karate use every muscle
in the body to their maximum expansion and contraction.
This movement makes the muscles develop in a natural
way, which produces firm strong tissue and helps in
balance and flexibility.
Training in Karate is based upon the concepts of
speed and power together. This is shown in the Katas,
which are divided into two major groups, Shorin and
Shorei.
Shorin is based on quick muscle flexion and speed is
developed with its practice.
Shorei is based on strong muscle contraction and is used to
develop strength and bone density.

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In Karate physical conditioning and endurance
training go hand in hand through repetition of techniques
under scientific guidelines. All the methods of Physical
training are practiced during each class. Aerobic training
consists of multiple combinations done over a period of
time of about twenty minutes. The body metabolism is
brought to a high rate and kept there for this time, this
develops the cardio system. Anaerobic training is usually
taught for about the same amount of time but the duration
of each set should be a maximum of two minutes strong
hard training followed by one minute of slower more
relaxed motion. This will develop speed and power of
technique.
As a method of physical development Karate has
few equals. Swimming is the only other exercise which
uses the same amount of muscles but not with the same
dynamics produced by Karate due to the support of the
water. The Karate student usually can participate in other
sports and activities with little problem adapting to the
physical demands of those sports.
Training is one method of developing the body,
mind and spirit.
When we think of training, the first thing that comes to
mind is physical development training; either playing a
sport as a team, or individually practicing basic skills.
However, there is a non-physical development training that
is very important. Non-physical development training
engages the mind. It involves learning and studying rather

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than motor skills and it is the complement to physical
development training.
Physical development training refers to muscle,
bone and connective tissue strengthening activities.
Different types of training give different results.
Progressive resistance training uses weights to build up
muscle fibers, and muscle groups. It is called progressive
resistance because over time the weights used become
heavier, thus exerting a greater stress on the muscle fiber.
Endurance training improves the efficiency of the
cardiovascular system, building up the heart, lungs and
circulatory system. Endurance training is any training that
is sub-maximal in intensity, non-stop, and carried on for at
least twenty minutes.
Reaction training exercises improve eye-hand coordination. This can be done with a partner, who either uses
his own technique or an object such as a ball to stimulate
your reflexes. They are very quick and become instinctive
over time. Progressive resistance, endurance and reaction
training are very physically demanding exercises that may
incorporate Karate techniques to achieve their particular
goals. Physical development training may take the form of
a tournament competition or basic training with or without
a partner.
Non-physical development training uses the mind,
Reading, studying, research and videos are all methods of
non-physical development training.

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If physical training is impossible due to illness or
injury than observing a class, reading a textbook, or
discussing techniques can replace physical training.
Imaging is a good method of non-physical training.
The athlete performs the Kata or match in his mind,
imagining each technique being done perfectly.
This has been proven to help in development with Olympic
athletes.
Discussion of techniques and Kata sometimes gives
a different perspective on the ways of doing them and sheds
new light and understanding on the subject. This is
especially true if you can talk to someone with greater
knowledge on the subject than yourself. The advent of the
home video camera may become our best method of
expanding our understanding of our own body and how to
increase our ability at Kata and Kumite. Watching ones
self allows you to see firsthand all the mistakes made, even
those we have been told about, but cant get our mind
around.
Both the physical and non-physical development of
techniques are essential for the Karate-ka. The bringing
together of both the mind and body gives greater physical
strength to all techniques.
Karate training sessions include Kihon or basics,
Kata and Kumite or fighting. Kihon requires the student to
imagine an opponent in front of him.
Kata is a fight against multiple imaginary opponents
attacking from all directions. Kumite training sharpens the
Karate students ability to concentrate through the use of

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actual opponents. Complete concentration is required
during Kumite due to the explosive power of the
techniques; a slip of the mind can have devastating
consequences.
A key element in achieving mind concentration is
through eye position. During basics, the student should
focus the eyes on a spot on the wall in front of them at
about their eye level. The student must concentrate on the
correct course of each technique so that the body will learn
to do it naturally. The student practicing Kata imagines an
opponent in the attacking position and concentrates fully on
each opponent by quickly refocusing his attention through
head and eye position. Each part of the Kata, or each
imaginary opponent should be thought of separately, and
each attack and defense brought to completion before going
to the next move. This will help bring the mind and body
together. We call this Zanshin, or perfect finish.
During Kumite the concentration of the mind must
be unmoving, trying not to think of anything but letting the
mind be quiet. The ability to do this takes practice through
training in Mokuso, or breathing exercises. If the mind can
be controlled and kept quiet during a fight than you see all
opening, as they come, and understand your opponents
body language. If the mind is wandering, or fitful, than
concentration is impossible and your ability to fight to your
fullest potential is lost.
Without the mind and body acting as one, true mastery of a
martial art is incomplete.

