Etlited ~1'

I'A' 'IN" , M"O'ui'R'IS

/'! _I_-·'·...., .. :· .. :·,A ,': .. '~I

,.

'I' ,11""1 'illi.'1 :.1"'iI"V"'\' I . " '1-'1' J.#VlJIL'~rl·,'

rll~ J:!~I",rr,S~:,r,u :~Ml;"" ,,",,O'~ 1'" ~,n

I"'., I"'V' LI'~ ,- ,(J:',n ' ~~,', '/~, ~I..I .£II!!'

PA(l ,I

~ 1

..

TA,CHI'~KATA 1-

L- B~O:~-"-' F"'IOO, ," rr

'. '[' I' . ' .-. - :.,

-I 2

27 _I 33

~ 42

;' 5,15:

1,._ •

~I 69,

IV.

T-ti.:K.DE1i ""~-'lQ'-' TH" "Ci H'" '"' W,1r'\:G A'''\'~I -" O',IPP-

.1li,~I~r-~_ -: -1-J1:~; ,,:.1 ~. '" ,)Jl . _, _nl1tlLlll3 . , __ l'~:U ' J~. ~ A.

VII"

']~)~R,·· •. O····~.··D' lU,' icrt '0"'.' .• "ll2r

11'- l~ I' ".' ." .• ' •• Jt "._ J(~

The 'wiQ,rd ka','ate i,I,Blell' li'te.rally' me.nus 'Iiempt;y hand" (ltara cmp"- ",~ 'Ie===:b,an,djj@' ,Ali ',Reugn maiJ1'Y' 10lf the earlier origins ,mf the ,Sllt, are traced, fOI China" it,

ii, d- I ,. - , b-' I~ h ,~iI, , ,"G-" ,i'

QweSI Its u eve I'g'pmle:n! tOI t .• e 1m ,~.' a.oii,lants ,c.i' ". ". J'Raw:.

In th ~ a" '. ukva isla - ,~:,iO ~.Om"A~ "D" " ~" .. , f.,> ",'1.,:, ,0 th

n ~ . d~ .'~.y~ .• y,~ I ,1ro'!1L_D!u~!I! gl~i~ v '> .. ,' mll&S, ro Il"J~IIID 8,,00 ~

'W' ·:al~';f.: mf-' Jaoa 'lni A: ,". t ;I!:'~-l A '\..,~-.~ ,". ~-.-" I' ~. r'" ·th, C~-:'i,ia'- teenth

,\;I'~II" ~~ ::..q;jfc_lI"oIJ,!!1 '~"I, ILi)l;ll~ ,tJI~:glRD.lng gl~ I, ,e !.lie ,,1~1I~~~Ju, ~ .,

- ,-

10< fo;'& ~ . .JI d b h T

GeDiIl.U.1!Y" .. DC' ,IB: anes 'Wflre: oo'ng:U,Ie.:re\~ '~y! '1t.: e iJ;I~Jla;n,ele

un,lcier' tbe, Daim.yio of' S,ltsuma~1 Like ,thc,iI Chinese pr,edtecesls_c~cr.s",.! the ,J!B:paolcse: WQ1ul.d not .Jlow· the nat-iv'es, t,QI ,cJAlrry w:ea:p S o':f iany ki.nd;; But fer tae,ir :sel'f~grlD,tec,ri·on againSt fh,si"r CGD,lqneters" the Dlatige'l devised .nd €Ia'baratmd· tb!e· II'Y:IJtem olf 'ba'i:~,haD:d

ft- -b,~i~'_. -, ' .'., ' k"-· '., . '- ... ~ J,.. .. 'I .".,. T'h" -, .. -. I.' . ' -'t, .,'"' , '. ··d"·_' iII',_.

'---;g,~IIIB, n'QIW .··:DO'WD as ,~,ara·te'i ,', en, as 'e;x,p,13,lne, III

the, 'DCiW editien of' "The ,F'i~BhtiQI Supj,ri,t (l,t Japan", it W8:1, tJllc, famous Q',kinBw"&ft, katl!e ml;st~if Puna-

l\""'miCi' '" w'L A 'illlWil"f.'A'P ~Df" ... ~ ced '~tl ~'- to J.QIIP·i!l:Ii,ft it - '~- under

Ilu~, ':.,BJ~ 11Pi.,IIt~~· !.I:II:__:LrO·U:U!';~i{ ), In:'J:,'_,~, :1u.'.JL1.' ro,~ '1: .: u

1'1],. name Iml,,' karate-do, er the 1"W~y"" Oif karate, In this ,Iltered name we can see th,e ,lk])alo L with judo, I"l Wb:i~h 'Dbe 'w0'rd. '~'~IO"~,., meani.nl"'WQ,y;,'i1 was I,U,bldtuted b,' ',hlO; Illie Dr, IJe,pro Kane, the founder"0.f' ,ju)d,€)" in 1~:n~tt,ler' te em,pIDllais!f: the etbi1cal basis of' 'bis

new IYlt~m, of self ... defence and p,hysisal cuil'ule.

Judo i:1 called the Ifl",way I ' ,gcntmeolls.s"I', where'ls karate "is arlen, dubbed "1'11],11: p(O'W'Bf' 'w~Y""'I' \But, lislhe

8 Introduction

latter definitionju8lified? Certainly in karate. the full .. -. ·.·r· 0·.· '.'.; .. he be 'dY-l"S·· e an ployed when a blow IS dealt,

powe. . _' v·' '- ·1· - . ..

b~t this fact represents only 0 re f~cet 0 'the truth. It

would be incomplete without taking account of (he many occasions when small but well-trained kara,eka have defeated opponents vastly their superior in physical strength, and when karate _veterans have easily disposed of powerful but inexperienced young-

sters.

To close this introduction, Lshall summarise the

advantages officially claimed for karate: (1) Old people and children, men and women can practise it. (2) It can be practised amos. anywhere without special equipment. (3) Given ordinary care" nodanger is involved, (4) It can be practised singly or in company with others. Young and old men, both sexes without distinction" even those physically weak" may safel y practise it without overtaxing themselves,

The katas, or forms)! constitute the nucleus of karate practice; but they differ from the katas of judo or sumo in that the performer can regulate the degree of strength needed for their execution. The physically powe fu performer can give an exhibi ion Ii led with force, while the weak performer can adapt his display to his individual capacity and execute the kata lightly. In this way the limitations of sex are taken in 0 consider at' on and even when he or she suft'e~s f om certain physica disabilities, it is still Pos~lble t? participate fully in karate practice. Then agam, seemg that t ere are as many as thirty different

Introduction, 9

katas in modern karate, the performer can choose those to his liking and free y exec te a given number.

.No special premises are required for the practice of ~arate. If a mat-covered floor is not available, an ordinary boarded floor will do as well. An open space, say in a garden or a courtyard, will suffice for the execution of the karate katas, On the other hand, regular dojos (exercise halls) are available in this country for the ever growing number of karate enthusiasts ..

_l

CHAPTER 'I

HB STRUCTURE OF KARATE-METHO'DS OF CLENCHING THEFI,ST-EMPI OR HIJIA,TE~HAND 'TECHNIQUE,S OR TEW AZA

In the language of' the karate schools, the fist is

alled the ,.,-- ,-- '1" ft-b- rt S "Ii!! 1- tt __ ition -

ca 'J,le:, me sou' or me a" .,:peCI,a, a en Ion must

therefore be paid to the "tempering' or hardening olf the jist in order to increase the efficacy of te blows dealt with it when held in various ways.Below are summarised the more important of these methods.

SElK.EN (normalfist)., Thiele are two methods, ID and 3D .. Infig. IA the hand is shown with the thumb held outside, and the fingers close together ~ Fig., 1 B The thumb has been slight y raised and all four flnger-tips pressed into, thepalm .

. --

.............,.- ,

l )' .I I .:»: /

Fi'g. I 0

The S truct r of Karate 13

fin,g.- rs a re shallowly cla ... d and I" - thum -

agair . he "d ot the or' " geT. 'a _' . attack is the se 0_ djoint 0 I' he 0 nger and middle finge '(fig. 4)'1 As a rule, the ta get is the oppo ent's [aceil

UR.AIC, ,,' tback fi 'I). Fig, 51 shows 0 - be . t .. Id.

In this position hie- knuckle of the middle finger is generally used to attack the oppo ent's face.

KE' .. S,UI (hammer ,fiJI). - ig, 6. I .. is position, the lower sart of tie edge of the palm -.s used in attack like ,8 hammerv While beating off the opponent's wris J the head of the fi t and 'be hard part of ' he joints can also be used for attack,

12

Fig. 1 C The thumb is held lower and the fingers bent an, jig: ID sho s th thumb bent : ver the fi .. t finger and all four fingers-res eo into be p. I ..

Injfgs 2 and 3B are demonstrated the two, variations of the clenched fist; be first with he t· umb bent over the forefinger ad the second with the fore .. finger extended and pressed into the palm. In this cor nexion,the Japanese author stresses the importance of keeping the fist tightly clenched at all times, otherwise there is a risk of injury when a blow is struck. The part used for attack: with the seiken comprises •.. he knuckles of the first and second

fingers (fig. 3A)

g 1

FiG'.' 3 A

Ib.~ -

HITOSASHIYU-.BI-IPPONKE,N (forefingerfist]. The :fist is held in the hiraken position with .he knuckle of' the forefinge th rust forward (fig, 7). It is used to attack the opponent's solar-plexus (suigets,u) and the vital spot under the nose called jinchu in Japanese. NAKAYUBI IPPO'NKEN (middle' ji,nger fist). With the tis, beld in- ae normal, seiken, the knuck e o,f t e middle, finger is projected (fig~ 8). This method is used to attack the' opponent's solar-plexus and

_iii h-

},Inc"-'.-' IU_

. . _ . 'Ii

(flat or level fist). In this method the four

TEGATANA (pie'reing ,h'Qnd)., In this method the thumb is bent ' hile t lie fingers are placed. side-by-side and extended, (jig. 9). The finger tips are used to thrust

~ t th t' _ 1 1 d Ii d S II II]

In 10 ; ,e'e OppoD:cn, ' S so'- .ar-p.texus, ,an.: . &1 ,'. es~, I··.lml ar ...

my, we have the Level Piercing Hand (Hila ... Nukile) ~ D 'which the back of the hand is turned upwards, Fig. 10 shows a two-finger Piercing Hand: In this method, the ring finger, the little finger and, the thumb are folded against the palm and the forefinger and middle finger are extended.

