BEST KARATE SERIES

BASICS KATA ADVANCED KATA

1. Comprehensive 5. Heian, Tekki 9. Bassai Sh6, KankIl "

Chinte
2. Fundamentals 6. Bassai, Kanku
10. Unsu, Sčchin, Nljll illIl I
3. Kumite I 7. Jitte, Hangetsu, Empi
11. Gojushiho Sh6, 0111 iti
4. Kumite II 8. Gankaku, Jion ho Dai, MeikyO

All the basic points of karate arranged systematically for effective Il 1111111 I
step by step-the parts of the body used as natural weapons, the \1111 t .
how to block, how to attack, introduction to the kata and to kumitn III
fundamentals as presented in this volume, briefly but accurately, are tiH) iii n
tillation of the author's forty-six years' experience in this art of self-d II II t

Masatoshi Nakayama carries on the tradition of his teacher, Gichin 1111111

koshi, the Father of Modern Karate. Long professor and director of phy' 11.111
education at Takushoku University, his alma mater (1937), he was chi )1 III
structor of the Japan Karate Association from 1955 until his death in 1 fi /
Aninth degree black belt and a familiar face at tournaments, he was amoIII
the first to send instructors overseas and to encourage the developm III III
i_.
~
ul
karate as a sport along scientific lines.
r6
"Recommended for the person who
ISBN978-0-87011-317-8 U $111111
wants to find out what it's all about."
The Japan Times 51 I 111

ISBN978-4-7700-0608-0
C2375 V2000E
:€:iiHi:*f*2000fIl (~~~IJ)
KARATE~
Comprehensive
[Link]

KODANSHA INTERNATIONAL
Iokvo- New York· London
 CONTENTS

Introduction 9
Basics 13
Natural Weapons: Use of the Hands and Arms, Use
of the Feet and Legs, Stances, Foot Movements,
Preparatory Exercises
Principles 47
Training 53
Basic Techniques: Hand and Arm Techniques, Foot
and Leg Techniques
Kata 93
Kumite 111
Karate-do 129
Historv. Contests. Makiwara, Vital Points
Glossary 142

Front cover photo by Keiza Kaneko.

Distributed in the United States by Kodansha America, LLC, and in the
United Kingdom and continental Europe by Kodansha Europe Ltd.
Published by Kodansha International Ltd., 17-14 Otowa 1-chome,
Bunkyo-ku, Tokyo 112-8652.
Copyright © 1977 by Masatoshi Nakayama.
All rights reserved. Printed in Japan.
ISBN 978-0-87011-317-8
ISBN 978-4-7700-0608-0 (in Japan)
LCC 77-74829
First edition, 1977
2019181716151413121110 403938373635343332

[Link]
 INTRODUCTION

The past decade has seen a great increase in the popularity

of karate-do throughout the world. Among those who have
been attracted to it are college students and teachers. artists.
businessmen and civil servants. It has come to be practiced by
policemen and members of .Japan's Self-defense Forces. In a
number of universities, it has become a compulsory subject.
and that number is increasing yearly.
Along with the increase in popularity, there have been certain
unfortunate and regrettable interpretations and performances.
For one thing, karate has been confused with the so-cal led
Chinese-style boxing, and its relationship with the original
Okinawan Te has not been sufficiently understood. There are
also people who have regarded it as a mere show, in which two
men attack each other savagely, or the contestants battle each
other as though it were a form of boxing in which the feet are
used. or a man shows off by breaking bricks or other hard ob-
jects with his head. hand or foot.
If karate is practiced solely as a fighting technique, this is
cause for regret. The fundamental techniques have been
developed and perfected through long years of study and
practice. but to make any effective use of these techniques, the
spiritual aspect of this art of self-defense must be recognized
and must play the predominant role. It is gratifying to me to see
that there are those who understand this. who know that
karate-do is a purely Oriental martial art. and who train with the
pro per attitude.
To be capable of inflicting devastating damage on an oppo-
nent with one blow of the fist or a single kick has indeed been
the objective of this ancient Okinawan martial art. But even the
practitioners of old placed stronger emphasis on the spiritual
side of the art than on the techniques. Training means training
of body and spirit. and, above all else. one should treat his oppo-
nent courteously and with the proper etiquette. It is not enough
to fight with all ones power; the realobjective in karate-do is to
do so for the sake of justice.
Gichin Funakoshi, a great master of karate-do, pointed out
repeatedly that the first purpose in pursuing this art is the nur-
turing of a sublime spirit. a spirit of humility. Simultaneously,
power sufficient to destrov a ferocious wild animal with a single

9
hlow II( uld b( ti V 1)1 1. 1 tru r II w r rl Ir III WHA KARAT -DO IS
lipo ibl only wil n n lt ins porf etion in thes tw
spects. the one spiritual, the other physical.
Karate as an art of self-defense and karate as ameans of im-
proving and maintaining health has long existed. During the
past twenty years, a new activity has been explored and is com-
ing to the fore. This is sports karate.
ln sports karate, contests are held for the purpose of deter-
mining the ability of the participants. This needs emphasizing,
for here again there is cause for regret. There is a tendency to Deciding who is the winner and who is the loser is not the
place too much emphasis on winning contests, and those who ultimate objective. Karate-do is a martial art for the develop-
do so neglect the practice of fundamental techniques, opting ment of character through training, so that the karateka can
instead [Link] jiyO kumite at the earliest opportunitv. surmount any obstacle. tangible or intangible.
Emphasis on winning contests can not help but alter the fun- Karate-do is an empty-handed art of self-defense in which
damental techniques a person uses and the practice he engages the arms and legs are systematically trained and an enemy
in. Not only that. it will result in a person's being incapable of attacking by surprise can be controlled by a demonstration of
executing a strong and effective technique, which, after all. is strength like that of using actual weapons.
the unique characteristic of karate-do. The man who begins Karate-do is exercise through which the karateka masters all
body movements, such as bending, jumping and balancing, by
jiyO kumite prematurely-without having practiced funda-
learning to move limbs and body backward and forward, left and
mentals sufficiently-will soon be overtaken by the man who
has trained in the basic techniques long and diligently. It is, right. up and down, freely and uniformly.
quite simply, amatter of haste makes waste. There is no alterna- The techniques of karate-do are well control led according to
tive to learning and practicing basic techniques and move- the karateka's will power and are directed at the target accurate-
ments step by step, stage by stage. Iy and spontaneously.
If karate competitions are to be held. they must be conducted The essence of karate techniques is kime. The meaning of
under suitable conditions and in the proper spirit. The desire to kime is an explosive attack to the target using the appropriate
win a contest is counterproductive, since it leads to a lack of technique and maximum power in the shortest time possible.
seriousness in learning the fundamentals. Moreover, aiming for (Long ago, there was the expression ikken hissetsu. meaning
a savage display of strength and power in a contest is totally "to kill with one blovv." but to assume from this that killing is
undesirable. When this happens. courtesy toward tne opponent the objective is dangerous and incorrect. It should be remem-
is forgotten, and this is of prime importance in any expression bered that the karateka of old were able to practice kime daily
of karate. I believe this matter deserves a great deal of reflection and in dead seriousness by using the makiwara.)
and self-examination by both instructors and students. Kime may be accomplished by stri king, punching or kicking,
To explain the many and complex movements of the body, it but also by blocking. A technique lacking kime can never be
has been my desire to present a fully illustrated book with an regarded as true karate, no matter how great the resemblance
up-to-date text. based on the experience in this art that I have to karate. A contest is no exception; hovvever. it rs against the
acquired over a period of forty-six years. This hope is being rules to make contact because of the danger involved.
realized by the publication of the Best Karate series, in which Sun-dame means to arrest a technique just before contact
earlier writings of mine have been totally revised with the help with the target (one sun, about three centimeters). But not
and encouragement of my readers. This new series explains in carrying a technique through to kime is not true karate, so the
detail what karate-do is in language made as simple as possible. question is how to reconcile the contradiction between kime
and I sincerely hope that it will be of help to followers of karate- and sun-dame. The answer is this: establish the target slightly
do. I hope also that karateka in many countries will be able to in front of the opponent's vital point. It can then be hit in a con-
understand each other better through this series of books. trolled way with maximum power, without making contact.
Training transforms various parts of the body into weapons to
be used freely and effectively. The quality necessary to accom-
plish this is self-control. To become a victor, one must first
overcome his own self.

10 11
 1
BASICS

Above: Officials of the International

Amateur Karate Federation at the world
tournament. Los Angeles. U.S.A.. 1975.

[Link]: The honorary president and the

chairman of the Karate-do Institute of
Indonesia. 1974. (Gen. Surono and Mr.
Sabeth. respectively)

[Link]: Karate-do competitors. Denmark.

1975.

12
NA URAL W APON
u H HAND AND ARM

The weapons of karate-do are various parts of the human

body. Every part that can be effective in defense or offense is
used. It is in this respect that karate-do is different from the other
martial arts.
Systematic training is the only way to develop weapons that
will be ready for use at any time. in any place. in any situation.
It is most important that training of every part of the body be
continuous and methodical. Intensive training alone is not ade-
quate to convert the parts of the body into powerful weapons.

Making a Fist

The two ways of using the hand are (1) open and (2) closed.
There are six types of fists (ken) and eleven types of open-
hand (kaish6).
To make a fist. start by folding the fingers so that the tips
reach only to the base of the fingers. Then continue to fold the
fingers inward until the tips are pressed tightly into the palm.
Press the thumb firmly over the second joints of the index and
middle fingers. The little finger is apt to become weak and re-
laxed. so it is necessary to be careful about keeping it pressed
ftp i tightly against the palm.

"1 -
" A second way. not used much nowadays. is to first fold the
middle. ring and little fingers. then press the index finger slant-
wise over the middle finger. This has fallen into disuse because
of the difficulty of getting used to it and the tendency of the
little finger to become relaxed.

15
14
 VlO'

Kentsui Hammer Fist

Seiken Fore-fist
Attacks to the body are delivered with the bottom (littie
The knuckles of the index and middle fingers are used to
stri ke the target. The wrist must be kept tense and unbent. the fi nger side) of the fist.
back of the hand and the wrist forming a straight line. The Other names for this fist are shutsui (hammer hand) and tettsui
primary use is in the thrust punch (tsuki). All the power of the (iran hammer).
arm must be concentrated and flow in a straight line to the
knuckles.