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The environment within which we train
encompasses more than just the building we train in. By
definition environment means the circumstances, objects,
or conditions by which one is surrounded (9-Websters
dictionary).
This also takes into account the social and cultural
influences surrounding the training area and people.
The physical environmental factors such as heat,
noise, light levels, smells and size of the training area, plus
the number of people training, all affect our training,
sometime negatively, sometime positively.
Heat, loud noise, humidity and a high density of
people, affect people negatively. It is difficult to
concentrate under the above factors, and care must be taken
that the students dont become dehydrated during training.
Loud noise can lead to aggressive behavior. Tempers are
short and patience is thin in the heat of summer. These
environmental factors place an added stress on the
individual who is struggling with an unfamiliar art.
The physical layout and structure of the floor and even
mirrors on the wall can affect a students concentration, the
Dojo area should be kept as simple as possible to cause the
least amount of distraction.
The sense of teamwork that evolves within a class
of Karate students can affect an individual performance.
With a sense of comradery a student can go beyond his
expected limits. The feeling or spirit of training becomes
one of never giving up. The strength of the more senior
people invigorates the new student into trying harder. The

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Dojo is the greatest single environmental effect felt by all
students. It is a direct result of the personality of the Sensei
and his senior students.
The instructor sets the general mood of the dojo;
this mood can have a positive or negative influence. The
students will react to the instructors mood, so if he is
happy and outgoing a positive feeling will surround the
dojo and the students will pick up points easier than if the
mood is negative.
Discipline is also a factor in making up the
environment of the dojo. An undisciplined group has a hard
time picking up techniques due to the lack of concentration.
Discipline is of paramount importance in the training of
children, as their ability to concentrate is easily broken by
the behavior of those around them.
A clean, well thought out dojo area with good
lighting and ventilation gives the student a better chance of
learning. The Instructor must give support in a positive way
to his student's; even criticism can be given in such a way
that the mental comfort of the student isnt disturbed.
The mind and body are inseparable. This is true in
Karate, as well as in other Martial Arts and sports. The goal
of Karate training is to defend oneself; this can be done
both through techniques or understanding your attacker.
Therefore, the psychological state of mind can affect both
the body and technique in a favorable or unfavorable
manner.
Factors such as stress, fear, lack of confidence
contribute to an unfavorable psychological state. Stress,

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fear and anxiety cause muscular tension. This in turn slows
techniques and hinders accuracy and kime.
Timing, distance and reaction are also adversely affected
by an unfavorable psychological state.
Fear may be fear of failure, or fear of the unknown.
Fear of failure is often times seen in competition where the
threat of losing can cause a competitor to forget proper use
of technique and to perform poorly.
Stress that accumulates during the day may come
from the work place, school or the home environment. This
stress may be released in a favorable manner, where the
student pushes to do better, or it may result in an
unfavorable release. An unfavorable psychological state
brought on by a bad day at work; school or home should be
recognized by the instructor and dealt with accordingly. All
humans encounter stress, and each individual reacts in their
own way to these pressures. Karate tries to channel the
reaction in a positive manner. Many students are able to
work through their unfavorable psychological states by
hard concentrated training. During hard training, the mind
is not able to dwell on the events of the day thus this
training tends to relieve stress.
Favorable factors such as self-confidence,
relaxation, concentration and a willingness to learn
encourage a positive psychological state. The ability to
relax and enjoy Karate increases concentration, which
results in quicker, sharper technique, which leads to better
focus and power. The Dojo itself can lead to a good
psychological state, where the student feels comfortable

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and at home. Some students soon come to realize that their
greatest form of stress relief is a hard workout.
A strong psychological state leads to stronger
technique. A person who has faith in himself and in the
techniques which he uses will have a better chance of
increasing his abilities and pushing his techniques to a
higher level.
Reflex action is an involuntary, natural response to
a stimulus. The central nervous system, consisting of the
brain and spinal cord, control reflex actions. If you are
stuck with a pin from behind, you will jump and yell, this is
a reflex action. No thought has to take place; a survival
technique takes over.
The connection between psychological state and physical
action occurs through electrical messages sent along motor
neurons to the muscles.
Therefore, the brain must be free of emotional and mental
stress in order to respond spontaneously to a stimulus. To
achieve a stress free environment, we practice meditation
before each class. At the command, Mokuso, the Karate-ka
must empty the mind of any thoughts and emotions that
may linger from the days activities. This prepares the
athlete for training.
Psychological state is affected by emotions and
intellect. When the Karate-ka is burdened with thoughts
and ideas running through his head, the reflex action will
be slower, or non-existent. An individual may become so
preoccupied with thought that they are oblivious to outside
stimulus. This may be dangerous in the case of Karate

