KARATE-DO KYOHAN

$ 35.00PONMLKJIHGFEDCBA K A R A T E -D O K Y O H A N The Master Text NineteenZYXWVUTSRQPONMLKJIHGFEDCBA k a t a ("forms") of karate-the art of selfdefense without weapons-are presented here in complete detail. They are the ones selected by the great master and teacher, Gichin Funakoshi, to give comprehensive training in Karate-do, the way of karate. Fully illustrated demonstrations by the translator cover not only every technique of the kata but also the fundamentals and applications: how to make a fist; the correct form of the open hand; preliminary training in blocking, striking and kicking; the seven stances; and sparring. The author presents, besides kata that he himself originated, beginning and advanced kata from both the Shčrei school and the Shčrin school, the forrner remarkable for their forcefulness and development of strength, the latter characterized by their gracefulness and lightning swiftness. This book, the most comprehensive and authoritative ever published, was being revised by the author shortly before his death in 1957,at the age of eightyeight, and is translated for the first time. Through his advice on both practical and spiritual aspects of training, the master guides the student from techniques to the way of karate. Complementing the English edition are illustrations of National Treasures from Kčfuku-ji and Todai-ji temples in Nara and Master Funakoshi's calligraphy. Karate, whose value for the well-rounded development of strength, coordination and agility is scientifically validated, can be practiced atany time and in any place, for any length of time, by men and women of all ages, and requires no special equipment. It also fosters the development of spiritual qualities: courage, courtesy, integrity, humility and self-control. Gichin Funakoshi's karate books, the first published in 1922, are landmarks, for the development of this martial art in Okinawa was shrouded in secrecy, and almost no records of its early history, dating back more than a thousand years to the Shao-lin Temple in Hunan Province, China, exist. K a r a t e - d o K y o h a n is a book that lives up to its title: it is in truth the master text for karate instruction at all levels and in all aspects of technique and character development. THE TRANSLATOR: Tsutomu Ohshima founded the Southern California Karate Association, the first karate organization in the United States, in 1956. He studied karate for six years under Gichin Funakoshi, was captain of the karate club of Tokyo's Waseda University, from which he graduated in 1953, and also founded, in 1957, the first university karate club in the United States at the California Institute of Technology. He is presentlyon the staff of the Physical Education Department of that university but travels extensively for instructional purposes, particularly to Japan, South America and Europe. A holder of the fifth degree black belt, he is concurrently head of Shotokan Karate of America France Shotokan and the Swiss Karate Federation: Jacket, front: Statue in assembled wood of Kongo Rikishi, thought to have been carved by J'čkei in the thirteenth century. National Treasure. Kčfuku-ji temple, Nara. Ja cket d e s ig n b y M . K u w a ta M 14 ~'f.@:fj(~i'~ YE1iffi5,800fIl(*1*5,631 fIl) Printed in Japan Gichin Funakoshi T h e M a s t e r T e x t xwvutsrqponmlkjihgfedcbaZYXWVUTSR by G ic h in F u n ak osh i translated Tsutomu by Ohshima KODANSHA INTERNATIONAL Tokyo· New York· London Distributed in the United States by Kodansha America, Inc., 114 Fifth Avenue, New York, N.Y. 10011, and in the United Kingdom and continental Europe by Kodansha Europe Ltd., Gillingham House, 38-44 Gillingham Street, London SWIV lHU. Published by Kodansha International Ltd., 17-14 Otowa l-chome, Bunkyo-ku, Tokyo 112, and Kodansha America, Inc. Copyright © 1973 by Kodansha International Ltd. All rights reserved. Printed in Japan. LCC 72-90228 ISBN 0-87011-190-6 ISBN 4-7700-0370-6 (in Japan) First edition, 1973 93 25 24 23 22 21 20 19 CONTENTSxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONML FOREWORD VIl POSTHUMOUSN OTE TO THE SECONDEDITION ,................ Vlll PREFACETO THE SECONDEDITION 1. Vlll INTRODUCTION 1 Karate and Karate-do, ment of Karate, The Way from Techniques, Kata, Public Introduction The Develop- of Karate, The Value of Karate 2. FUNDAMENTAL ELEMENTS 15 The Hand, Stances, Hand Techniques, Foot Techniques 3. BASIC TRAINING 27 4. THE KATA 33 Names of the Kata, Advice on Training, Line of Movement, The Kata 5. ENGAGEMENT Significance MATCHES 209 of Matching, Basic Sparring, niques, Weapons and Karate-do, 6. VITAL POINTS OF THE Jai, Throwing Tech- Self-defense for Women HUMAN BODY 237 Definition, The Vital Points 7. MAXIMS FOR THE TRAINEE ApPENDIX 245 251 How to Make a Makiwara GLOSSARY 253 F O R E W O R D xwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIH 1 am highly honored that the family of Master Gichin Funakoshi, through Senior Shigeru Egami and Senior Genshin Hironishi, has permitted me to translate this book. The translation has been ten years in progress, but unhappily the duration is no guarantee of the accuracy of my aim. Rather, it is a reflection of many interruptions and, above all, of my shortcomings in coping with English. 1release this translation at present with some misgivings and with a warning to the reader that 1 am still unable to read far without uncovering phrases that 1 feel could be rendered more clearly. 1 hope now at least that my most crooked turns have been made straight. My aim has been to remain as faithful as possible to the master's exact words. Such an attempt must at times put a strain on the English language since idiom frequently resists translation. A freer translation might have attempted, for example, to seek out English proverbs for Japanese expressions, but 1think it would have forced adeparture from the master's words and perhaps given rise to a distortion of his thoughts. 1have sought to avoid this risk as much as possible; 1have tried to keep myself and my interpretation outside of this work. 1 should also mention that 1 cannot certify absolutely the accuracy of my rendering of some expressions which Master Funakoshi drew from Chinese literature. 1regret that 1was unable to locate all of these in their original form; perhaps someday 1will be fortuna te enough to have the sources identified. R e n ta n Master Funakoshi worked on three different versions of this book:ZYXWVUTSRQPONMLKJI G o s h i n K a r a t e - j u t s u and two editions of K a r a t e - d o K y o h a n . The second edition of the latter he did not live to complete himself. The three versions are c1ose, but minor differences do exist.Thls work follows the first edition of K a r a t e - d o K y o h a n in rendering the k a t a . Most of the master's students will see some them, Where variations from the k a t a asthey have long beenpracticing possible, these variations have been pointed out in translator's notes. Such notes are to .indicate that, customarily, given moves in the k a t a have long been done in the described manner. 1 want to thank three persons who have struggled with me for long hours over this text: Harvard Ito, Don Ridgeway, and Caylor Adkins. Master Funakoshi expressed the hope that his book would be improved on by later students. That thought may stand for this work as a translation. TSUTOMU OHSHIMA Tokyo April 26, 1972 FOREW ORD v ii PO STH UM O US TO TH E SECO ND NOTE E D I T I O N xwvutsrqponmlkjihgfedcbaZYX The author, Master Gichin Funakoshi, seemed to be deeply troubled by the question of republication of this book. The feeling is clearly evident in his Preface to the Second Edition. Moreover, he was apparently concerned about whether he should republish the original text as such, or modify or extend it for the second edition. It has now been more than two years since the first announcement of the second edition appeared in the press, and we apologize for this long delay. The master passed away on this date one year ago without having completed the new manuscript. He must have regretted this fact deeply. Today, on the first anniversary of his death, we offer to his soul the completed manuscript, placing it on the altar and burning incense in his memory. We wish, in addition, to mention the forthcoming appearance of others of his manuscripts, including "Commentary on the Instructor's Manual," "Karate-do for Boys and Girls," and "Essays on Karate-do." SH<)TOKAI Tokyo April 26, 1958 On the first anniversary of the master's death. PREFACE TO TH E SECO ND E D IT IO N Twenty years have passed since publication of the first edition ofZYXWVUTSRQPONM K a r a te -d o K y o h a n : T h e M a s t e r T e x t . 1 recall with some feeling publication in 1922of the earliest book, R y u k y u K e m p o : K a r a t e , and subsequent publication of the second, R e n t a n G o s h i n K a r a t e - j i t s u , which went to several editions. The honor afforded by the reading of the second book by the emperor and members of the imperial family was a source of deep gratification and humility to me. Then, after more than ten years of further training and experience, and about two years of review and correction ofincomplete parts of K a r a t e - j i t s u , 1 published K a r a t e - d o K u č h a n : T h e M a s t e r T e x t . The joy 1 felt at the appearance of this book remains as real to me as if its publication had occurred yesterday. As a result of the social disorder that followed the end of World War II, the v iii PO STH UM O US NOTE karate world was dispersed, as were many other things. Quite apart from a decline in the level of technique during these times, I cannot deny that there were moments at which I came to be painfully aware of the almost unrecognizable spiritual state to which the karate world had come from that that had prevailed at the time I had first introduced and begun the teaching of karate. Although one might claim that such changes are only the natural result of the expansion of Karate-do, it is not evident that one should view such a result with rejoicing rather than with some misgiving. It is, therefore, with mixed feelings of joy and remorse that I have watched and tried to provide a better direction to the course of the world of karate, and I am at a loss to estimate the influence I might yet exert upon its strongly flowing course. In any case, being now elose to ninety years of age, it is not for me to speculate on the future. For several years, I have thought about the necessity of republishing this book. Recently, in attempting to locate a copy of the first edition in the large number of secondhand bookstores in the Kanda district of Tokyo, I was surprised at its scarcity and high price. Moreover, I have had many requests for a new edition from my students and am now convinced that there is still use for such a book among those who seek it. In approaching the writing of the new book, unlike my feelings before, I have been shocked by the profundity of Karate-do to the point that even I at times have hesitated, and as a result the writing has extended itself over the past three years. Nevertheless, I have appreciated that ifthese profound aspects of karate are not set forth at some level now, they may never be built upon in the future, and it is with this recognition and with utmost humility that I provide this second edition. To my students and to all others who devote their time to karate, may I express the hope that you will understand my earnest wish in this and will yourselves supplement this work; thus will the objective of the work be fulfilled. GICHIN FUNAKOSHI Tokyo October 13, 1956PONMLKJIHGFEDCBA PREFACE ix T o s e a r c h fo r th e o ld is to u n d e r s ta n d th e n e w . T h e o ld , th e n e w T h is In The is a m a tte r o f tim e . a ll th in g s m a n m u s t h a v e a c le a r m in d . W ay: W h o w ill p a s s i t o n s t r a i g h t a n d w e l l ? xwvutsrqponmlkjihg Poem and calligraphy by Master Funakoshi. - xwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA CHAPTER 1PONMLKJIHGFE IN T R O D U C T IO N Zčchč-ten, the guardian of the south of the A of A - u n . Four Guardian Kings, symbolizes theZYXWVUTSRQPONMLKJIHGFEDCB Ris expression is that of the spirit of power released. Statue in dry day. National Treasure. T6dai-ji temple. CHAPTER 1PONMLKJIHGFEDCBA IN T R O D U C T KARATE IO N AND KARATE-DO WHA T IS KARA TE In Okinawa, a miraculous and mysterious marti al art has come down to us from the past. It is said that one who masters its techniques can defend himself readily without resort to weapons and can perform remarkable feats-the breaking of several thick boards with his fist or ceiling panels of a room with a kick. With hisZYXWVUTSRQPONMLKJIHGFEDCBA s h u t o ("sword hand") he can kill a bull with a single stroke; he can pierce the flank of a horse with his open hand; he can cross a room grasping the beams of the ceiling with his fingers, crush a green bamboo stalk with his bare hand, shear a hemp rope with a twist, or gouge soft rock with his hands. Some consider these aspects of this miraculous and mysterious martial art to be the essence of Karate-do. But such feats are a small part of karate, playing a role analagous to the straw-cutting test of kendo [Japanese fencing], and it is erroneous to think that there is no more to Karate-do than this. In fact, true Karate-do places weight upon spiritual rather than physical matters, as we shall discuss. True Karate-do is this: that in daily life, one's mind and body be trained and developed in a spirit of humi1ity; and that in critical times, one be devoted utterly to the cause of justice. KARA ~ AND KARA ~ Karate-do is a martial art peculiar to Okinawa in its origins. Although it has in the past tended to be confused with Chinese boxing because of the use of ~ in its earlier name, in fact for the past thousand years, the study and practice of masters and experts, through which it was nurtured and perfected and formed into the unified martial art that it is today, took place in Okinawa. It is, therefore, not a distortion to represent it as an Okinawan martial art. One may ask why the character ~1 has been retained for so long. As 1discuss in the section "The Development of Karate-do," 1 believe that at the time the influence of Chinese culture was at its peak in Japan, many experts in the martial arts traveled to China to practice Chinese boxing. With their new knowledge, they altered the existing martial art, called Okinawa-te, weeding out its bad points and adding good points to it, thus working it into an elegant art. It may be speculated that they considered ~ an appropriate new name. Since, even in contemporary Japan, there are many people who are impressed by anything that is foreign, it is not difficult to imagine the high regard for any1. The two characters F,g and ~ are homonyms in Japanese. The first, F,g, denotes that that is foreign, in particular from ancient China, a meaning derived from its use in Chinese to signify the Tang dynasty (A.D. 618-907). The second symbol, ~, was introduced for the word karate and is now accepted as the correct one in this usage. [Translator's note.] KARATE AND K A R A T E -D O 3 thing Chinese that prevailed during that period in Okinawa.Even at the time of the present writer's youth, lack of a full set of Chinese furniture and furnishings in one's home was a serious impediment to the social influence of any leading family. With this background, the reason for the choice of the character ~, meaning "Chinese," as a simple case of exoticism is apparent. Following tradition, the writer has in the past continued to use the character ~. However, because of the frequent confusion with Chinese boxing, and the fact that the Okinawan martial art may now be considered a Japanese martial art, it is inappropriate, and in a sense degrading, to continue use of ~ in the name. For this reason, in spite of many protests, we have abandoned the use of ~ to replace it with ~. THE MEANING OF KARA ~ The first connotation of ~ indicates that karate is a technique that permits one to defend himself with his hare hands and fists without weapons." Second, just as it is the clear mirror that reflects without distortion, or the quiet valley that echoes a sound, so must one who would study Karate-do purge him self of selfish and evil thoughts, for only with a clear mind and conscience can he understand that which he receives. This is another meaning of the elementZYXWVUTSRQPONMLKJIHGFEDCBA k a r a in Karate-do. Next, he who would study Karate-do must always strive to be inwardly humble and outwardly gentle. However, once he has decided to stand up for the cause of justice, then he must have the courage expressed in the saying, "Even if it must be ten million foes, 1 go!" Thus, he.is like the green bamboo stalk: hollow ( k a r a ) inside, straight, and with knots, that is, unselfish, gentle, and moderate. This meaning is also contained in the element k a r a of Karate-dčf Finally, in a fundamental way, the form of the universe is emptiness ( k a r a ) , and, thus, emptiness is form itself. There are many kinds of martial arts, judo, kendo, s o j i t s u ("spear techniques"), b O j i t s u ("stick techniques"), and others, but at a fundamental level all these arts rest on the same basis as Karate-do. It is no exaggeration to say that the original sense of Karate-do is at one with the basis of all martial arts. Form is emptiness, emptiness is form itself. The k a r a of Karate-do has this meaning.PONMLKJIHGFEDCBA THE WAY F R O M T E C H N IQ U E S The tremendous offensive and defensive power of Karate-dč is well known. Karate-do is an art with which one can defeat enemies with a single fist attack or kick, without weapons. The value of the art depends on the one applying it. 2. The Japanese term for bare fists, ~~ ( k u k e n ) , combines ~ ( k a r a ) with the character for fist ~. [Translator's note.] 3. In Japanese thinking, thc hollowness indicates unselfishness : the straightness, obedience and gent.lcnoss, and thc knots, strength of character and moderation. [Translator's note.] 4 IN T R O D U C T IO N - xwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA If its application is for a good purpose, then the art is of great value; but if it is misused, then there is no more evil or harmful art than karate. At one time, the police department of Okinawa attempted to introduce the art of karate to its members, but deep concern over the danger of this art caused the plan to be abandoned. In another instance, the late admiral s Rokurč Yashiro and Norikazu Kanna proposed that navy personnellearn karate, but again fear that it would find application in sailors' brawls led to disapproval of the suggestion. The indiscriminate use of the art of karate would cause great public concern and one cannot deny its potential dangers. However, it would be regrettable that pursuit of this mysterious art, of which one can be properly so proud, should be shunned simply because it is too dangerous. The source of concern is largely based on the misconception arising from instructors of poor character, who thoughtlessly place the emphasis of training on the techniques rather than on the spiritual aspects of the do, and from the misbehavior and poor attitudes of karate students who are learning this art solely as a technique of fighting. There are even extreme cases in which students are actually encouraged to employ their karate in brawls. Such admonitions as "You can never improve or polish your techniques without some actual application in fights" or "Ifyou cannot beat so-and-so, then perhaps you had better quit karate training altogether" are truly grievous for the reputation of Karate-do. However, such talk only shows the lack of sense of those who know nothing at all about Karate-do. Properly conceived and taught and practiced in the true spirit of Karate-do, this art is not only the antithesis of a present danger but it in fact admits few equals as a thoroughly noble martial art (buda). Powerful drugs are dangerous. Poison is frightening. However, there is no one in the medical world today who advocates shunning drugs. The danger of powerful drugs and poisons depends on their usage, and when applied correctly, they can be of great benefit. Karate-do, improperly used, is certainly dangerous and vicious. But for the same reason that it is dangerous, karate, too, if properly applied, can yield results of great value. At the time a patient receives a prescription for a powerful drug, he is made to understand its nature and is taught its proper usage. In the same way, those who