Uraken Back-fist Ippon-ken One-knuckle Fist

The back of the hand and knuckles of the index and middle With the middle, ring and littie fingers the same as in the
fingers are used primarily for striking (uchi) . Using the spring- fore-fist. the middle knuckle of the index finger is extended and
like power of the elbow, strikes are made in a sideward or ver- the thumb pressed against it. The bridge of the nose, the point
tically rising movement. Targets are primarily the opponent's just below the nose and the space between the ribs are the
face or the side of his body. usual targets for this fist.

16 17
 YI' f Op 11 H nd
xt nd fin rs of th op n-hand (kaish6) must be
Ir d tightly together, and the back of the hand and the wrist
must form a straight line. The thumb is bent and held tightly
against the palm, It is important that the base of the thumb
should not be deeply bent.

Nakadaka-ken Middle Finger Knuckle Fist

This resembles the tore-fist. but the middle joint of the

iddle finger is extended and the index and ring finqers are
~r'essed tightly against the middle finger. The thumb presses
against the index and middle fingers. Primary targets are the
bridge of the nose, the point below the nose and the space be- Sbutč Sword Hand
tween the ribs.
This fist is also called nakadaka-ippon-ken (middle finger With the fingers straight and tight together, the outer edge of
the palm is used like a sword, either to block or attack. Targets
one-knuckle fist).
include the temple. the carotid artery and the ribs.

Fore-knuckle Fist Haito

Hiraken Ridge Hand
The fingers are bent until the tipsjust touch the palm, and The form of the hand is the same as the sword hand, but the
the thumb is held tightly against the Index finqer. The knuckles opposite edge, centered on the base joint of the index finger,
are used to attack between the ribs or the pomt Just below the is used. It is used for the same purposes as the sword hand.
nose.
19
18
 f th Op n H nd

Haishu Back-hand
Teish6 Heel of the Palm
The whole surface of the back of the open-hand may be used
to stri ke, but for the most part it is used in blocking. This is formed from the open-hand by bending the wrist back
fully. It is useful in sweeping an opponent's attacking arm to
one side or downward. In attacks. it is very effective for strikes
to the jaw.

,
YI

J
Spear Hand
Nukite
The fingers are tense. with the tips slightly bent. In either a SeiryDt6 Ox Jaw Hand
sideward or arising motion, an attack can be made to the ribs.
By bending the hand sideways, the edge of the palm and the
side of the body, solar plexus or the point below the nose.
wrist co me to form a curve. Then the palm be low the little
Only two fingers can also form a spear hand, the middle and
finger can be effective in blocking the opponent's forward
index fingers, or the index finger and thumb. In this case it is
thrust or in attacking his face or collarbone.
cal led two-finger spear hand tnihon nukite).
21
20
 Bear Hand Keita Chicken Head Wrist
Kumade
The fingers are folded so that the tips just touch the palm. The hand is bent outward, with the thumb bent at the joint
The thumb is also folded. The entire surface of the palm is and the finqers flexed. The striking surface is the thumb from
directed in a powerful attack against the face. its base to the' knuckle. It can be used effectively against the
opponent's attacking arm or his armpit.

Kekuto Bent-wrist
Washide Eagle Hand
By bending the hand inward to the fullest extent the wrist
The tips of the fingers and thumb are brought together so as
can become a powerful weapon. It can be used against the
to resemble a bird's peak. They are then used for attacks to the
opponent's punching arm or to stri ke his armpit.
throat or other vital points.
23
22
 u o H AND L s

,
Ude Arm

Blocking is the most important function of the forearm. All

four surfaces are used: inner side (naiwan), outer side (gaiwan),
upper side (haiwan) and lower side (shuwan).
Koshi Ball of the Foot
The forearm is also referred to as want6 (sword arm) and
shub6 (stick arm). The toes are turned upward to the maximum extent possible.
and tension is kept in the toe joints and the ankle. Kicks are
directed to the jaw. chest. stomach, groin and so on.
Another name for this weapon isj6sokutei (raised sole).

Hiji or Empi Elbow

Powerful blows with the elbow can be delivered to the face,

chest. side of the body and so on. The basic types of attack are
the forward elbow strike (mae empi-uchi). upward elbow
Sokuto Sword Foot
strike (tate empi-uchi), back elbow strike (ushiro empi-uchi),
roundhouse elbow strike (mawashi empi-uchi) and downward With the toes curled upward and the ankle fully bent, the
elbow stri ke (otoshi empi-uchi). outer edge of the foot is used for the side kick.

24 25
Kakato Heel Tsumasaki Tae Tips

The heel is used for back kicks. The tae s are kept tightly together, and kicks are made with
It is also called ensh6 (round heel). the tips. Primarily this is used against the midsection.

Haisaku Instep Knee

Hizagashira
With the ankle stretched, the foot and toes are bent fully Like the elbow, the knee is most useful when the op po nent
downward. The instep is particularly useful for kicks to the is at close range. Targets include the groin, the side of the body
groin.
and the thigh.
As a weapon, this is also known as shittsui (hammer knee).

26 27
STANCES

Fundamental to the improvement of ones karate technique

is the acquisition of correct and balanced form.
Stence. as a term, must be thought of with regard to the
lower part of the body. For techniques to be fast and accurate.
powerfully and smoothly executed, the stance must be strong

,
and stable.
At all times, the upper part of the body must be kept per-
pendicular to the ground and the hips level. The joints should
not be overly tense. no more strength than is necessary should
be used in excuting a technique, and it is desirable that the
stance be relaxed.

Musubi-dachi Informal Hachinoji-dachi

attention stance. toes out Open-Ieg stance

\ I
Uchi-hachinoji-dachi Heiko-dachi ParaIlei stance
Inverted open-Ieg stance

Shizen-tai Natural Position

ln the natural position, the body is relaxed but in a state of
alertness, ready to cope with any situation. The knees must be
relaxed and flexible at all times, so that one can shift instantlv
to any defense or attack position.
The position of the feet varies in the several forms of the
natural position, but the principle of alert relaxation remains the Teiji-dachi T stance Renoji-dachi L Stance
same.

28 29
 Center of gravity

Plumb line from knee

-l t Con'" of gm,;,y

Plumb line from knee

Zenkutsu-dachi Front Stan ce

The back leg is straight the front leg is bent so that the knee Back Stance
K 6kutsu-dachi
is directly over the foot. and the hips are lowered. The back
must be kept directly over the hips and perpendicular to the The feet are spread apart with the knee of the back foot bent
ground. Face directly forward. The distribution of weight be- and the front leg stretched lightly forward. The hips are lowered.
tween the front and rear feet is in the ratio of 6 to 4. and the back is kept straight in a half-front-facing position. The
ln the hanmi (half-front-facing) variation of this stance. the distribution of weight between the front and back feet is in the
torso is at a 45 o angle to the front. with the head facing forward. ratio of 3 to 7.
This is a strong position for attacks to frontal targets. This stance is effect ive for blocking frontal attacks.

30 31
 Center of gravity
I ®
Center of gravity

• Plumb line from knee

Plumb line from knee Plumb line from knee Plumb line from knee

Sanchin-dachi Hourglass Stance

Kiba-dachi Straddle-Ieg Stance The feet are spread to the sides. with the front foot slightly
forward. Both knees are bent and turned inward. The lower
When the feet are spread to the sides. the heels must be kept
abdomen is tense. and the upper body straight and perpendicu-
on a straight line and the weight evenly distributed between
lar to the ground. If the feet are too close together or the knees
the two feet. The hips are lowered directly downward, the back
bent too much inward. stability will be impaired and flexibility
is straight and perpendicular to the ground, and the body faces
last.
directly forward.
This is astrang stance for executing techniques either to the
The straddle-Ieg stance is basic in the acquirement of stable
front or rear or to the left or right. particularly defensive tech-
posture and in the training of the legs and hips. It is effective for
niques.
attacking targets to the left or right sides.
33
32
 .~
I'lumb Ime
from knee

Center of
Center gravity
of qrevitv

Plumb line
from knee

Shiko-dachi Square Stan ce Fud6-dachi Rooted Stan ce

This is like the straddle-Ieg stance except that the feet are The knees are fully bent as in the straddle-Ieg stance. but the
outward at 45° angles and the hips are lower. position of the feet is different.
Like the straddle-Ieg stance. it is good for training the legs This is a strong position from which one can block an attack
and hips and is a strong position for carrying out offensive and immediately go on the offensive.
techniques to the sides. It is also known as s6chin-dachi.

~
Center
of gravity

Hangetsu-dachi Half-moon Stance Neko-ashi-dachi Cat Leg Stance

This stance resembles the front stance in the placing of the With the front knee turned slightly inward and the heel
feet and the hourglass stance in the turning inward of the knees raised, most of the body weight is supported by the rear leg, the
and in other points. It may be regarded as being halfway be- knee of which is also bent. The rear foot is pointed diagonally
tween the two. forward.
Itis effective in both defense and attack, but tends to be used From this stance. one can quickly move out of range of an
more for defense. attack and immediately counterattack.

34 35
 nln Ir
Sbtzon-tst hschtnoji-dschi
Open-Ieg stance

Migi kiba-dachi Right straddle-Ieg stance Hidari kiba-dachi Left straddle-Ieg stanco

Hidari zenkutsu-dechi Left front stance Hlght back stance diagonally to the rear

Right back stance to the rear Left back stance to the rear
Migi fud6-dachi Right rooted stance Hidari fud6-dachi Left rooted stance

Shizen-tei Natural position

36 37
FOOT M OVEM ENTS Advsnclnq end R tre tln

39
 PAHA o v X
By oneself

40 41
WI1I1 1I rtu r

42 43
U ln qulpm nt

44 45
 2
PRINCIPLES

Salvador, Brazil, 1975.

Dčjč of the East Coast Karate Association, United States.