Fig I

The ,I ucu re of 'arat IS

o t I, palm are sed' UC' the a e ay a the

( I: 2' ) e se 0 a ac,'

kent '_ · I'JI., - .",. . a ca,

14

the opponent's carotid arteries" his arDIS, emples, midd1e of the forehead and jinchu, In these case, you ust be careful not 0 s rike ith ' e b e of the little finger.

Base 0,( the palm: The hand is held as in fig. 13 and is used to strike the opponent's face, chest and shou ders, wit". an upwai d thrusting movemen . :Si mil arly the thumb is folded into the palm and the shaded area in fig. 14 is used to strike upwards from underthe opponent's jaw. The side' of the thur b can also be used for the same purpose.

This method is generally used to attack the opponent's eyes. The One Finger Piercing Hand (fig. 1) shows, on y the forefinger extended and is only used to attack the eyes,

. GATANA (handsword). The thumb is bent and the ,0 re s extended. About two-thirds, of the base

~ ...#

II ~

Fi,l. 13

. ··,IRA-HASAMI (flat scissors). The midd e finger, ring

II

est a - ( , 0- this na

- 711 . tructu 'e of ~ a a

,~_ ............ ...-- .... ,,....,..- - -D. Wit ad - - -0

17

16

nger ' n little fin ·r ar· . lightly '. t so . h: ,e

nb and forefinzer fon ~_ si I ,r-' P ir I , 'i;_I_

(fig. 15). The base of th thumb .. nc rore . nger are used to strike your opponent's 01 ck muse s~ YUBI-HA-' (fing r sci ·.rs)., The middl mger, ring mge .' nd Ii t, . .nger . rre fo ded into t I. e palm, leaving the thumb and fore nger in a position to hrust aaains you oppo . nt's hroat (fig. 16).

- trai i _, a c i - - e of

~B)

( )

(C)

) r ••••• n

~' ,rt'~ ____.

~~iIo ~-...1h-~

Fig.. 15

T,A'TB,_IEMPI (v,ertlc,al e,mpi).I- . his pos ure you stand with your fist to ching your- ip a d your elbow held upwards. If both elbows are held up ards it comes

~I"b'ot - -vertical-e rr ft. lor' 0 - ate- - ~

, -

SAGBTA -MPI tlowered empi). In t is post both

elbows are held downwards in readiness for attack lo'r fori h'ijiale .. ,

ZBN -'- .. - , (frontal empi]. This is on of the . 06t frequently used m .thods of elbow attack or hijiate. The fist is brought up as far 3H the ear when the elbow is then driven back with maximum force into or opponent', solar- olexus, Use for in tancee . you are hugged from behind.

ZENOO 'MPI Uro"' and rear empi)."Wb 0 attac e by . wo 0ponent's, one from . he fro t and 0" from

B

YUMI-KOB,USHI (bow fist). The thumb and the fingers are extended land held downwards with be w ist bent as infig. 17.. e shaded part of .he i Iustration

is chiefly used to parry blows. ·

-OTE (jO, earm). This is used to war doff' au OPPODen 's attack. For this purpose the forearm can be used in three ways. Firstly the outer forearm or omotekote; seco dly, the reverse 0,- rear forearm, urakote: third y t e level for arm, hirokote, (fig. 1~,)'

hese t ee divisions being marked a, b an c 10 fig.· 18

o . tretehed arm) J' TE (elbow) Attacks. In . a a e,. e bow · S sed 10 attack t ~ e sola -' lexus,

18

asic . ar te

19 - .0·· ke Ie, half , e -. ·s ar

. ce" h 00-

elbo . s

bot

..

]

· ., k·

- .

e p exus

OKO~, J (late a I rpi). h ig 0 1 ft -' 0 is

eld h rizont II On - r er to strike to ither sid ,the

fi be in . , s . - L font of th cles . _f b .' .•

elbo· . he m .th is ca 1.· , ) .~ oko

•

I

uke, . tc, HARAIT -v (sweeping hand). 'his is one kin . 0 . ukete

in hich you defend . ourself b b an: a'

opponen 's hand or leg . - .. - . c k, a e a s b-

divisions call d uchi-barai (swee ing off), th - tegatana-barai (handst lord-weep, e

YU I-UKE (bow- - ke).y mea s or , mi-l b s, · you ward off an oppone t's thrusting ha d from underneath,

KARETB (hook-hand). This is also a type 0 u .. ete where. y you intercept an oppon '.' t s han thrust. HJKITl:! (pull-hand). A variant of karete. As you parry your opponent's thrusting hand, '. au grasp it and pulit towards yIOU. Thi enables ., or to disturb his balance and counte -attack more effecti e -. HINERITE (twisttng hand). A variant of hikite. Instead of simply pulling your opponent to ards ... ou you twist im aside and counter-attack,

DAle TE (huggillg hand). A kind ofukete. You grasp your opponent's thrusting band" pull it towards and under your arrr , then cou ter-attac II

SUKUITE (scooping hmzd) .... ou scoop I··P your opponent's hand or leg and perhaps throw him; in any case his balance win be broken and you are in a good position to counter'.

~J'

enlp' ~

~_ NERI- .' isting-lateral-empi). B,oth fi . s

e , . ~J .. .. i .•.. u _ bs .g inst th - bra ets d he

elbo s op mec .._ should ers must be ce at 10 . ered, D this posture _ . upper par. of your body can be ... iste 0 eit e .j I'. And 0 r left or ight elbow )8 used simultaneou .ly against the solar-plex s of' . n opponent attacking from the side or rear .1'

OTHE .•. . AND ECHNIQUES OR TfE'WAZA

TSU . 1 (lhu8ting hand). This, tcgetl er with ukete is t '. e most freq _ entIy used form of tewaza, The hand shou d be instantly withdrawn after the thrust to lessen the ris of it bei g countered, and also because a rebounding blow is more effective than a dead OD.e.

UKET (defence hand). This method is used as a defence agains a opponent's ha d or leg attack.

t is classified into jodan-uke, chudan-uke and gedan-utc«, For defences ag: inst the upper,iddle ado. er bo. e pecti ·1 . Each ke is fur her

20 Basic Karate

KAKIWAKE (thrust aside). If your op~onen~.attacks with both hands, you dash them aside WI h your

own wrists. .. .

The foregoing methods may help to exemplify

some of the more effective tewaza used to ~ttack an opponent, or to nullify his own attacks against you.

CHAPTER II

WAYS OF PLAN'TI ·0 T E . EET OR,ASHI·,NO- TACHI-KATA

MUSABll'ACHI (linked/eel). The left and right heel are

joined and the toes turned outwards (jig. 19A). The body is held upright without stiffness and the arms hang naturally at the sides. Your eyes are kept to the front .

..

REISt)KUTACHI (blocked/oDt posture), In this posture the feet are kept together from heel to toe (fig. 19B).

Fl. 20 A

HACHUITACHl (figure eight po . ture). Th two fo ·_8 of t is postu e, soto .. hachtfttachi, or ou e gure j t

,22

Basic Karate

posture, and uchi-hachijitachi, or inner figure eight posture, can be see uifig, 20A and 20B fespectively. T e heels are usually separated by a distance rough .y equal to the width of your shoulders,

-

..

r1

V

.~ V

fig~ 2' A

lJ

. ~ F.g.2IB

REJIT,ACHI. There are two positions, left and right, illustrated infigs. 21A and 2,1 B.

TEJDTACHI (T positi'o,n). The feet form a position - hieh resembles an inver ed .letter 1.? (fig. 2Ie,.)

FIg. 21 C

ZENKUTSUTACMI (inclined posture). In this position he space between your feet will vary according to your he' ght, but wi 1 general y be about 2 feet 5 inches. The advanced right leg is bent so that from nee 0 heel it is almost per endicular. The ear leg

, 'oyl: of Planting the eet 23

is extended and the weight of the body is evenly

dis ributed on bo h legs (fig. 22). .

KOKUTSUTIAC I irear inclined p'o8ture)~ This j _ the reverse of the previous 'posture. Your rear left leg is bent to form a straight line from knee to hee and your right reg is extended forwards. . he eight of your body is carried on the rear leg land the distance b-etween the feet 'will be the same as in the previous posture (fig., 23)~

NEKO-ASH1TACHI (cat foot posture). Here your weight ~e'St's on your rear bent leg while your forwar d leg ]8 also bent, but with the heel raised from the ground and the toes lightly applied (fig. 14). This posture

knees flexed, . ~ e upp . bod . eld uprig and : hips owered (fig. 27).

S~NsENTAcm (three battle p,osture). Similar to the k 'batachi but i,th either t e lef oright fo . t broug forwar~ t e distance from the oes to .. e heel (fill 28)~

PUDOTACHI (Immobile posture). In this po ture your

24

2 right . 'ith

is, sui able f ..oth a· ancing r. t t -I , 0

i.L;; t ,. a e· uti g.~ ri -

Sr ",1,11,_ a I. •

SAGI~A" _ . -A (Ii imn leg posture) - th -I i i

one . g is lifted to the height of .. h .. th ·r kn .. . If the lifted leg is in front of t . k I ..• it is ..... 11.· . ,'Qe·

sog,·-ahitachi· front ron l. gp tu (fig· 25t if behind, it b ecomes ushiro-sagi-ashita hi, or rear

heron leg posture.

o

..

, I

e SOlo 't

..