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training because the individual may be injured if unable to
react to an attack.
A clear mind allows the body to react instinctively
to a stimulus or attack. By practicing techniques over and
over the body learns to react on its own without thought.
The reaction is processed in the brain and sent to the spinal
cord and then to the muscles. This happens so quickly that
the Karate-ka doesnt have to think to react.
Reflex action can be enhanced by repetition of
technique and keeping the mind clear of outside thoughts
during training. If the student learns to train with the ability
to clear the mind, he will become one with the application
of the techniques. To react without thought, but with the
proper technique, at the proper time, is the ultimate aim of
the Karate-ka. This can only be done when the mind is
clear and the body well trained.
A group is defined as number of individuals related
by a common factor. At the Dojo that factor is Karate
training. The functions of a group are to complete a task or
achieve a goal. Karate students strive to achieve many
different goals. Individuals may begin training as a method
of physical conditioning, self-defense etc. If these remain
the only goals of the student he will soon leave the group.
The group in itself will become a social event and part of
the individual's life. The growth and maturation of a Karate
group or club is similar to that of individual growth. The
group becomes more cohesive and develops an identity
through years of training together. A sense of belonging

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and a feeling of connection among group members are
enhanced by a slow, gradual growth of the club.
During the growing period the club is in a state of
constant flux. Individuals come and go as the group seeks
to instill common values and goals in its members.
An ideal psychological state for group instruction
exists when the students are willing to accept instruction
with an open mind and have respect for the instructor.
If the students perceive the instructor as a competent
Karate-ka they will have a willingness to learn from him.
The instructor has a duty to his students to upgrade and
maintain a high standard of knowledge on Karate and
related subjects. As well, the instructor should point out
that all students could learn from each other. It takes a
lifetime to learn Karate; thus we are all perpetual students
of the art.
An advantage of group training is the potential for a
mutual exchange of ideas and as a group each student gains
when everyone extends strong spirit during training. As
each student becomes aware that everyone, regardless of
rank wants them to succeed they put more of themselves
into the group and into training. Being a part of a group is a
fundamental Human trait. We all want to be part of a
family, and we succeed easier when we have the support of
our own group.
Motivation is brought about by an intrinsic behavior
such as finding something interesting or exciting. This is
found in people who participate in something they are good
at. Another form of motivation is extrinsic behavior such as

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wanting a medal or ribbon or belonging to a team. This can
apply to all people whether they are athletes or not.
Extrinsic motivations are external, unlearned and
common to all people. An outside force causes a reaction;
this can be as simple as wanting something or fighting for
survival when attacked. This is the need to sustain life and
may be thought of as a primary drive. Therefore the
motivation to sustain life is primary to man and when
threatened the motivation is to preserve life at all costs.
Karate training is geared towards saving your life
when under threat, and therefore the motivation to train is
as basic as survival in some people.
Intrinsic motivation is internal and would include
things such as curiosity, activity, exploration and
manipulation. Activity can be a motivation to avoid
boredom.
This can cause someone to seek out an activity such as
Karate. Curiosity and exploration motivate us by setting the
goal of discovering the new and unknown.
As ones skills at manipulating another person physically
develop, we tend to understand that, the more about this
skill we know, the safer we become. As a psychological
manipulation, the ability to control or handle people with
the force of character, rather than the physical force, comes
from knowing that you can indeed control them physically
if required. This self-confidence is felt by others.
Achievement in Karate comes in many levels
through the ranking system. Each examination relates to the
achievement of a higher rank within the system and thus a

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higher level of proficiency. One who is motivated by
achievement can continue training and reach higher levels
with each examination. This system of achievement may
last a lifetime; thus the individual is constantly motivated.
A great motivation in Karate is related to that of
achievement. The higher the rank achieved, the more
prestige a person has within the group, and the more the
motivation is strengthened.
Being within the group and achieving individual
goals as well as helping others within the group reach their
goals can be the greatest motivation for success in Karate.
Supplemental training through equipment and health
management
In order to supplement Karate training, an array of
equipment can be used to strengthen technique, increase
speed, sharpen reactions, build endurance and improve
timing and distance. These factors can be learned and
enhanced through karate training, but the maximum
potential may not be reached without the assistance of
punching and kicking bags, Makiwara boards, weights,
elastic exercisers and other more imaginative devices.
The Makiwara board teaches the karate-ka kime, or
focus, by hitting the target with all the muscles of the body
at the same time. In punching technique, the power is
directed through the large, first and second knuckles of the
fist. Gyaku zuki enhances hip rotation and is reinforced
when used with the Makiwara. The only way to execute
gyaku zuki at maximum force is using hip rotation;