46
PRINcIPL~ o KARA CHNI U II 11/1

(JII l lorm is alw ys closely related to the principles of

phv I nd physiology.
The basic techniques of blockinq, punching, striking and ln baseba!l. the homerun hitter always has excellent form.
kicking are both the 'beginning of karate-dč and the ultimate And the beauty of the master fencer's form nears perfection.
gaal. Although onlyamatter of months may be sufficient to These are c1early the result of long practice and soundly based
learn thern. complete mastery may not co me even after a lifetime training.
of training. The student must practice regularly, with maximum Prerequisites of correct form are good balance. a high degree
concentration and effort in the execution of each and every of stability and the order of movements of each part of the
movement. body, since movements are made in quick succession in a
This will not be sufficient. however, unless the techniques are short period of time.
scientifically sound and the training systematic and properly This is especially true in karate because punching and kicking
scheduled. To be effective, training must be conducted on the are vital to the art. The need for good balance can be seen
basis of correct physical and physiological principles. particularly in kicking, where the body is usually supported by
It may come as a surprise to many to know that the techniques one leg. To withstand the great impact when a blow is landed.
created and refined through long and continuous practice by stability of all joints in the arms and hands is necessarv.
the early karateka have been found to accord with modern With changing situations and different techniques, the center
scientific principles. And the more they are studied, the more of gravity changes, shifting to the left. right. front. back. This
this proves to be true. This is not to say that there are no un- cannot be dane unless the nerves and muscles are welltrained.
solved problems. but these must await further study. Further Again, standing on one foot for too long will open one to
refinement of karate-do is quite probable, as techniques are attack, so balance must be constantly shifted from one foot to
analyzed in an unceasing effort to improve them through a the other. The karateka must both avoid giving an openingand
scientific approach. be prepa red for the next attack.
ln order to benefit from his training, the student should have
a good understanding of the following primary points.

48 49
P w r nd p d itn 1/ /lllIlIlfI (f Mu ulnr w r
Power accumulates with speed. Muscular strength alon will JII I , l ln in r lheory nd principles without strong, well-
not enable one to excel in the martial arts. or in any sport for li JII1 stic muscles to execute the techniques is useless.
I
that matter. The power of the kime (finish) of a basic karate Str ngthening muscles requires constant training.
technique derives from the concentration of maximum force at It is also desirable to know which muscles are used in which
the moment of irnpact. and this in turn depends greatlyon the techniques. To the extent that rnuscles are used specifically,
speed of the blow or kick. The punch of a highly trained greater effectivess can be expected. Conversely, the less muscles
karateka can travel at a speed of thirteen meters per second and are used unnecessarily, the less the loss of energy. Muscles
generate power equivalent to seven hundred kilograms. operating fully and harmoniously will produce strong and effec-
Though speed is irnportant. it cannot be' effective without tive techniques.
control. Speed and power are increased by utilizing the pairing
of forces and reaction. For this purpose, an understanding of Rhythm and Timing
the dynamics of movement and their application is necessarv.
ln any sport, the performance of a top athlete is very rhvth-
rnical. This applies also in karate.
Concentration and Relaxation of Power
The timing of various techniques cannot be expressed mu-
Maximum power is the concentration of the strength of all sically, but it is nonetheless important. The three principal
parts of the body on the target, not just the strength of the arms factors are the correct use of power, swiftness or slowness in
and legs. executing techniques and the stretching and contraction of
Equally important is the elimination of unnecessary power muscles.
when executing a technique, which will result in giving greater The performance of a master karate ka is not only powerful
power where it is needed. Basically, power should start at zero, but very rhythmical and beautiful. Acquiring a sense of rhythm
climax to one hundred on irnpact. and immediately return to and timing is an excellent way to make progress in the art.
zero. Relaxing unnecessary power does not mean relaxing alert-
ness. One should always be alert and prepared for the next
movement.

50 51
Hip
he 11 ips ar locat d pproxim l Iy at th center of the hum n
body, and their movement plays a crucial role in the execution
of various types of karate techniques. The explosive power of
the finishing blow is created by the lower abdomen, particularly
the rotation of the hips. which adds to the power of the upper
body.
3
Besides being a source of power, the hips provide the basis
for astable spirit. correct form and maintenance of good balance.
ln karate, the advice is often given to "punch with your hips."
"kick with your hips." and "block with your hips."
TRAINING
Breathing
Breathing is coordinated with the execution of a technique,
specifically, inhaling when blocking, exhaling when a finishing
technique is executed, and inhaling and exhaling when succes-
sive techniques are performed.
Breathing should not be uniform; it should change with
changing situations.
When inhaling, fill the lungs full, but when exhaling, do not
expel all the air. Leave about 20 percent in the lungs. Exhaling
completely willleave the body limp. One will not be able to
block even a weak blovv. rior will he be able to prepare for the
next movement.

52
 '\ 11/1••111III ! Ih lbow. /\11rr liv lik I nel 11
BA IC HNI U InIlIIIIII 11/11 III O y ow r in th 'for rm at th mom nt o'f
(11111 1. Wil n the elbow is touching the body, the power is
t' t t, but this tends to reduce the scope of the block.
HAND AND ARM TECHNIQUES p nding on the situation. the elbow should be neither too
close nor too far from the side of the body-in principle. at a
distance about equal to the width of the fist.
5. Effects of overblocking. Overblocking results in loss of
balance. loss of tension in the side muscles, reduction of body
control and difficulty in excuting follow-up techniques. It is ne-
cessary to learn the appropriate position for each blocking tech-
nique.
6. Block-attack. Besides the option of inhibiting further
Uke Blocking attacks by blocking with great force. there are several blocking
techniques that in themselves become finishing blows.
Karate differs from boxing and other fighting arts in defensive
techniques. There are many techniques for blocking kicks. and
these make use of the legs and feet as well as the hands and
arms. Karate is unique in this respect.
All blocks must be executed at the very beginning of the op-
ponent's attack. Therefore, it is absolutely necessary to antici-
pate the attack. The various purposes of blocking should be
kept in mind.
1. To discourage further attack. The use of great force can
deter the opponent from further attacks. and in this way the
block itself becomes an attack.
2. To perrv. An attacking arm or leg can be blocked lightly,
with only enough force to deflect it.
3. To block and attack. It is possible to block and coun-
terattack at the same instant.
4. To unba/ance the opponent.
5. To withdraw. After blocking, one can take a position of
safety until there is an opportunity for counterattack.
Mastery of the following points is essential to effect ive
blocking techniques.
1. Direction of power. It is impossible to block without
first having accurately assessed the path of the attack. Deflect
the stri ke or kick by blocking: from underneath upward, if the
attack is to the head or upper torso. From inside outward or
from outside inward, if the attack is to the chest. Downward and
sweeping outward, if the attack is to the abdomen.
2. Forearm rotation and timing. Merely hitting the at-
tacking arm is comparatively weak. Rotating the forearm of the
blocking arm makes the block stronger, but good timing is
critical. Egypt. 1975
3. Hip rotation. Rotating the hips is as much a part of
blocking as it is of punching. Block and finish with the hips.
withdrawing the other arm at the same time that the block is
made.
55
54
 Jčdsn Age-uke Upper Block against Head Attack

This is a basic block used to counter attacks aimed above the

solar plexus. Block upward. strongly, with the outer side of the
Gedan Barai Downward Block
forearm.
This is both a basic block and one of the preparatory posi- 1. The arms cross at chin height. the blocking arm outside,
tions in basic training. the withdrawing arm inside. Move the arms crisply and power-
Against a stri ke or kick to the abdomen or groin, use the fully, keeping the elbow of the blocking arm in a 90° ang le.
wrist in blocking downward and to the side. 2. Complete the block with the forearm about 10 centimeters
1. Use the elbow as a pivot. straighten the arm as you block in front of the forehead, fist higher than the elbovv. palm out-
in a big downward motion, and bring the fist about fifteen ward. Keep the elbow close to the body.
centimeters above the knee of the forward leg at the finish. 3. The fist is tightened at the moment of blocking, at which
2. Both forearms rotate, and the two arms should almost time the abdominal muscles should be strongly tightened. In a
touch as they pass each other. wavelike flow of power, this tension should be transmitted to
3. Against a strong upward kick. block strongly. the muscles around the arrnpit. then to the blocking arm.

56 57
Cbiiden Ude Uke Forearm Block against Body Attack
Soto-uke Outside inward
This is used against a punch aimed at the chest or face. De-
flect the opponent's arm to the side. blocking with the outer
edge of the wrist.
1. At the finish. be sure that the elbow of the blocking arm
is bent at about a 90° ang le and the forearm is almost perpendic- Chiidsn Ude Uke Forearm Block against Body Attack
ular to the ground. The forearm and the side of the body should Uchi-uke Inside outward
be roughly aligned, i.e.. avoid overblocking.
2. Fist in front of the chin. the elbow should be about ten A punch aimed at the chest or face can be blocked with the
centimeters in front of the body and the muscles around the inner edge of the wrist.
1. The path of the blocking arm is outside the withdrawing
armpit tense.
3. Bring the other arm back to the side and form a tight fist. arm.
Rotate the hips in the direction of the block, uti lizing the power 2. The other points given with regard to the outside-inward
to strike the attacking arm with great force. forearm block are also applicable here.
59
58
 Tate Shutč-uke Vertical Sword-hand Block

While sweeping the forearm from the inside outward, bend

the wrist pointing the fingers straight up with the palm for-
ward. This is useful against punches to the chest or solar
plexus. Unlike the other sword-hand block, the elbow is kept
straight.
This technique can be carried out effectively by taking a side
step or by sliding one foot forward and approaching the oppo-
nent.