would learn Karate-do must be made to understand it at the out set and be instructed in its proper use. The correct understanding of karate and its proper use is Karate-do. One who truly trains in this do and actually understands Karate-do is never easily drawn into a fight. One attack or a single kick determines life or death. Karate is properly applied only in those rare situations in which one really must either down another or be downed by him. This situation is experienced possibly once in a lifetime by an ordinary person, and therefore there may be an occasion to use karate techniques only once or not at all. The writer has always told his students, "Art does not make the man, the man makes art." Students of any art, clearly including Karate-do, must never forget the cultivation of the mind and the body. In Karate-do, one'sindividual goal might be improvement of his health or training of his body to function THE WAY 5 efficiently. He might wish to develop the strength of his arms or legs or body, or to attain poise and spiritual fortitude. Clearly, one could wish to learn Karate-do to become humble. All such goals have to do with self-development. In contrast, in the moment that one misuses the techniques, for example in fighting in such a way that he injures another or himself, or brings dishonor upon himself, he nullifies any of these benefits and merits of Karate-do. Such misuse, arising from superficial understanding, is in fact self-defeating. Through the man, techniques become art. I must earnestly repeat: do not misuse the techniques of karate. True karate, that is, Karate-do, strives internally to train the mind to develop a clear conscience enabling one to face the world truthfully, while externally developing strength until one may overcome even ferocious wild animals. Mind and technique are to become one in true karate. Those who follow Karate-do must consider courtesy of prime importance. Without courtesy, the essence of Karate-do is lost. Courtesy must be practiced, not only during the karate training period but at all times in one's daily life. The karate student must humble himself to receive training. It may be said that a presumptuous or conceited person is not qualified to follow Karate-do. The student must always be aware of and receptive to criticism from others; he must be constantly introspective and must readily admit any lack of knowledge, rather than pretending to know what he does not know. Those who follow Karate-do must never forsake a humble mind and gentIe manner. It is the small-minded individual who likes to brag upon acquiring some small skill, and those with little knowledge who carry on as if they were experts are childish. It is because of the large number of false martial artists in the world that the public tends either to ignore the martial artist or to consider him wild. Therefore, many serious martial artist s are embarrassed. Students of Karate-do should always keep these points in mind. Those who follow Karate-do will develop courage and fortitude. These qualities do not have to do with strong actions or with the development of strong techniques as such. Emphasis is placed on development of the mind rather than on techniques. In a time of grave public crisis, one must have the courage, if required for the sake of justice, to face a million and one opponents. For the Karate-do student, the most shameful trait is indecisiveness. For many years, I have humbly dedicated my life to the introduction of Karate-do to others. During the course of these many years, I have become associated with succeeding generations of fellow karate enthusiasts. Fortunately, my views have been understood by them, and their deep humility and gentleness have earned them the enthusiastic support of the public. I believe that this good result is a treasure we have found together through our mutual endeavor in karate. In a few words, then, those who seek karate should not stop merely with the perfection of their techniques. Rather, I hope, they will dedicate their lives to seeking the true Karate-do. This isbecause life through Karate-do is life itself, public and private.PONMLKJIHGFEDCBA 6 IN T R O D U C T IO N - xwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA THE DEVELOPMENT OF KARATE About fourteen hundred years ago Daruma (Bodhidharma), the founder of Zen Buddhism, left western India, penetrating mountain ranges including the Himalayas, and crossing unbridged rivers through complete wilderness, to travel to China to present lectures on Buddhism. Since even present roads between India and China would not be described as good, one can imagine the greatness of Daruma's spirit and physical strength-so great that he should have been able to conquer with such courage this difficult, several-thousandmile wayalone. In later years, as he traveled to the Shao-lin Temple (Shčrinji) in Hunan Province in China to lecture there on Buddhism, a great multitude of followers fell one by one in exhaustion from the harshness of his training. Daruma then set forth a method of developing the mind and body, telling them, "Although the way of Buddha is preached for the soul, the body and soul are inseparable. As I look at you now, I think it likely that you will not complete your training because of your exhaustion. For this reason, I shall give you a method by which you can develop your physical strength enough to enable yourselves to attain the essence of the way of Buddha." The method he E k k i n K y o ( E k k i n " S u t r a " ) . With it, the monks set forth is contained in theZYXWVUTSRQPONMLKJIHGFEDCBA were able to recover their spiritual and physical strength, and it is said that these monks of the Shao-lin Temple came to be known throughout China for their courage and fortitude. In later times, after teaching of this method originally proposed by Daruma spread to many other places, it came to bear the name of its origin and was called Shčrin-ji Kempo. It was this method that eventually reached the Ryukyu Islands and developed into Okinawa-te, the forerunner of present-day karate. Although there is no documentary evidence to clarify such points as dates of appearance or what original organizations existed, it is believed that karate must have come to Okinawa very early. Still, this k e m p o has come to be known as a marti al art unique to Okinawa.•About five hundred years ago, after the famous hero-king, Sh6 Hashi, united the three territories of Okinawa, a national policy was adopted under which the possession of any and all weapons by the people was forbidden. About two hundred years later (in the Japanese calendar, the fourteenth year of Keichč, i.e., 1609),weapons in the islands had been confiscated by the government, at the time when the Ryukyus came under the suzerainty of the Satsuma elan of Japan. It is supposed that the development of karate on the islands, as ameans of unarmed self-defense, received tremendous impetus as a result of this double prohibition of weapons and through this developed into the Okinawan martial art of karate as we know it today. There is no doubt that the many experts who traveled between Okinawa and China contributed heavily to .the bringing of karate to its present level. DEVELOPMENT 7 For example, it has eome down by word of mouth that about two hundred . years ago, a eertain Sakugawa of Akata, in Shuri, traveled to China and then returned to Okinawa after mastering karate to beeome known as "Karate Sakugawa" during his time. Again, aeeording to Shiodaira of Shuri, one hundred T h e O s h i m a N o t e , by Tobe of Tosa, Japan), and fifty years ago (as noted inZYXWVUTSRQPONMLKJIHGFEDCBA a Chinese expert, by name of Kii Shanku, arrived in Okinawa with a few of his students and introdueed a type of kempo. Okinawan experts sueh as Sakiyama, Gushi, and Tomoyori, of Naha, studied for sometime with the Chinese military attaohč, Ason; Matsumura, of Shuri, and Maesato and Kogusuku, of Kume, with the military attache, Iwah; and Shimabuku, of Uemonden, and Higa, Senaha, Gushi, Nagahama, Aragaki, Hijaunna, and Kuwae, all of Kunenboya, with the military attache, Waishinzan. It is said that a teacher of Gusukuma, Kanagusuku, Matsumura, Oyatomari, Yamada, Nakazato, Yamazato, and Toguehi, all of Tomari, was a southern Chinese who drifted ashore at Okinawa. In this manner, karate attained its fineness and became organized as it is today. In more reeent times, Master Tomigusuku received his training from Sakiyama, and Masters Azato and Itosu were students of Matsumura and Gusukuma,respectively. Masters Azato and Itosu were the teachers who instrueted the writer, and to whom the writer is greatly indebted. KATA There is no end to distinguishing the various schools and styles of karate. As in the kendo and judo of years past, these various schools and styles are known by the names of the owners of the respective dajo. In all budč, and not just karate, interpretations of the art by those who are training differ according to the interpretations of their instructors. Moreover it goes without saying that variations in expression are characteristic of each individual. N evertheless, if the kata are to be classified, then they fall broadly into either the Shčrei-ryii or the Shčrin-ryii, The form er emphasizes primarily development of physical strength and muscular power and is impressive in its forcefulness. In contrast, the Shčrin-ryfi (Shčrin "school") is very light and quick, with rapid motions to the front and back, which may be likened to the swift flight of the falcon. The Tekki Kata, as well as J utte, Hangetsu, Jion, among others, belong to the Shčrei-ryii ; whereas the Heian Kata and Bassai, Kwankii, Empi, Gankaku, and others are associated with the Shčrin-ryii. It is in deed impressive to watch a large-framed and heavily built man perform the Shčrei-ryii kata, overwhelming the observer with a display of sheer vibrant power. However, it tends to be somewhat lacking in quickness. Again, one eannot help but be greatly impressed in seeing a slightly built man with motions as quiek as those of a bird in flight perform the Shčrin-ryii kata with techniques of a blinding swiftness, whieh are the elegant result of intensive training. Both styles, though, surely develop the mind and body, and one is not better than the other. 8 PONMLKJIHGFEDCBA IN T R O D U C T IO N - xwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Both have their weaknesses and strengths, and those who would study karate should become aware of these points and study them accordingly. In addition to these kata, I have, as a result of several years of research into the general problem, developed two sets of kata, the Taikyoku no Kata, for beginners, and the Ten no Kata, to be used as matching (kumite) forms. I recommend that these kata be assiduously studied as well. If all the various kata are considered, their number is very large. However, since the purpose of learning kata is not just for the sake of learning them but for the tempering and disciplining of oneself, it is not necessary to study indiscriminately large numbers of them. It should be sufficient for one to become familiar with the following nineteen kata and to continue to train in them exclusively. From the Shčrin-ryii kata, the beginner should study first Taikyoku Shodan, Taikyoku Nidan, and Taikyoku Sandan and follow these with Heian Shodan, Heian Nidan, Heian Sandan, Heian Yodan, Heian Godan, Bassai, Kwankii, Empi, and Gankaku. This is a total of twelve. From the Shčrei-ryii kata, one should study Tekki Shodan, Tekki Nidan, Tekki Sandan, Jutte, Hangetsu, and Jion. Including with these the Ten no Kata as kum ite forms, one should obtain, I believe, the best use and expression of the various good points of the many kata. The many other forms will, therefore, not be treated here. P U B L IC IN T R O D U C T IO N OF KARATE Training in karate was always conducted with the utmost secrecy in Okinawa, with no one teaching or training openly in its arts as is done today. For this reason, books or written records on karate are almost nonexistent. It was naturally unthinkable that karate should be displayed in public exhibition. With the beginning of the Meiji period [1868-1912J, the formal education system and the military conscription system were inaugurated, and during the physical examination of draft ees and students, those young men with karate training were recognizable at aglance and greatly impressed the examining doctors with their well-balanced limb development and elearly defined muscular development. Then, some time later, the commissioner of public schools, Shintar6 Ogawa, strongly recommended in a report to the Ministry of Education that the physical education program s of the normal schools and the First Public High School of Okinawa Prefecture include karate as a part of their training. This recommendation was a?cepted and initiated by these schools in 1902. Irecall this to be the first time that karate had ever been introduced to the general public. Shortly after the end of the Russo-Japanese War, in 1906, the author persuaded a few friends to form a group to give public demonstrations, and together we toured Okinawa. This was probably the first time that karate demonstrations had been held in public. In particular, at the opening ceremony of the new prefectural building, to which many nationally prominent people were invited, the writer was requested to lead a group of five outstanding masters of karate in P U B L IC IN T R O D U C T IO N 9 a demonstration ofthis unique martial art. On another occasion, I was invited by the medical association to demonstrate and explain karate as ameans of physical education. I also recall a demonstration before the students of the intermediate school of the city of Naha, and later these students themselves performed karate at a citywide athletic tournament, to the warm applause of the townspeople. During the years 1914 and 1915, a group that included Mabuni, Motobu, Kyan, Gusukuma, Ogusuku, Tokumura, Ishikawa, Yahiku, and myself, as well as many other friends, gave many demonstrations, using the cities of Naha and Shuri as centers and going out from there to the surrounding areas. It was due to the ceaseless efforts of this group in popularizing karate through lectures and demonstration tours that karate became well known to the public, at least in Okinawa. ln either 1916 or 1917, the writer, continuing the pro motion of wider appreciation of karate, was invited as the representative of Okinawa Prefecture to the Butoku-den in Kyoto, at that time the official'center of all the marti al arts, to give akarate demonstration. To my knowledge, this was the first time that karate, once for so long taught in secret, was to be demonstrated outside of Okinawa. On March 6, 1921, the emperor of Japan, who was at that time the crown prince, visited Okinawa on his way to a European tour. For the occasion, karate was selected to be demonstrated before the crown prince in the Great Hall of Shuri Castle, and I humbly received the great honor and responsibility of the appointment to conduct the demonstration of karate by a select group of high school and college students. It was later gratifying to hear that the crown prince, up on being asked his impression of Okinawa, expressed particular pleasure with the beautiful scenery, the Dragon Drain of the Magic Fountain in Shuri Castle, and the mysterious elegance of karate. ln the early spring of 1922, the Ministry of Education held its First National Athletic Exhibition in Tokyo, and I was asked by the Department of Education of Okinawa Prefecture to arrange an exhibition of karate to be given at that event. I accepted the assignment and put my best efforts into the production of three large scrolls containing the history of karate and illustrations of its kata and techniques. I traveled to Tokyo with the scrolls as representative to the exhibition. I had hoped to return to Okinawa at the close of the athletic exhibition, but was strongly urged by several groups, the Sh6 family (descendants of the last king of Okinawa, Sh6 Tai), the Kodokan, the military academy, the bar association, the Society for Research in High SchoolPhysical Education, and more than ten other associations and organizations, to remain in Tokyo and to give a more detailed discussion of karate. Although I did not feel worthy of this task, I did believe it to be in the interest of karate and, therefore, made many trips about the country giving talks and demonstrations in an effort to popularize this art. During this time, master artist Hčan Kosugi commented to me one day, "If you do return to Okinawa, we shall have difficulty in training for lack of instruction; could you perhaps leave something with us in writing explaining thisPONMLKJ 10 IN T R O D U C T IO N way [do]1" I was deeply moved by this request, and, having myself many times considered noting down some points about karate, Ibegan then to devote my evening s to the writing of a book, which finally did appear, in November of R yukyu K e m p o : K a r a t e . This little book was the first pub1922, with the titleZYXWVUTSRQPONMLKJIHGFEDCBA lished work on the subject of karate. Through it, karate, once transmitted in secret, was opened to the world. However, in the following year, the plate s of the book were destroyed in the Great Kanto Earthquake of 1923,and this led to publica ti on of a revised edition under the title of R e n t a n G o s h i n K a r a t e - j i t s u [Strengthening of willpower and self-defense through techniques of karate]. This edition was read by the emperor himself, an honor, of course, not only for me, but for Karate-do itself. In other instances, at the end of 1924, I gave a demonstration at the Jichi Hall (Hall of "Self-Government") at Ueno, Tokyo, having qualified in the Tokyo Invitational Prize Contest for Athletics. On March 20, 1928, upon invitation of the Imperial Household Agency, I gave a demonstration with fifteen students in the Sainei-kan hall on the palace grounds. Over the years, engrossed in my enthusiasm in explaining, demonstrating, and traveling here and there, I have been too busy to return to Okinawa. While I responded to requests for private lessons at the Meiseijiku [a dojo] and continued to introduce karate to universities and business corporations, the time has slipped away, up to the present day. The universities with which I have been associated include Keio, Waseda, Shčdai," Takushoku, Chuo, Gakushu-in, Hosei, and others. Additional major group s other than universities include the Matsuzakaya department stores and the Tokyu Department Store and Railroad Company. Other universities seriously studying karate include Meiji, Nihon, and Tokyo; and one can enumerate ten dojo in Tokyo alone [1930s] offering karate instruction. Today, almost everywhere in Japan, I can hear the voices of karate training. Now, finally, karate has been introduced to far places abroad. As I look back over the past forty years to those days in the beginning when I was first introducing karate with my friends, it is indeed difficult for me to grasp the present widespread acceptance of karate. It seems as if it were a different period. THE VALUE OF KARATE AS ATHLETIC TRAINING The nature of karate is such that it requires the body to move in all directions, in contrast, for example, to the emphasis on the arms in rowing or the legs in jumping. There is absolutely no need for concern about one-sided development of the body in karate, and the fact of uniform development may be considered to be one of the benefits of karate. In most cases, only a minute or two is required to complete akata. Moreover, 4. Shčdai (Tokyo Shčka Daigaku) is now Hitotsubashi University. [Translator's note.] THE VALUE OF KARATE 11 as one continues to practice, the movements become quicker and the training as a whole more vigorous, so that one can get ample exercise from a relatively short period of time. This is an ideal form of exercise for the many people today who complain that they would like to exercise, but they just do not have the time. The Iittle time required is, therefore, a second major advantage. Almost no other form of exercise, be it judo, kendo, archery, swimming, or horsemanship, can be performed at any time or place as easily as karate. Most sports require a large area, equipment, or a partner, and in this regard as well, karate is the most adaptable. No specific area, equipment, or even partner are necessary, for it can be performed in a garden, living room, hallway, at any time or place that one feels the desire to practice. This is the third significant advantage