Fig~ 26

Fig. 27

KIBATACHI thorseman's posture). The toes of both your feet are tu . cd slig t'y inwards and the knees are bent so that from the knees to the, heels the legs are almost perpendicular. Y ou put your strength into the inne .. si des of the thighs and the outer edges

26

legs are a ]it~Je more widely separated than in tbe zenkutsutachi .. Both knees a e flexed and the weight

Fig~ 28

Flg~ 29

of the body is car rie~ more or less equally 0 both egs (fig. 29)~

r

.

•

CRAPT'ER II)

LEG AND FOOT 'TECHNIQUES OR ASHWAZA

The oase of the toes at the bottom 'of a raised foot when the r toes are curved back are Iikened to a pigeon's chest (fig. 30). They are the equivalent of the seiken (normal fist) and form the asis of keriwaza or kicking techiniques. When kicking in this way the ankle must be kept firm, 'otherwise there

is a risk 0f,inj'ury., - ·

, ..

..

Part or the heel on the under: su €ace of. the foot can be used to stamp on your. opponent's instep and to deliver the keriage; or upward kick, and the kerihanashi or kick release (:fig. 31). ' US,HIROKA~ATO tbaek heel) (jig. 32). This is used for

Basic' Karate 2,,8

'.1 h- . . 'II. troger! or rear kick. When, for exanlple.,',

t e IUSnlr ,:' - .• d h d ,.,

your aist is encircled from be.hln, or yourl,a~ I,S

. ·-""~t··,~d< behind Y", OU, the rear Kick can be e fectively

tWJIS e. I. .., _

used against your opponent's shi ,. or scrotum.

Fil~ 32

ASHIGATANA i footsword] (fig. 33) You curve the toes upwards and use the little toe edge of the root for the fumikomi, or step-in, the kerihanashi or kick release, and ,okoge,i or lateral kick. Attacking your opponent's knees and sides .. Care must be taken not to strike with the base of' the litt_e tee. The ashigatana corresponds to the tegatan of the hand techniques.

ASHIZOKO (sole of the foot). You use the sole of the foot to sweep away the opponent's attacking foot or hand. This method is DOt illustrated.

AS (KURI (ankle) ( fig. 34). Your toes are sur tched in a straight line with your shin in which position you attack your opponent's scrotum with the lower part of your ankle, This method cai also be used to de-

Leg and Foot Techniques or Ashwaza 29

liver the maeqeri or frontal kick to your opponent's solar-plexus or ower abdomen .

Fig,• 34

HIZA~GASHIRA (knees). Can be effectively used at close quarters or against an approaching opponent. URIHANASHI (kick release). Supporting your body on

I ki k · th b

one eg, YOUIC WIt the ott er leg at your oppo-

nent's jaw, abdomen shins or scrotum. The attack. ing leg must be instantly withdrawn to its original

'.. .. -

position so that your opponent. has no chance to take

advantage of you, The bottom of the foot is the part most used for keri ' anashi,

KBItIMIC.OMl (kick-in). Similar to keribanashi, but instead of withdrawing the attacking foot you use it ~o. sweep strongly against your opponent's knee-

joint 8,0 as to dislocate it. ~ f the foot is not used to kick but only to step in close, the method is called

fumokomi.

DRI,AG,E (upward kick)~ Again similar to kerihanashi, but this time the ,so e of t e foot or the top of the foot neai the ankle is used.

~OICOGERI (lateral kick) (fig,. 36). When attacked from the side, you can deliver kerihanashi with the

· le ':

e

3

, ]1 '

'C ,_

..

'I

•

Fig~ 36

F: -

foot)

'en," ion of -

IT '

lOU ,I mp 0, do n,

FU... O~ ~ •

. OU ' amp do ' ~~ 0' ~ U ,ppone eigh .

•

'] Q'U·,

Ie

!Ii

_0 J

our opp n

foot, h him

•

..

a

o

a

,

e _0_ • __ J,

foo ~ ___c 0 .l ,

TO J GOSHI Uu!_,. .. tg 0: r -.. I ,

at ac , a trai 1,,' ' -ar, - ka

-

ii

t

or

~

I g

..

•

our -,

en

re

CHAPTER IV

32

Basic Karate

is some distance away from you, you jump in and

,.1

at ack as soon as you see an opening.

NAGAESm (throwing leg). This term app ies to a

technique designed to throw your opponent. MIKKATSUKI ("Three-day MoonU). When your opponent advances towards, you from the side to strike you with his fist, you seize his wrist from the inside, pull him towards you and simultaneously, kick at his chest with either leg.

S.(NKAKUTOBI (triangle jump). Assuming that you

are attacked by three opponents, you take a running leap and kick the first; the second you strike with your head and the third with a left Of right foot kick.

I

TEMPERING TH.E . ANDS AND FEET

~ both ,the katas and kumite (karate contests), it IS essential that YQU should not neglect the assidu~us training of the natural weapons of your body. If you, do, the: power and efficacy of the art wilJbe reduced by half. The most important i tems of au xiliary equipment are described below.

I. THE M'AKIWARA •. For the training and hardening of the hands and feet-the parts of the body used

f'" iI

most 0 ten In attack and defence-sthe makiwara is

the principal implement. The fixed type of makiwara c.Qnsists of a post about seven feet long, of square timber, preferably cypress or cedar because of their elasticity. . be width of the post is about four inches. The bottom tWIOI feet of the makiwara should be fixed in the ground, packed with bricks or other hard material to ensure stability, and the earth replaced and s~amped firmly back into place. Fig. 37 gives a good idea of what themakiwara looks like when in position. The part of the post which is used for striking is bound with straw (fig. 38). The length of the straw rope used is about two feet and the thickness about three inches. Two of these straw bundles

c

•

34 B08i'C Karate

are fixed to the makiwara the upper onefor blard,cn .. iog the hands and the lower for the feet. Suspended sacks of sand or sawdust can also be used to harden the bands and feet after preliminary toughening has been carried lout on the makiwara,

Tempering the Hands and Feet 35

fist, in this case the right, is held downward at t e hip, 8. d the back of the other fist upwards. Yo. should practise striking the maki wara in all the postures already described in Chapter In.

Fig,1 37

2. METHOD OF'TRAINING THE SEIKEN (Normal Fist). Take up your position at a convenient distance facing the makiwara so that your outstretched hand can touch the target without your having to Jean fo.rward. K~ep your upper body straight. The blow with your right fist should coincide with a step ferward ~n your Ieft foot and the blow with your left fist with a step forward on your right foot. Both knees should be slighUy bent and your hips should

be kept low AS"fig 39- 'show's th b k f L iki

, "'" ",'. ",' ,'.: """,I~e ·ac·· 0,' tl:le stn lng

,Fil~ 3;9

When striking with either fist, you must turn it so that the back of the fist is upwards just before impact; as you withdraw it, the fist should be turned again so that its back faces downwards by the time it reaches your hip. Whichever fist you strike with, the other's held at the hip with back downwards. It is essential to develop co-ordination between the striking fist and the withdrawing fist until the necessary degree of skin has been acquired. You should graduaUy increase the power of your blows; if you start too violently you may hurt your fists and be

Tempering the Hands and Feet 37

There are many other blows with the fist w' ich can be practised 0 the rna i ' ara, e. _., b,QWS in a '

rpward direct ~ 0', sideway -, jumpi g in fro' a distance to strike and many more from varyi g distances and angles. This sort of training is essential for the kumites, OJ[' free fighting w ich yo' come to at a later stage,

As a rule the arm is held so that the elbow is at right angles (figw 41A). But it ca a so be e with. the elbow draw onlyhalf way back, to faci · tate striking from close quarters (fig~ 41 B)"

36 Basic Karate

forced to discontinue practice until they are better. Once vou fists ba e beco . e throug ly hardened, , au S ould be careful not tolet them become soft again. oacbievethemaximumpower in your blows, the fist ould be l~ght] closed at the start of the move nt and rig tened on '., just before triking the

(A)

(BJ

maId· a a. The .. peed of wi thdrawal. is little greater

~n that of the blow On no account should your wnst be bent! it must be held qui e straight in order to conce tate th . full po e of the blow a d to a. aid pe .onal injury. .n the following illustrations,

jig, 40C 18 correct and the other two are incorrect a d potentially dangerous.

Fig_ .ilIA Fig. 4t B

The tempering of the seiken (normal fist) is carried out on both the stationary makiwara and on sand .. bags. They serve to harden the fist, to develop speed of striking, to teach the right use of strength, to take

(c)

38

Basic. arate

•

Tempering the Hands and Feet 39

or direct blows from an oblique lateral position. URAKE (under side fist). Sta d in a diagonal rig or left lateral position and, bringing your right 0 left fist close to the opposite ear, strike the makiwara. Again, standing' n front of the makiwara, turn the

ack of your fist from under he jaw toward the makiwara or from above your head (the back of the fist turned sideways) and strike from that position. KENTSUI (hammer fist) From he same position as that in the previous example, you strike the makiwara with the sides of your fists,

NUK.JTE (piercing hand). When you are training the four-finger nukite on the makiwara, or sandbag, you

· must be careful to arrange the fingers correctly.

Thrusting your extended fingers into boxes of sand 'or beans is part of the pre iminary training, but if overdone, it can lead to deformed joints. Proceed with care and eventually your fingers win be tough enough to smashboards or damage an opponent's bones.

'TEGATANA (edge of the h01Jd). You hit the. makiwara from the side standing diagonally in either left or right kibatachi. With the side of th han~ palm downwards, commence from near the oppo~te ear. TATE-EMP,I or vertical empi. You stand SIdeways opposite the makiwara with your fist hel~ in ~ontact

ith your hip. From here the elbow IS raised 0 strike. Imagine that you deal the blow up~ards at the solar-plexus of an opponent approaching from the side.

up a position at the right distance from your opponent, to regulate your respiration, to cultivate strengtb In your arms, shoulders and abdomen, and to aeons tom the arm and shoulder joints to r.apid

reaction. Essentially there are {our kinds of striking method' .