Shutč Uke Sword Hand Block

This is a basic defensive technique against an attack directed

to the abdomen, chest or face. The edge of the hand is wielded
in a slantwise motion, as if the intention were to cut off the
opponent's arm.
1. The other hand, instead of being brought to the side. is
positioned in front of the solar plexus with the palm facing up-
ward. Thus it can be used immediately after the block for a
spear hand counterattack to the opponent's midsection.
2. From a point beside the ear. the blocking hand is brought
forward and diagonally downward. The blocking hand passes
over the forearm of the other hand; the withdrawing hand passes
below the elbow of the blocking arm. Kake Shuto-uke Hooking Sword-hand Block
3. At the completion of the technique, the elbow of the
blocking arm should form a right ang le, and the muscles around With the wrist bent lightly, the forearm is swung widely from
the armpit should be tensed. Take care that the arm does not go inside outward to hook-block the opponent's wrist. It is often
to far out i.e.. not beyond the side of the body. possible to grasp his wrist after blocking. As with the vertical
4. Not stepping backward or stepping straight backward will sword-hand block, this technique can be effective against an
make the block ineffective. Theretore. step back diagonally. attack from the side as well as one from the fronto

60 61
 I H nd BI ek

Haishu-uke Back-hand block

Keit6 uke Chicken-head wrist block

Te nagashi-uke
Sweeping hand block

~JP
Tekubi keke-uka
Seiryut6 uke Ox-jaw hand block
Kekutč Uke
Teish6 uke Heel of the palm block
Bent-wrist Block
Hooking wrist block A forearm can be blocked strongly with this. either by striking
upward or by deflecting it to the side.
Haishu uke Back-hand Block
Keita Uke Chicken-head Wrist Block
Using the spring-power of the elbovv. block with the back-
hand. Keep the hand and wrist straight. and concentrate power This is used to block the opponent's forearm from underneath
on the back surface of the hand. This is to counter a punch to the upward.
chest or solar plexus by hitting the opponent's upper arrn. elbow
SeiryiJta Uke Ox-jaw Hand Block
or forearm.
Other blocking techniques are: dropping block (otoshi-uke), With this. a forearm or leg is blocked with a downward swing.
sweeping back-arm block (haiwan nagashi-uke), sweeping
hand block (te nagashi-uke), pressing hand block (te osae-uke), Teish6 Uke Heel of the Palm Block
hooking wrist block (tekubi kake-uke), twisting forearm block
(maeude hineri-uke) and pressing forearm block (maeude Forearm or leg can be deflected upward. downward or from
deai-osae-uke) . one side to the other.