of karate. Usually, exercise suitable for men is not suitable for women, and that for women is probably not enough for men; that for people recovering from illness is not enough for healthy people, and similarly, sufficient exercise for healthy, young people is too strenuous for older people or young children. Karate, however, may even be practiced by the physically weak, by women, children, and by elderly people. In other words, since each individual may adjust the exercise to his own capacity, and with each unit of exercise being of but one to two minutes' duration, there is no danger of overexertion or physical exhaustion. Moreover, as the body is built up and the techniques become more skillful, the movements naturally become more powerful, so that the amount of exercise becomes sufficient even for the healthy young man in his prime. Thus, the amount of exercise increases naturally as the training progresses, a point that I would cite as the fourth athletic merit of karate. The fact that karate may be practiced either alone or in group s is a feature unique to it. Finally, even considered purely from the standpoint of physical techniques of practical value, the individual hand or foot movements, each with its own meaning, and the many variations in the various kata sequences become challenges to learn, While enjoying and being engrossed in their study on this basis, one accrues their benefits almost without realizing it. The value of karate as physical training may easily be demonstrated by scientific tests, and even after a year or less of practice, one can easily see for himself the tremendous improvement in his condition over its state before karate training. My esteemed teachers, the late masters Shishu (in Japanese, Itosu) and Azato, were both very weak in their childhood, but after starting to train in karate as ameans ofimproving their health, they developed so much that they seemed like difIerent people compared to their old selves and lived to become famous, in our times, as old masters. Master Shishu lived to the venerable age of eightyfive, and Azato to that of eighty. Master Azato's own teacher, Master Matsumura, lived to be over ninety years of age. Other contemporary karate experts such as Masters Yamaguchi, Aragake, Chibana, Nakazato, Yahiku, Tokashiki, Sakihara, and Chinen, have all lived to be over eighty. These examples are indicative of the role of karate as a superior method ofmaintaining one's health.PONMLKJIHGFEDCB 12 IN T R O D U C T IO N --------------------------------------------------~-- AS SELF-DEFENSE Almost all living creatures have some mechanism for defending themselves, for, where this development is incomplete, the weaker are destroyed and perish in the fierce struggle for survival. The fangs of the tiger and lion, the talons of the eagle and hawk, the poisonous sting of the bees and scorpions, and the . thorns of the rose and Bengal quince: are these not all preparations for defense? But if the lower mammals, birds, insects, and plants each have such specialization, should not man, the lord of creation, be prepared as well? An appropriate basis for the reply to this question is provided by the statement: We should have no intention of harming other people, but we must try to keep out of harm's way_ To protect oneself, one must find a method that will give the weak the power to defend themselves against stronger opponents. The power of karate has become well known in these times for its effectiveness in breaking boards or cracking stone without tools, and it is not an exaggeration to assert that a man well trained in this form of defense may consider the whole body to be a weapon of awesomely effective offensive power. Finally, although karate does have throwing techniques, it relies principally on striking, kicking, and thrusting techniques. These movements are much quicker and caI}.escape the untrained eye. Block-attack combinations are executed simultaneously, and weaker individuals, women or young boys, do have ample strength to control a more powerful opponent with them. In short, among the advantages of karate as ameans of self-defense are these: no weapons are necessary; the old or sick, or women, are able to apply it; and one can protect himself effectively even with little natural strength. These points combine to make karate a form of self-defense without equal. AS SPIRITUAL TRAINING Karate is no different from the other martial arts in fostering the traits of courage, courtesy, integrity, humility, and self-control in those who have found its essence. However, most of the martial arts, since their practice is harsh from the outset, are not suited to individuals of weak constitution, poor build, or weak character, and such students, generally speaking, willlose spirit and drop out early in their training. Moreover, it is possible for astudent, because of physical weakness, to train so conscientiously that he overexerts him self to the point of injuring himself or becoming ill, his body not being able to keep pace with his will, and early failures of this sort are encountered as well. For these reasons, many people, being physically weak, have had to give up hope of train- ing in the martial arts, even though such training and its development of bravery and a solid, firm body could be of special importance to the constitutionally or spiritually weak individual. It is, therefore, important in this context as well that karate can be practiced by the young and old, men and women alike. That is, since there is no need for a special training place, equipment, or an opponent, a flexibility in training is provided such that the physically andPONMLKJIHGF THE VALUE OF KARATE 13 spiritually weak individual can develop his body and mind so gradually and naturally that he himself may not even realize his own great progress. This flexibility of training also makes possible great strides in spiritual training. For iftraining in any martial art is discontinued after half a year or a year, it can hardly be expected to lead to any degree of spiritual training. An insight into this art, a mastery of its techniques, a polishing of the virtues of courage, courtesy, integrity, humility, and self-control to make them the inner light to guide one's daily actions: these require at the least ten or twenty years, if possible a lifetime of devotion to the study of this art. In view of its adaptability to continued training, 1 consider karate to be the most suitable of the many martial arts in leading to fulfillment of the need for training of the spirit.PONMLKJIHGF 14 IN T R O D U C T IO N - xwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA CHAPTER 2 FUNDAM ENTAL ELEM ENTS ! J f Master Funakoshi practicing with theZYXWVUTSRQPONMLKJIHGFEDCBA m a k iw a r a . CHAPTER 2PONMLKJIHGFEDCBA FUNDAM EN TAL ELEM ENTS THE HAND THE FIST It is so important in karate to know how to make a proper fist that it is necessary, before anything else, to understand thoroughly how to do this. The clenching of the fist can be represented as a three-step process. In the first step, the middle joints of the fingers are folded, in the second, the hand is folded at the basal joints of the fingers, and in the third, the thumb is placed so that its inner edge tightly grips the first two fingers. Figure 6 shows the front surface of the fist; the parts of the index and middle fingers forming this surface should be paralleI and flat. Contact in striking should be made simultaneously on the four points marked in figure 6 on the joints and knuckles of the index and middle ( s e i k e n ) . · Although it may be fingers. This type of fist is called the regular fistZYXWVUTSRQPONMLKJIHGFEDCBA found somewhat difficult initially to make a proper fist, the difficulty is removed with a littIe practice. 1 2 3 4 5 This is the fist most commonly employed in fist-thrust ( t s u k i ) attacks. However, depending on the situation, one mayaIso use the back of this fist ( u r a k e n ) to attack the face of an opponent; or the combined heel of the hand and side of the Iittle finger ( t e t t s u i ) , as shown in figure 8, against the face, elbow, or other parts ofthe body. The condition of the fists is always maintained by regular practice with the m a k iw a r a (straw-covered post) .. The power and authority of the fists displayed in breaking boards and tiles are an incentive to conscientious practice with the makiwara. In practice, to strike the makiwara with the right fist, place yourself 6 7 8 THE HAND 17 •xwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA \ \ 10 9 11 at a distance so that the fully extended fist just touches the makiwara. Draw the fist back and cock it above the hip bone with the fingers facing upward. The left foot shou1d be p1aced forward, and the 1eft arm extended to the front and downward with the fist six or seven inches above the knee in the 1eft lower ( g e d a n b a m i ) posture described below. During the attack, the level blockZYXWVUTSRQPONMLKJIHGFEDCBA right fist rotate s while advancing so that the back of the hand comes upward just at the instant of contact; the left fist is drawn back to the hip in the reversed rotating motion, which bring s its fingers to face upward; and the lower abdomen is tensed with a sudden expulsion of breath, "uhmm!" (The training for this attack, the reverse punch ( g y a k u - z u k i ) , is described on page 30.) Practice with the left fist as well, using the technique described and occasionally also an attack from the natural ( h a c h i j i ) stance. Initially, do not strike too heavily or too many times, but practice lightly morning and evening. Gradually begin to use more force and increase the number of attacks, while becoming accustomed to the training and improving the technique through regular daily practice. Over a period of six months, increase the number of attacks to about one hundred times for the right hand and two hundred for the left (vice versa for a left-handed person). The trainee should be very careful not to give in to the youthful enthusiasm to strike the board either without plan or with too much strength. Overtraining not only can injure the knuckles, sometimes permanently, but it may occasionally be the cause of diseases of the internal organs. The point is to develop confidence in one's fists and to come to understand the relationship between the fist and hip. O n e - f i n g e r F i s t ( I p p o n - k e n ) . In the two form s of one-finger fist, the joint of a finger, either the index finger or the middle finger, protrudes from the fist as shown in figures 9 and 10, respectively. Both forms require that the side of the thumb be held firmly against the index finger. This type of fist is employed primarily against the face, striking with the points indicated in the figures. F l a t F i s t ( H i r a k e n ) . As shown in figure 11, the four fingers are held together and bent so that they form a shallow fist, with the thumb being bent and pressed firmly against the index finger. This type of fist is used mainly against the face, the points used in striking the opponent being those indicated by the dots in the figure. SPEAR HAND (NUKITE) There are three ways of forming the fingers for the spear hand. F o u r - f i n g e r T h r u s t ( S h i h o n z u k i ) . The most common is the shihonzuki, shown in figures 12 and 13; the four fingers are held tightly together and the thumb bent and held firmly in place. The back side of the open hand is not fiat, the knuckles being bent and protruding slightly. The four-finger thrust is usedPONMLK 18 FUNDAM ENTAL ELEM ENTS 15 14 13 12 16 17 in attacking the solar plexus of an opponent and can, with proper training, be more effective than the fist.ZYXWVUTSRQPONMLKJIHGFEDCBA T w o -fin g e r T hrust (N ih o n z u k i). The ring and little fingers are closed, and the thumb is bent to lie on the top of the ring finger, as shown in figure 14. This is used only in attacking an opponent's eyes. O n e -fin g e r T hrust (Ip p o n z u k i). As shown in figure 16, the one-finger thrust is very similar to the four-finger thrust except that only the index finger is extended. It is used in attacking an opponent's eyes. It might be mentioned that there is a method of training to toughen the fingertips for the spear hand, which consists of practice thrusts into containers of first rice and then, in gradual succession, beans, sand, and pebbles. However, there is no need for extensive training. primarily SWORD HAND (SHUTO) The term shutč indicates the use of the hand as a sword. As in the spear hand, the four fingers are extended rigidly and the thumb is bent, but not too far, across the palm. The heel edge of the hand, as marked in figures 12 and 13, is used in striking the temple, between the eyes, ,the side of the neck in the region of the carotid arteries, or vital points on the arms, legs, and so on. Depending on the point of attack, this technique can also be more effective than the fist.PONMLKJIHGFEDCBA STANCES There are seven stances ( t a c h i k a t a ) . They are the feet-together ( h e i s o k u - d a c h i ) , natural ( h a c h i j i - d a c h i ) , front ( z e n k u t s u - d a c h i ) , back ( k O k u t s u - d a c h i ) , cat leg (n e k o a s h i-d a c h i), horse riding ( k i b a - d a c h i ) , and T ( c h i 5 j i - d a c h i ) . l 1. The latest edition eliminates the T (ch6ji-dachi) and adds the immovable stance (jud6-dachi). This translation explains the immovable stance instead of the T. [Trans' lator's note.] STANCES 19 ~ 20 21ZYXWVUTSR As shown in figure 18, this stance is like that of attention except that the toes are together. N a t u r a l S t a n e e ( H a e h i j i - d a e h i ) . This is the stance of at ease, with feet apart and to es turn ed outward. F r o n t S t a n e e ( Z e n k u t s u - d a e h i ) . As shown in figure 20, stand with one foot forward with bent knee. Have the feeling of pulling the front foot back and drawing the rear foot forward. The distance between the feet should be about three feet, with some adjustment for body height. B a e k S t a n e e ( K o k u t s u - d a e h i ) . This stance is the opposite of the front stance (zenkutsu-dachi), the knee of the back leg is bent and the weight supported on the back legoOne should have the feeling of drawing the front foot into the back foot. The distance between the feet is about two and one-half feet with some adjustment for height. The lines of the two feet should intersect to form roughly an L. C a t L e g S t a n e e ( N e k o a s h i - d a e h i ) . This stance derives its name from its resemblance to that of a cat about to spring upon its victim. The back leg is bent and supports the entire body weight, the toes of the front foot resting lightlyon the ground. This stance enables rapid stepping either forward or backward and is also appropriate in kicking techniques. H o r s e -r id in g S ta n e e (K ib a -d a e h i). This stance resembles superficialIy the natural stance (hachiji-dachi). In assuming the stance, stand first with the toes turned inward, knees bent, and lower ab domen to the fronto N ow, lower the hips, hold the trunk erect, and, in applying stress, first to the thighs, as in horse back riding, then along the outer rims of the feet, tense the legs as if concentrating strength from their outer sides to the space between them; pull the heels inward until the feet are drawn almost parallel. Make a strong feeling in the lower abdomen. This is a very firm stance, and one who has mastered it does not fear (for example) even being swept away while standing on a rooftop holding a door aloft in a typhoon. I m m o v a b l e S t a n e e ( F u d o - d a c h i ) . This stance is formed from the zenkutsudachi by bending the back leg slightly and twisting the hips into a h a n m i position (i.e., with the trunk rotated away from a full front position). 18 F e e t-to g e th e r S ta n e e 19 (H e is o k u -d a e h i). ~----~--------- .f: 22 , 23 o • 24 25 - PONMLKJIHGFEDCBA HAND T E C H N I Q U E S xwvutsrqponmlkjihgfedcbaZYXWVUTSRQPON HAND ATTACKS Hand techniquesZYXWVUTSRQPONMLKJIHGFEDCBA ( t e w a z a ) consist of hand attack s ( t s u k i - t e ) and hand blocks ( u k e - t e ) . Hand attack s include the regular fist ( s e i k e n ) , spear hand ( n u k i t e ) , sword hand ( s k u t o ) , elbow ( e m p i ) , single point ( i p p o n - k e n ) , back fist ( u r a k e n ) , and flat fist ( k i r a k e n ) . Hand and arm blocks include the scooping block ( s u k u i u k e ) , hooking block ( k a k e - t e ) , pulling-in block ( k i k i - t e ) , and sweeping block (k a r a i-te ). Hand attack s niques. (ts u k i-te ) is a general term used to describe various tech- R e g u la r F is t (S e ik e n ). In addition to its use in attacks, the seiken mayaIso be used to divert or block an opponent's attack. The choice ofparts of the body that serve as targets for it depends on the attack position of the opponent. Throughout the book, attack s will be broadly classified as being directed at the upper, middle, or lower level of the body. Spear H and (N u k ite ). The number of fingers used varies to provide one-, two-, and four-finger attacks. The spear hand is employed against an opponent's vital points. (See page 237.) S w o r d H a n d ( S k u t o ) . The hand and arm are employed in striking an opponent's attacking fist downward and in attacking vital points of the opponent's face, head, hand s, arms, or legs. When one becomes proficient in this technique, it is at times more effective then the fist. (See page 19.) E lb o w (E m p i). The elbow is used in striking an opponent's solar plexus, sides, chin, arms, and legs. When trained in this technique, even women and children may protect themselves quite effectively. Refer to figures 27-29. S in g le -p o in t F is t (Ip p o n -k e n ). The index or middle finger is bent to protrude beyond the rest of the fist to form a striking point. The single-point fist is used in attacking an opponent's temple, the point of the upper jaw just below the nose, between the eyes, and so on. (See page 18.) B a c k F is t (U r a k e n ). The back of the fist is employed primarily against the opponent's face. (See page 17, figure 7.) 27 28 29 Hand and arm blocks ( u k e - t e ) include a variety of techniques employed in blocking or diverting attacking fists and feet. One distinguishes upper, middle, and lower level blocks, and additionally, for each level, an inside and an outside HAND T E C H N IQ U E S 21 .