(i) CHOKUTSUKO or direct thrust. This is a fundamental method and is divided into three sections, i.e., the Jodantsuki or upper-level puc, which is aimed at the opponent's face; the Chudantsuki or middle-level punch which is aimed at his chest, and the Gedantsuki or lower-level punch which is aimed at his abdcminal region.

(ji) AGETSUKI or rising punch, otherwise the uppercut. In this method you ward off your oppon .. ent's attack, grip his attacking hand and pull him

awards you. Wi h your other hand clenched and moving upwards, you hit his jaw.

(IIOJ'II)

III FURlTSU~ or swinging punch. Swinging your

:fist ~o left or right you aim at your opponent's face

(ir SIde. -

(iv). WATSUKI or circle punch. When your striking fist .l~ stopped by your opponent then from that po~JtIon you describe a complete circle with it and eliver another blow,

3. AUX 'L ARY T· AINING

fi.,:AKE> (f1a~~r level jist). t:ake up your position aCing the mlbwara and traIn the fist b .. t <Ilk. ~. .

dowDward . I I'.~ - .Y ,8 n rng

, 5 anlJng blows from above YOUT hea ,

SAGETA~E tlPl or 10. ered empi. For this method a sandbag IS placed on the gro . nd and you drive your elbo -, do Inwards into j t,

ZENH~IPI or frontal empi. Stand In front of the makiwara and being your right or left fist up near your

· F . h- iii II< I "1~

opposite ear. 'rom t IS posmon you strike at the

kill h I Ii; ii

ma iwara as t~, oug 1 arming at your' opponent's

chest or solar-plexus.

KOE - ,-lor rear empi. Stand with you back to the' makiwara, one pace away from it .. For high-level attacks (jodtmtsuki) your right or left fist starts from near the opposite ear; for middle-level attacks (chudanlsuki), your fists start at the hip. In both cases the elbow must strike backwards into the makiwara with great speed and must then be

instant y withdrawn to its original position. .

YOrc6-E- . I or lateral empi. As when training the tate-empi, you stand sideways before the makiwara, the back. ofyour right or left fist turned downwards. After b!lnglng your fist near your opposite shoulder you _st~lke the makiwara with your elbow as though a:~alckJDg an ~pPonen~'s solar-plexus. The. fig,t and e ow are~orlzontal In front of your cr est at the moment of Impact.

HINEJU-YOKO-EMl? or twisting-Iateral-empi', Stand in froD. t of the m._ akJwara with the th umb ed , res . of '

.. h ." ' . " . - ges 0 your

r g k~ and eft fists near your breasts, eJbow extended.

st·~ng ~ ste~. forward, with your hips lowered, you n, -~ with fight then left elbows .. At this moment you must be careful not to let the u per part of

Tempering the Hands and Feet 41

your body fall forward, and you must keep your shoulders'

UKETE (defence hand), Standing ob ique y to the makiwara, you must strike with either hand, using the outer edge of the wrist, the thumb edge and the inside of the ist according to tbe type of defence being performed, For example, when your attacking fist is parried by your opponent's forearm, the shock has to be absorbed by the inner, or pulse side of your wrist, Acco dingly, this part must be toughened just as much as the striking edges of your wrists.

When training the ukete, you should not bend the wrists but keep them firm and straight. METH.ODS OF TEMPERING THE FEET: The training of' the feet is particularly important in karate because of the exten to which they are used to attack and defend. The makiwara training . ust be performed in the various postures already described: fudotachi, nekoashitachi, zenkutsutachi etc. Facing the makiwara with the backs of your fists held against your hips, you kick with the rear foot in the case of'fudotachi, and the front foot in nekoashitachi, Mte:r each kick the foot must be immediately bro aght back to its original posi ion. The other striking parts of the foot are trained in the same way, though in the case of the ASHIGATANA or edge of the foot, you stand in a more sideways position to

the makiwara,

40

.

C'HAP1ER V

FUNDAMENTAL TRAINING ME'TH10DS

The preliminary katas are divided into two main types, the Renzoku-Renshuho (successive training method) and the Renketsu-Renshuho (linking method). The former teaches the manner of advancing, retreating and moving sideways a id the after is designed to link all these methods. The RenzokuRenshuho comprises the so .. called Shinko Kala (advancing kata) in which we aso find the Chokusen Kata (straight line kata) and the Hasen Kala (wave line kata), Infig. 42 the line marked "A" represents the straight line kata and the line marked "B" the wave line kata, The fo]]owing is a description of the straight line kata:

1. CHUDAN'I'SUkl (middle· level thrust). These blows at your opponent's middle body are the most important of the fundamental ones and must be practised continually until mastered.

PrinCiple: Chudan-Renzoku-Oitsuki (middlelevel-successive-pursuit_thrust). At the word of

command you assume the outer hachijitacbi posture and th~D the left zenkutsutachi posture as illustrated ]D figs. 43 and 44. Your right hand is held

Fundam "tal Traii ing Methods 43

obliquely owards the left side with the palm open and turne upwards You I . and is held in front of your len shoulder ith th. palm upwa ds, Then, you withdraw your right band, closing it as you ,do so, until he fist is s rong y cl nched a d :re tin

(A)

Fig. 43

- ." . h hit A··' t th . am e tim e your left

against your fIg t .lp. _ e 8 . . . . , ..

hand is clenched and lowered until it is six or seven inches above your left knee, with the outer edge of your wrist beid in the gedan-uke position re~dy to defend against any low Ieve attack. Your hips are

- .. - .' '. .. - ht . nd turn d

lowered and your upper body IS upng . a

to the right. Your feet face ahead and you should

b· ~ ] II f t . g. t b in your lower abdomen.

ave a J,ee IDg 0' S ren, I , " -.' - ..

44

Basic Karate

The face is turned to the front, your eyes fixed 00 aD imaginary oppon nt.

At the command "Hajime l' (begin) you assume the posture shown in jig~ 4S\vitb your' right foot planted a good pace in front of your left in the right

Fig~ 45

sen~u~tsutachi posit~o~. Your . left fist is held firmly agamst, your le~t hip In readiness to grasp art opponent 8 atta~klng .hand or leg and pull it towards you. Your right fist is extended with the back upwards, preparatory to thrusting at the solarplexus of an opponent standing in front of you. Your a?vanced foot should be allowed to slide for.

]~fa~d ~ltho:ut any weight being put on it and without L .nng It off the ground.

Fundamental Training Methods 4S

The advanced foot is planted on the ground just before YOIU strike wit . your right fist" not at the same time. On the other and, the blow with the right fist must be accompanied by a simultaneous withdrawal of the left fist to your hip, If the thrust and withdrawal are made simultaneously, then even if your first attack has failed you are in a position to defend against a counter-attack, The posture at the time of the blow is with " he sho .lders lowered and firm, the wrist held 'with the top of the fist being in a straight line from the shoulder aud the upper part of thebody facing the opponent. Practise this movement alternati vely left and right,

In the case of the Chudan·-,Renzoku-Gyakut'suki, you assume the outer hachijitachi posture at the word of command, and then, as for the previous method (oitsuki), he leftzenkitsutachi posture in preparation for the gedan-uke (lower level defence). After first 'standing with your right fist in contact with your right hip, as shown in fig. 46. you raise your right fist for the chedantsuki or middle level blow when your left fist is brought against your left hip. This is the preparatory posture. When the command" H ojime" is given, you take a step forward with your right foot, your left fist is raised for the chudanrsuki and your right fist is brought to your

right hip,

This action, of the striking fist being accompanied

by a step forward with the opposite foot, gives this method its name, i.e, "gyakutsukt", or revers blow.

-6

'II damental Training Method 47

striking alt rnatively left and right, you find that you advance is . ocked, yOI utt r a sn. t ( iai

bout) an . ove ro nd 0 ither ide to d al anot ier blow. In the case of oitsuki for example, when you are standing in the left zenkutsutachi posture you . urn 1810 de -. ees on' hie lef heel as an axis and Ii is

facing tne opposite way in be right zenkutsutachi position. Your right fist is held in gedanuke style

· ._. out six or seven inches above the .. nee, and you lief fist is at you Jeft hip .. · .. ,. i e turni g you adop

the gedan-uke posture as though to ward off a kick from the rear. You then advance in. the manner already described, Tie same principle is used w e

urning tohefi and when turning from the gyakutsuki to left or' right.

S'~I OEDIANI'~UKl=! ilower level defen1ce). From - he ouer hachijitacl . i posture you tak a step to the . ear and assume the Ieft zenkutsutachi posture. With your left fi.st you execute tbe gedan-uke and bring your right tis to your ight hip. . . hile executing t . e gedan-uk Ilcf1 and right YO'-,- 18- vance as far as you a e abI . a then in the' last defensive position" you utter the kiai shout and retreat.

6. CHUDAN-TEGATANA~U " (middle lev _I dfi nee). When your oppon ent attac .s the area of . OUT chest, you defend yourself by means of a blow with the edge of your hand.

Principk ~~ n pro Pi ration fir t . e ch idan-renzokotegatana-uke you adopt the outer hachijitachi posture and from that position vou withdraw your right

. 'asic ~ar te

In his· ,ay you also trai in the kib tachi, and

hikot ''.·0 fo . jodan, c ud rand ne

C ..f' eJ r ati I ith the a d ri· .

--c =

banda ms ny as a hundred or two, hundred times to

de' elop staying power,

48

foot to the rear to ake up th koasbitachi posture.