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therefore punching the Makiwara improves hip rotation
while bringing power directly to the target. It also
strengthens the impact surfaces of the fist. Until the karate
student actually makes contact with a surface while
punching they cannot understand the essential body
mechanics involved in a punching technique.
The punching bag, or a lightweight bag, is used to
improve endurance, speed and hand to eye co-ordination. It
gives the practitioner an opportunity to practice and
improve attacks, particularly to the upper body area.
Because the punching bag is not fixed in one place its
movements help condition the reflexes. The snapping
technique of jabs and strikes can also be improved and
sharpened with the light bag. Sensei Yaguchi used a ball on
a string to enhance his kicking techniques.
The heavy bag is used for kicking more than for
punching and introduces the karate student to the weight
and force encountered when hitting a large heavy object.
The kicking bag helps teach follow-through, and if you
dont get your body behind each kick it will not be
effective and could break the kickers' balance.
Elastic exercisers are excellent for understanding
the concept of body expansion and contraction, as well as
balance. When you practice with the elastic you are placing
a stress on one set of muscles as you cover distance going
away from the body, and another set when you come back.
As you punch you pull back the arm using the biceps, and
extend the arm using the triceps. By facing in different
directions both muscles can be exercised. The elastic also

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forces you to use correct course of motion or the elbow will
be pulled away from your side.
Weight training is ideal for improving strength and
muscle endurance, but care must be taken to use full joint
motion. Large weights used to a maximum of twelve times
will increase speed and strength, which is an advantage to
the Karate-ka.
Video cameras are now at a reasonable price and
give the student the ability for self-criticism. To view your
own Kata or Kumite can lead to a quick learning curve.
Any object that helps you increase your power,
speed, stamina or interest in training should be used.
Something as simple as an old phone book, in place of a
makawari, can be used to develop distance and timing.
In order to practice Karate properly one must remain
healthy, and the training itself should promote a healthy
lifestyle.
To manage health one must consider:
1) Physical conditioning
1) Nutrition
3) Rest
Physical conditioning is a major consideration for the
Karate athlete because without a fit, healthy body, it is
difficult to train. An effective exercise program takes into
account the condition of the individual and tailors the
frequency, intensity and duration of exercise to that person.
Training frequency is dependent upon the duration
and intensity, but at least three times a week is suggested.

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This will result in more improvement over a gradual period
of time. Training every day can be done but the intensity
should be varied. It has been found that a cyclic system is
best. On the first day a basic workout, on the second a
vigorous workout followed on the third and fourth days by
another basic workout. The fifth and sixth day can be
vigorous but then the seventh day should be restful. This
routine allows for the body to recover. If you are running a
part time dojo, than at least one class per week should be
for endurance training.
Intensity is the key factor in physical capacity and
can be measured quantitatively by maximal heart rate or %
of oxygen consumption. Intensity varies with age and level
of condition and must be monitored accordingly. A study of
the maximum heart rates of individuals by age should be
done by all instructors.
Duration of exercise must be at least twenty minutes
to obtain cardiovascular benefit. The higher the level of
fitness, the longer duration the cardio can take, but there is
no evidence to say that cardio fitness will become better
with a longer duration. But a reduction in frequency,
intensity or duration will result in de-conditioning.
Nutrition is an important part of athletic
performance, as food is the source of energy for training.
Fluid intake and hydration effect tolerance to heat,
efficiency of energy, metabolism and onset of fatigue. An
athletes diet must include the four food groups, which
consist of fruits and vegetables, grains, high protein foods
and carbohydrates. If these are incorporated into daily diet,

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active individuals can be confident that they are receiving
an adequate amount of all the essential nutrients.
Rest is just as important for an athlete as training or
exercise and nutrition. Rest is needed to allow the body to
recover from exercise. After an intense training session the
body may feel sore and tired. This is natural and is part of
the tearing down and building back up of the bodys
tissues.
As in all things a balance between activity, food,
and rest is the best way to remain healthy. Health
management eventually becomes second nature to the
Karate-ka. The importance of physical fitness is obvious to
the advanced as well as beginner students.
Due to the type of workout in Karate training
injuries can present a problem for the instructor.
The key word associated with injuries is prevention.
If you prevent an injury from happening, you will not have
to worry about treating it. The way to avoid injuries is to
minimize the risks of being injured. Some of these factors
are the environment, faulty equipment, following the rules
of your sport and allowing your body to adapt to repetitive
stress.
The environment where you train should be free of
unwanted obstacles, and have good lighting and visibility.
Common sense would preclude doing exercise where there
are objects that can cause injuries, such as broken glass. We
sometimes overlook things like doing jumping techniques
after a vigorous workout while the floor is still wet from
perspiration. During the summer months it is common to