~ ,.,~ jxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFED 33 32 31 30 type. In addition to those already mentioned, there are a vast number of individual techniques. The principalobjective in all blocking is to maneuver the opponent into a disadvantageous position. HAND BLOCKSZYXWVUTSRQPONMLKJIHGFEDCBA This block is employed against both fist and foot attacks and consists of a scooping motion to block and throw, or block and catch, using the open hand or the fist. The technique throws the opponent offbalance and renders him ineffective after suppressing his fist and foot attacks. H o o k i n g B l o c k ( K a k e - t e ) . This technique is employed in blocking an opponent's fist attack. It occurs as the tenth step in the Tekki Shodan kata, in which the left arm executes a middle level (chiidan) hooking block (kake-te), the right arm simultaneously a lower level hooking block (gedan kake-te). It is possible to measure the degree of ability of anopponent by blocking his fist attack with a hooking block (kake-te) and then to adjust oneself accordingly. P u l l i n q - i n . B l o c k ( H i k i - t e ) . This technique is a variation ofthe hooking block. In blocking the opponent's attacking fist, grasp the opponent's fist and attack while pulling him inward. Ris balance broken, the effectiveness of his attack is S c o o p in g B lo c k (S u k u i-u k e ). lost and that of the counterattack enhanced. A pulling motion coupled with a twist is much more effective here than a straight pulling motion (Figure 34). S w e e p i n g B l o c k ( H a r a i - t e ) . This type of hand block clears the space between defender and attacker of attacking fists and feet. In contrast to the hooking block, the technique is executed with the feeling of knocking the attack out of the way. Refer to figure 35. T r a p p i n g B l o c k ( K a k a e - t e ) . This technique involves grasping the opponent's attacking arm, pulling and locking it under one's own arm, and attacking while the opponent is thus off-balance and neutralized. Refer to figures 36 and 37. O p e n i n g B l o c k ( K a k i w a k e ) . The fourteenth step of the Heian Yodan kata is the opening block. If seized, e.g., by the lapels, by both hands or attacked by both fists of an opponent, one breaks the hold or blocks the attack by a forceful 34 35 36 37 38 39 uncrossing of the wrists in the space between the attacker's arms, usually immediately following with a kicking or striking counterattack (Figures 38, 39).ZYXWVUTSRQPON S tr ik in g B l o c k ( U c h i - t e ) . The striking block is used in both attack and defense. Attack vital points with the sword hand (shutč) or single-knuckle (ippon-ken) fist; or, alternatively, strike with the sword hand (shutč) or wrist to knock an attacking fist or foot out of the way. Once struck by a well-trained person who is able to crack an opponent's bones, an attacker loses much of his desire to fight.PONMLKJIHGFEDCBA FOOT T E C H N IQ U E S No other martial art has developed foot techniques ( a s h i w a z a ) , to the high degree of refinement that they have found in karate. Indeed, foot techniques are amajor strength of karate, and it, therefore, contains many different types. The following are those most often employed: front kick ( m a e - g e r i ) , side kick (y o k o -g e r i) including both the side-up kick ( k e a g e ) and side-thrust kick (k e k o m i) types, back kick ( u s h i r o - g e r i ) , roundhouse kick ( m a w a s h i - g e r i ) , crescent moon kick ( m i k a z u k i - g e r i ) , stamp-in kick ( f u m i k o m i ) , knee strike (h iz a -ts u c h i), jump kick ( t o b i - g e r i ) , double kick ( n i d a n - g e r i ) , returning wave (n a m i-g a e s h i), and others. F ront K ic k (M a e -g e r i). Beginners should start by taking the front stance (zenkutsu-dachi). Shifting the weight to the front foot, kick so that the rear foot follows the path indicated in figures 44 through 47. The stri king point is the ball of the foot. Targets are the opponent's vital points and include the shins, groin, stomach, and chest. After sufficient training, the kick should be practiced from the natural stance. S id e K ic k (Y o k o -g e r i). As indicated, there are two types." In the side-up kick 42 2. Originally the side-up kick was a low level kick. [Translator's note.] 43 44 45 46 47 (keage), the beginner should take the horse-riding stance (kiba-dachi). As shown in figures 48 and 49, kick upwards against the opponent's chin or attacking arm with the outside edge of the foot. In the side-thrust kick (kekomi), assume the horse-riding stan ce (kiba-dachi) and kick the stomach or chest of the opponent with the outside edge of the foot or heel, as indicated in figures 50 through 52. 48 49 50 51ZYXWVUTSRQPONMLKJIHGFED 52 B a c k K i c k ( U s h i r o - g e r i ) . Upon being seized from behind by an opponent, kick immediately upward and toward the back with the heel. The targets of this kick are the testicles or shins. As the opponent backs away, lower the body and deliver an upward kick or thrust kick toward the back following the same principle as that of the side kick. See figures 53 and 54. 54 53 55 56 R o u n d h o u s e K ic k (M a w a s h i-g e r i). Sidestepping an opponent's attack, twist the hips in a circular motion so that the toe or ball or in step of the foot swings inward at right angles to the opponent's body. The principle of the kick is similar to that of the front kick, but the difference in the body positions should be carefully noted. The correct position is that shown in figures 55 and 56 and 57 through 59.PONMLKJIHGFEDCBA 24 FUNDAM ENTAL ELEM ENTS 57xwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 59 58 60ZYXWVUTS C r e s c e n t M o o n K ic k (M ik a z u k i-g e r i). This kick is identical in almost all respects to the roundhouse kick. It differs in that the motion of the foot is a flatter are, like the flat crescent of a new moon, from which the kick derives its name, and in that the striking surface of the foot is the sole. One who practices the roundhouse kick can execute the crescent moon kick without difficulty. The points of attack are the chest, stomach, and testicles. See figures 57-60. S ta m p -in (F u m ik o m i). Step in with great force, as if to cut through an opponent's body or leg with the outside edge (foot sword) of the foot. This motion is one type of the side-thrust kick (kekomi) and is used mainly against the opponent's knee, thigh, or in step to break his posture. See figures 61 and 62. K n e e S t r i k e ( H i z a - t s u c h i ) . In grappling with an opponent, kick the testicles with the knee, or, pulling his head downward, kick the face with the kn~e. J 't. 1. .---. •••••PONMLKJIHGFEDCBA e .... 61 ...• 62 63 64 J u m p K i c k ( T o b i - g e r i ) . After evading an opponent's attack by leaping into the air to his side, attack his face or neck while in the air with a side-thrust kick. D o u b l e K i c k ( N i d a n - g e r i ) . This is another type of jumping kick. Leaping into the air with a bounding step, kick the opponent's stomach or testicles with one foot and then his face with the other (the jumping foot). Kicking with both feet while in the air is the characteristic of this technique. For a proficient person, this kick becomes quite high, and the expert can jump over an opponent's head 65 66 67 68 to take up a position behind him. Variations employ the ide-thrust kick or roundhouse kick as the second kick in the air. See figures 6 and 6 .ZYXWVUTSRQPONM R e t u r n i n g W a v e ( N a m i - g a e s h i ) . This kick is the thirteenth step in the Tekki Shodan kata. The technique may be used, for example, to block an opponent's kick to the testicles if one's arms are locked. The sole of the foot is used to deflect the opponent's kick, and one continues by kicking the opponent's testicles or inner thigh in counterattack. See figures 69 and 70. 70 69PONMLKJIHGFEDCBA 26 FUNDAM ENTAL ELEM ENTS CHAPTER 3PONMLKJIHGFE B A S IC T R A IN IN G Master Funakoshi sh n d č -u k e . executing ZYXWVUTSRQPONMLKJIHGFEDC chU dan CHAPTER3PONMLKJIHGFEDCBA B A S IC T R A IN IN G Before practicing the kata, learn well how to stand and how to kick. In order to move freely within the kata, one should practice, as part of the regular ( k i h o n ) , those techniques and stances that occur most frequently basic trainingZYXWVUTSRQPONMLKJIHGFEDCBA in the kata. One may say that the secret to rapid progress is contained in equal emphasis on the three categories oftraining: basic training ( k i h o n ) , form s ( k a t a ) , and engagement matches ( k u m i t e ) . The following are to be studied as part of training in basics: for the hand attacks, train attacking from a horse-riding stance (kiba-dachi) as well as pr~c.ticing-~/reverse punch (gyaku-zuki) and front punch (oi-zuki}; for the kicks, practice the front kick (mac-geri), side kick (yoko-geri), side-up kick (keage), side-thrust kick (kekomi), roundhouse kick (mawashi-geri), and double kick (nidan-geri) ; for hand blocks, include the down block (gedan barai), middle level sword hand block (chiidan shutč-uke), upper level rising block (jčdan age-uke), and so on.' There is, of course, no objection to practicing in addition other techniques found in the kata. The kicks have already been treated in the section on foot techniques and will not be explained again, apart from stres sing once more the importance of praoticing both the left and right sides and not favoring one side over the other. For this purpose, if practicing in a place large enough, one should alternate series of left and right sides while practicing, working across the practice area. A t t a c k s f r o m H o r s e - r i d i n g S t a n c e ( K i b a - d a c h i ) . As shown in figures 1 and 2, assume the horse-riding stance (iftraining in a group, at the command, "punching, ready"), cock one fist at the waist at a point above the hipbone with the 1 2 3 4 1. Master Funakoshi did not include the forearm block ( u d e u k e or u c h i u k e ) or the hammer block ( u c h i k o m i or t e t t s u i ) as part of basic technique, although these blocks occur many times in the kata. [Translator's note.] BASIC TRAINING 29 fingers upward, and extend the other fist straight out to the front and center with the back of the fist turned upward and level with the wrist. Without changing the horse-riding stance, attack alternately with the right and left fists. Practice this repeatedly, so that the fists will attack straight to a target in the center at the fronto It should be noted that the elbow of the attacking arm should not swing outside the width of the shoulder. To assure this, execute the fist attack from a cocked position at the waist with the arm sliding past the side of the body. In its cocked position, the fist always faces upward (i.e., with the fingers upward), rotating in a forward attack to bring the fingers to face downward at the instant of the strike.ZYXWVUTSRQPONMLKJIHGFEDCBA D a w n B lo c k o r L o w e r L e v e l B lo c k ( G e d a n B a r a i) .A 1 th o u g h this is a blocking technique, it facilitates discussion to present the lower level, or down block, at this point in the order of study. Stand first in a front stance with the left foot forward and the left arm extended so that the fist is about six inches above the knee with the fingers upward. Similarly, when the right foot is forward, the right fist is forward. The trunk is set in a half-facing (hanmi) position to the right; that is, the hips are rotated about a vertical axis through about 35 degrees from the fronto The trunk should not be leaning either to the front or the back, an important point that holds for all stances. Practice consists ofrepeated blocks while moving either forward or backward with each block. In either case, whether advancing a step with the right foot or retreating a step with the left, bring the cocked right fist diagonally up from the waist to the left shoulder and then swing it downward in a block synchronized with the leg movement. The left fist is drawn back to the waist at the same time to a cocked position above the hip, with the fingers upward. As indicated in figures 3 and 4, the down block is employed to block away a front attack from an opponent, and one should practice with this in mind. Practice both sides in this manner, a1ternating the one side with the other. R e v e r s e P u n c h ( G y a k u - z u k i ) . The ready ( y o i ) position for this technique is the down block posture. The attack is executed with the hips springing to a full frontal position from a half-facing (hanmi) position with the cocked right fist being thrust forward in a movement synchronized with the hips, as shown in figures 5 through 7. During the attack, the fist is rotated so that it extends to 6 5PONMLKJIHGFEDCBA 30 B A S IC T R A IN IN G 7 8 9 10 11 12 the center in front with the fingers downward. Simultaneously, the left fist, which began six to seven inches above the left knee, is rotated and drawn back to be cocked at the waist with the fingers upward. The technique is called "reverse punch" because the forward foot and attacking fist are on opposite sides. In practicing an advancing series of right and left attacks, take a full step forward with the real' foot after completion of each reverse punch, drop the front fist to a point six to seven inches above the knee, and continue, as described, with the opposite fist. In a retreating series, take a full step backward with the forward foot after completion of each reverse punch.ZYXWVUTSRQPONMLKJIHGFEDCB F r o n t P u n c h ( O i - z u k i ) . The down block posture is the ready stan ce for this technique, as it is for the reverse punch. The essential points in this technique are similar to those in the reverse punch. The hips spring forward to a full frontal position from a half-facing posture, while the cocked fist is thrust forward and a forward step is made with the foot on the same side. Thus, as shown in figure 10, in an attack with the right fist, the right foot goes forward. This is a technique to be used in cornering an opponent and aggressively attacking him. Both the reverse punch and the front punch should be practiced with the feeling that the attack isexecuted primarily with the hips and lower abdomen rather than the arms and legs. M i d d l e L e v e l S w o r d H a n d B l o c k ( O h u d a n s h u t o - u k e ) . As shown in figure 11, one assumes the back (kčkutsu) stance at the command of ready ( y o i ) . With the right foot forward, bring the right sword hand to a point above the left shoulder and swing it across toward the right side in a slightly downward motion of defiecting a front attack of an opponent. Stop the block with the elbow ab ove the right leg, bent in a right angle and hooked slightly inward toward the body. At this point,. the trunk should be erect, and the eyes, blocking hand, and forward foot directed toward the opponent. The hip s should be in a half-facing position, and in one's practice, which consists of performing advancing or retreating series of alternating right and left blocks, the body should be set as if one were deftly parrying front attacks. U p p e r L e v e l R i s i n g B l o c k ( J o d a n a g e - u k e ) . The ready stance is similar to that for the down block. The arm extended over the front leg is raised in a concave motion inward and upward and then thrust upward with slanting forearm to block a blow to the face. After one block, one should block with the other arm in asimilar manner, either advancing or retreating a step; the rising (blocking) arm and the withdrawing arm should cross each other in front of the face. This crossing motion is to be understood as the technique of grasping the attacking arm of an opponent with the blocking hand from the preceding block, drawingPONMLKJIHGFE B A S IC T R A IN IN G 31 13 14 15 it downward, and simultaneously attacking it from below by raising one's other arm forcibly into the crossed position.PONMLKJIHGFEDCBA I n karate, there is no advantage to be obtained in becoming the aggressor. It is important that one's first move be that of warding off an attack, even though in practice this defcnsive act will have the character of an attack in itself. This is a principle real ized through assiduous practice of blocking techniques. 32 B A S IC T R A IN IN G CHAPTER 4 THE KATA Tekki Sandan H a n g e ts u J u tte J io n Em pi Ten n o K a ta G ankaku O m o t e qponmlkjihgfedcbaZYXWVUTSRQP M aster Funakoshi and Senior Egam i in dem onstrations of the kata. From the first and second editions. CHAPTER 4 THE KATA NAM ES OF THE KAT A s I have already m entioned (page 9), instruction is usually given in the follow ing nineteen kata (form s): Taikyoku Shodan, idan, and Sandan as form s for beginners; H eian Shodan, N idan, Sandan, Y odan, and G odan, Ba sai, K w ankii, Em pi, and G ankaku, all of the Shčrin school; Jutte, H angetsn, Jion, Tekki Shodan, N idan, and Sandan, all of the Shčrei chool; and Ten no K ata, as a kum ite form . The nam es of the kata have com e dow n to us by w ord of m outh. am es in use in the past included Pinan, Seishan, aifanchi, W anshu, Chinto, and the like, m any ofw hich had am biguous m eanings and have led to frequent m istakes in instruction. Since karate is a Japanese m artial art, there is no apparent reason for retaining these unfam iliar and in som e cases unclear nam es of Chinese origin sim ply because of earlier usage. I have therefore changed those nam es I considered to be unsuitable after considering the figurative nature of the old m asters' descriptions of the kata and m y ow n study of them . TAIKYOKU (FIRST CAUSE) This is in fact three kata, num bered Shodan, N idan, and Sandan. Since this form is the easiest of the kata to learn and consists of those blocks and attacks that are the m ost helpful in practicing basic techniques, it should be the form w ith w hich beginners start. This kata and the Ten no K ata to be described below are the product of m y m any years of research into the art of karate. If they are practiced regularly, they w ill result in an even developm ent of the body and in a sound ability to bear the body correctly. M oreover, the student w ho has gained proficiency in basic techniques and understands the essence of the Taikyoku K ata w ill appreciate the real m eaning of the m axim , "In karate, there is no advantage in the first attack." It is for these reasons that 1 have given them the nam e Taikyoku. HEIAN (PEACEFUL M IND) There are five H eian form s, containing a great variety of techniques and alm ost all of the basic stances. H aving m astered these five form s, one can be confident that he is able to defend him self com petently in m ost situations. The m eaning of the nam e is to be taken in this context. It is to be noted that the forms denoted here as hodan (first) and N idan (second) are reversed relative to their tradition al ordering. The w riter has introduced this change after consideration of their various points of difficulty and ease of teaching. NAM ES OF THE KATA 35 BASSAI (TO PENETRATE A FORTRESS) This form contains repeated switching of the blocking arm s, m otions that represent the feeling of shifting from a disadvantageous position to an advantageous one, a feeling im plying a will sim ilar to that needed to break through an enem y's fortress. KW ANKU (TO LOOK AT THE SKY) The nam e of this kata was derived originally from that of the Chinese m ilitary attache Ku Shanku, who introduced it. 1 have changed the nam e to the present one referring to the first m ovem ent of the kata, in which one raises his hands and looks up at the sky. EM PI (FL YING SW ALLOW ) The distinctive m otion of this kata is an upper level attack following which one grasps the opponent and draws him inward, sim ultaneously jum ping in and attacking again. The m ovem ent resem bles the up and down and flipping away flight of a swallow. GANKAKU (CRANE ON A ROCK) Characteristic of this form is the one-legged stance occurring repeatedly in it, which resem bles the splendid sight of a crane poised on a rock and about to strike down upon a victim . lUTTE (TEN HANDS) The rem aining form s belong to the Shčrei school, and the m ovem ents som ewhat heavy when com pared with those of the Shčrin school, but stan ce is very bold. They provide good physical training, although they difficult for beginners. The nam e Jutte im plies that one who has m astered kata is as effective as ten m en. HANGETSU are the are this (HALF-M OON) In forward m ovem ents in this kata, one characteristically describes sem icircles with the hands and feet, and the nam e is derived from this. TEKKI (HORSE RIDING) The nam e refers to the distinctive feature of these kata, their horse-riding (kiba-dachi) stance. In this, the legs are set in a strong, straddling position as if on horseback, and tension is applied on the outside edges of the soles of the feet with the feeling of gathering the strength in toward the center. lION This is the original nam e, and the character for it has appeared frequently in Chinese literature since ancient tim es. The Jion-ji is a fam ous old Buddhist tem ple, and there is a well-known Buddhist saint nam ed Jion. The nam e sug- EDCBA 36 THE KATA p qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA gests that the kata was introduced by som eone identified with the Jion Tem ple, just as the nam e of Shčrin-ji Kem po is derived from its connection with the Shčrin Tem ple. TEN NO KATA (THE KATA OF THE UNIVERSE) This form was introduced along with the Taikyoku Kata over ten years ago ( o m o t e ) or part 1 by the author. It consists of two com plem entary parts, front ONMLKJIHGFEDCBA and back (ura) or part 2, and the form is designed to be used equally well as a kum ite form . Front (om ote) is used in individual training and ba-ek (ura) in training with an opponent in m atching (kum ite). I hope that the student will study and practice it seriously until it has becom e a part ofhim . A D V IC E O N T R A IN IN G EFFECTS OF HASTE In training, do not expect good results in a short tim e. Karate training m ay extend over one's entire life, beginning (although there is no actual age lim it on starting) ideally in junior high school years. In the study of any subject, littIe is to be gained from haphazard training, and thus, particularly in a m artial art such as karate, steady, unrem itting training is required. M any people train furiously in karate initially but lose their enthusiasm even before the end of the first year. Clearly, very littIe good can be gained from such sporadic training, and, in fact, heavy training before the body is properly conditioned can result in injury to the body. One m ay even produ ce perm anent