With your ight h d fa _ i g a teeat ',- ~I fro . 0

your c est, your left ha d. 0 rms a tegatana ' a ti. from the front of your right shoulder, back of the hand ~dow~wards with the elbows ialf bent, you face your Im~g, 'ary op 'n nt and dea a sweeping bl , at the middle of his body (fig. 47). W, en your ef

ha_. nd is withdrawn. to your right should' er tho b .... ck of

the band ',. ',.. .' _ , . _, . I ' I." ,e lac 0

_ - IS turned ,dow· nward s bt t t b &" h

blow · " . ,',' . .... - . . .r, , ••.. ', IU JUS clore te

IS struck at the' opp on' e t h d .-; _

. ' .. ,~ . . '. . '. - . . I,' I I n ~ S ,nan_ or foot, - he

and rs turned so ~hat the back faces obliquely

~e~ards. The finger ~tPs of thetegatana are generally at the height of the shoulder,

t the . omma _._ -". ojim ,", you st 'p forward

i y u . 0 y u . - nd ad

h . e-o sl it c·· i e . - -

mae a left .gatana in f 0 of y u

ight tege a, a in tb chudan-u style,

'. cion ' 1 erna ely ig .and l f . " yo V nee.

1. JODA ' ,G -UK'. (upper le el rising d ifl? ce · your opponen aims a blow at yor r upper body, you defend yourself by sweeping hi . attacki g han' wards f. '0' .~ below II

Prindpie: From the outer bach ~j · tachi post e,

at the word ,of command for the jodan-renzoku-age-

ke prcaratory posture (fig. 48), you, ight foot is with fawn a pace so that you adopt he ef fu 0 ' C • posture. At the same time, your righ fist is bro g t to youI' right hip and the back of your left fis is

. ur ied inwards, with the litt '.' nger edge u·· arc ..

and sweeps up above your orehead,

At the start you step forwar with your right foot and adopt the right fudotachi posture .. At the same time you withdraw your left fist. to you left hip, a sweep upwards above your forehead. When execu - ing the [edan-uke, you ward off from below, the opponent's attacking ha d with the underside of your fo earm. As you advance, you . ractise the

jodan-age-uke alternately Ie t and right, keeping your

upper body straight a-nd firm.

8.0DAN-UC I-KOMI (upper level drive-in). ., ou

attack your imaginary opponent's face or shoulder area with the side of your fist (kenlsui) or, assuming

D

Basic . a 'ale

t at your oppone t trikes a your u . r body, you

1 i e _' ind t do hi

.. a d.

Princip e; .. t th ord o. comman · for prepa a-

j' n for t. jodan-renzo -yc i-kom · upper level cce si e-driv e-l f 0 . ou: ach iji a" i asure fig I 49 0 . ra.. '0 r rig t foot back a

Figl 49

p and ad pt a right kok tsutaehi posture with

U .' ri h f t again our right hip. . ur I ft • I t

~ held a . y r head, lit 1 finger ed e p 'a ,

O'm .ed· a ··1y deal a' low in a diagon lly e nwa ... irecti . n. ,t the moment of the blow he

. I . t . t' n ., aliq . . y do n·. ad .

undamental .' 'ra ning Me' hods S

. t co· n . of U-ajime", · rep Co- d

..

a .. I _ 0

e Irk tsuta is a y _ left hi' and with . ., ejod n chi- .... smi b 0.,

lef and righ a -- yo ad 3__, a advance at the ornent of the la '

utter the kiai sh ut an I it dra _.

9. _',I 0,,1·· ... Ilk ~n. Thi . eth d ha alread ,·n

describe 'lin he section on ash _ aza, or foo a d leg techniques, but a aragraph on he method of traini g for the renzoku-ke i-komi 0 s· . . - - -e

kick-in will not g . amis I, t .. ,_ e :r of co .. d to get ready you adopt the outer hachijitachi po tre, and then pass to the 1 ft zenku utachi po ture (fig4 SO) 'ith botl fists against yo ir ips, he . acks of thehands turned downwards,

At the word of command 0 begin, you kick to the front "~t. the 'ole of your _ ight foot (Jig~ 51 ad n e,n ir s antly .. ithdra the foot to its or- .. a

position when the thigh and shin are perpendicular. You step forward as shown infig. 52.

Wher you k ck ith y u right foot, he kn~ of your le t leg being sligh ly bent, your fists remain at your 'hips at a 1. times and you will kick as s rongly and a high as po ible.Tn an ac . a. fight, ho e ~rJ you . hould take c ._ re not to kicl too igh, ot wise your opponent wou1d be able to take advantage of the resulting loss of balance. As you advance you kie .lte ately l t and ri ht. ig t turn: . hen

mo n yo __ .. n ot uchi-komi you

52

Basic orate

turning tOI he right you continue to eep your fi ts on f,our hips, the, ad, a _ ir the ole - - directic n as

"fo e.

10. YO ,IO'-OE'RI (fateral kick). Thi - method C.811.b

performed ith tIle, dge of the foot or with the sole, The explanation given beloi r· fers to the me I ad using the edge of the' foot,

Fi",. ,52

1f)1

. Principle: At the word or command to get ready for the re zoku ashigata 8, or successive kick with the edge ~fthe foot, you adopt the outer hachijitachi posture In a right lateral kicking direction. Both ~~nds .are closed in the seiker I style and . est on tl e h ps w th the backs turned downwards, or the palms

oft~e hands can rest on the hips with the thumbs against the forefingers.

. undam ental Training M, tho: S 53

At th word of ornmt td to b gi y u stand a

,0 ., fig, ' ith v ft eg : e in

fret t of you rig tAss 0 .. in fig. 5 . your .lgh foot is t lien raised and you kick with th edge of the

foo di ctly side ays at you · - aginary op 0 '

sides o~ abdome ..

f,g~ 54

Fig,., 53

The: foot is then withdrawn and slightly lowered and you take up the ou er hachijitachi po ~~re. Concurrently for the second time, after ad~aclng your left foot a pace sideways across your right leg,

you kick to the side with an ashigatana. .

. Wh n kic . i g, you must Dot bend your p~er

body but keep it quite upright. For the la~eral kl~k you do not make a right or left turn, r.e. w~I1e

1('" -:'k','II:-" . ith _'.g,- t a' shiga .. tana you advance side-

Ie·· n,g WI ' a rl, ' ' ',', " '.

54 ' , lie, '_orale

, ays a d he y u adva ce is fo ced to a

.. " .. "'!IIj h

Ie' 31 nln 10 I ~ , 0 ' - ,a aI, n ',' e' w

posi e . ire tion- You tak a step to " e sid 'it you. eight foot in fro. t of your left footand d liv r a Lft at al ashiga na ki ck Prac i e t ese mo "-

. ent re '. a e I. a you ada ce si" -ways.

There ar many rno e succes sive training me' hods ban those Jready desc -ibed, bit at this stage the , iove ill s . ceo 11 t. ese methods are designed to :- I, tivate standi - '_- oosture, and stayir g power ; it is of great importance to practise all these movements

oti they an be .'. erformed with speed and assur~nce._ oreover, lot only iust you practise fhe movements In a straight line for advance and retreat bu also in the wav . 'Ike or undulating line. If you AIi.&A ... ster the S' raight li e then you ought natura Iyl . ? be able to und rs and the principle of the wa e like kata.

.' I.·. what is caUed. the renket .u renshuho (linki g . aining), y~u co nbine movements. Fo example, at

th~ same time as you make the chudantsuki, or mldd)e~l_ vel blow, you can advance with your fist

eady fa a· ged anba -I" . I!! ] 1 I

" .. " _ . '. '.' . .....•. . .• .•... ar or ow- eve sweep, star iJ g

o. "alterna~)y fro .. the left and right foot. And when doing . the Jodan-age~uke or upper-level rising de-

ICe L . rder to ~' liver a gedan-tegatana-ber · or " .-Ie .l sweep ,,:,]t he ledge 0 the _' and, changing the po. tures W, 'hile a, dvaneing ,'- d . t - "I'

.. ' .'.- _ ~_ .," ',... an r't reating, you

combine the wo foregoing metho ds 'f' t " ". I . I,., h-'

, le , .' '. . . ..' 0 I (linIng wn

__ e eft . d gh le "It rna ly.

I

"'A

",

eei g that in kara e . ilike j do, ver: few

e ho' s can. b. demoi a ed . ir logic co ,-

elusion without the ris of seri 0 sly injuri an

op .... orient, you must . a1'" an roo emen spli

second before reaching ta · ec i ortance is na'urallyascrid to e s dy a . a nrac ice

of the karate katas, or formal demonstrations.

I.. . his section I .. a e confin m. self to a des-

cription of t I e mos impor ant karate kata, iz., the Dai Nihon Karate-do .. cn-no-Data (Grea . Japan Karate-way Heaven]y Kata) devised by the cele-

bra.'. d karate teacher unakoshi.

I· the performance of these katas a very stric

etiquette is observed. In Japan, it is customa y wben a formal demons rat' on is being given for the performer or performers to sa u e sta ding, first the shrine of the _ kami or god and then the shihan or

master presiding. on the occasion. The method of

salutanon i s sown in fig. 55. ·

OMO,TE-NO-). Chudan~oiUuki (middle level pursu t

blow)

.' eparation: From he heiso _ u achi post re you

tak hachiji .c .. 11j, p- 1 t re, your fi ~t

- - . ~ 11.,111. ,,' a t, 'U', J_ .. ul '

; '" 1 - _ i 1_, ~ ~ J t y . '

into yurt .' ,jb,

while your ,: aze is tied "II ,YI iur inn gin. ry 11- ,PI] ,t

in fr nt . '. Y-'Ll (ft ,~, 5, '~ _ d 56 I. i

\ II

(I) Take a big step forward with your right foot and .t U·· ~ the righ · ikutsu achi post re ..• hile with -our right fist you deal a blow a. the iddle of your opponent's body, then s.imultaneous.Jy withdraw yo~r. I· f .' t to yo~r 1 ft : ip (fig. 57).

ar e et . t y~u .. ng . ~sh . reach . '.' imaginary ,g you ~t~er the kiai shou . Your posture at the

rme of strIkmg is will your upper ',ody slightly

_ -

, ,a a ,-

57

iJ1Cl·. fo war l)u yo - right shoulder must not

·w~ ,d~_ . dy iaht : rried

k 0

u Ie

s epping forwar . ~ o .1 C . 01

F~g~ 57

(2) Wi draw you rig t foo to it for er . s ition lowering both :Ii' 8 and revert to the p . par tory posture,

'(3) Movement is he rever e of (1). nd (4) j the reve '_ e of (2)~

OMO'T ~No-2. Jodan-oitsuki (upper-level ursuit

blow)

5·

Basic .Iarat

(1) Fro . the prep rato ostu . e you take bi

ep for r : n . u 'e h - rig! Z' utsut,

posture.