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practice outside on a grassy field, but again care should be
taken to inspect the area for sharp material, including rocks,
broken glass and remember, wet grass is slippery. All these
type of factors are part of your immediate environment,
look around and do an assessment prior to training.
Equipment use must be looked at in two ways, one,
are you using the right equipment for the right muscle
group and for the results you want, and two, is the
equipment in good shape and usable. Using weights is a
good method of complimenting any form of training, but as
in any other training method get advice on the proper use
and amount of weight to use. Excessive weights at the
beginning of training can cause muscle strain and even
chronic back problems. The use of heavy and light bags are
common in Karate, knowledge of what their weight is and
the material inside them should be acquired before striking
the bags, some have settled with sand at the bottom. This is
a great way of breaking the toes of the unsuspecting young
student. Another training method used in Karate is the
makawari board, which is a great way to increase the power
and striking ability in the adult student. The instructor must
remind children, under the age of 18, that the use of any
force on the growth nubs of the hands or feet can cause
damage to growing bones, hitting hard objects or doing
knuckle pushups should be done by adults only.
The rubber elastic band is an excellent way to train
for strength and proper course of technique, but again this
should be inspected and replaced when cracks and wear
show up.

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Using equipment requires proper training and common
sense.
Every sport has rules of play; these rules have developed
over a long period of time, usually to prevent injuries from
happening or from recurring. In Karate the rules must be
adhered to as not only injuries but also death could result in
an accident. We train to attack specific target areas of the
body; most are crippling or deadly. Even in tournaments at
an international level certain areas of the body, such as the
eyes, knees, and spine are not allowed as targets.
The rules are there to protect us from our own folly, and the
rules must be adhered to at all times. It is sometimes easy
to allow some contact, but by doing so you place the whole
art of Karate up for criticism.
The most common injuries in Karate are due to
improper preparation for training. During training start with
a warm-up to raise muscle temperature, then stretching the
muscles, ligaments and surrounding tissue. This also allows
the heart and lungs to gradually increase their demand for
oxygen and blood flow.
After training a warm-down should take place to
help the fluids that have moved out to the muscles to move
back into the trunk. This will help decrease soreness and
stiffness in the body.
When working out it is important to know your
body's limitations, not everybody trains for the Olympics,
but we tend to try to beat the guy next to us even when we
know he may be better, younger and in excellent condition.
Pushing one's self is a great way to get better, but at certain

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ages we must adjust our training to better our health, not to
win competitions.
Minor injuries such as cuts and scrapes can be
treated locally, but any other injuries should get proper
medical care. In Karate a great many techniques can cause
deep muscle and organ injuries, even if the student feels all
right after being hit hard they should be seen by a doctor.
The instructor has a duty to see that his students train in a
safe manner, and that all injuries are attended to by the
proper level of expertise.
Differences between students; personality
The art of Karate seems to attract individuals
displaying a full range of personalities. In an effort to
define personality we go to the dictionary which states that
personality the complex of characteristics that
distinguishes an individual or group; esp: the totality of an
individuals behavioral and emotional characteristics.
( 9 Websters)
The personality of a person can be simply defined
as their psychological core, which includes basic attitudes,
values, interests, and motives. In short, it is the real you.
(13 Richards p22)
The personality of a person can be modified by our
environment through social learning. We learn to behave in
certain manners consistent with environmental constraints.
Social reinforcement can mold the personality towards
good or bad behavior. If the instructor gives praise to an
individual for doing a difficult task, such as learning a new

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Kata on his own, than that person will tend to press forward
in a learning curve and will develop faster than his peers.
If that same person is praised for fighting outside of
the Dojo, or for using Karate techniques indiscriminately,
than he will develop a tendency towards violence. These
personality changes can be made easier on young students,
so it is important that the instructor leads by example, and
lets the students know what is expected of them as Karateka. Their personalities will be molded in this fashion.
Another way in which personalities are classified is
by traits, these traits are considered synonymous with
predispositions to act a certain way. An example of this
would be a person who is an achiever; this person would be
more competitive and assertive in many situations. The
assertive personality will tend to learn faster, but may tend
to place their own ideas into their work. The Karate
instructor must identify these people and lead their natural
leadership abilities towards productive goals. They will
likely question the way things like Kata are done. The
instructor must explain the true meaning to be grasped by
keeping the Kata as is and not letting the student make
changes.
A person with a trait towards introvert personality
must be brought out by the instructor, and through social
learning they will step forward and learn to lead in
situations where their trait personality would push them
into the background. Such training as having them lead the
class in warm-ups can be a good starting point to bring out
the best in people.