injury to the body through this training whose express purpose is the developm ent of the body. For these reasons, train system atically, without becom ing im patient or overexerting yours elf, and develop gradually, advancing steadily, one step at a tim e, with increased application of force and num bers of exercises practiced. TIRING OF TRAINING M any people becom e weary after training half a year or a year. This state of weariness, which is com m on and is not restricted to the study of karate, is a criti cal one, and a student m ay succeed or fail depending on his attitude during this period. ance aware of this state of languor, one m ust redouble his efforts and pass through this period with inspired spiritual effort, If he allows him self to becom e discouraged and quits at this point, his entire previous effort will be lost. The student who enters into this state of weariness shows that he actually does not understand and appreciate karate. Therefore, if he does quit training and gives up karate with only superficial understanding of it, it can properly be said of him that a littIe knowledge was a dangeraus thing. ance you have begun karate for the benefit you m ight derive from it, it is m y hope that you will continue to train thoroughly until you do com e to a full understanding ofit. The m ost com m on causes of falling into this state of weariness are falling behind in training (com pared with those who have started at the sam e tim e or later) as a result of sickness or injury, an inability to use the arm s and legs as A D V IC E O N T R A IN IN G 37 well as one wishes (as a result of insufficient tim e in training), or the lack of an appropriate partner to encourage one or to provide com petition in training. ually it is for these reasons that one finds a student becom ing weary, losing interest and enthusiasm , balking self-consciously at practicing kata in front of others, lam ely offering excuses such as, "1 am not really suited for karate," and, :finally,quitting altogether. Conversely, the best way to progress is to keep to a chedule of regular practice each day, to continue even after having fallen behind one's peers (because one catches up with them easily with tim e in any case), fum ly to set high goals, and to practice steadily without rushing or becom ing im patient. In order to m aintain one's interest and enthusiasm in karate, he should try to attain a thorough insight into karate by appreciating kata perform ed by others, by listening to the points of view of others on karate, by reading books, and especially by attending exhibitions of karate as often as possim a k iw a r a and other training equipm ent. If ble, as well as practicing with the ONMLKJIHGFEDCBA the student returns again and again to ponder on karate, he is able to avoid this sort of weariness. INDIVIDUAL TRAINING It is a unique feature of karate that it can be practiced alone and at any tim e and in any place. Insofar as possible, one should wear light, inform al clothing sim ilar to that worn in norm al daily activity. An area of about nine by twelve feet is appropriate, which can be reduced after som e training to nine by six feet. Until one has learned the order of the kata, he should concentrate on this rather than on applying m uch strength. After understanding the basic structure of the kata, one should then gradually apply m ore strength. Finally, once he has com pletely learned the order and acquired a feeling for the kata, he should then begin study of the next kata. GROUP TRAINING Although individual training in karate can be of great interest, there is also pleasure in group training. As in other form s of exercise, there is a characteristic good atm osphere associated with training under the direction of a leader of a group at a school, club, or other self-developm ent organization. HOW TO STUDY THE KATA In the past, it was expected that about three years were required to learn a single kata, and it was usual that even an expert of considerable skill would only know three or at the m ost five kata. Thus, in short, it was felt that a superficial understanding of m any kata was of littie use. The aim of training refiected the precept expressed by the words, "Although the doorway is sm all, go deeply inward."1 1, too, studied for ten years to really learn the three Tekki form s. However, since each form has its particular good points and because there is also benefit to be gained from knowing a wide selection of form s, one m ight well reconsider the practice of becom ing deeply engrossed in very few form s. W here1. This expression suggests that one develops his being, spiritually through longer and deeper study and practice. [Translator's note.] 38 EDCBA THE KATA and physically, as people in earlier tim es m ade deep studies of a narrow field, people today study widely and not deeply. It is not a good idea to follow one way or the other; it is better to take the m iddle way. For this reason, 1 have em ployed the m ethod of advancing students as soon as they have a good grasp of a form to the next one, up through the fifth Heian form or the third Tekki form , and of then returning to the first for renewed practice. Once a form has been learned, it m ust be practiced repeatedly until it can be applied in an em ergency, for knowledge of just the sequence of a form in karate is useless. SPECIAL SKILLS AND W EAKNESSES Just as everyone has a favorite form and also form s in which he is particularly weak, som e individuals have an especially strong fist attack or sword hand technique, others rapid kicking technique, or particular skill in jum ping techniques, for instance. It is desirable that each studentpractice his favorite techniques and polish them to the highest degree, but he m ust at the sam e tim e avoid concentrating on these techniques to the exclusion of those he likes less. In blocking an opponent's fist attack, for exam ple, there are situations in which one should block with the hand and other instances where a foot block is appropriate; and sim ilarly, am ong the hand blocks them selves, different ituations require a deflecting block, a downward block, a scooping block, a drawing-in block, or a hitting-pushing-aside block. One m ust, therefore, know all the various blocks and understand their respective applications so that he is able to em ploy the correct block for each particular po ition, tance, and a tacking technique presented by his opponent. Certainly, any student with the vapid notion that would lead him to feel, "M y favorite block is the down block and there is no need for m e to learn any other block," is a very shallow thinker indeed, for it should be obvious that just as a down block has its strong points, so does every other block. One m ust therefore learn to distinguish strong and weak points, to m ake eom parisons am ong them and to study them . If the instructor is not com petent, it is particularly easy for the student to fall into these bad habits in sparring practice. For this reason also, 1 recom m end that one em phasize kata practice and train for sparring only secondarily. TRAINING PERIOD W ith respect to the length of individual training sessions, a period of about ten m inutes is appropriate for m ost people. After acquiring skill and experience, one m ay at tim es train for an hour or longer, depending on his physical strength. He should be cautioned, however, that excessively long training sessions, prom pted by youthful ardor, are to be avoided. Ideally, one who has tim e should divide his training into m orning, noon, and evening sessions. The technique exists for the m an. At the very least, karate training is an endeavor in continued self-im provem ent, so that it would be the height of folly to im pair one's health or becom e ill through injudicious training. One should, therefore, keep in m ind that it is better to train frequently, even for short periods, than to have long but infrequent sessions. In any case, recalling that a kata requires EDCBA A D V IC E O N T R A IN IN G 39 only one or two m inutes to com plete, he should think about practicing before breakfast, after lunch and supper, when he is fatigued, during a work break at his desk, at any tim e and any place. THREE CARDINAL POINTS Three points should be kept in m ind during karate practice: (1) light and heavy application of strength, (2) expansion and contraction of the body, and (3) fast and slow m ovem ents in techniques. Although there are those who in their karate practice apply strength excessively or indiscrim inately in rapid m otions, application of great strength does not indicate rapid progress in learning, and the use of strength in continuous, rapid m otions does not m ean that one is skilled. Rather, in doing the kata one m ust learn to apply strength where it is called for and not otherwise, to m ove quickly when necessary, and to slow down when appropriate. The m ost im portant factors underlying proper regulation of strength and speed are the three points enum erated here. In agiven kata, in order really to apply the points, degree of strength, expansion and contraotion of the body, and fast and slow m ovem ents of a technique correctly, it is necessary that one fully understand the particular features of this kata and the m eaning of each technique in it. Only after drinking in deeply the significance of these three m ain points will one be able to practice the kata correctly. LEARNING NEW FORM S Since it is difficult to learn an entire form in a single session, it is better for one teaching or learning a new form to divide it into several sessions. For instance, one m ight distribute it over three sessions, taking the first half during the first session, the second half during the next, and then the entire form as a unit during the third. Having learned the sequence of the form , one should then begin to correct the respective stances and posture, com e to understand the m eaning of each of the m ovem ents, and concentrate on application of the three points, the light and heavy application of strength, expansion and contraction of the body, and fast and slow parts of a technique, in the form . Progressing in this way should create interest and provide for a natural learning of the form . ARRANGEM ENT OF SUBJECT M A TTER In general, while learning any subject, one should start with its easier aspects and advance to m ore di:fficultones; that is, begin with the sim ple and reach for the com plex. This is, of course, applicable to karate, which should be learned in an orderly fashion. In the past, it was true that m any of the experts taught their favorite form s first to their students. This was probably the result of the ir knowing only about three form s; thus, the practice could be traced partly to a lack of subject m atter, and it m ay have m isled their students. The present writer has stressed organization of subject m atter in the design of this book with these points particularly in m ind and has arranged the book in the light of his past fifty years of experience. Forthis reason, he does feel that this book can be a proper reference for beginners in karate. EDCBA 40 THE KATA LINE OF M OVEM ENT The pattern described on the floor during perform ance of a particular kata is called the line of m ovem ent ONMLKJIHGFEDCBA ( e m b u s e n ) . The lines of m ovem ent of all of the kata m ay be grouped roughly into the five types illustrated below. These five types are approxim ate, and deviations from them will be pointed out as they occur in descriptions of the individual form s. In preparing to do a particular kata, one should first of all note its line of m ovem ent and take his starting point accordingly. For exam ple, in form s whose line of m ovem ent is the straight line, one m ight need room either to the sides, as in the Tekki form s, or in front and behind, as in Gankaku. In particular, perform ance of a kata in an exhibition m ay becom e awkward if this point is not kept in m ind. "W hatever goes m ust com e back": in karate, the points at which one starts and com plete s the kata m ust coincide, and failure in this indicates either that an incorrect step has been taken or that variation in lengths of stride has caused deviation from the correct positions. Since karate depends in a very real way on the stability of the hips and not just on the use of the arm s, length of stride and positions of the feet m ust be practiced with particular thoroughness. W hatever' goes will return: it is in order to facilitate the assim ilation of this rule that in each figure referring to the kata the position of the corresponding step is indicated relative to the line of m ovem ent, and one m ust adhere strictly to the se diagram s in practice. Line 2, rear Line 1, left Line 1, right Line Line 1. right 1, left Line 2 Line 2. front Cross T Line 2, rear Straight Line Line 1, .right Line 1. left Line Line 1, right Line 2, front Line 2 ~~~3~,r~igh~t__ ~ 1, Icft ~Lin~e~3,~le~ft ~L~ine~3~,~rig~ht~ __ ~ L~in~e~3,~le~ft Plus-M inus LINE OF M OVEM ENT 41 THE KATAqponmlkjihgfedcbaZYXWVUTSRQPONM Before presenting the form s, I shall explain various sym bols em ployed with the figures. The figures show sequentially the stances and m ovem ents in the kata, and are num bered oonsecutively for each kata. Supplem entary pictures providing detail have the upper left corner rem oved. A circle in the upper left corner indicates a custom ary practice different from that described in the first edition. Coordinated with the figures are sketches of the appropriate positions of the feet relative to the line of m ovem ent. Num bers in boldface type below the footwork diagram s relate them to the num bered paragraphs describing the kata. In the diagram , a solid footprint on the line of m ovem ent indicates the position of the foot at the m om ent in the form iIlustrated by the figure, whereas an outlined footprint denotes the position of the foot in the preceding stance. In those cases where part of the foot is not touching the floor, that part is white. A dotted line indicates the path of the foot m otion. Although it is really very difficult to learn a kata well, I do believe that a student m ay have confidence that he will attain a substantiallevel in karate even through self-study if he practices diligently according to the explanations and figures given in this book. TAIKYOKU SHODAN, NIDAN AND SANDAN There are three Taikyoku form s (num bered by the ordinal term s, Shodan, Nidan, and Sandan). Taikyoku Shodan is an elem entary form consisting of two arm techniques, lower level deflecting block (gedan barai) and m iddle level front attack (chiidan oi-zuke), and one stance, the front stance (zenkutsudachi). Because ofits sim plicity, the kata is easily learned by beginners. Nevertheless, as its nam e im plies," this form is of the m ost pro found character and one to which, upan m astery of the art of karate, an expert will return to select it as the ultim ate training kata. Once one is able to perform the Taikyoku form s with proficiency, he can understand the other kata with relative ease. For this reason, the Taikyoku form should be considered elem entary as well as the ultim ate form . In fact, the Taikyoku Kata is the very prototype of a karate kata, a com bination of the the dawn block and m iddle level front punch (basic techniques in any training), the fra nt stance, the typical body m ovem ents of karate, and a defined line of m ovem ent. The line of m ovem ent of Taikyoku Shodan is of the I category. The kata consists of twenty-four m ovem ents and the ready (yči) and yam e positions. Beginners take about forty seconds to com plete the form , whereas an advanced student should shorten this to five or six seconds. It is worthwhile to note that 2. Taikyoku is a philosophical term denoting the m acrocosm before its differentiation into heaven and earth: hence, chaos or the void. [Translator's note.] 42 TH E EDCBA KATA -1qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 1 3 2 the I category is the m ost basic of the lines of m ovem ent, the others 4 being derived from it. ONMLKJIHGFEDCBA Y 6 i. It is proper to bow before and after perform ance the bow, one positions the fingers toward in, the shoulders of the kata. FoUowing the fists about two inches in front of the upper thighs, the thighs. The eyes are fixed directly lowered slightly in a natural flexed slightly, the legs are straight without to the front, the chin posture ; the lower abdom en foot is about a half step from the left, and the toes are pointed outward slightly stance). The yči" stan ce is an integral part of any kata, and one's in a V (natural level of ability is already approach is being locked at the knees, the right clearly evident from this stance. One m ust, therefore, this stan ce with a very serious attitude. 1. Pivoting on the right foot, advance a half step along the left branch Line 1 with the left foot, at the sam e tim e swinging the left fist downward, a pendulum , in a circular m otion starting ab ove the right shoulder of like and cen- tered on the left elbow, and blocking at a point five to six inches above the left knee. During the m otion, the right fist is pulled back to a point above the right hip, as shown in figure 3. The left knee is bent and the right leg fully ened. The trunk should have the standard posture traight- of the down block. At the tim e of the block, the face is directed to the front, the lower a.bdom en is flexed, and the left arm is fully straightened 1 in a right half-facing 2. Pivoting b o d y i over Line for a strong block. The EDCBA (hanm i) stance. on the left foot, advance along the left branch right foot. The left fist, which blocked in the preceding back to the left hip, while the right fist is thrust a rotating m otion until the palm is directed dle level front (zenkutsu) attack. outward downward. of Line 1 with the m ovem ent, is drawn to the m iddle level in This is the basic m id- As shown in figure 4, the body has assum ed a front stance (the m irror im age of stan ce 1) with the left leg fully straight- 3. The w ord YČJi m eans "ready." The term y a m e at the end of a kata includes an im plica. tion of readiness. Since "ending ready" is a cum bersom e expression, 1 w ill continne to use the Japanese term s YČJi and y a m e to designate the ready position s at the beginning and end of the kata. [Translator's note.] T A IK Y O K U S H O D A N , N ID A N A N D SANDAN 43 2 5 6 3 7 4 ened. Equal strength is to be applied sim ultaneously to the retracted and attacking fists. One should be facing along the left branch of Line 1, the chin drawn in slightly, and the lower ab dom en flexed. 3. Pivoting clockwise on the left foot through 180 degrees, step anto the right branch of Line 1 with the right foot. During the turn, the right hand, which was used in the attack, blocks downward from ab ove the left shoulder. One has assum ed a fra nt stan ce as shown in figure 6, with the fingers of the blocking right fist downward. This m ovem ent should be executed as a single, rapid unit. 4. Pivoting on the right foot, step along the right branch of Line 1 with the left foot at the sam e tim e executing a m iddle level front attack with the left fist and drawing the right fist back to a point above the right hip. The fingers of the retracted and cocked right fist are upward, those of the attacking left fist downward. 5. Pivoting again on the right foot, turn counterclockwise through 90 degrees and advance along Line 2 with the left foot, assum ing a front stance. During the turn, block downward as shown in figure 8 from above the right shoulder with the left fist, which perform ed the m iddle level attack in M ovem ent 4. It is im portant in turning that the weight not be placed on the toes of the pivot foot. 6. Pivoting on the left foot, advance alang Line 2 with the right foot, at the sam e tim e drawing the left fist, which perform ed the block in the previous m ovem ent, back to a point above the left hip and executing a m iddle level front attack with the right fist in a rotating m otion from the right hip. The stance is the front stance, with both legs equally tensed, shoulders dawn and the chest directed to the front, the face directed to the front, chin drawn in, and lower abdom en flexed. 7. Pivoting on the right foot, advance with the left foot along Line 2. As shown in figure 10, pull the right fist back to the hip from its attacking position while executing a left m iddle level front attack. The stance is the front stance. 