62 63
 KI k
w ·h na

ShČJsukui-uke Scooping palm block

_ J
~~~- ~~ Teishč awase-uke Sokutei mawashi-uke Circular so le block
Sokumen awase-uke Side combined block Combined heel of the palm block

Sokutč osae-uke Pressing sword-foot block Sokutei osae-uke Pressing sole block

, ,
I~< .. '
l ~/ Sokubo kake-uke Hooking foot block Ashikubi kake-uke Hooking ankle block
Kakiwake-uke Reverse wedge block
65
64
Att I king

Attacking with the hands or elbows is of two types: punching

(tsuki) and striking (uchi)

Tsuki Punching

Most commonly, this term refers to the straight punch (choku-

zuki) , though there are other types.
When the opponent is directly in front of you, the arm is
straightened and the target is punched with the knuckles of the
fore-fist. The forearm is rotated inward during the delivery of
the punch.
Depending on the objective-face, solar plexus or abdomen-
these techniques are known as: upper straight punch (j6dan
choku-zuki), middle straight punch (chuden choku-zuki) or
lower straight punch (gedan choku-zuki).
ln any case, for the punch to be effective, the following basic
factors must be learned and put into practice.
1. Correct route. The shortest distance is the straight-line
route. and this is the correct way to punch. At the same time
that the elbow brushes the side of the body lightly, the forearm
should be rotated inward.
2. Speed. Without great speed, the punch can not be ex-
pected to have much effect. To maxi mize speed and power.
withdraw the other arm as fast as possible. thus making use of
the pairing of forces.
3. Concentration of Power. A good punch depends on
starting from a flexible posture and keeping unnecessary
strength out of the hand and arm. Punch smoothly but speedilv.
concentrating all the power of the body at the moment of
impact. The concentration of power must be mastered. Practice
by raising the arms in front of the body, holding the fists level
with the solar plexus. and repeatedly tensing and relaxing all the
body muscles.

66 67
 M un hin J j 11/ /IIAI utlv unchlng

1111I1I,III(P Il dlv with th s m fistbybendingandextending

III II w rapidlv.
Gyaku-zuki Reverse Punch
Morote-zuki Two-hand Punch
The advanced leg and fist are on opposite sides. When the
left leg is in front. punch with the right fist. This is primarily for This is punching simultaneously with both fists. either paraI-
counterattacking after a block but is powerful only when the ro- lei with each other or one above the other.
tating hips are brought into full play. The height of the hips and
keeping them level is most important. Straightening the rear leg ,1
and shifting the pelvis and center of gravity forward slightly 1
make the punch strong.
Effective practice lies in having the rotation of the hips and
upper body lead the arm movement.

Oi-zuki Lunge Punch

From either the natural position or a front stance. move into a

front stance by sliding one foot forward. punching at the same
time with the fore-fist on the side of the advancing foot. Utilize
to the fullest the reaction from extending the supporting leg and
.11 from rotating the hips forward. The foot should be slid smoothly
and rapidly without raising the heel.
The lunge punch can be more devastating than the reverse
punch.

Nagashi-zuki Flowing Punch

This can be executed from the half-front-facing position by

stepping diagonally either forward or backward. Power comes
from the movement of the body. and it is especially effective
for a combined block-attack. nvaku-zuki Reverse punch

Kizami-zuki Jab

Without moving the front leg. jab by forcefully straightening

the arm. using the hips and rear leg for power. It can be deci-
sive. but more of ten it is used as a diversionary tactic to be
followed by a lunge punch. reverse punch or other finishing
blow.

Ren-zuki Alternate Punching

This is punching alternately with the left and right fists.

using either reverse punch or lunge punch (two or three times). Oi-zuki Lunge punch

68 69
 yp f PUI1 h

Kagi-zuki Hook Punch

The fore-fist is employed with the elbow fully bent. Targets

to the side (solar plexus or side of the body) are attacked at a
right ang le. When stepping forward and to the side for this
punch, the side muscles tend to relax. Pay special attention to
keeping them tensed.

Ura-zuki
Age-zuki
Close punch
Rising Punch

This is a punch from the hips upward. the fist following a

half-circle route. Use the fore-fist especially the knuckles of
.....
!;J
~
'
;: .J
li

.••.. •...••.....
~;I/
the index and middle fingers against the face or chin.
Mawashi-zuki Roundhouse Punch
Ura-zuki Close Punch Attack the face, side of the head or side of the body; the tore-
,1

Using the fore-fist punch straight ahead. bringing the palm fist rises from the hip in a half-circular movement. Since there is
inward or upward. Targets are the face, midsection or side of the a strong tendency for the elbow to leave the side of the body,
body. If the side muscles are not tensed. the punch will not be take care to synchronize the arm with the hip rotation and
effective. brush the elbow against the body.

70 71
Awase-zuki U Punch
Both fore-fists are used, straight punch (palm downward) to
the face, close punch (palm upward) to the abdomen. Punch Heiko-zuki ParaIlei Punch
simultaneously, straight upward, bringing the power of the This is directed against the intercostal area below the nipples.
body into full play. Using power from the body, punch straight forward with both
fore-fists hitting the targets at the same time.

Yama-zuki Wide U Punch

ln a half-front-facinq position, lower the forward shoulder.
Keep the head midway between the arms. With the elbow
slightly bent, the upper arm follows a slightly curved path to the
Hasami-zuki Scissors Punch
face. The lower arm travels a nearly straight path to the abdomen,
with the elbow in a position so that it could be braced with the From the hips. the fore-fists take a half-circle path, outward,
hip. Punch simultaneously with the fore-fists. upper palm then inward. Effectiveness will be lost if the elbows come to far
downward, lower palm upward. away from the body. Punch both sides of the opponent's body
This is a variation of the U punch. simultaneously.

72 73
Striking (I, lA, 1/ I/(!II k·fl t trik
At lil (J/ 111.11I Hemmer Flst Strike

111 J lil nap of the elbow, stri ke in an arclike path, either

ln punching, the elbow is straightened and the forearm ex- Il ri/o: l llv or verticallv. Primarily, this is for a counterattack to
tended. Striking with the hand involves bending and straighten- the face, solar plexus or side of the body.
ing the elbow. With theelbow as the pivot. the forearm moves 1. Use the elbow like a spring. The fist must be tightly
as though one were drawing sernicircles. but swiftly and clenched. and to the maximum extent possible. reduce strength
forcefully, rnakinq full use of the snap of the elbow. from the elbow.
Both the fist and the open-hand are used, as in the back-fist 2. In a horizontal stri ke (yoko mawashi-uchi), the forearm
strike (uraken-uchi), hammer fist stri ke (kentsui uchi), sword is paraIlei to the floar. In avertical stri ke (tate mawashi-uchi),
hand strike (shut6 uchi) and so on. it becomes perpendicular to the floar.
The elbow can also be used to stri ke. The arm is fully bent 3. It is absolutely necessary that the elbow point in the
and the elbow is aimed at the target. This is especially valuable direction of the [Link] snap. effectiveness depends on
for fighting at close quarters. when freedom of movement of the the path of the fist being correct and the length of the arc
arrns. legs or body has been lost. or when you are grasped reaching its maximum.
from behind.
The important point in stri king is the use of the snap of the
arm. There should be no strength in the shoulder, and the fist or
fingers of the open hand should be tightly closed. Strike in a
wide curve with maximum speed.

74 75
Urok n·uchl yokomowo iii
IIJII If, ll: w trik
Side roundhouso b ek - fi st
III flW trlk c n bo m t th front. b ck or sides-rising.
strike
1111111 I lurning to the side-when movement of the torso is
I trlc: d. you are grasped from behind. or the opponent has
rabbed your arm.
Of course. they differ from hand strikes; they should be re-
garded as ate-waza. i.e.. smashing techniques. They are also
known as empi uchi (elbow strikes).
The following points are the important ones:
1. Although effect ive as a counterattack at ciose range. it
is a mistake to aim at a target verv far away.
2. Keep the upper body erect and use the rotation of the
hip. If the torso is off the perpendicular. the strike may not be
ineffective. but it will give the opponent the advantage.
3. Not keeping the fist and forearm close to the body will
weaken the stri ke. Brush the arm against the body as it moves.
4. Effectiveness and power co me from rotating the forearm
and bending the elbow deeply.

Kentsui-uchi hammer-fist strike

oO il'..
Mae h/ji-ate Forward elbow strike
Tate hiji-ate Upward elbow stri ke

Yoko mawashi hiji-ate

Side roundhouse elbow strike
Yoko hiji-ate Side elbow stri ke

77
76
Mae Hiji-ste Forward Elbow Strike
Ushiro Hi}i-ate Back Elbow Strike
For a stri ke with the right elbow, the right fist comes from the
right hip to the left nipple, always touching the body. The Attack directly to the rear with the elbow, strongly and de-
forearm too should be kept as close to the body as possible. cisively. It is important that the fist come to the side of the body.
This is for attacking the chest or abdomen of a frontal target. Targets are the opponent's chest or midsection, particularly
especially if you have been grabbed from the front. when he attempts to grab you from the rear.
It is a!so cal led mae empi-uchi. This is also cal led ushiro empi-uchi.

Yoko Hi}i-ate Side Elbow Strike

Keeping the forearm close to the chest. so that it brushes the Yoko Mawashi Hiji-ete Side Roundhouse Elbow Strike
nipples. move it in a perfectly straight line in the direction of
attack. Use the power of the body. This is a counterattack made after disposing of a frontal
This is a counterattack especially useful when you are attack. For a right elbow stri ke, the right fist is placed in front of
grabbed from the side or when the opponent attacks from the the right nipple; stri ke strongly, coordinating the elbow with
front. then moves to the side. Targets are the chest or the side of the rotation of the hips and the forward movement of the body.
the body. The target is the side of the face or chest.
It is also cal led voko empi-uchi. This is also cal led yoko mawashi empi-uchi

78 79
Tate Hiji-ate Upward Elbow Strike Otoshi Hiji-ate Downward Elbow Strike
To be effect ive, the forearm must be kept close to the body as Immediately after the opponent is thrown or pulled downward,
it is raised into a vertical position, and since the upper body stri ke from above not with the elbow but with the force of the
tends to twist care must be taken to rotate the hips in a plane whole body. The forearm must be kept vertical as the hips are
parallel to the floor and to keep the torso perpendicular. lowered, and attention given to the stability of the lower body.
Blocking a frontal attack while stamping forward, counter- Counterattack directly downward, hitting the face, back of
attack to the chin or abdomen. the head or trunk.
This is also cal led tate empi-uchi. This is also cal led otoshi empi-uchi.
80 81
Shuto Vehi Sword Hand Strike

As in the back-fist strike. the snap of the elbow and the ro-
tation of the forearm and hips are main points.
Rotate the forearm fully, so that the palm comes to face in the
opposite direction at the time of striking.
Attacks can be made either from the inside outward or the Vehi mawashi-uehi
outside inward. When from inside outward, rotate the hips in Roundhouse stri ke, inside outward
the opposite direction from the stri ke; when outside inward,
Soto mawashi-uehi
same direction. Always rotate the hips swiftlv.
Roundhouse strike, outside inward
Principle targets are the temple, carotid artery and side of the
body.
The ridge hand can also be used for this technique.

82
FOOT AND LEG TECHNIQUES I' "11/1111 lIIeI IlJAl, lil Ilil r lyp ,tli
(JI Ili .II/p· P w r
lil 11111 II I hv Il( Ir I
l urlici nt. To thts musl b
li d od th
lIilll J ol lil hi s and knee. For this purpose. the ankles must
ol Jr. b made strong through extended training.

Kicking is as important in karate as hand techniques; in fact.

a kick has more power than does the fist.
Good balance is all-important. not only because all of the
body weight is supported by one leg but because of the coun-
tershock on impact. Having the sole of the supporting foot
wholly and firmly planted and tensing the ankle sufficiently
are absolutely essential to maintaining balance.
When kicking, one should have the feeling of putting the
whole body into it. Use the hips fully, but withdraw the kicking
leg quickly and take up the position for the next technique.
Otherwise, the opponent may succeed in scooping or catching
the leg.
The length of the arc the foot travel s, the speed and the
snapping power of the knee determine the force of the kick. Of