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A persons personality defines who they are, most
people tend to act out a personality as to what they would
like to be, and try to hide their true self. An instructor must
find the real person under this, and lead them forward in the
spirit of true Karate as defined by the Dojo Kun.
The class
To prepare a training schedule a number of factors
must be considered. Each class must be set up for its level
of skill, to teach a beginner at the same level as a black belt
would be counterproductive and could lead to injury. The
intensity and duration of the class must also take into
account the age group of the students, older students in
their late fortys and above can work at the same level as
younger people, below early teens. The older students will
be able to train for endurance, while the younger ones can
develop speed and flexibility.
Above mid-teens, to mid or late thirty's can work well
together and according to their level of fitness can be
pushed at a more aggressive pace.
The classes should also take into account the reason for the
training, some students may only be interested in Karate as
a method of self-defense or as a recreational pursuit, others
may wish to train for competition, and again this could be
divided into regional, National and International training.
In most cases the average class is made up of different
levels of ability and a large range of age. The instructor can
work this group by using combinations of techniques each
group of which can be practiced by a different belt level or
group of belts. As long as the basic point of the training is

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the same, and the number of techniques is equal, then the
class can move together with a feeling of one.
An example of this could be an all levels class where the
main point may be hip rotation. The class is one hour long
and broken into four parts.
1/ Part one will consist of a warm-up and stretching, this
should take about ten minutes and start with easy, natural
body motions starting with the outer extremities, such as
wrist, forearm than feet, ankles, knee rotations. As the
warm-up continues the main body areas such as hip
rotation and upper body flexing can be brought into play.
When the group has warmed up and their heart rate begins
to increase, a more vigorous motion, such as kicking or
jumping, may be used. Stretching out the limps, mainly the
legs are important at this time in preparation for more
dynamic training.
2/ Part two At the end of the warm-up a cardio-vascular
workout should take place for about twenty minutes. This
would be done together by all groups but at different levels
of difficulties.
Example;
a/ The white to orange belt group, (9th to 7th kyu), can start
from a front stance with a downward block and hips open,
1/step one will be to rotate the hips forward or closed, then
step forward and punch stomach level.
2/Step two will be to step straight back and make outside
forearm block with hips open.
3/Step three will be to rotate hips forward in position and
make reverse punch.

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4/Step four will be rear leg front kick and step forward.
5/Step five will be to step backwards and downward block,
with hips open, ready to repeat exercise.
b/ The next group will be green to purple belts (6th to 4th
kyu) can start from a front stance with hips open and
downward block.
1/Step one will be to rotate the hips forward and step
forward and make three punches, one face and two
stomach.
2/Step two will be to step backwards at a forty-five degree
angle from the front and make outside forearm block, this
offers them a more complex hip motion for their level.
3/Step three will be a reverse punch face level using hip
rotation.
4/Step four will be a roundhouse kick stomach level then
step forward to front stance with hips open, then
immediately make reverse punch face level with hips
closed.
5/Step five will be to step back through center, face
towards start position and make front stance and downward
block ready for next count.
c/ The third level could consist of brown and black belts,
which can start from a free style posture, or fighting stance.
1/Step one will be to step forward with kizami zuki jodan,
then to front stance making oi-zuki sanbon zuki.
2/Step two will be to step backwards and turn ninety
degrees from the front, into back stance with upper level
outside forearm block.

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3/Step three will be front leg roundhouse kick, change to
front stance reverse punch.
4/Step four will be upper level roundhouse kick with back
leg then step forward into back stance with reverse punch
any level.
5/Step five is to return to start position with downward
block, than make fighting posture.
These sets should be in groups of ten,
1/ starting first set slow, breathing (Air)
2/ second set slow, with more flowing from one technique
to another, expansion and contraction (Water)
3/ third set medium speed and power with concentration on
finishing each technique, (Earth)
4/ fourth set at maximum speed with the count for the
fastest person, no stopping (Fire)
5/ and last set full speed and power with the count after
everyone has finished. Maximum power, (Ether)
Then change feet and do the same sets starting with other
leg.
Using the above idea all groups will move as a unit,
yet get the training in the motion required for their
respective level of expertise.
3/ Part three should consist of anaerobic exercises but
again relate to the basic point of the class, which is
development of hip rotation. An exercise that can be used
by the entire class could be as simple as stepping forward
and making a reverse punch for upper body workout and
later roundhouse kick for lower body workout. At this time
the training should be with speed and power for ten to

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twenty sets, than back to medium level for ten to twenty
sets. This can continue for about twenty minutes. At this
time it can be an advantage for the students to work with a
partner, and use basic fighting techniques to learn timing
and distancing, and for the more advanced students,
creating the opening. Kata is also a great method of getting
a good anaerobic workout by varying the intensity from
medium to high with small breaks in between.
4/ Part four The last ten minutes of each class should be
used to warm down, this allows the body to cool down and
the blood to be worked slowly back into the body core.
This recovery is important to reduce stiffness and aches and
pains due to a vigorous workout.
Setting up a schedule should cover the whole year, based
on all aspects of Karate, with the idea of the techniques
adding to each other so that the student builds from simple
motions to more complex. This must cover both upper and
lower body techniques, and care should be taken not to
over burden one body part too much.
Kata can be used as a reference point to divide up the year
into its months by using a Kata of the month to base
training on.
Each club has a core group of people who dictate what type
of club it will be. A club, which trains mainly for
tournaments, will usually have a high turnover of lower
level belts and only retain a small group of dedicated
seniors. A club that wishes to have a large group of
students that cover all belt levels must setup its training to
give all ages and levels of ability a chance to succeed.