8. Pivoting on the left foot, advance along Line 2 with the right foot, execut44 EDCBA THE KATA 8 11 8 12 ing a m iddle level front attack w ith the right fist and draw ing the left fist back to the left hip. A t this point, one has executed three consecutive front attacks, tw o w ith the right fist and one w ith the left. H e should apply particular strength in the third attack and give a ONMLKJIHGFEDCBA k i a i . Follow ing the third attack, he should pause long enough to draw in breath rather than proceeding irnm ediately into the next m ovem ent. Figure 11 is identical to figure 9, show ing the right m iddle level front attack. 9. Pivoting on the right foot, turn counterclockw ise through 270 degrees and advance along the right branch of Line 3, executing a left dow n block as show n in figure 13. This m ovem ent is sim ilar to M ovem ent 5, i.e., pivoting counterclockw ise on the right foot, one brings the left fist dow nw ard from above the right shoulder to com plete a block at the sam e instant that he brings the left foot into position. The left fist is stopped at a point about six to seven inohes· ab ove ctJheleft knee. D raw the right fist, w hich perform ed the attack in the previous m ovem ent, back to the right hip. The eyes are directed along the right -, 13 - 9EDCBA 14 10 15 16 Il \ .1 \ ~ONMLKJIHGFEDCBA .: j .~ , , , qponmlkjihgfedcbaZYXWVUTSRQPONML ,_ .. 12 17 "EDCBA 18 13 I 19 14 branch of Line 3, the trunk is erect, and, as before, the chin is drawn in and the lower ab dom en flexed. 1 0 . Pivoting on the left foot, advance one step with the right foot along the right branch of Line 3, executing a m iddle level front attack with the right fist and drawing the left fist as usual back to the left hip. The entire m ovem ent is to be perform ed in a continuous m otion. 1 1 . Pivoting clockwise through 180 degrees on the left foot, execute a right down block as shown in figure 16. 1 2 . Advancing with the left foot along the left branch of Line 3, execute a left m iddle level front attack. 1 3 . Pivoting counterclockwise through 90 degrees on the right foot, advance with the left foot along Line 2, executing a left down block while assum ing a front stance. 1 4 . Step forward with the right foot, execute a right m iddle level front attack . • f '.~ j - , 16 22 23 17 20 25 •• 26 , 27 19 28 20 1 5 . qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Step forward with the left foot, execute a left m iddle level front attack. 1 6 . Step forward with the right foot, execute a right m iddle level front attack with all one's strength and give a kiai. Following the attack, pause long enough to draw in breath before continuing to the next m ovem ent. 17. Pivoting counterclockwise through 270 degrees on the right foot, as in M ovem ent 9, step onto the left branch of Line 1 and execute a left down block. 1 8 . Advance to the front with the right foot and execute a right m iddle level front attack. 1 9 . Pivoting clockwise through 180 degrees on the left foot, assum e a front stance and execute a right down block. 2 0 . Advance to the front one step with the left foot, executing a left m iddle level front attack. ONMLKJIHGFEDCBA Y a m e . Pivoting on the right foot, turn counterclockwise to return the left foot to its starting position on the left branch of Line 1. This is to be perform ed slowly and calm ly, and it is very im portant that one not relax his alertness during the yam e m ovem ent. Execute the m ovem ents of the form lightly and correctly until the sequence is m astered, then apply strength to the m otions. M oreover, it is im portant that the form be practiced repeatedly, so that one unconsciously executes each m ovem ent correctly. The foregoing description refers to Taikyoku Shodan. The following m odify these instructions to produce Taikyoku Nidan and Sandan: The sequence of Taikyoku Nidan is identical to that of Shodan except that in Nidan, all punches are upper level instead of m iddle level attacks. In Taikyoku Sandan, the down blocks along Lines 1 and 3 of Taikyoku Shodan are replaced with m iddle level arm blocks ( u d e u k e ) executed in back (kčkutsu) stance, and the threefold sets of m iddle level front attacks along Line 2 becom e sets of upper level attacks, the rem aining m ovem ents being identical to Taikyoku Shodan. The Taikyoku form s consist of units, with blocks followed by single front T A IK Y O K U SH O DAN, N ID A N AND SANDAN 47 attacks along Lines 1 and 3, or blocks followed by three continuous front attacks along Line 2, each form having altogether twenty m ovem ents. If the twenty m ovem ents are to be executed correctly and sm oothly, one m ust practice until these block-attack com binations can be perform ed in a single continuous m otion of breathing and body m ovem ent. Through such practice, one will com e to understand the three cardinal points of karate, i.e., the light and heavy application of strength, expansion and contraction of the body, and fast and slow techniques. By always practicing the kata seriously and visualizing realistically the opponents around oneself, one will gain insight into the concept that all the m ovem ents that shift the body in different directions are equivalent in a higher sense to a single transcendent m ovem ent involving the m ind, weapon, and body as a unit. Related to this, one will com e to understand the states e n t e [first attack] in karate," the state of absolute passivem ent, "There is no ONMLKJIHGFEDCBA ness. It is because of these properties that the nam e Taikyoku has been assigned to these form s. HEIAN SHODAN There are twenty-one m ovem ents in this form , to be com pletedin about one m inute. The line of m ovem ent is of the I category. Y 6 i . Bow as directed in the discussion of Taikyoku Shodan. The readiness stance is that shown in figure 1. The first m ovem ent, which is m ade on a com m and from the leader in the case of group practice, is m ade from this stance. In training alone, the student should count the m ovem ents to him self. 1. Facing to the left, advance the left foot one step to the left along Line 1, and sweep to the left in a left downward block, as shown in figure 2. 2. Then, sim ultaneously step forward with the right foot along Line 1 and attack with the right fist to the m iddle level (figure 3). 3. W ithdraw the right leg to the right branch of Line 1 and sweep downward 6 5qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 7 8 in a right dow n block (figure 4) assum ing as the stance the m irror im age of that of M ovem ent 1. 4. Sim ultaneously draw back the right leg and fist. In this m otion, describe a large are w ith the right fist, passing in front of the left shoulder, continuing in front of the forehead, and stopping w ith the arm extended at the level of the shoulder (figure 8). The right leg is draw n back and straightened. It should he noted that the intent here is to free the w rist from an opponent's grasp follow ing the block to the right and to attack his face or forearm . 5. A s show n in figure 9, step forw ard along the right branch of Line 1 w ith the left leg and attack to the m iddle level w ith the left fist, sim ultaneously w ithdraw ing the right fist to the hip. (This is the m irror im age of the m otion show n in figure 3.) 6. Pivoting on the right foot, take one step forw ard along Line 2, and execute a dow n block from a front stance (figure 10). 7. O pen the left hand and raise it to a position in front of the forehead, as , 10 EDCBA 6 ,7 11 12 4 • I~ • , \ 13 14 15 8 16 shown in figure 12. At the com pletion of the m ovem ent, the left elbow should be slightly bent, and the distance between the back of the raised hand and the forehead should be about six to seven inches. The opponent, finding his attack to the lower level blocked, suddenly attacks the face with his right fist; this is the attack being blocked with the left wrist here. 8. Step forward with the right foot along Line 2 and straighten the legs. 4 At the sam e tim e, first touch the left elbow with the back of the right fist, turning the back of the left fist toward the front, and then, crossing the wrists, pull the left hand back to the hip and bring the right fist up to the forehead in a blocking position. FolIowing a block by the left hand of the opponent's right fist attack, the point here is to grasp the opponent's right wrist with the left hand and, twisting the grasped wrist in an outward direction, to break the opponent's right elbow by bringing the right forearm up against it. However, the eighth m ovem ent m ay also be used as a block against an upper level attack. After be com ing accustom ed to the seventh and eighth m ovem ents, one should execute them together as a single m ovem ent. 9. Step forward with the left foot along Line 2. Sim ultaneously, while opening the right hand, which was brought up in front of the forehead, and rotating it so that the palm is facing to the back, bring the back of the left fist against the right elbow and then, crossing the wrists, draw the right fist down to the hip, and bring the left fist up to the forehead as shown in figure 17. This is exactly the m irror im age of the eighth m ovem ent. Note that the m eaning of this m ovem ent is identical to that of the eighth m ovem ent and should be studied as uch. 10. This is the sam e as M ovem ent 8 (figure 15). Perform a kiai at the final m om ent of the m otion of bringing the fist above the forehead. 4. Custom arily the front stance is used in M ovem ents 8, 9 and 10, as show n in figures 16, 1 and 20. [Translator's note.] 50 THE KATA I 17 18 9qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 19 EDCBA 10 20 1 1 . Pivoting counterclockwise on the right foot, step out along the right branch of Line 3 with the left foot and perform a left down block. This is sim ilar to M ovem ent l. 1 2 . Step forward along the right branch of Line 3 with the right foot and sim ultaneously execute a m iddle level front attack with the right fist. 1 3 . Pivoting clockwise on the left foot, return the right foot toward the left branch of Line 3 and execute a down block m ovem ent from a front stance. 1 4 . Step forward with the left foot onto the left branch of Line 3 and execute a m iddle level front attack with the left fist. The m eaning of this m ovem ent is identical to that of M ovem ent 5. In this case, as in all others, be careful to have the feet turn inward with a feeling of forcing them together. It is of course very im portant to have the hip s low and firm ly set. 1 5 . Pivoting counterclockwise on the right foot, step forward along Line 2 and execute a left down block from a front stance. Il - 22 12 23 13 24 - 14 , , , , 25EDCBA 15 26 16 27 17 28 1 6 . qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Stepping forw ard w ith the right foot to proceed back along Line 2, execute a m iddle level front attack w ith the right fist. 1 7 . Stepping forw ard w ith the left foot, execute a left m iddle level front attack. N ote that w henever the sam e technique is perform ed three tim es in sequence, as in the present case, there should be som e variation in strength of execution, w ith a feeling of application of greater force in the first and third m ovem ents and less, relatively, in the second. 1 8 . Continue by taking another step forw ard along Line 2 w ith the right foot (front stan ce) and execute the m iddle level front attack w ith the right fist. A pply m ore strength here than in either M ovem ents 16 or 17 and m ake the step w ith a feeling of a broader and firm er base. A t the m om ent of focus, perform a kiai. 1 9 . Pivoting counterclockw ise on the right foot, step forw ard along the left branch of Line 1 into a back (kčkutsu) stan ce ; opening both hands, bring the left sw ord hand (shutč) to the front of the right shoulder and then extend it 29 30 19 31 20 32 33 EDCBA 2 2 34 forward as if sliding it along the right arm , sim ultaneously drawing the right hand diagonally back to the position shown in figure 30. This is the left m iddle level sword hand block (chiidan shutč-uke). This is the m ost difficult technique of Heian Shodan and m ust therefore be practiced very carefully. Assum ing the back (kčkutsu) stance, hold the body in a half-facing (hanm i) posture with the face turned in the direction of the extended hand and foot. Bend the left elbow slightly, $0 that the distance between it and the side of the body is six to seven inches and the tip of the left index finger is about at the level of the left shoulder, and bend the thum b inward. The position of the right hand is intended to protect the trunk. It should be held horizontally at about the level of the solar plexus with the fingertips about even with the side of the body. The thum b should be bent here also. 2 0 . Pivoting on the left foot, step toward the front with the right foot m oving diagonally away from the left branch of Line 1 (back stance). At the sam e tim e, in the m irror im age of M ovem ent 19, extend the right hand in front of the right shoulder, holding the elbow slightly bent. The left hand is held in a horizontal position in front of the solar plexus as a protection for the trunk region. This m ovem ent is a block with the right wrist against an attack. Following· it, seek an opening, grasp the opponent's wrist with the right hand and, pulling him inward, attack his solar plexus with a left spear hand (nukite). M ovem ents 19,21 and 22 have asim ilar m eaning. 2 1 . Pivoting on the left foot, step onto the right branch of Line 1, assum ing a back stance. Extend the right hand in front of the right shoulder, hold the left hand in a horizontal position across the solar plexus, and face to the right, sighting along the right hand. At this tim e, pay particular attention to the legs. Supporting the weight on the rear leg, hold the front foot on the ground with the feeling of pulling slightly back against the friction of the gently resting toes. 2 2 . Step forward with the left foot, m oving diagonally away from the right branch of Line 1, into a back stance and execute a left m iddle level sword hand block. H E IA N SH O DAN 53 This com pletes the Heian Shodan form . Since M ovem ents erly a single m ovem ent, the form consists in fact 7 and 8 are prop- of only twenty-one m ove- m ents. ONMLKJIHGFEDCBA Y a m e . At the com m and "Yam e," with both hands, and return withdraw to astance should be assum ed calm ly and without the left foot to Line 1, form fists sim ilar to that of yči. The yam e stance haste. Note that the starting and finish- of yči and yam e, should always occur at the sam e spot ing points, the positions on the floor. HEIAN NIDAN At one tim e, this form was Heian Shodan. There are twenty-six to be com pleted in about one m inute. The com m ents Shodan concerning m ovem ent counting, m ovem ents in the discussion of Heian the bows, and yči apply here as well. The line of is of the I type as in Heian Shodan. 1. Stepping with the left foot along the left branchof right foot in place and assum ing Line 1, holding the a back stance, raise both fists to the positions shown in figure 2. The trunk is directed forward, while the face is turned to the 1eft. W ith this m ovem ent, left wrist and protects 2 . W ithout one blocks an attack to the face from the 1eft with the the head with the right fist, which is set for attack. EDCBA changing the position of the feet, pull the left fist inward position in front of the right shoulder and attack in a wide circular m otion. Note that this m ovem ent The trunk is perform ed in with the left hand and attacking is twisted to a to the left with the right hand sideways to face to the 1eft. with the feeling of pulling the opponent sideways with the right fist (i.e., ham m er fist). 1 2 1-3 3 4 - qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 5 4-6 6 7 3. W ithout shifting the feet," attack in a horizontal line to the left side with the left fist (fingers downward), at the sam e tim e pulling the right fist to the side at a point above the hip. Following the attack with the right fist, attack im m ediately, without the slightest pause, with the left fist, paying particular attention to the m ovem ent of the hips. 4. Looking to the right along Line 1, bring the right fist to a position off the right shoulder with the elbow bent and the fingers to the front, and bring the left fist to a point in front of the head one or two inches from the forehead. This is the m irror im age of the stance shown in figure 2. 5. W ithout changing the position of the feet, sim ultaneously pull the right fist to a point in front of the left shoulder and attack with the left fist to the right side, describing a large are with the fist: 6. W ithout altering the stance, 6 sim ultaneously extend the right fist horizontally to the right and pull the left fist to the left hip. This is the m irror im age of the m ovem ent shown in figure 4. 7. Draw the left foot a half step toward the right and, as iIIustrated in figure 8, sim ultaneously look to the rear, draw the sole of the right foot up beside the 1eft knee, and rest the right fist on the 1eft fist with the fingers of the right fist toward the body. 8. Standing with the left leg slightly bent, attack sim ultaneously the opponent's face with the right back fist (uraken) and his groin or chest with the right sword foot (sokutč). Note that one should execute M ovem ents 7 and 8 as a single m ovem ent after becom ing fam iliar with the techniques. In this m ovem ent, sim ultaneous fist and foot attacks are being m ade as one turns to face an opponent sensed (during M ovem ent 6) to be attacking from behind. 9. W hi1e lowering the kicking foot to the base of Line 1, face forward along 5. In the latest edition, this stan ce is the im m ovable ONMLKJIHGFEDCBA ( ju d o .d a c h i) . [Translator's note.] 6. In the latest edition, this stance is the im m ovable ( j u d o . d a c h i ) . [Translator's note.] EDCBA H E IA N N ID A N 55 7, 8 8 9 10 Line 2, as sum e a back stance, and execute a left sword hand block (cf. Heian Shodan, M ovem ents 19 and 22).EDCBA 1 0 . Step forward with the right foot along Line 2 and assum e the left back stance, at the sam e tim e executing a right sword hand block (cf. Heian Shodan, M ovem ents 20 and 21). Il. Step forward with the left foot along Line 2 .and assum e the right back stance, at the sam e tim e executing a left sword hand block. This m ovem ent is sim ilar to M ovem ent 9 (cf. M ovem ents 19 and 22 of Heian Shodan). 1 2 . Step forward one step with the right foot standing with both legs straightened," and execute a m iddle level attack with the right four-finger spear hand (shihon-nukite) with the back of the extended right hand to the right; at the sam e tim e slide the back of the open left hand along the undersurface of the right arm up to the arm pit. W hile deflecting an opponent's attack downward and drawing it in with the palm of the left hand, one m akes a spear hand (nukite) attack to the solar plexus. The m otions of the hands and feet are coordinated. Give a kiai at the m om ent of focus (kime). 1 3 . Pivoting counterclockwise on the right foot, turn to the left to assum e a right back stan ce with the left foot on the right branch of Line 3 and execute a left sword hand block. Note that this m ovem ent is sim ilar to M ovem ent 19 of HeianShodan, 1 4 . Keeping the left foot in place step diagonally to the front, i.e., to a position between the right branches of Lines 1 and 3, assum e a back stance, and execute a right sword hand block. Note that this m ovem ent is sim ilar to M ovem ent 20 of Heian Shodan. is. Continuing to keep the left foot in place, shift the right foot to the left branch of Line 3, as sum e a back stance, and execute a right sword hand block. This m ovem ent is sim ilar to the preceding one. It is also sim ilar to M ovem ent 21 of Heian Shodan. 7. C ustom arily this m ovem ent is perform ed w ith the front stance. [Translator's note.] 56 THE KATA Il . , I • • 12 13 9 14 10 15 Il 16. Keeping the right foot in place, sim ultaneously step diagonally to the front with the left foot and execute a left sword hand block. This is sim ilar to M ovem ent 22 of Heian Shodan. 17. Keeping the right foot in place and shifting the left foot to Line 2, sim ultaneously draw the left hand, the fist clenched with the tingers upward, back to the hip and execute a right m iddle level block, swinging the fist, tingers to the back, in a wide circular m otion from a position in which the arm is extended downward and slanting outward to one bringing the fist past the left shoulder to execute the block. The right shoulder is directed to the front and the left shoulder drawn back. The heel of the back foot has a tendency to rise, but one should take care that it rem ains firrnly planted. The point in this block is to snag-block an opponent's attack to the chest with one's right wrist. This block is called the forearm block (uchi-uke). 