At the arne time, while' you withd w your I f

fist to our ml'~'f- i, . OU strike at rne I ce of . 0 r

imagiru ppo ent jtb c our right fist (jig. 58), an •

_ t. er' tbe kiai shout. . . ile stri : ing you must take care DOt to let your fist s ' erve ol1r target or t[o le't .ur shoulder ,0 'e o'r ' r- d.

(2) Withd'aw your right foot to its former position o . ering both f s and revert to tbe prepa atory iosture,

(3) Movement is the reverse of (1). And (4) the re erse of (2l~

ara e

59

0, 0 -N' ~. I u 'an- Q utsuki (- idd -leve re e se

0)

(I) You S' a . -"0 t e r . tory .' t a

forward step of your' left foot to assume the left. fud tact i postu -e a in r u . to. right. 0 yor rl n hip, · ile au f fist i . vour If' - i

you raise your right fist a s ri . e fcrwan it a

chud,antsuki or middle le el blow (fig- 59)11

At ' .. instant o· e blo -.' u, . t - kiai .

,An im ortant poin in coi mection it t e f . 0- tachi posture is that when you step for -ard with the . left foot, although your ~O' . r body mus nat ally be turned diago ally right, our up bo t face forward wi' h the shoulders kp 10 ·

(2) Your left foo is withdrawn, both your fist. are Iowered and you revert to th p e a a ory .0 tu e. (3) Movement j the rei . rs of (). And (4 t e

reverse of' (2).

OMOTE-No-4. Jodan-gyakutsuki (upp r level reverse

blow)

(1) With your left foot you take a big pace forward

and assume the left fudotachi posture. Having placed your right fist at your right hip and s hile our .left fist is i. bdrawn to your lev hip you ·aise yourlght fist and strike upwards at your imaginary opponent's body (fig. 60), uttering the kiai shout the moment

you fis reache j s supposed target. . .

(2) As you bring your left fc ot to its former posrtion you lower both fists and revert to the preparatory

posture,

60

Basic . orale

(3) Mov -'~,ent j, the re : rs of (I). ud (4) is tile

f (?)"

rever ,.' ' , ~ •.

o tOTE-', 0-5;( ",. ~ danbarai- hili', I, tS!1 ~i (lower I' 1 sweep-middle level blow)

(1) You take' ',_ st p backwards ; ith your right foot to a sum tb Iii f dotachi nos re. Your igt fis is held at your right h ·p.tartic,g from your right

fil'~ 60 shoulder with .he ba ck of" th I 'd d

• _. 1'_" I,' . e lan,; ow wards, you

strike a blo,w ~Jth your left fist diagonally downwards to about SIX .Inches above your l,eft knee.

of ~~ yostnke, , . e I~ft fist is tu . ned so . hat h back Tbe :tri~~:faces ~~wards at the end of the action. (fig. 6]). .g area IS the back of the left forearm,

6

(2) W~il,e you. le~t st is .ithd awn to your left hip

, 01 r igl st d 11 r m d . 1

'0 v a y u

tho blow r aches i _ - tar t

Fig~ 61

(3) Your right foot is brough slowly back '0 its former position, your fists are lowered and you revert to the preparatory posture,

(4) Movement is the reverse of (I), (5) the reverse

of (2), and (6) th ... reverse of (3) .

When practising these movements you should aim at performing the defensive and attacking actions

a t the same time,

OMOTE-NO-6. Chudan-ude-uke-chudantsukl (Middle

level arm defence=middle level blow).

(I ) rom the p eparatory posture you take a st p to

62 Basi. Karate

the rea, · ith your right foot and assume th" lef fudota i posture.Your right fistis . d agai . right hip .... it. you e t fist starting from the ri .... t

shoulder, the back turned upwards, he elbow half - ent and serving as the mtre you describe an arc and deal a 'sweeping b 0 - at t e ,,' riddle of' your imaginary oppo ent's body (fig. 62) .. The sweep-

ing ~Iow is dealt with the thumb-edge of your wrist at the opponent's chest area. The fist is held at shoulderceight wi h the back turned dow~wards. (2) Yo . r f et in the same . osition, your left· fist is drawn t,o your left hip and you deliver a middle evel

blow with your TJlIg'ht fi' t tteri th kl II; !iii

,. I"', ""I, ,S',ul __ enng tne kiai as you do

o.

tarate ala

63

(3) You slowly i bdra 0 r feet to their former

osi tio ,0 .. both ··e p e ..

parato y post e.

(4) Movement is he reverse of (1), (5) the reverse of (2), ,8 d (6) h re erse 0 (3.

0- o· '0-7. . hudan-tegatana- ke-c udan- - _ kite (midd e level defence with th edge 0 tbe han,d-mid,dle II vel finger-tip th st),

(1) 'ithdrawing yo r ight 00 a : ace oar you assume u eight kokutsutachi posture . 0 r right fist is held against your right hip. Preparatory to a .. egatana you le'ft hand starts from your right

ho L lder, the back turne do n ards, . I e elbos half bent and the blow is dealt with a sweeping action when the back of the hand is turned obliquely upwards (fig. 63).,

(2) Here you stand with your legs ir . uch th same position, But in this case your left fist is held at your Jeft hip while your right hand is opened to deal a thrust with the finger-tips at the frontal midd e area of an imaginary opponent (jig 64). At the instant of the blow you utter the kiai. Your shoulders should not be raised . hen de ivermg the t rust and OU shouh have a feeling of strength in the ar ... pits.

(3) Your right ),eg is brought back to its former position. Both your bar ds are lowered and you reve t to' the preparatory : osture,

(4) Movement is the reverse of (1), (5) the reverse of

(2), and (6) the reverse of (3).

o OTE- 0-8 . .Jodan-tegatanobarai-jodantsuki (upper

level I weep wit.h I.he- d. -- '. evel b .)

'1). r.. . h.' y . I I I U •. Y U ra

your ri ht roo . - c . to t '. r ar to .. sume he I ft

fudotachi postur . Your rieht fist ~:, held

your j'g 'it I ip 'I' you ]1.' •

the hand upper

•

~ '.

para J' ror .

· With.

, a,

t e e . ow . s ce tr you deseri be an arc' s though to ward off an .. ttack and trike a sw :ping blow at

III . ni i witl h. palm tu edo I .•

, t .. ' .... :,' 5'-

.... Ii ,.' '"

. ith your feet in the same positlon and your left

ld s y ur let! hip, yo strike a. t t

..

'a -ate 'at

ayo .. ~ 1.

65 . the

Fig~ 65

.' C bac t '-. so, me I

(3) You bri you rig t 100', '.

position, . owe both fists and resume the pre.a I or'y PIO . url __

1(4) ve . rt i e I r 0 ( ), (5) tne everse of

(2), I D I (_) the rye ~ 'of (3)~

OM . "-No-9 Jodan-uk .. chudantsuki (upper lev 1.

~'1 .: . I . I.· 1")

-

,

0,

_7

..
, r e e

.. dIe .. •
e

"he .. .
a - al
, e

ned an: pwaro-

he »n 1.- and

er . 0 . r hips an' d.e·-

f · i

e r' -, 'or ,,' ',J,

on I ' ,", u r _ r ist a I d str - ng or nronger

pl d re c ~

618J asic .' ., r . t .

(1) e u wi hdrr -our ri ht (0 t I: ace tc th r ur

d t' 1 f .. hi . 0' 't ur ;j' h

a, ,3.1• 1 Jll .. ' r

right fist t ur riaht hip an you lett fist rid, the littl finger edg upwards in front of your eyes

fig. 67). rom this positiot you strike obli . ., Iy dow" rds, The distance '. f '.' ur II . [ "J t f 0 y ur

eyes is ab ut sixt een inches.The imat inary opponent may re ist .he upp r level attack by striking it side with thek nt ui ( .. !I, of the u ) or '\ ith the' .' ist.

You may then strike his face, e c.. ~ith your own kentsui,

(2) Wi h your feet in th same position and your

. ft fi t c t your l·rt hip, you strike at I hie' opponent's middle body with your right fist" uttering the kiai, (3) You bring your feet back to their former position, I01A'er bO_L" fists and resume the, p eparatory postu e~

',) Mov ment is the reverse of (1), (5) the reverse or (2), and (6) the reverse of (3)~

In karate, when . ata is being p. r 'orrned by

'a tners, the a tacke i. ca ed . - ete an the defende Ukete, A already explaine -. th .. pa es the karate name for con est is kumite. he fir t type or kumite I s,. all ry 0 describe is often-all d yakusoku kate, or "agre __ en kata ,be . s it is essential for the safety of both partner t at it .. ould be demonstrated in a strictly pre .... arranged sequence cf movements.

URA;R._· o~ I. Gedanbarai-chudantsuki ow _ evel

sweep-cmiddle level blow)

ASI in the other katas, Semele' and Ukete salute the presiding Master and tben eacn otberta ding about three feet apart in the outer hacbijitachi

p····O···,·S··, ture lI:g'/.. 16· 8· .. ··)1

......... " .... _: IU'~ii'!I .. ~ iii

At tl e word of command to prepare, Semete (on

the left) withdraws his righ: foot a ace, assumes the Ileft zenkutsutaehi posture and poises his left fist for

H ~ II h ,c. · . t hi

a sweeping lower level blow. is rig __ t nst IS a s

right ip and he gazes straight at his opponent's eyes,

Ukete stands in the outer hachijitachi posture and

o

71

als 0 W tches I~ 5 p-.' p OJ . nt' eye .. .. lt I'" iii

~ essenti I that

be .. 0 ld - 0 n al

•

] 10 IC. fi,.6-.