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These may mean having different classes for each level and
age group.
Judging Karate Contests
Setting up the rules for Karate contests was first
done by Sensei Nakayama, under the stern eye of Sensei
Funakoshi. Sensei Funakoshi had a certain amount of
apprehension about tournaments in general. It can therefore
be felt that great care and deliberation was made in setting
up the rules for JKA/ISKF tournaments.
In judging a contest the main job of the judges is to remain
impartial, and protect the participants from injury. This can
only be accomplished by adhering to the rules of the
contest.
The area of the contest is defined as eight meters square
with a two-meter safety area around it. The floor should be
of wood or canvas and clear of any obstructions. The match
is generally divided into two parts, Kata and Kumite. The
Kata match is held first, and can be either flag system or
point system. This is generally separated due to the number
of contestants or the time allowed for the tournament. The
flag system is faster as two contestants are judged at the
same time. This is a good method of quickly eliminating
fifty percent of contestants in one round. Usually when the
number of contestants is eight or below a point system is
used. The base point is set for each rank level by the Head
Judge prior to the match. The base point is used as an
average for that match and after the first contestant is
judged all other contestants within that match are compared

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to the first and judged accordingly. The main objectives of
the judges are to be fair and consistent with their judging.
The sign of a poor judge is one who uses a great variation
in his points, remaining neither low nor high, but jumping
up and down in his points.
In the point system the highest and lowest points are
usually not counted, so an odd number of judges are used.
Kumite matches are normally judged by four or six corner
judges and a head judge or referee. The referee is in charge
of the ring and is the only person allowed to start and stop a
match. The corner judges are to maintain their own corner
areas and watch for fouls, points and general safety of the
match. By the use of whistles and flags the corner judges
will inform the referee of any possible points scored or any
violations within the match. The corner judges have one
vote each and the referee while inside the match area has
two votes. This allows the referee some leeway in judgment
but he must confer with the judges if two or more of them
give points or penalties.
The ISKF has written guidelines and give courses and
testing for judge certification. The student must be Nidan or
above and at least twenty-two years old to become
certified. The judge or referee will find it more comfortable
to judge if he has participated in tournaments. This also
enables him to follow the flow of the match more closely,
and to understand the psychological stress and behavior of
the contestants. Judging is a far greater challenge than
competing, and not every contestant or spectator can be
satisfied with each call. As long as the judge remains

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impartial and shows quick and precise judgment he can
leave each contest with good face. In B.C. we have
different regions plan and organize our Provincial
tournament each year. This gives each group an
opportunity to develop tournament organizing and
production abilities. Please follow the link to ISKF

The rules for ISKF

tournaments can be found at
http://www.iskf.com/tournament%20rules.ht
ml
tournament rules.

Karate Ranking Examinations

The Karate ranking system within the ISKF is not to
pass or fail a student but to judge if they are ready to
advance with their training. If a person has trouble with
certain basic techniques that should be known at their level
and age than it would be unfair to allow that person to
advance and study at a level in which they are unprepared.
The Kyu levels are broken down into ten levels for
children and nine levels for adults. Each of these levels is
an area of expertise which gives the student the necessary
skills and confidence to advance to the next level. The Kyu
levels are a division between very limited knowledge
through to First Kyu brown Belt which is preparatory to
Black belt testing.
The student must show his abilities in the three divisions of
Karate, 1/ Kihon or basic techniques, 2/ Kata or forms and
3/ Kumite or fighting.

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These divisions are slightly different for each level
and a progression of technical understanding of the body
and its ways of moving are demonstrated at each exam. The
Katas progress from the very basic forms, through to the
complex and allow the student to demonstrate his ability to
move, turn and maintain posture and confidence when
facing more than one opponent. The kumite part of the
exam starts with just basic forward and backward motions
showing an understanding of distance and blocking and
attacking techniques. As the student progresses up the
ranks the Kumite becomes more complex. At Brown belt
levels (3rd to 1st Kyu) the student shows an overall
understanding of timing, distance, expansion and
contraction of body motion, and the ability to understand an
opponents body language to enable him to attack or defend
with proper body connection.
After understanding the basic concepts of Karate
the student is ready for Black belt examination. To the
average lay person the Black belt is a mythical thing which
gives the holder great fighting powers. In reality the first
degree of Black belt simply means that the student has the
ability to use basic Martial art techniques with speed and
power. The Black belt levels are called Dan and are broken
down into ten levels. Usually one must hold the rank he has
for the number of years equal to that rank. A first-degree
black belt must hold this rank for one year to become
eligible to grade for second Dan. A second Dan must hold
his rank for two years to test for third Dan. This allows the
student to mature into each rank and grow not only