18. Keeping the left foot in place, and without altering the position of the , 16 12 • .> , ~ ~ 17 13 - ".:""" ,-::. 18 14 19 15 - 20 , , 16 21EDCBA 17 22 23 arm s, kick upward with the right foot as high as possible in front of the right fist. The point here is to grasp an opponent's left wrist and to kick his elbow with the right foot. One should practice kicking as high as possible. 1 9 . Lowering the kicking foot to a position on Line 2, sim ultaneously withdraw the right fist to the right hip, fingers upward, and execute a m iddle level reverse punch with the left fist. 2 0 . W ithout shifting the feet, execute a left m iddle level forearm block, describing a counterclockwise are in front of the body with the left fist. This m ovem ent is the m irror im age of M ovem ent 17. One should be careful to have the left shoulder toward the front and the right drawn back toward the rear, as well as to hold the back heel fixed. 21. W ithout shifting the right foot or the positions of the two arm s, kick high to the front with the left feet. This is the m irror im age of M ovem ent 18. 2 2 . W hile lowering the left kicking foot to a position on Line 2, withdraw the , 24 25 26 18 27 / , \ 28 19 29 , , qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 30 EDCBA 2 0 31 32 33 left fist and attack with a right m iddle level reverse punch. This is the m irror im age of M ovem ent 19. 2 3 . W ithout m oving the left foot, take a large forward step with the right foot (along Line 2). Assum ing a front stance," execute a m iddle level double hand block with the right fist, fingers upward, at the sam e tim e bringing the left fist up to touch the right elbow. This block is called ONMLKJIHGFEDCBA m o r o t e - u k e . For the m iddle level block, the elbow should be slightly bent and six to seven inches from the side of the body, as in the sword hand block (shutč-uke). 8. In the latest edition, this stance is the im m ovable ( f u d o . d a c h i ) . [Translator's note.] H E IA N N ID A N 59 21 , qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 34 EDCBA 2 2 36 35 \ 37 23 38 39 40 2 4 . Pivoting counterclockwise on the right foot, turn to the left, placing the left foot on the left branch of Line 1, assum e a front stance, and sim ultaneously bring the right fist to the hip and execute a down block with the left fist. This is sim ilar to M ovem ent 1 of Heian Shodan. 2 5 . W ithout m oving the left foot, open the left hand and bring it to the forehead, at the sam e tim e stepping to the right, with the right foot, diagonally away from the left branch of Line 1. Straighten the legs and execute an upper 60 THE KATA 42 41 43 44 47 48 ,. '1\ 45 26 46EDCBA 27 level block w ith the right fist w ith the fingers directed to the front and w ithdraw the left fist to the hip." This is sim ilar to M ovem ents 7 and 8 of H eian Shodan. A s in M ovem ent 7 in that kata, first open the left fist and raise it to a position in front of and above the forehead, then slide the back of the right fist past the left elbow w ith the tw o w rists crossing. 26. W ithout shifting the left foot, m ove the right foot to Line 1 and, w hile 9. In the latest edition, this stance is the front stance. [Translator's note.] H E IA N N ID A N 61 25 a um ing draw a front stance, execute the left fist to the hip. a down This m otion block with the right fist and with- is si m ilar to M ovem ent 3 of Heian hodan. 27. Keeping the right front) m idway between foot in place, the left foot steps the right branch out (diagonally ing the legs, open the right fist, which was in the lower level blocking raise it above the head, and draw it back to the hip as if grasping the enem y's arm ; raise the left fist to a position of both wrists, which W ith this m ovem ent, Yam e. In this description, since M ovem ents twenty-six the kata is com pleted. there are twenty-seven 7 and 8 are to be executed This tim e, front At the com m and at the stance of yam e, m ovem ents in the kata; as a single m otion, however, there are in fact m ovem ents. There are altogether to com plete. twenty-three The com m ents sam e as those for Heian Y o i . As in Heian arm s and twisting and slowly as sum e the original yči stance. HEIAN m inute before. a kiai ONMLKJIHGFEDCBA (k a k e g o e ). (NB: the custom ary draw the left foot inward position, above the head. The m ovem ents cross, are as 1 have m entioned m om ent of im pact em it is shown in figure 47.) right of Line 1 and Line 2. W hile straighten- Shodan. Shodan, are held in a natural SANDAN m ovem ents about in this form , taking com m ands, The line of m ovem ent the stance position one is of the T form . here is the natural in front about bows, and so on are the open V stance. of the thighs. Both This yči stance is shown in figure 1. 1. W ithout m oving the right with the left foot and assum e fists, m ove the right from the thigh, a half-facing 1 fist from blocking posture foot, step out along the left branch the right back stan ce. In a ripping in front of the left shoulder of Line m otion and the left fist as shown in figure 3 with the left fist. The trunk and the face turned 2 in the direction 3 1 of the is in of the left fist. The 1 EDCBA 4 5 6 8 7 purpose here is to block an attack to the left rib cage by an opponent from the left. 2. Keeping the left foot in place, bring the right foot up to the left and assum e a feet-together (heisoku) stance. Facing toward the left, switch blocking hand.s, pulling the two fists in opposite directions, bringing the right fist, from below, outside the left elbow and up, and swinging the left fist downward from the right shoulder. Thus, the right arm executes a m iddle level block, and the left arm swings downward in a Iower level block. Refer to figure 4. At the end of the m otion, the right arm is half bent and the right elbow about six inches from the chest with the right fist about at the level of the shoulder. The fists are about a shoulder's width apart. The opponent, finding his right fist attack blocked in M ovem ent 1, now attack s with his left fist and foot: the point here is to block these two attacks. 3. W ithout altering the stance, bring the right list down, passing inside the left elbow, and the left fist up, passing outside the right elbow, in a ripping m otion, to execute a lower level block with the right fist and a m iddle level block with the left. This m ovem ent is the m irror im age of that shown in figure 4. W ithdrawing his fist and foot after the preceding blocks, the opponent now attack s with the opposite fist and foot. The point of the present m ovem ent is to block the right fist attack with the left arm and to deflect the foot attack downward with the right fist. M ovem ents 2 and 3 are blocks against com bined fist and foot attack s from the left side and can turn a disadvantageous position into a favorable one. It should be noted that in actual practice, the lower setting of the front stance would be preferable to the one here against an opponent's com bined attack. 4. Pivoting clockwise on the left foot, bring the right foot toward the right branch of Line 1 into a left back stance. Sim ultaneously pull the left fist back to the hip, passing in front of the right shoulder, and swing the right fist from EDCBA H E IA N SANDAN 63 4 10 9qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 11 5,6 12 outside the left elbow to execute a m iddle level block to the right side. Face in the direction of the right fist, holding the body in a half-facing posture. This position is the m irror im age of that shown in figure 3. 5. Keeping the right foot in place and drawing the left foot to it, as sum e a feet-together (heisoku) stance and execute sim ultaneously a m iddle level block with the left arm and a lower level block with the right. This is the m irror im age of M ovem ent 2. 6. W ithout altering the stance, switch blocking hands, executing a m iddle level block with the right fist and a lower level block with the left.This is the m irror im age of M ovem ent 3. 7. W ithout m oving the right foot, sim ultaneously step with the left foot along Line 2 into a right back stance and execute a left double hand block (m orote-uke), bringing the right fist, with the fingers upward, up beside the left elbow. 8. Keeping the left foot in place and stepping with the right foot along Line • 13 7 14 15 , 16 18 17qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 8 2, bring the left sw ord hand dow n to a point under the right upper arm , palm dow nw ard, nukite) thrust and execute attack a right m iddle level four-finger w ith the palm turned tow ard spear hand (shihon the left side. The right hand is forw ard from a point just above the w rist of the left sw ord hand. The m eaning he re is that opponent's the left palm is to depress and draw in the w rist of an right fist as it attacks hand is a counterattack 9. Rotate the chest, w hile the right four-finger spear to the opponent's solar plexus. the spear hand to the left as show n in figure 18. Pivoting right foot, turn the w hole body counterclockw ise ping forw ard w ith the left foot along Line 2 to assum e a horse-riding D uring the turn, straighten attack on the 180 degrees to the left, stepstance. the left arm to perform a left iron ham m er (tettsni) to the side, fingers dow nw ard, pulling the right fist back to the hip and turning the face to the left (looking along Line 2). D ropping the hips, extend the left iron ham m er (hit w ith the little finger side of the fist) level w ith the shoulder. The opponent has blocked the fonr-finger \", /~\I ; :'~ \ 19 - I/j'~--::-' , 1..\ EDCBA ; C\ \ "1 20 9 21 10 Il • j~ONMLKJIHGFEDCBA ~f 24qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 25 12-14 23 spear thrust and grasped and twisted the wrist to the left, so the intent here is to turn one's body with the twist, turning to the left so that the wrist is to the back and attacking with an iron ham m er to the opponent's side. EDCBA 1 0 . Keeping the left foot in place and taking a large step forward along Line 2 into a front stance, sim ultaneously draw the left fist back to the hip and execute a m iddle level attack with the right fist. The opponent having fallen back in surprise, one takes the advantage and executes a finishing attack to his solar plexus. Give a kiai at this point. U. W ithout shifting the right foot, draw the left foot in to the right and turn counterclockwise through half a revolution so as to face to the rear along Line 2 in a feet-together stance, at the sam e tim e resting both fists above the hip s with the fingers to the back and the elbows akim bo. Apply full strength with a kiai in M ovem ent 10; then execute M ovem ent Il slowly. This is an exam ple of two of the cardinal points of the kata, the degree of strength and fast and slow techniques, as described earlier. 1 2 . Keeping the left foot as it is and without breaking the posture of the upper body, bring the right knee up high, swing the right elbow back slightly, and while stam ping down back along Line 2 execute a right elbow (empi) technique with the fists still resting on the hips. Continue looking towards the opponent along Line 2. The stance at this tim e is horse riding. The intent here is to stam p on and break the opponent's thigh and at the sam e tim e attack the solar plexus with the right elbow. In a real situation it is awkward to have both fists resting on the hips, so an opponerit's right fist attack is blocked with the left fist; then grasping the wrist, pull the opponent in and attack his chest with the right elbow. Im m ediately follow up with a back fist attack to the opponent's philtrum (jinehu). 1 3 . W ithout altering the position of the feet or the posture, attack to the side with the right fist, bringing the fist up in a circular m otion in front of the right shoulder and then out (toward the back of Line 2), keeping the elbow slightly bent, the fist about level with the shoulder, and the back of the fist turned 66 THE KATA 26 27 28 29qponmlkjihgfedcbaZYXWVUTSR downward. Note that as described in the preceding step the point here is an attack to the opponent's philtrum with the back fist strike. 14. W ithout altering the position of the feet or the posture, return the right fist to its position above the right hip with the fingers to the back. M ovem ents 13 and 14 are to be perform ed in rapid succession. 15. Keeping the right foot in place and without altering the posture, sim ultaneously stam p forward with the left foot along Line 2 and execute a left elbow attack. This m ovem ent is the m irror im age of M ovem ent 12. 16. W ithout altering the posture, swing the left fist up past the left shoulder and down with the fingers upward. The m otion of the fist should end at about the level of the shoulder, this m ovem ent being the m irror im age of M ovem ent 13. 17. W ithout altering the posture, return the left :fist to the hip with the :fingersto the back in a m otion that is the m irror im age of M ovem ent 14. 18. As in M ovem ent 12, keeping the left foot in place and without altering \ / 30 31 33 32 DEIAN SANDAN 67 r: :l"'-"':::) 34 15-17 37ONMLKJIHGFEDCBA 35 38 36 39 the posture, stam p in to bring the right foot down on Line 2 and execute a right elbow attack. 19. W ithout altering the stance, attack to the right with the right back fist. This is the sam e as M ovem ent 13. 20. W ithout altering the stance, return the right fist to the right hip. This is the sam e as M ovem ent 14. Note that M ovem ents 12 through 20 in this kata are a threefold repetition of a technique. There are m any instances of this in the different kata, and in all such cases, the second m ovem ent is executed relatively lightly and the third with great strength. 68EDCBA THE KATA 40 - '\ , 41 18-20 42 43 44 21. W ithout shifting the right foot, step toward the starting position along Line 2 assum ing a front stance and facing toward the starting position and execute a left m iddle level attack, with the right fist at the hip, fingers upward. 10 22. W itliout shifting the left foot, draw the right foot up to the left into a position with both feet on Line 1 and slightly separated, and then without pausing pivot counterclockwise 180 degrees to the left on the right foot. As the 10. A t the present tim e, it is custom ary at the start of this m ovem ent to extend the right arm out to the side, i.e., tow ard the starting point of Line 2, as if grasping an opponent's Japel and pulling it inwarrl. [Translators note.] EDCBA H E IA N SANDAN 69 49EDCBA 2 2 qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 51 50 23 left foot is again placed on Line 1 (horse-riding stance), sw ing the right fist up, w ith elbow bent and fingers inw ard, in a sw eeping m otion to a point over the left shoulder, and thrust the left elbow out tow ard the back keeping the left fist clenched. Continue to face directly forw ard. The final position is the m irror im age of that show n in figure 50. The purpose opponent's of this m otion is to escape encirclem ent of the body arm s from behind. O ne low ers the hip s and sim ultaneously by an attacks the face w ith his right fist and the side w ith his left elbow . 23. W ithout altering the horse-riding stance, (y o r i-a s h i), shift to the right ONMLKJIHGFEDCB sw inging the left fist up to a point above the right shoulder right elbow to the back. Il 22. Y ori-ashi consists of tensing the left foot, for exam ple, it to slide both feet to the right so that his stance. A s in M ovem ents and pushing off w ith one shifts his position w ithout 22 and 23, there are m any instances is executed m otions but also to develop spontaneity and back, that is required altering in the various first to one side, then to the other. m ust alw ays keep in m ind that the purpose is not only to m aintain the front the This is the m otion show n in figure 50. The m ovem ent is the m irror im age of M ovem ent kata in w hich a technique and thrusting of m ovem ent, abalance O ne of to the left and right, to in proper defensive response to a critical situation. Y a m e . K eeping the left foot in place, draw the right foot part of the w ay in tow ard it, straighten thighs to return Il. 70 the knees, and low er both fists to positions in front of the to the yči stance. C ustom arily there is a kiai at this point in the kata. [Translator's note.] THE KATA 1 2 H E IA N 4 3 1 2 EDCB YODAN There is a total of twenty-seven m ovem ents in this form , which takes about one m inute to com plete. The line of m ovem ent is of the plus-m inus type. ONMLKJIHGFEDCBA Y 6 i . The stance is the sam e as that in Heian Shodan. 1. W ithout m oving the right foot, step with the left foot along Line 1 and assum e a right back stance. At the sam e tim e, open the fists, holding the four fingers together and the thum b bent, and bring the right arm up in front of the forehead, with the elbow bent and the back of the hand toward the forehead, while sim ultaneously holding the left arm out to the left with the forearm vertical, the elbow bent, and the palm turned toward the right (i.e., in the sam e direction as the chest). The face is turned to the left." This stan ce is sim ilar to that of Heian Nidan shown on page 54 except that the hands are open. The point here is alm ost the sam e as that of the first m ovem ent of Heian Nidan, that is, to block and grasp an opponent's wrist with the left hand in preparation for pulling him inward and attacking his philtrum or the side of his neck with the right sword hand. 2. Pivoting to the right with the feet in place, assum e a left back stance. At the sam e tim e turn the head to face to the right, bring the right hand, with fingers together, to an upper level position, and bring the back of the left hand to the forehead;" This is the m irror im age of M ovem ent l. 3. W ithout m oving the right foot while stepping forward with the left (front stance) cross the wrists without bending them , with the right fist above; thrust forward into the lower section keeping the upper body upright, face forward. Straighten both elbows ; both fists should be about seven to eight inches away 12. This m ovem ent is custom arily perform ed slow ly. [Translator's note.] 13. It is custom ary to m ove the arm s as show n in figure 3 before executing the double arm block in M ovem ent 2. [Translator's note.] H E IA N YODAN 71 • • 5 6 3 7 4 8 from the body. The intent here is to block an opponent's kicking attack to the groin with the fist against the opponent's shin. Therefore, the upper body should not lean forward nor should the line of vision be lowered. 4. Keeping the left foot in place, sim ultaneously step forward with the right foot into a back stance along Line 2 and execute a m iddle level block with the right fist, fingers upward, the left fist being held lightly against the inside of the right elbow with the back of the fist downward. 5. W ithout m oving the right foot, draw the left foot toward the right and turn the head to face to the left. At the sam e tim e, pull the right fist, with the fingers upward, back to the right hip, place the left fist on it with the fingers toward the back, and slide the sole of the left foot up to a point ab ove the inside of the right knee. This is the m irror im age of the m ovem ent of Heian Nidan shown on page 56. 6. Standing on the right foot, attack to the left sim ultaneously with a left back fist and a left sword foot (sokutč). This is the m irror im age of the m ove- • \ 9 5, 6 10 11 7 12 '\.' ); \ /" <, , . ' '~. . ,--1 ~ONMLKJIHGFEDCBA ~ I a 13 8, 9 14 16 15 EDCBA 10 m ent of Heian Nidan shown on page 56. Note that sword foot (sokutč) refers to the outside edge of the foot. For the m eaning of this m ovem ent, refer to the explanation of M ovem ents 7 and 8 of Heian Nidan, 7. Placing the left foot dawn on Line 3 in a front stance, execute a right elbow attack to the front, the fingers of the right fist downward, with the right forearm about six to seven inches from the chest, striking the right elbow with the palm of the left hand (see figure 11). Im m ediately following the attack to the opponent's philtrum with the left back fist and to his side or testicles with the left sword foot, step in toward him with the left foot, grasp his arm to pull him inward, and attack with the right elbow. 