particular importance is the muscular power employed in
straightening the knee.
To master kicking, one must understand the primary factors
and continue to practice systematically.
1. Bending the knee. Raise the kicking leg straight up,
bringing the knee, fully bent high and shifting the weight of
the leg toward the hips. Mastering this movement which
should be done quickly but lightly, is useful in producing a
strong, sharp kick.
2. Snap, bending and straightening of the knee. There are
two ways of kicking: (1) using the springlike power of the
knee by snapping it fully and (2) strongly straightening the
knee.
ln the snap kick. after the knee is raised. the kneecap be-
comes the center of a semicircular movement. Speed is of the
essence; without it the kick cannot not be sharp, and balance
will be destroyed.
ln the thrust kick (kekomi) , the knee. in the raised position, is
forcefully straightened, kicking to the trent. diagonally to the
fra nt and downward, to the side or diagonally to the side and
downward.

84 85
Mae keage Frant snap kick

Yoko keage Side snap kick Yoko keka mi Side thrust kick
Mae kekami Frant thrust kick Yoko-geri Side Kick

While keeping the upper body facing forward, the sword foot
Mae-geri Front Kick can be used against a target to the side. It is either a snap kick
This may be either a snap kick or a thrust kick. The opponent's or a thrust kick. depending on the situation.
face, chest. abdomen or groi n is attacked with the ball of the Keage Snap Kick
This is a counterattack against an attack from the side.
tcot. the toes or the instep.
Keage Snap Kick but the edge of the foot may be used for blocking too.
Fully bending and raising the knee of either the front leg Kick with the heel. using the snap of the knee that has been
or the back leg to chest level, kick with a strong snapping raised to chest level. Bend the ankle fully upward, To get the
motion. The foot follows arising arclike path with the kneecap necessary, strong support of the other leg, bend the ankle so the
as the pivot. After kicking, bring the leg back to the inner side kneecap is directly over the toes and keep the leg firm.
of the supporting leg, taking particular care throughout to keep Kekomi Thrust Kick
the hips and upper body straight. The ball of the foot is com- Kick to the jaw, arrnpit. side of the body or groin.
monly used, but the toes and instep mayaiso be used. It is necessary that the path of the foot in both kicking and
Always face the target squarely for attacks to the face, withdrawing be the same. Using the sword Ioot. deliver the
chin, chest. groin or thigh. power of the hips as well as of the snap of the knee, which is,
Kekomi Thrust Kick of course. raised as high as possible. The longer the distance
Using the ball or heel of the toot. straighten the leg the foot travels. the stronger the kick.
forcefully from the raised-knee position. Effectiveness comes This is directed against the face, midsection, chest. side of
from keeping the lumbar vertabrae facing forward and using the the body or thigh of an opponent to the side.
power of the hips. This is good for a downward slanting kick. For a target at close hand, there are variations of the thrust
Targets are the solar plexus. groin, thigh or lower leg. kick: fumikiri (cutting kick) and fumikomi (stamping kick).

87
86
Mawashi-geri Roundhouse Kick

To be effect ive, the hips must be rotated strongly and swiftly. Ushiro-kekomi Back Thrust Kick
Against a target in front or slightly to the side. kick with either
the front or back leg. Swing the leg in an arc from outside While facing forward, snap kick or thrust kick to the rear.
inward, using the snap of the knee. The path of the leg should using either leg. Positioning the target maintaining stability
be nearly parallel to the floor. and not being thrown off balance when the kick lands are
The ball of the foot or instep is used against the face, neck, difficult so the supporting leg must be well planted and firm.
chest or side of the body. This is effective when you are being grasped or attacked
It is also possible to attack the opponent's solar plexus or the directly from the rear. Aim for the face, solar plexus. abdomen,
side of his body by kicking from inside outward in what is groin, thigh or leg.
known as the gyaku mawashi-geri (reverse roundhouse kick). Another way of kicking is in an arc from outside inward.

89
88
Nidan-geri Two-level kick

Tobi-geri Jump Kick

There are several variations of this powerful technique of
kicking from the top of a high jump.
Kicking with the rear leg.
Springing upward with the rear leg and kicking with the
fra nt leg.
Combination front kick: Making a short sharp kick to the
middle level with one leg, then immediately following with a
big kick to the upper level. This is cal led nidan-geri (two-level
kick) .
Thrust kicking to the side and downward with the sword
foot in the tobi yoko-geri (jumping side kick).
None of these are easy. First it is necessary to master the
fra nt kick. side kick and combination kicks. When the time
comes for learning the jump kick. start practice from a low-
level jump and gradually increase the height.

90 91
 11/)1 yoAu (JIII .JtlllIplllU 1~llIllok

4
KATA

92
 1111111111 III II ti 1< ("). meJ o Il.
TYPES OF KATA 'lo III! r( Ir k t th t must be I arn nd kat that ar
()pll!)!)I!. 111 forrner are the five Heian kata and the three Tekki
k l . I he I tter are Bassai. KankO. Empi. Hangetsu. Jitte. Gan-
kaku and Jion. Other kata are Meiky6. Chinte. NijOshiho.
GojOshiho. Hyakuhachiho. Sanchin. Tensho. Unsu. S6chin and
Seienchin.
4. To perform a kata dvnarnicallv. three rules must be
remembered and observed: (1) correct use of power. (2) speed
of movement. fast or slow. and (3) expansion and contraction
of the body. The beauty. power and rhythm of the kata depend
on these three things.
5. At the beginning and at the end of the kata, one bows.
Blocking. punchinq. striking and kicking-the fundamental This is part of the kata. When doing kata successivelv. bow at
techniques of karate-are combined in a logical manner in the the very beginning and at the completion of the final kata.
kata. the formal exercises. Since ancient times. the various kata
have been the core of karate. having been developed and per-
fected by old masters through long training and experience.
The kata. about fifty of which have co me down to the present
day. can be roughly divided into two groups. On the one hand
are those that are seemingly simple but also exhibit grandeur.
composure and dignity. Through practice of this type of kata.
the karateka can build up his physique. tempering his bones
and forging strong muscles.
The other group is suggestive of the flight of a swallow and
is appropriate for the acquisition of fast reflexes and quick
movements.
Execution of each kata. that is. the leg movements. is along
a predetermined performance line (embusen). Though one
practices without a visible opponent. he should have in mind
disposing of enemies coming from four directions-or eight
directions-and the possibility of a changing performance line.
Since the kata contain all of the elements essential for ex-
ercising the whole body. they are ideal for that purpose.
Practicing alone or in a group. anyone can follow this Way. in
accordance with his own level of ability and regardless of age.
It is through these formal exercises that the karateka can
leam the art of self-defense. enabling him to face a dangerous
situation naturally and expediently. But the degree of skillful-
ness is the determining factor.
Characteristics of the kata are:
1. For each kata. the number of movements is fixed
(twentv. tortv. etc.). They must be performed in the correct
order.
2. The first movement of the kata and the last movement
must be executed at the same point on the performance line.
The performance line has various shapes depending on the kata.
such as. straight line. like the letter T. like the letter 1. in the

94 95
 11 13

Heian 1

The techniques in this kata are the upper block against head
attack and the sword hand block against body attack (chDdan
shut6 uke). Because this is the first kata to be learned, it is
important training in foot movements and following the per-
formance line. In particular. aim for mastery of the front stance
and back stance. while getting well acquainted with the essen-
tials of the lunge punch.
The performance line is 1 shaped. the number of movements
is twenty-one, and the time required is about forty seconds. 21

96 97
 20 21 22 23

Heian 2
This is training in the side kick and front kick. Changing
directions when executing a side kick is a particular point to be
learned.
The performance line is 1 shaped, the number of movements
is twenty-six, and the time required is about forty seconds.

98 99
 2 3

Heian 3
Mastery of the forearm block against body attack is the
principal aim. With the elbow fully bent learn to position it
about a hand-width from the body with reliability.
Blocking with the elbow and counterattacking with a back-
fist strike or elbow strike: from this kata. one can gain an under-
standing of the great value of this fundamental technique.
The performance line is T shaped, the number of movements
is twenty, and the time required is about forty seconds.

100 101
 2 3

17 18 19 24

Heian 4

Various blocking and finishing-off techniques can be learned

from this kata, for exarnple. jumping forward lightly for avertical
roundhouse back-fist strike after having made a front kick. To
do this. it is necessary to have excellent balance in the crossed-
feet stance (k6sa-dachi).
The performance line is in the shape of an 1, but with the
vertical line extending above the upper horizontal line. The
number of movements is twenty-seven, and the time required
is about fifty seconds.
26

102 103
Heian 5

The flowing water (mizu-nagare) position of the forearm, a

special position, is used in this kata. This is for punching. Keep
in mind that the forearm and chest should be parallel.
It is important to master balance. as when taking the crossed-
leg stance when landing after a jump.
The performance line is T shaped, the number of movements
is twenty-three, and the time required is about fifty seconds.

104 105
 2

16

24

Tekki 1
The stance is the straddle-Ieg stance. and it is important that
it be strong and stable. One's attitude should also show resolute
intent.
For such special kicking techniques as the returning wave
(nami-gaeshi) kick. the hips must be well set.
The performance line is a straight line, the number of move-
ments is twenty-nine, and the time required is about fiftv
seconds.
26 27 28 29

106 107
 Kanku Jitte Hangetsu
Tekki 2 Tekki 3 Bassai

Tekki 2

A downward block to the side can be greatly strengthened by

placing the hand of the other arm against the elbow of the KanktJ
blocking arm.
Imagine being completely surrounded by enemies. Fast tech-
Make a c1ear distinction between the grasping block and the
niques and slow techniques, techniques executed powerfully
hooking block.
or softlv. stretching and contraction of the body, jumping and
The performance line is a straight line, the number of move-
crouching-these are the points in this kata.
ments is tvventv-Iour. and the time required is about fifty
The performance line is in the shape of an I. but with the
seconds.
vertical line extending above the upper horizontal line. The
Tekki 3 number of movements is sixtv-five. and the time required is
about ninety seconds.
From this kata, the key points of continuous middle-level
blocking can be learned. No matter how fast the performance, Jitte
the stance should be as strong and firm as in the other Tekki
kata. The movements in this kata are nurnerous. bold and grave and
The performance line is a straight line, the number of move- may be performed with a staff in the hands. It is appropriate for
learning effective use of the hips and for blocking with the staff.
ments is thirty-six, and the time required is about fifty seconds.
The performance line is cross shaped. the number of move-
Bassai ments is twenty-four, and the time required is about one minute.

Forcefulness, strong spirit and overflowing power are mani- Hangetsu

fest in this kata. It is as though one were capturing an enemy
castie. The karateka should know how to change disadvantage Moving forward or backward, circular arm and leg movements
into advantage. Switching blocks and the right use of power are are coordinated with breathing. Fast and slow techniques and
possible ways. sliding of the feet are particular points to be learned.
The performance line is T shaped. the number of movements The performance line is cross shaped. the number of move-
is fortv-two. and the time required is about one minute. ments is forty-one, and the time required is about one minute.

108 109
 5
KUM ITE
Empi Gankaku

Empi

Like the flight of a swallow, this kata has high and low posi-
ti on s, lightly and facilely performed. It is good for practicing the
quick reversal of body positions.
The performance line is T shaped. the number of movements
is thirty-seven, and the time required is about one minute.