'.·1) A the word of cornm nd, semete utters the kiai, steps forward a pace ith his right foo and as urn. in the ri. h ,i kutsut .1i pos r, tri es : hI v a

Ukete's 10 r .. dy, a s_ me i ,e b.~ ·

left fist to his left hip.

Ukete withdra: s his right foot a pace to the, rear, assumes the left zenkutsutachi posture and sweeps 'the attackins wrist from the inside ith his lef fist, bringing .is right fist tOI his right hip (fig. 70)~

(2) At the WO' d of command Semete assumes the posture for' a lower level blow,

!I

a

73 d S me - e steps forward

- .d, e left

2

Uket brings his lef fi t t hi left ip nd utt rin

he ki i ims a I 10 at U, te' che ith his ri h

fist (fig i' 71}w

(3) t h ord I,' f co m ~ 11 ernete · h a '" hi

right foot to the preparatory postur ·

a

I

z n . ,ur .

bo i h his l ft at slo

his rie t. fi- t to hi ,·ig.h hi j

Ukete withdraws his left foot and assumes he right zenkutsutachi posture as he defends himself with his righ fist in a s- eeping 10 ' er 1 . 1 style bringing his left fist to his left hip (fig· 72).

(2) At the word of command Semete assumes the

same posture.

Ukete places his rig it tis ' agai st his ip, utters

the kiai and delivers a middle level blow - ith his

left fist.

Fig. 71

Ukete advances his right foot to the preparatory posture .. At the preparatory word of command Se I e e steps back a pace with his, ef foot, assuming therigbt zenkutsutachi posture, and as he prepares his right fist for the sweeping lower level blow" he places his left fist against his, left hip.

U . etc a so as IU· es the preparato 'y posture, ~ n this, case the oppo .. site foot and . and position to fig, 69 ..

ig~ 7'.

4 Basi Ka 'ate

(3) At the vord of cornman S met withdra . ' hi· lef foo to .he pro' ure

Viet. d ance . 0 . t to h. _. r. p.~ - ry

posture. The roo men! ae each e ecuted t ' ice, then after the irst demon ration. mete .' nd

.. rete ex. hang rc san·· praci . hem ,: a'.

ice .. ach. The' sam .. rule applies to t erst of the

cata.

... A- o-2~ Chudan-ude- ike-chudantsuki . mi ddJ - Ie el arm def n .~m~d " Ie el bI )

At the preparato ,y ord of command Seme .e, from t e outer hachijitachi posture takes a pace to

he rear .- ith is igh 00 and assu -, es the eft zenkutsutachi posture. is, .•..... t tis . is poised for a

s veeping Io er level blow and his right fist is at his . ight hip

Uke e . 'an s j, __ e same preparatory posture.

( ) A the .ord of commane - emete steps for ard a pace . ith his right foot and, assuming the right ze k ' su: achi posture .. :1 his left fist at his left hip,

t ers . e . '. iai an- s rikes a, middle level blow - ith his right fist (fig. 1.3).

. kete " - dra .. i right foot a pace a d assumes

· e e' dotachi no ture it his right fist at his

, "g. t hi .. . the' me time he wards off Semete's

attack ·.'ith a seeping blo outwards with his left , ... fth .. edge, a she n in jig. 7.

2 '. ord of command Sernete a' sues t e

.' arne pot reI

- te ". hi I '. f sa' i 1 eft hip tters t e k ia i

_ola I if' -

Fig. 74

76

and alms I mi. dk lev I blo with his right fist

(fig. 7S)~

(3)·t ord 0- '0' ,. n I .. met - tal ,- S ' I st

the re ar ,'"t I his right " and ',_5 u es hie re-

paratory postun ~

if umit - 77

. nd .m t steps forward

.1) t he word of com-

a it hi - f fa t - '.'''-'.-

ku uta hi .' s e i T en uttering the kiai h with ii le t I:" t~1

ze- - hi i ip, iddle I vel blow

Fig. 7'5

Fig. 76

Ukete advances a pace with his right foot and assumes the ~reparatory posture,

At the preparatory word of' command Semete withdraws his left foot a pace to the rear and.assuming the right zenkutsutachi posture, prepares for a - -- eeping 0 /er level b - ow - - ith his tight fis t, hok ing is left fi - at his left hip.

Ukete is in the preparatory postu e.

Ukete wi hdraws his left foot a pace to the rear a . d, assuming the right fudotachi posture sweeps Semete's attacking arm to the side with his right wrist, holding his, left fi t against is left hip (fig. 76). (2) At the wor .. · of command Semete '·8, i th sam posture, Uke e, his - ight fist held at his ight hip utters the kiai and delivers a middle leve blow with his le - t fist (fig. 77).

ata of smite ] 1 b - - - d hi

79 ~ -b fis i a' hi s

7B

Basic sarate

t P to

(3) A the word of command . mete ithdra ~ s hj.

left foot ,a . a e an -- es he" re a at po tre

. I kete a· c. his Jef fa. tap - i-" an - ~, s ..

assumes b,e pr paratory posture. Afle,rw'rds, Semete and L k te excr ange - oles and epeat the

- eepi _g I

~ .

zen _' - u _ac ' . ,e ~ I 1

At the same tim. h - utte the' iai level 'blow with ,-. i right fisr.

..

) ...

aims a . i dle

"'

prac ice.

Fig. 78

URA- 0- 3. Chudan-tegatana-uke-chudan.-nukite (middle level edge-of-the~hand defence +middle level finger-tip thrust)

. t the . .. epa rat . [y word or command S . nete ro the r uter hachijitach] posture wi hdraws his r ght foot a pace to the rear and assumes tbe left nkut .. ac i posture. ., is left .... t i . oised for a

Ukete withdraws his right foot a pace to the rear, assurn s the right kokutsutacbi posture and with a left tegat, na slannng ou ards, eps asid his opponen 's right /rist (fig.. 78).

(2) At the word of command Sernete assumes the . arne post re.

Ukete rlax s his left teg '. Ina, ell C res his fingers and bring be h! ,'. to hi t t iin ..•. t h sa 'ti opening his right fist h thrusts , t hi S oppo rent's middle body with the finger-tips, (nukite) (fig. 79). (3) " t . he word of com and Sem ".' .. steps ba k a

pace' ith his 1ft foot and assum .. ' the right z nkutsutachi posture with his I ~ ft fist at iis left hip' and

hi ish Ii d d '1 !I' ~, I

s nght nst rca' y to I~ enver a sweeping lower level

:, ody blo ' ,~

. ala 0/ 'umi,le Ukete withdr aws his I ft foot

an issu e t e igl t· itsu ac

left's at his Ie t hip. ,i ig t ' egat'na and be sweet '. away his wri t from th in ide (fig, 80).

'81

Basic. iarate

pace to the rear .. ostue j h ,~

is opened in a oppone t's left

ig~ 80

(2) At the word of command S_··· e' t h

ae e assumes the

same posture,

r , Ukete, with his right fist at his right hip and his ~.ft ~and opc?ed, ,alms a thrust wi~h the finger tips at

~ISop~onent , iddle body utt rmg the kiai at t

s,a,.m.e ti me,. -

(1)

.,"_ At the wore of command Semele retracts his left

Foot and assumes the preparatory. ostur .

Ukete ad an. s his], f foo anI 0 as

Figl' 79

. Ukete is in the preparatory posture.

(I) '1- ne wor 0' comma ,d Semete advances his left foot a pace and, assuming the left zenkutsutachi P?s,ture with his right fist at his right hip, utters the

tal an i strikes at Ukete' ., iddle body.

preparatory postu e. . kete tb· n . XM

•

change oles .nd r 'I _~ , t ' ',ac, " , .

VR~ r ~4. Jod. n-t gatana-hara i-jod; . tsuk! (u level: ' dge-of-th -hai d S'W_I p)

(I) At the preparatory .' . rd of CD . mand Semete

steps back nac ·i, his ig toot ' assum"the eft ze ikutsutachi oosture.At he same time h . holds his right fist at his right hip and his left fist L the lowe, Ieve swee ,'ng'ositio, .

82

Basic

at

F'ig. 8,2

(2) A tbe word of com' 'and Sem _ te ass ,_ . s the same posture. With his left hand Ukete grasps his opponent's right wrist a d with a twisting action draws it tow. ds himse f. T '. en to the accompaniment of he kiai he strikes t his opponent's face or upper body with his right fist (fig. 83).

(3) At te word of com _ an Sem twit d '5 his right oot to th .' eparatory post, f.

Ukete advances his right foot, relinquishes his

left-hand grip on Se ' s ight wri ,t an s imes

the p ... p rato y . os u e

Uee itand in the preparatory posture.

,. e . t · kes .. , bie tep for ard wit. is rig t foot a .. '. u ing the i '. ht zenkutsui uc j posture witla his left fi. t at hi left tip, utters the kiai and strikes at op .. r- .'8 . .,' ". r body i is ri h ' s (ft .8 ).

;1-

i -hn - u - h i - 1.· ft J: ip anc

i PIO itic n.

,t [1- .

y

f -0 10 . 11

Fig~ 83

1) e wo d of cc -.' man .em.ete adve - C· 51 a

rit his If f lot nd 3' u es tne J :ft Z nkutsutacl i pos ure ~itb his right fist at his right hip,

Th - n t: - ring - kiai he __ ims a I low at his op-

P - - ~ I ,- t, U I I. .'~ t : r' -os his

ef pac nd assr ming the izht fudotachi

postur ewith his left fist at h is left hip,w'ar. s off his

o en IS 1 . i t with rizhtt g " 11 (fig. 8, )~

e

8

) . he ord of comn . d .'. m t ". urn . the

e~

sns h ~- -P" net ris vitl I

d a, - d - 1[\ S it t ards himself ith a - ion · , n u tteri t, ki i h strik ,,- Itl hi- lef - t (fig. -.