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physically but also psychologically. At fifth Dan levels and
above the student must be invited to grade and must submit
a written report on a subject of Karate plus meet certain age
requirements.
The standards of the ISKF are considered to be the
highest in the world and any examination must be taken
and given with this standard always kept on mind. At
different ages and physical abilities we tend to want
something so bad that we will accept less than we should.
In the ISKF we must accept nothing but the best we can do
and as students we should want to repeat a belt rather than
accepting one when we know we are not ready for the next
level of training. An examiner must remain impartial,
always. To pass your best friend when he or she is not
ready could have life or death results. As I have been told
by Sensei Yaguchi "Never lie to your students."
He has failed me many times, and I thank him for it.

Follow the link to ISKF grading guidelines.

http://www.iskf.com/information.html
Earlier in this book we talked about using imagery to help
in our training. I'd like to go a little further into this subject
called;

Cognitive Intervention with Imagery

At the start of each practice the martial artist first
uses a method of relaxation called Mokuso. This is used to
clear the mind in preparation for training. This is a method

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of cognitive intervention to control stress. Another method
of intervention is the use of Imagery or Visuo-Motor
Behavior Rehearsal.
The concept of meditation has been around for
thousands of years, but to use it to improve one's ability in
sports has been a recent study of Psychology and one that
should be used by Karate-ka to improve their Kata and
Kumite in competition.
In studies, the use of relaxation and imagery has
been shown to increase physical ability, but mainly in
athletes of high level. This factor is generally believed to
exist due to the less skilled athletes inability to
differentiate between good and bad techniques. It is
therefore recommended that Cognitive Intervention training
be used by the more senior students. In Karate this would
be best introduced at Black belt level.
Studies by N. Block of MIT in 1981, and A.C.
Fisher in 1986, show that the brain cant tell the difference
between an actual physical event and one that is visualized.
For this reason imagery or imagining the repetition of Kata
or going over fighting combinations with an imaginary or
visualized, but know opponent, will improve one's abilities.
This can be of greater asset than just practice because the
brain can teach the techniques under perceived combat
states as opposed to the controlled environment of the
practice area.
According to Deci (16- Friesen R. chapter 10
page147) Intrinsically motivated behaviors are behaviors
which a person engages in to feel competent and self-

193
determining. Imaging is an intrinsic behavior and when
used by a Karate-ka the image of doing the Kata with
perfect timing and technique reinforces his psychic and can
give him the ability to perform with greater selfconfidence. The intrinsic knowledge that one can do the
Kata perfectly makes this an accomplishable act in the
mind of the Karate-ka. Both this knowledge and selfconfidence can be the difference between a good and a
great performance.
A study was conducted in 1981 (13-Cox, R.
page186) using college-age males enrolled in a Karate
class. It was broken down into three categories, -Skills,
combinations and sparring. At the end of the study there
was no appreciable difference between the group and the
placebo group in basic skills or combinations but the
Imagery group performed significantly better in Sparring.
Another study in 1982 using male and female
students in two different clubs using traditional training,
with Imagery in one club, showed significantly better allround performance in the Imagery using club.
These studies indicate that the use of Imagery and
relaxation training will enable the advanced student to
become better at his skills and can enhance their overall
fighting abilities.
These concepts are new to modern science and
under study by Sports psychologists, but to the Martial
artist these are the studies and lessons past down to us by
the Budo Masters of old. In Sensei Nakayamas Best
Karate series, both books one and two give us examples

194
from the old Masters on using the mind to control our spirit
and to set ourselves free to use our techniques without
thought and conflict. In a recently read book on Japanese
Archery these ideas were reinforced. (Eugen Herrigel, 1953
#33) In it the instructor was able to aim and hit the target in
complete darkness, just by imagining it.
The uses of Mokuso and Imagery along with the
concepts taught by the Masters can give us the edge we
may need in real Kumite.

To sum it all up, you as a karate-ka have started a journey

with no end. The more I practice and study the more I
realize how little I know. The pieces to the puzzle come
sometimes slowly through lots of sweat and sometimes as
an epiphany or flash of knowledge, with the exclamation
"thats what Sensei meant"
I hope this book helps you on your journey
Joe Dixon
Technical Director
ISKFBC
Canada

195

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