Gankaku

Movements in this kata bring to mind a crane standing on one

foot on a rock, ready to pounce on its prey. Balancing on one
leg, the side kick and use of the back fist can be appropriately
developed from practice of this kata.
The performance line is a straight line, the number of move-
ments is forty-two, and the time required is about one minute.

Jion
With in the calrn. smooth, harmonious movements of this kata
lies a fierce fighting spirit. It is appropriate for learning such
things as sliding the feet. shifting positions and turning.
The performance line is 1 shaped. the number of movements is
fortv-seven. and the time required is about one minute.

110
 y KUMI III hI/II II lil
II IlIII ili 011 lIL" villi 1 Illl. 1\ w II trnln <1
I II iii 1·1 (. lili
III sllv. r
ti rdl S or how pow rlullv x-
lit 1111CI III technique is.
JlyL1 kumite has a strong appeal, perhaps because it is per-
r rm d in dead earnest. The inexperienced person, however,
attracted by and knowing only the surface aspects. will end up
using his arms and legs mechanically, and the sparring will
look like that of fighting cocks-or become a free-for-all. When
this happens. the unique characteristic of karate-da-destroy-
ing the enemy with a single, powerful blow-is last. Moreover,
it is aviolation of the rules of karate-do.
Without understanding meei. kuzushi, kake, tsukuri and
strategy, the student cannot practice jiyu kumite. (In Iact. much
Kata and kumite are like the two wheels of a eart. The kata remains to be known about these. and development of karate
are practiced in order to learn techniques, offensive and defen- along these lines is a task for the future.) Nor should he attempt
sive, and body movements; in this form of practice. the enemy jiyu kumite before having mastered basic kumite and ippon
exists only in the minds eve. In kumite, another method of kumite.
training, two men face each other and demonstrate techniques. Kumite is not something to be practiced instead of kata,
Thus it can be considered an application of the fundamentals which are, as they always have been. the most important. es-
learned in the kata and may be said to be a kind of sparring. sential training.
ln ancient days in Okinawa, karate was based almost exclu-
sively on the kata. It was only rarely that the power of a punch
or block was measured by what was called kakedameshi.
Following its introduction into Japan proper. karate gradually
became popular among young men and was. inevitably, in-
fluenced by the Japanese martial arts. Basic kumite, which first
came to be practiced in the late 1920s, was studied and refined,
and jiyu kumite (free sparring) was developed. Todav. kumite
is widely practiced as ameans of training.
Since kumite came into existence only after karate was intro-
duced into Japan proper. it is, comparatively speaking, a new
aspect of this art of self-defense. Thus. just as our predecessors
of long ago took upon themselves the task of perfecting the
kata, it is the duty of tcdav's karateka to develop kumite to the
same high level as the kata.

The three types of kumite are basic kumite, ippon kumite and
jiyu kumite.
Basic kumite is for the cultivation of basic techniques, keep-
ing in mind the individual student's level of skiII.
Ippon kumite is for studying offensive and defensive tech-
niques, training in body movements and learning maai (distanc-
ing).
ln jiyu kumite, there is no prearrangement of techniques.
The partners are allowed to make free use of their mental and
physical powers. but the student must strictly control his
punches. strikes and kieks. Actually making contact with the
target is strictly prohibited, so the blow must be stop ped just

112
UPI rl v I

4
3

5
4

2
The attacker. on the right. advances and
attacks five times in successions. The blocker
retreats and blocks five times. then counterat-
tacks.

Gohon Kumite
ln this type of sparring. the accuracy and power of strikes and
blocks are to be learned. along with drill in foot movements.
There is also sambon kumite.

114 115
MlcJcJl Ivl

117
I JWt II vol

118
 lJI Il I II VIII MI 1!l11 II VI I

Basic Ippon Kumite

The target is agreed upon beforehand, and the partners take

turns attacking and defending. The objective is to leam how to
make use of the offensive and defensive techniques and to
understand distancing. This may be called the basic kata of
sparring.
When the sudden attack cornes. the block should be accurate
and strong. As skill develops. the bioeker should leam how to
counterattack simultaneously. Blocking may be painful, but
this should not be a excuse for engaging in haphazard sparring,
which can lead to injurv.

120
Kiel lil J lil I umi

123
Block the attack to the body. Immediate- An attack to your chest. Step forward
Iy make aroundhouse kick to the neck.
and kick to the solar plexus.

Jiyi) /ppon Kumite

Getting the feeling of distancing, blocking, attacking, body
rnovernents. shifting of the center of gravity and delivering the
finishing blow are the objectives of this kumite. Here. in great
nurnber. can be demonstrated the variations of the techniques
occurring in a single kata.
One partner, having announced the general area of his target.
attacks suddenly and with great strength. The other partner A kick coming upward. Block with a downward X block,
blocks and counterattacks. Both men can freely demonstrate Roundhouse kick. twisting left-arrn A roundh,ouse kick coming at your hetd. kTake out the
all the techniques they know. block, right close punch. opponent s supportrnq leg With a thrust IC .

Both men must be well trained and highly skilled. for this
will seem like an actual fight. Neither should think of having a
second chance; the first attack, or block, is all.
This is the ultimate objective of karate training and the
preparatory stage for jiyu kumite.

Jiyi) Kumite
Though nothing is prearranged and both men are expected to
exhibit their mental and physical powers at the highest level,
actual stri king is prohibited. Blocks, blows and kicks must be
arrested before hitting the target. since the hands and feet of a
skilled karateka are extremely dangerous and can inflict fatal
injuries. Only the very well trained are capable of this.

124
Side kick against an attack to the face. A front kick can be hand led with a side thrust kick.

Right thrust kick against a body attack. Block the attack to the face. Counter with a front kick.

The opponent punches. Delivery aroundhouse kick to the face. Roundhouse kick against roundhouse kick. Who is faster?
 6
KARATE-DO

Capetown. South Africa. 1970,

Montreal. Canada. 1974.

128
HI ORY lil Il lil 11 111 I eh 11 CI l K 11 Il ci .
l' II lil w ul thus b transform d. in both ap e ranco and
I1l nt. 'from techniques of Okinawan origin into a new Ja-
j.) nose martial art.

During the 1920s and early 1930s. this art of self-defense

had been becoming increasingly popular with people from all
strata of life. Students, of course. had been most enthusiastic,
but there had also been lawyers, artists. businessmen. judoka.
kendoka and many others. This was the dawning age of modern
karate, and clubs were established successively at Keio Univer-
sity. Tokyo Imperial University, Shoka University. Takushoku
University. Waseda University, Nihon College of Medicine and
Tate was first demonstrated publicly outside Okinawa in May, other schools in the Tokyo area. In 1930. with the arrival of
1922. at the first National Athletic Exhibition, held in Tokyo Mabuni and Miyagi, teachers from Okinawa. clubs were formed
under the sponsorship of the Ministry of Education. The man at Ritsumeikan and Kansai universities in the Osaka area. The
who was invited to give that memorable demonstration was popularity among the intellectually inclined was very fortunate
Master Gichin Funakoshi. who at that time was president of for karate. in that it hel ped in the transformation of the miracu-
the Okinawa Shobu Kai (society for the promotion of the martial lous and mysterious karate into a modern. scientific martial art.
arts) . The name was not changed easily. Week after week. articles
Tate (also called simply Te, meaning hand) was an art of self- by Okinawan martial arts experts appeared in the Okinawa
defense that had been undergoing development in Okinawa Times demanding to know why. In his eloquent style. Funa-
for centuries. Because of the trade and other relationships be- koshi replied. defending his position. This went on for some
tween Okinawa and the Ming Dynasty in China. it is probable time.
that it was influenced by Chinese fighting techniques. but there With the publication of Karate-do Kvčhen (by Master
are no written records giving a clear idea of the development of Funakoshi) in 1935. Karate-do became firmly established. Two
tate. years after that. various karate societies in Okinawa joined the
According to legendary accounts. Okinawa was unified Japan Martial Arts Association, and a branch of the association
under King Shohashi of ChOzan in 1429, and later. during the was established in Okinawa.
reign of King Shčshin. an edict was issued prohibiting the Irecall visiting Funakoshi during the time the controversy
practice of the martial arts. It is known that an order prohibiting raged and reading the pros and cons. What struck me was the
weapons was promulgated by the Satsuma elan of Kagoshima. great enthusiasm and foresightedness of this master who was
after they gained control of Okinawa in 1609. Tate then became trying to disseminate a local art throughout the country as a
a last means of self-defense. but since the Satsuma elan also whole.
elamped down severely on this, it had to be practiced in great Changing the name was not his sole concern. Many terms had
secrecy. For the Okinawans. there was no alternative, and only Chinese or Okinawan pronunciations. These he changed,
they developed it into a deadly art as we know it today. too, making it possible for followers to understand them more
Not even a karateka's family would know that he was easilv. Training methods were another matter to which he gave
practicing this art. a situation which persisted until 1905. his careful attention. Whereas previously there had been only
when the normal school in Shuri and the Prefectural First kata, he now divided practice into three types: fundamentals,
Middle School adopted karate as an official subject in physical kata and kumite.
education. However, its devastating power must have been Young students gathered around Funakoshi and took to the
known to some extent. for it was .referred to by such terms as practice of kum ite with great enthusiasm. Kumite evolved
Reimvo Tate. meaning miraculous karate, and Shimpi Tate. from prearranged kumite to the practical jiyO ippon kumite and
meaning mysterious karate. That the secrecy itself greatly in- final\y to jiyO kurnite. where. so to speak, no holds are barred.
fluenced the character of the art cannot be overlooked. The kata had become extremely refined in Okinawa. Now, re-
Tate came to be known as karate-jutsu. and then. from search into kumite has improved considerablv. and we may
around 1929, Gichin Funakoshi took the revolutionary step of say that a new aspect of karate has been opened up. We rnav

130 131
9 furth r n y lil l k r l l I Y 11 Im lil il I th
extreme point of perfsction. CONTESTS
The first golden age of karate, as it has been called, occurred
around 1940, when nearly every major university in Japan had
its own karate club. ln the early postwar years, it suffered a
decline. but now, thanks to the enthusiasm of karate-do
supporters, it is being practiced more widely than ever. It has
also spread to many countries throughout the world, creating
a second golden age.
After the war. requests were frequently received from the
Allied Forces stationed in Japan to see exhibitions of the Kata Contests
martial arts. Judo, kendo and karate-do experts formed groups
and visited military bases two or three times a week to perform For kata, there are two ways of conducting the contest.
their respective arts. I stili remember the great interest of the One is the red and white contest. In this. the contestants are
servicemen in karate, an art that they were seeing for the first divided into two groups, and one member from each group
time in their lives. performs the same kata at the same time. After the completion
ln 1952, the Strategic Air Command of the United States of the kata, a flag, either red or white, is displayed to indicate
Air Force sent a group of young officers and noncommissioned the winner.
officers to Japan to study judo, aikidč and karate-do. The ln the otherway, points are given for each performance, ten
purpose of this was to train physical education instructors, and points being the maximum. The contestant with the highest
for the three months they were in Japan, they followed a stiff number of points becomes the winner.
schedule, studying and practicing intensively. As the leader Principal considerations in judging are power and spirit. but
of the men teaching karate, I thought this was a great step also moderation, and the three key points: correct use of power,