- ~ ,-0' imand Sen ete -,i- idr - his

- - s the preparato posture,

· s leftf --- ot) le ss 0 his hof ' on ,en s -, rist and _ ~ ~,uml,,'~_ h -' preparatory

~ .I!

- osrure,

Se, ie -- ~d

-e I e - ex "bang ~ roles and repeat

'-em" nent ,~

" _~ ,-,,'0-'. Joda -age-uke-ch danisuki (uppe level : ting defence middle le el blow)

At h reparato ' ord of command Seme e

es a _ ,P ba -~< i h IDS right foot a d, ass- mung t- e Ie -_ zenkutsutachi postur ' with ' ~ s right fist at his

right M prepa -es his, left fist for a lower le -el

Fig~ 86

~

5 - eep -, _0 ' •

te i in the p' -, parato - _ posture,

(1) . t . e . ord of command Semete steps forward '.' ith ".' ightfoo and, assu ing t. e right zei cut-

utac i re itl his left fist at his left hip, urte s t e · ai and aims a blow at Ukete s upper body with his rig t fist

. - ucet d a hi right 00 bac a pac a '

s the le . f d tachi postures his right fist at his

right hi · 'Then with he wrist of his left hand he is op on nt s right f t up ar S (jig.86).

Fig~ 87

he

B - ,ie .arate

(2), t the ord of command Se e assum the ,'t re~

i left fist a hi m ,I i " ut r t .e iair

de iver blo at met _ 's midd e ody i h hi '

right fist (fig. 87 ·

3 .t- t - ord of corn an Semet it dra i his

i ,bt " '0 th pr .parato ostun ,

Uket ad vance: his right foot a d assume- the

T' rparatory post ir . ' .t the , reparato ',' /ord of come ~ _ . hdrt ~ h ~ eft' 00'" a pac'_ a,n',

assum -~ _ e ri ' zcnkut: uts chi pas ure, his left 'fist a- his left hip a dhis right fist read,' for a sweeping

1 " 'er 1 I b, 0 ~

Uket -~' in e prepan to posture.

(1, ::- t the "Of' of com' 1 _ t ,00 a pac " a ,d assi

',lg - t

9 , advances his out .tachi

II

) e a.

Fl,gi 8

eu steps hac, a' a, d e

fudo ac · POSI U' his eft' 'a, ip, a

the '\ rist of his " ght fist e knoc r ',' his oppo le 't ha d up -', ards (fig. 8, : ·

2 ' re or of co a d

same osture,

Ukete with hi' right fl' at his' ight hip uu r the

iaia d ikes me e's n iddle bo > with · 1 ft

fis . '89 ~

..

, g

-I, h

ent

, 3 "t t .e vord of command Se ete ',' -ithdra s his left oot to he ire araro posu

90

9

Kula of -

Ukete steps forward. with his left foot and re surnes the pre .. , ratory pos ure.. t t e los;' f thes ., '. r ov ~

ments mete an Ukete exc ange roses s before and repeat the practice twice.

UltA- .. 10-16., JodanMuc,kiko'mi-chuda,ntsuk,i (upper level strike-i - ~.- idd I.' level bow)

At the preparatory wore or comn and Semete from' he outer hachijitachi posture draws his right ~ 00 back a pace, nd assumes the left z .. nkutsutac ri posture, '. is right ist at ,. is rig. t hip and his left fist poised for a sweeping lower level blow.

kill II h

U ete is In t . e preparai 0' y posture.

(I) At the ': ord of comman . '. Semete adva cea a pace

ith .l is, right foot and assumes the right zenkutsutachi posture" his left fist at his left hip, Then uttering the kiai he st ikes at Ukete's upper body with his right fist,

Ukete step's back with his right foot and assumes he left fudotachi posture, his right hand at his right -.p~' hen raising his left hand high be strikes, down hi s opponent's wrist with the side of his fist or 'with his own wrist obliquely from above (fig~ '90)~

'2) At tl e won of' command 'Semele, resumes his, posture.

Ukete with his. left fist at his left hip, utters the kiai and strikes at his opponent's midd e body with his .ght 1 tfig. 91).

(3/ At the word of command Semete retracts his right foot and assumes the preparatory posture.

Ukete advances his right foot a. d resumes tl e

Fil:. 90

9·

preparatory posture. A h preparatory word of

omm nu Serm ,.' . 'i hdr i·: his ft foc t an.

~··'uml; .' th "hi Z ·.ll sun . j . stu ., :i' I. ft '," - .

his lcf hip, and at t te 881m time pois s his right fist for .",~ ung I" r le 1.1 hi w~

'. _ is in t h ,~, r .: r . _ t. . , P ~ 5, _ U· , •

I) ,·t the , .' rd ofcr -mmand Semete .. ' ,··.S forward . nd, assuming th I_',ft zenkutsutachi posture witb hi, righ fit at is risht hip, he utte '" the kiai ad

!Ok' , b .. , 1 hi I .

> n·'· ,S -:-' ',' S U', er ,0 Y It ,'"IS, . J1 nst.

Kala of Kumite

, .acki g h,

..

1_ a

93

do " ag ins is, 0 po

Ian: i iri . fig I! 3 ~

(2) At the wo of command

etc resum s his

posture. k t it · righ t .' :

. i i a ~ s rik .1 t Semete mi fist (fig I 94),

i hip u S le bo y it. I left

Fi. 9]

(J) . t the . or. of com ms nd Seme te draw s back his

left ~ 'lot to . h . 'rara'Y post ·

U . t ad I 11 ~ roo - .' _e p

. ost -r . ~ Semen and '_ " th ".n rep at the pra tic ~ . , t th end - -, e demon tr tion .... m te

face .;'. the _' dill c 'n a t th .

Fig,. 92

atory '.' and

s

take a b k d

. c·'" . a -- S and .. sume 'e,

" ot'ch~ 0 ture. Til n rai ing his right

I 11 I e b rig t t . ~ d ." · - ;0

1. 51 0 11.5 st or I Ijs ris

·a .. ge

'. kete cd

BI. sic Karate

· · the pr,escribd ' , ,n er, turn ,0 . he

after s ut g r t

shrine d I be ,,' at', in ch "of '" 0 rra 0

and rep a the alut tion. ", . , ·

Zeal,u'" practic of these YakU3?ku Kumite will

ena le ou 0 un or tand h. mean g " nd ,puose

~ 11 ... U I'" ~. Th· e . ~ mr e kata a,re of course

01 a .,.:c " I . IJ .. ..-

design ° d to train you to rna e yo~r bod,Yso aSD ~ ready fo ,,' gem .i n ," emerg '" Dey 1'0 Whl.cb your life

miaht, threa ' ed. Teor fo ,'ng_ ~r epts

- h 0: ld t erefo e, be borne in min : (I) Since he

s .. au '. " . d'li III

Kumite Kata are intended to apply to real ccn mons

" ou sho ,'I r dy the ti t 'at spirit. (2) If you teat them in a frivolous moo you will run the I isk of injury. (3) When you attack your opponent do s,o

vith the utmost intensity of purpose.In other words, without a tualLtrilting, do not pull puncl es, You must remain unperturbed if your oppon,ent,beats off your attack, concentrate your strength and when, it is yot tum to act as defender, hen ho ever powerful t ie attack, you s auld me et it fully confident in your ability to ward it off. (4) The Ten-no-Kate just descril ed are practised as two movements of defence and a .tac ' in each case but as you become sore proficient you should p .actise them as a single movement. At the instant of defence your countera ack · ould a r .ady be delivered, the two a,ctions m st a "pear to the eye to be rnerg d into one,

In addition t.o the Yakusoku Kumite, karate iz ., t iree other classes of kumite 'from which

, - e . 110 - ing ,. f exa' ales lust s ce :

... ala of Kumite 95

TAN IKJ .r MIT' (i ple umite

Kata) " ( ,A'·' , f Ith i ight

fist. 'steps a a "to h rear It - is igh foot and as he do s so his left fist, moving stro gly do " wards

-om .. bo e, bllocks' , ~ g - m d e

sim I, aneo ~ slv s r ikes a " · ddl body _" h his

right fist. As this defence is executed f om h" inside it is ~nown as he inne - efence, or uct "- ke. (2) lA' aim a blo ',' 'B's' face wi h · righ ' :."

steps back wit . his left foot and holds his righ ' st in the jodan-uke, 0 upper evel defence, and simultar eo sly' stri ces a_ 'A-, - armpi ' i hi. left fis . As

this defence is executed 'rom the' i eetio 0 A's' outer body it is known as the outer-defence, 0 sotouke, ·'A' in his turn attacks with hi eft fist, and 'B' steps back Ion his righ .1 =g a, d . ffects a _ 0 ter defence with his le t fist. The re, ationship bet een hand and leg corresponds respectively to that between the middl ' level defence (chu an-uke) and the lower level defence (gedan .. uke). I is imperative that all these movements should be practised by both partners, with exchange of role's, u til mas ery of 'hem has been achieved,

FUKUSHIKI KU . ITE KATA (Double Kumite Kata), 'A' attacks 'B' and 'B' defends himself land counter-at a'c s. 'A in his tu nards off this attack and again - tacks . In this 1t ay atta .'. defence and counter-attack are repeated several times until I eventually, action and re'- ction - come almos reflex, Th re are variatior .. of this . u ite

94

96a, ic .' a, ate

involvmg morecomplicated and i cu - OV'I e I

. ': U ".' . M (I e or o. est Ku it -). n t

kumite the partners freely' apply both d fe sive and offensive techniques a though engs ged in actual comba '. "h greatest care must be take to alt the blow 0 - tick beforeit actually touches the par ner, otherwise there would be a grave risk of serious injury, - or this reason it is not a visable for novices to engagein liyu Kumite Kata un il their teachers are satisfied that they have acquired a suffic ient degree of' skill and cent '01. AnL under DID circumstances should they be practised outside of a re-

~ d K tell b !Ii h t ii, ill b

cogmsec xara e .\'ID. or WIt ou supervrsron by a

master,