forward for karate-do. For more than a dozen years after that. appropriate speed of techniques and the stretching and con-
two or three groups came every year. traction of the body. Points are forfeited for making mistakes
This training program was evaluated highly, and groups ln the order of movements and for not finishing the kata on the
began coming from other countries besides the United States. point on the performance line where it was begun.
Various countries also requested that karate instructors be sent No allowance is made for mistakes, however small. It is not
to train more instructors. This has. of course. been one influence always true that a person good at kata is the winner.
in making karate popular around the world.
Karate is as it always has been an art of self-defense and a
form of healthy exercise, but with the increase in popularity the
interest in holding contests grew stronger, as it did in kendo
and judo. Mostly due to the efforts of the younger enthusiasts.
the First AII-Japan Karate-do Championship Tournament was
held in October, 1957, This was sponsored by the Japan Karate
Association, and the following month, the AII-Japan Student
Karate Federation sponsored a championship tournament
before an audience numbering in the thousands. Besides being
epoch-making events, these two tournaments created an even
greater interest in the art throughout the country.
They are now held annually on an increasingly larger scale.
And in a great number of countries. similar competitions are
being held. At the peak of all these is the World Karate-do
Championship Tournament. The contests and the dissemination
of karate abroad are the most significant developments in the
postwar years.

132 133
Kumlt Cont t MAKIWARA
Ina prei imi nary contest. a co nt stant is judg d l lil
winner if he scores an ippon within two minutes.
ln a final contest. he must score three ippon in five minutes. Practice with the makiwara is the soul of karate and should
Timing of a stri ke, punch, kick or other finishing technique is not be missed even for a single day. Its value lies not only in
an important factor in judging. When a contestant has not strengthening the parts of the body used in attacking and
scored an ippon but has twice shown technique (waza-ari), blocking but in learning to concentrate the power of the whole
these may be counted as one ippon. If neither contestant has body in the fist at the time of impact. It is also an effective way
clearly won, one may be declared winner by decision, or the to learn distancing.
contest may be declared a draw. Elasticity is the most important quality of the wood, Hinoki
If a contestant actually makes contact with his opponent. he (Japanese cypress) is best, but sugi (Japanese cedar) will do.
is guilty of a foul. since the responsibility is solely his. and he Because of its elasticity and absorbancy, rice straw is used to
may lose on this basis. If the foul is only sliqht. however, he may wrap the portion of the board that is hit. Rubber and sponge are
receive a warning from the referee, with a deduction of points, possible substitutes.
and be allowed to continue. Practice should be steady and diligent, rather than hurried,
Intensive training, mental and physical. is the prerequisite to and strengthening of the body should be done by degrees.
being able to control one's movements, and this in turn is the Hitting too quickly, or too suddenly, or too often may result in
mark of the skilled contestant. Just as in other sports and sprained wrists as well as broken skin.
martial arts. the way to acquire this is through mastery of the Start by striking thirty times with the right fist and thirty
basic techniques. times with the left fist. Increase the number gradually, until it
reaches one hundred fifty, then eventually three hundred.

134
 tr n tli nln trlkln(J Strengthening punching

Thrust the forefist str ight ul. r t ling th hi f) I u il,

The target should be one fist length in back of the makiwara.
the snap of the elbow to the fullest. There is a shack at th mo- The course of the punch should be as long as possible. It is par-
ment of irnpact. and this has to be mastered. To be effective, the ticular important to use centrifugal force.
wrist must be tensed at impact. Ifthe arm is used like a stick, the 1. For punching with the sword hand, back-fist or elbow,
blow will not be effective. face the makiwara diagonally or sideways. Stances are the
1. In the front stance, picture the target as being one fist front stance, back stance and straddle-Ieg stance.
length in back of the makiwara. Distance is very important. 2. For use in inside and outside blocks, it is necessary to
2. Do not lean forward. Straighten the elbow and thrust the strengthen both the front and back of the wrists.
fist far forward, bending the makiwara backward.
3. The elbow is bent slightly downward when the fi st hits
the makiwara squarely; at this point use the spring of the elbow
and shoulder. The elbow becomes straight. When the makiwara
returns to its original position, place the fist lightlyon the sur-
face and withdraw the elbow to the hip with the natural
movement of the makiwara. Care should be taken that the
elbow does not go too far out to the side.
4. The elbow, not the shoulder, should absorb the force of
the makiwara springing back. The strike will be totally ineffec-
tive if the elbow or shoulders are tense or the body leans even
slightly backward.
5. Practice using the rotation of the hips in the front stance.
Tilen change from the immovable stance to the back stance to
the front stance, using the movement and rotation of the hips.
Gradually increase the speed of the stri ke.

136 137
VI AL POlN

U PPERREGION
1_ Caronal suture
CD --('l 2_ Frontal fontanel
(3) (.j) 3_ Temple
® -(rl) 4_ Glabella
® 5_ Eye socket
(f)
@ (il) 6_ Eyeball
@ CD) 7_ Intermaxillary suture
@ O~ 8_ Behind the ear
(I:P 9_ Center of lower jaw
@ 10_ Side of the neck
Qil 11 _ Mandible
@
@-- MIDDLE REGION
@ II~
@ -~()
12_ Supraclavicular fossa

® 13_ Suprasternal notch

~O 14_ Sternal angle
@
~:~ 15_ Xiphoid process
@
~!:D 16_ Inner side of the wrist
'~ID 17_ Fourth intercostal space
18_ Back side of upper arm
@ 19_ Below the nipples
20_ Sol ar plexus
® 21. Inner side of the elbow
@ ~-n
22_ Seventh intercostal space
@- ~ 23_ Eleventh intercostal space
24_ Point below the navel
25_ Back of the wrist
-~J
26_ Back of the hand

LOWERREGION
27_ Testes
28_ Inguinal region
29_ Side of the lower thigh
--~I) 30_ Fibula
31. Medial malleolus
32_ Instep
33_ Outer si de of the foot
-(lO

®
@
@
@

138 139
 UPPER REGION
~------------------~~~ 1. Caranal suture
2. Behind the ear
3. Third intervertebral space
@--------------------------~.-
MIDDLE REGION

@--------\---- 4. Back of the hand

@----~.----. 5. Back of the wrist
6. Back side of upper arm
®--------~-- (ol 7. Scapular ridge
~--------~-~~-----~---~~~---~~----cr) 8. Between fifth and sixth tharacic vertebtae
® ® 9. Faurth intercastal space
@ ® 10. Inner side of the elbaw
11. Ninth and eleventh thoracic vertebrae
@ Qll
12. Inner side of the wrist
, •.--1-----01)
@-------------~~~ ---t---t--+-~--O Il LOWER REGION
13. Tip of the spi ne
14. Gluteal fald
15. Soleus muscle
-~------,Q;} 16. Outer side of the toot

©---------------~~-------
~-----------------~----- ------+---'t----J------(J:!D

,--t-----------@

e---:.r---------@

@-------~~~

140 141
 ArI/I.~IJI.' 11 mm , II l. '11 (JI .~lIi uku: dlOl pili J Illt)~. ~
GLO SA Y AIIllsui uchi: hamm r Ilst sulk . 74.
75 Roimvč Tčto: mireculous kara le. 1 30
kentsui-ucbi vokomawashi: side renoji-dachi: L stance. 29
roundhouse hammer-fist stri ke. 76 ren-zuki: alternate punching. 68
kiba-daehi: straddle-Ieg stance. 32 rvosho tsukami-uke: two-hand
kime: finish. 50 grasping-block. 64
kizami-zuki: jab. 68
k6kutsu-daehi: back stance. 31 sanehin-daehi: hourglass stance. 33
k6sa-daehi: crossed -feet stance. seiken: fore-fist. 16
102 seirvuto: ox jaw hand. 21
koshi: ball of the fcot. 25 seiryuto uke: ox-jaw hand block. 63
kumade: bear hand. 22 shiko-daehi: square stance. 34
Shimpi Tote: mysterious karate. 130
mae empi-uehi: forward elbow shittsui: hammer knee. 27
stri ke. 24. 78 shizen-tai: natural position. 28
hait6: ridge hand. 19 sh6 sukui-uke: scooping pal m block.
age-zuki: rising punch. 70 mae-geri: front kick. 86
ashikubi kake-uke: hooking ankle haiwan: upper side of the forearm. mae hiji-ate: forward elbow stri ke. 65
24 shub6: stick arrn. 24
block. 65 78
ate-waza: smashing technique. 77 haiwan nagashi-uke: sweeping mae keage: front snap kick. 86
shuto: sword hand. 19
back-arm block. 62 shut6 uehi: sword hand strike. 74. 82
awase-zuki: U punch. 72 mae kekomi: front thrust kick, 86
hangetsu-daehi: half-moon stance. shut6 uke: sword hand block. 60
maeude deai-osae-uke: pressing
cboku-zuki: straight punch. 66 34 shutsui: hammer hand. 17
forearm block. 62
hanmi: half-front-facing position. 30 shuwan: lower side of the forearm.
cbuden ehoku-zuki: middle straight maeude hineri-uke: twisting forearm
punch. 66 hasami-zuki: scissors punch. 73 block. 62 24
chuden shut6 uke: sword hand heik6-daehi: parailei stance. 29 mawashi empi-uehi: roundhouse sokubo kake-uke: hooking foot
block against body attack. 96 heik6-zuki: parailei punch. 73 elbow stri ke. 24 block. 65
chuden ude uke: forearm block heisoku-daehi: informal attention mawashi-geri: roundhouse kick. 88 sokumen awase-uke: si de combined
against body attack; soto-uke. stance. 29 mawashi-zuki: roundhouse punch. block. 64
outside inward. 58; uchi-uke. in- hiji: elbow. 24 71 sokutei mawashi-uke: circular so le
side outward. 59 hiji-ate: elbow stri ke. 77 mizu-nagare: flowing water position block. 65
hiraken: fore-knuckle fist. 18 of the forearm. 104 sokutei osae-uke: pressing sole
den-zuki: consecutive punchinq. 69 hizagashira: knee. 27 morate uke: augmented forearm block. 65
block. 64 sokuto: sword foot. 25
embusen: performance line. 94 ippon-ken: one-knuckle fist. 17 morote-zuki: two-hand punch. 69 sokuto osae-uke: pressing sword-
empi: elbow. 24 musubi-daehi: informal attention foot block. 65
empi uehi: elbow stri ke. 77 j6dan age-uke: upper block against stance. toes out. 29 soto mawashi-uehi: roundhouse
ensh6: round heel. 26 head attack. 57 stri ke. outside invvard. 83
j6dan ehoku-zuki: upper straight nagashi-zuki: flowing punch. 68 sukui-uke: scooping block. 65
fud6-daehi: rooted stance. 35 punch. 66 naiwan: inner side of the forearm.
fumikiri: cutting kick. 87 josokutei: raised sole. 25 24 tate empi-uehi: upward elbow stri ke.
fumikomi: stamping kick. 87 jUji uke: X block. 64 nakadaka-ippon-ken: middle finger 24. 80
one- knuckle fist. 18 tate biji-ete: upward elbow stri ke. 80
gaiwan: outer side of the forearm. 24 kagi-zuki: hook punch. 71 nakadaka-ken: middle finger knuckle tate mawashi-uehi:vertical strike. 75
gedan barai: downward block. 56 kaish6: open-hand. 15. 19 fist. 1 8 tate shuto-uke: vertical sword-hand
gedan ehoku-zuki: lower straight kakato: heel. 26 nami-gaeshi: returning wave kick. block. 61
punch. 66 kake snutč-uke: hooking sword- 106 tate-zuki: vertical punch. 70
gedan keke-uke: downward hooking hand block. 61 neko-ashi-daehi: cat leg stance. 35 Te: hand. 130
block. 65 kakiwake-uke: reverse wedge block. nidan-geri: two-level kick. 90 teiji-daehi: T stance. 29
gVaku mawashi-ged: reverse round- 64 nihon nukite: two-finger spear hand. teish6: heel of the palm. 21
house kick. 88 kekuto: bent-wrist. 23 20 teishč awase-uke: combined heel of
qveku-zuk): reverse punch. 68 kekuto-uke: bent-wrist block. 63 nukite: spear hand. 20 the palm block. 65
keage: snap kick. 86. 87 teishč uke: heel of the palm block.
haehinoji-daehi: open-Ieg stance. keito: chicken head vvrist, 23 oi-zuki: lunge punch. 68 63
29 keito uke: chicken-head wrist block. otosbi empi-uehi: downward elbow tekubi kake-uke: hooking wrist
haishu: back-hand. 20 63 stri ke. 24. 81 block. 62
haishu uke: back-hand block. 62 kekomi: thrust kick, 86. 87 otoshi hiji-ate: downward elbow te nagashi-uke: sweeping hand
haisoku: instep. 26 ken: fist. 1 5 stri ke. 81 block. 62

143
142
fi O I -uA: I II 11111 li IIld Ili tl~.( ~ 1I~'IiI/(J At A 1/11: IlII ~ thru ki k.
t usut: Iron h mm r. 1 /
tobi-qeri: jump kick. O wont~: sword I'm. 24
tobi voko-geri: jumping slde kick. O weshide: eagle hand. 22
Tate: Okinawan karate. 130
tsuki: punchinq. 16. 66 vama-zuki: wide U punch. 72
tsumasaki: toe tips. 27 voko empi-uchi: side elbow stri ke.
78
uehi: stri king. 16. 66 voko-qeri: si de kick. 87
uehi-haehinoji-daehi: inverted voko hiji-ate: side elbow stri ke. 78
open-Ieg stance. 29 yoko keage: side snap kick. 87
uehi mawashi-uehi: roundhouse voko kekomi: side thrust kick. 87
stri ke. inside outward. 83 voko mawashi empi-uehi: side
ude: arrn. 24 roundhouse elbow strike. 79
uke: blocking. 54 voko mawashi hiji-ate: si de round-
uraken: back-list. 16 house elbow stri ke. 79
uraken-uchi: back-fist stri ke. 74. 75 voko mawashi-uchi: horizontal
ura-zuki: close punch. 70 stri ke. 75
ushiro empi-uehi: back elbow stri ke.
24. 79 zenkutsu-daehi: front stance. 30
ushiro hiji-ate: back elbow stri ke. 79

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