8. W ithout m oving the left foot, draw the right foot in toward the left and bring it up to a point above the inside of the left knee; then sim ultaneously turn the head to face to the right side, pull the left fist back to the left hip, fingers upward, and place the right fist on top of it with the fingers toward the body. This is the sam e stance as that of Heian Nidan shown on page 56. 9. Continuing to stand on the left foot and looking to the right side, attack sim ultaneously with the right sword foot and the right back fist. This is the sam e m otion as that of Heian Nidan shown on page 56. 1 0 . Lowering the right foot anto the right braneh of Line 3 in a front stance, execute a left elbow attack, striking the outside of the left elbow with the right hand. This is the m irror im age of M ovem ent 7. The final stance is that shown in figure 15. Il. Keeping the feet in place, turn the body to the front and straighten the legs." W hile turning, bring the open right hand through a wide clockwise are up past and alm ost touching the forehead, straighten the elbow, and execute an upper level right sword hand attack to the front. At the sam e tim e, exeeute a 14. O riginally the stance w as natural; lator's note.] now the front stance is custom arily used. [Trans- H E IA N YODAN 73 I 17 •qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 21 20 EDCBA1 2 \ 18 Il 19 22 left open hand ri sing block." The posture from the w aist up is that show n in figure 18. The purpose of the initial m otion of the right hand tow ard the forehead is to catch the w rist of an opponent's attacking arm in the front w ith the right hand. 12. W ithout altering the posture, kick as high as possible w ith the right foot, 15. It is currently the practice that the left hand be brought dow nw ard across the low er abdom en in a sw eeping block before execution of the rising block described here. [Translator's note.] 16. It seem s that the attacker's hand should be held by one's left hand. [Translator's note.] 74 THE KATA 23 " 24 \ 13 25EDCBA 26 27 ~ aim ing at the tip of the right hand, as shown in figure 20. The purpose of this technique is to break the elbow of an opponent's attacking arm with a kick while holding and drawing the arm in with the right handf' The kicking foot m ust be withdrawn as quickly as possible. 1 3 . Take a leaping step forward with the right foot, bringing the left foot to re st lightlyon the ball of the foot at a point just behind the right foot, as shown in figure 24. At the sam e tim e, while first extending the left hand away from the forehead toward the front (as if stretching it out to grasp som ething) and then withdrawing it to the left hip, in a continuous m otion draw the right fist inward and swing it out again in a back fist (uraken) attack to the fronto Give a kiai, "Ei," at the m om ent of focus of thistechnique. 1 4 . Pivoting to the left on the right foot, step with the 1eft foot diagonally between Line 2 and the right branch of Line 3 (back stance). At the sam e tim e, cross the arm s at the wrists, with the right closer to the body and the fingers toward the body, and im m ediately force them apart to the sides in an opening , 28 15 29 30 16, 17 31 14 ..• 32 33 34 35ONMLKJI (k a k iw a k e ) m otion, turning the fingers to the front at the end of the m otion. The point here is to break apart a double fist ( m o r o t e - z u k i ) attack, forcing the attacking arm s to the tw o sides w ith the w rists; the w rists should be about a shoulder's w idth apart, and the elbow s slightly bent. The stance should be that show n in figure 27. EDCBA 1 5 . W ithout altering the posture or the position of the left foot, kick high betw een the tw o fists w ith the right foot, as show n in figure 28. 1 6 . A s the right (kicking) foot touche s the ground (front stance), execute a m iddle level attack w ith the right fist and pull the left fist to the hip. In this m otion, do not pull the right fist back before the attack, but start the attack w ith it in the position described in M ovem ent 15. To this end, hold the elbow s slightly bent during M ovem ents 14 and 15. 1 7 . W ithout altering the stance, execute a left m iddle level reverse punch, pulling the right fist back to the hip. M ovem ents 16 and 17 are to be executed in rapid succession once one has becom e used to them . The double m ovem ent is called continuous punching ( r e n z u k i ) . , 36 19 37 2 0 ,2 1 38 39 41 40qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 22 42 43 23 18. Pivoting on the left foot, step with the right foot diagonally between Line 2 and the left branch of Line 3 into a back stance. At the sam e tim e, cross the arm s, with the right closer to the body, and im m ediately follow with the opening block. This m ovem ent is the m irror im age of M ovem ent 14. 19. W ithout m oving the right foot or the body, kick high between the two .fists with the left foot. 20. As the left foot touche s the ground (front stance), execute a m iddle level attack with the left fist and pull the right fist back to the hip. Be sure to start the attack with the left fist from its position in the preceding m ovem ent. EDCBA 2 1 . W ithout altering the stance, sim ultaneously execute a right m iddle level reverse punch and pull the left fist back to the hip. Here again, as soon as the kicking foot touches the ground in M ovem ent 20, attack with the left and right fists in rapid succession. This is the sam e as in M ovem ents 16 and 17. 22. W ithout m oving the right foot, step with the left foot diagonaHy to the left along Line 2 into a right back stance, sim ultaneously executing a m iddle level double hand block (m orote-uke). The fingers of both fists face upward. This is identical to M ovem ent 7 in Heian Sandan. Note that the body is directed to the right and the face to the front, i.e., toward Line 1. The left fist is in the position of a m iddle level block to the fronto The right fist is held touching the left elbow. 23. W ithout m oving the left foot, step forward along Line 2 toward Line 1, at the sam e tim e executing a m iddle level double hand block. This is the m irror im age of M ovem ent 22. 24. W ithout shifting the right foot, step forward with the left foot along Line 2 toward Line 1, at the sam e tim e executing a m iddle level double hand block. This is identical to M ovem ent 22. 25. Extend the hands far to the front above the level of the head, with palm s facing each other. Standing on the left foot, im m ediately bring the right knee up high and pull the clenohed fists down to either side of the raised knee as H E IA N YODAN 77 24 44 45qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 46 25 47 48 49 51 50 26 shown in figure 46. The purpose here is to crush the opponent's face, grasping the head and forcing it down onto the knee. Give a kiai at this point, "Ei!" 26. As soon as the right foot is lowered to the ground, turn to face to the rear, turning to the left without shifting either foot, and assum ing a right back stance, and execute a left sword hand block. Rest the right sword hand against the solar plexus with the palm upward. This is the sam e stan ce as that of Heian Shodan shown on page 52. 27. W ithout m oving the left foot, step forward with the right foot along Line 2 into a left back stance, at the sam e tim e executing a right sword hand block. This is the m irror im age of M ovem ent 26. THE KATA 78 EDCBA , 52EDCBA2 7 qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 54 ONMLKJIHGFEDCBA 53 Y a m e . W ithout the natural stance m oving the left foot, draw the right foot back and as sum e of yči. HEl AN GODAN There are twenty-five to com plete. 1. W ithout the left branch m iddle m ovem ents The line of m ovem ent in the form , which takes about one m inute is of the T category. m oving the right foot, assum e a back stan ce with the left foot on of Line level forearm 1. At the sam e tim e, look to the left and block with the left fist, fingers upward, fist to the right hip. This is identical to the m ovem ent pulling of Heian execute a the right Sandan shown on page 62. l >=;[, l T ,.~-- I - \ 1 2 3 1,2 4 - qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFE 5 8 6 7 4,5 8 2. W ithout changing the stance, 17 execute a reverse punch w ith the right fist and pull the left fist to the left hip. Tw ist the trunk to the left in executing the m iddle level attack. It is better to keep the right elbow bent slightly. Block the opponent's fist from the left w ith a left forearm block ONMLKJIHGFEDCBA ( u c h i - u k e ) and im m ediately grasp the opponent's w rist and thrust to the opponent's chest. 3. W ithout shifting the left foot, draw the right foot to the left into a feettogether (heisoku) stance. A t the sam e tim e, turning the face to the right and pulIing the right fist to the hip, set the left forearm horizontalIy about six inches in front of the chest w ith the fingers of the fist dow nw ard. N ote that this m ovem ent is to be executed in an unhurried fashion, w ith the m otions of the hand, foot, and face occurring sim ultaneously. Turn the eyes to the right as if follow ing the m ovem ent of the left fist. The left fist is held in the w ater- . flow ing ( m i z u - n a g a r e ) position, w ith the forearm slanting slightly dow nw ard and the fist extending a short distance beyond the right side of the body, protecting the solar plexus. 4. W ithout shifting the left foot, assum e a back stance, w ith the right foot on the right branch of Line 1. A t the sam e tim e, look to the right and execute a m iddle level forearm block w ith the right fist, pulling the left fist back to the hip. This is the m irror im age of M ovem ent 1 and the sam e as M ovem ent 4 of H eian Sandan. Since both M ovem ents 1 and 4 require an initial m otion to provide m om entum to the fists, one precedes the m iddle level blocks w ith a crossing of the fists as in H eian Sandan. 5. W ithout changing the stance;" execute a left reverse punch, pulling the right fist back to the hip. The m iddle level attack is perform ed w ith a feeling of rotating the trunk. It is better to keep the left elbow bent slightly. 6. W ithout shifting the right foot, draw the left foot up to it into a feettogether stance, turning the face to the fronto A t the sam e tim e, pull the left fist back to the hip and position the right forearm horizontally in front of the chest. 17. In the latest edition, this stance is the im m ovable ( j 1 t d 6 . d a c h i ) . [Translatorčs note.] 18. In the latest edition, this stance is the im m ovable ( j u d 6 - d a c h i ) . [Translator's note.] EDCBA 80 THE KATA , 9 6 Il 10 12 7 7. W ithout shifting the left foot, step forward with the right foot onto Line 2 into a back stance. At the sam e tim e, execute a right m iddle level forearm block and place the left fist against the in side of the right elbow, with the fingers of both fists upward. The body is set in a half-facing (hanm i) posture with the face to the fronto 8. W ithout shifting the right foot, step forward along Line 2 with the left foot into a front stance. At the sam e tim e, cross the arm s at the wrists, with the right fist above the left and set so that the backs of the fists form a right angle, and thrust them forward in a downward direction. Keep the body upright and look directly to the fronto This is sim ilar to M ovem ent 3 of Heian Y odan. Straighten both elbows with the fist slightly inside the left knee. This is the stance for blocking an opponent's lower level kick. 9. W ithout altering the lower ab dom en or legs, and with the wrists still crossed, open the hands and thrust them up in front of the head as shown in figure 14. M ove swiftly at this point. ONMLKJIHGFEDCBA '.~ '~ . _ 'A . /;.-~ ~ .. . ''( • 13 8-11 14 15 ~ . i ~~ ~qponmlkjihgfedcba 16 17ONMLKJIHGFEDCBA 18 19 The feeling here is that of having blocked a low er level attack and finding the opponent again attacking to the upper level, thrusting the second attack upw ard w ithout the slightest pause betw een blocks. The ability to adjust one's defense freely in response to a situation is a special quality of karate. The term , "adjusting to opponents," is used to denote such responses. 10. W ithout altering the position of the abdom en or legs, alter the cross of the w rists: w hile continuing to hold them against each other w ith the inside of the w rists pressed together, rotate them successively through a position of palm s facing each other and into one of the right palm turned upw ard fingers pointing to the front and the left palm turned dow nw ard fingers pointing to the side. W ith the w rists sti11 crossed, draw them tow ard the right hip. The position is that show n in figure 18. This m otion deflects dow nw ard an attack m ade by an opponent im m ediately follow ing the preceding upper level cross block ( k o s a - u k e ) . , 20 21 22 12 23 , " 24 ,, , ,qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIH II 26EDCBA 25 13,14 1 1 . W ithout altering the lower abdom en or legs, attack to the front with the left fist and sim ultaneously pull the right fist back to the right hip. 1 2 . W ithout shifting the left foot, step forward along Line 2 with the right foot (front stance) and sim ultaneously execute a right m iddle level attack. Pull the left fist back to the hip. In this m ovem ent, attack with a feeling of sufficient strength to deliver a finishing blow and perform a kiai. 1 3 . Pivoting counterclockwise 180 degrees on the left foot, step with the right foot toward the starting point into a horse-riding stance (kiba-dachi), at the sam e tim e executing a right down block, with the left fist at the hip and the body directed to the front, i.e., to the right side of Line 2. The face is looking to the right toward the origin of Line 2. 1 4 . Keeping the abdom en and legs fixed, face to the left, i.e., toward the far end of Line 2. At the sam e tim e, m ove the arm s as if drawing a bow, pulling the right fist to the hip and extending the left arm straight out to the side with the hand open and the palm turned inward, i.e., toward the right side of Line 2. 27 28 29 30 15 H E IA N G O D A N 83 31 32qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 33 17 16 The point here is to hook an opponent's m iddle level attack w ith the left w rist. 15. W ithout m oving the left foot, sw ing the right foot forw ard in a crescentlike m otion and kick the left palm , as show n in figure 29. The point here is to grasp an opponent's right w rist w ith the left hand, draw him inw ard, and kick him in the chest. For this reason, one should develop the habit during practice of kicking as high as possible and particularly of not low ering the left hand. (m ik a z u k i-g e r i). This technique is called the crescent m oon kick ONMLKJIHGFEDCBA 16. Low ering the right foot onto the far end of Line 2 (horse-riding stance), strike the left palm w ith the right elbow w ith the fingers of the right fist turned tow ard the body and the right forearm held six to seven inches from the chest. The left palm should be in the sam e place it w as at the end of M ovem ent 14, and one should be facing to the front, i.e., the left of Line 2. The point here is to attack an opponent w ith the right elbow w hile pulling him inw ard w ith the left hand. 17. K eep the right foot in place, shift the full w eight to the right leg and draw the left foot behind the right. A t the sam e tim e, turn the head to the right, i.e., aw ay from the origin of Line 2, and execute a right m iddle level forearm block to the right, w ith the left fist held just touching the right elbow . Bend the right knee slightly. Both fists are held w ith the fingers turned upw ard. The point of this m ovem ent is to block a m iddle level attack from the right m ade w hile one is attacking a first opponent w ith the right elbow in M ovem ent 16. 18. W ithout m oving the right foot, face to the left, i.e., to the origin of Line 2, and extend both fists upw ard, w ith fingers upw ard, as show n in figure 35, and, at the sam e tim e, step to the left (tow ard the origin of Line 2) w ith the left leg, toes resting lightlyon the ground (see figure 36). Support the entire w eight on the slightly bent right legoThe body, contracted into itself in M ovem ent 17, is now , in M ovem ent 18, suddenly greatly expanded w ith a feeling of overw helm ing an opponent. This illustrates one of the cardinal points of kata practice: expanding and contracting the body ( t a 1 :n o s h i n s h u k u ) . 84 THE KATA 34 35 EDCBA 1 8 36 , 37 , 38 19 39 a 40 20 41 1 9 . Jum ping off toward the origin of Line 2 with the right leg, spring as high and as far as possible, turning to the left in the air." Land as shown in figure 38 with the right knee bent and the left foot drawn up just behind the right, with fists crossed, the right above the left, and execute a lower level block. The face is directed to the front, i.e., to the right of Line 2. 2 0 . Facing to the right and straightening the left leg without shifting the foot, take a large step toward the origin of Line 2 with the right foot, and as- 19. Custom arily there is a kiai at this point in the kata, just before jum ping. [Translator's note.] H E IA N GODAN 85 21 [~. -.f-\ 42qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 43 45 22 46 44 47 sum e a front stance, 20 at the sam e tim e executing a right m iddle level forearm block with fingers upward and resting the left fist with fingers upward at the inside of the right elbow. EDCBA 2 1 . Face to the left," i.e., to the far end of Line 2, and at the sam e tim e thrust the right sword hand, with the palm upward, forward to a point above the left knee and draw the left sword hand, with the palm upward, to the base of the right upper arm . Im m ediately straighten the arm s in a ripping m otion, with 20. In the latest edition, this stance is the irrunovable (jud6.dachi). [Translator's note.] ( z e n k u t s u ) stance. [Translator's note.] 21. It is custom ary to use the front ONMLKJIHGFEDCBA 86 THE KATA , qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 48 EDCBA 23 49 50 clenched fists, bringing the right fist up to an upper level block and low ering the left fist in a low er level block, as show n in figure 43. A t the end of the m ovem ent, the low er level blocking arm should be parallel w ith the forw ard thigh. 22. K eeping the right leg, the body, and the arm s fixed in their positions, draw the left foot to the right foot. 23. K eeping the left foot in place and turning to the left, step out w ith the right foot to the right, i.e., aw ay from the origin along Line 2, into a back stance." A t the sam e tim e, thrust the left sw ord hand w ith the palm upw ard forw ard to a point above the right knee and draw the right sw ord hand w ith the palm upw ard to the base of the left upper arm . Im m ediately straighten the arm s in a ripping m otion w ith the fists clenched to bring the left fist up to the left side in an upper level block and low er the right fist to the right in a low er level block. This m ovem ent is the m irror im age of that show n in figure 43. ONMLKJIHGFEDCBA Y a m e . W ithout m oving the left foot, slide the right foot to Line 1, in line w ith the left, and assum e a natural stance, low ering both fists slow ly, to return to the yči stance. BASSAI There is atotal offorty-tw o m ovem ents in this kata, taking about one m inute to com plete. The line of m ovem ent is the T type. Y i 5 i . A s show n in figure 2, assum e the feet-together (heisoku) stance and place the right fist in the left palm , the fingers of the left hand being w rapped lightly about the right fist w ithout grasping it. The m eaning of the position is protection of the testicIes. 22. In the latest edition, this stance is the im m ovable ( j u d o ·d a c h i ) . use the front ( z e n k u t s u ) stance. [Translator's note.] It is custom ary to BASSAI 87 l. Jum p out onto Line 2 with the right foot, bending the right leg upon landing, supporting the entire weight upon it, and drawing the left foot up so that it rests lightly against the back of the right foot, as shown in figure 4. During this m otion, execute a m iddle level forearm block (uchi-uke) with the right fist, placing the left palm against the inside of the elbow as shown in the figure. The final posture is left half-facing (hanm i), with the face to the fronto 2. W ithout m oving the right foot from its position, turn the body to the left to face toward the back, as sum ing a front stance, the left foot being shifted back along Line 2 toward the starting point. At the sam e tim e, execute a m iddle level forearm block with the left fist and draw the right fist to the right hip. 3. W ithout altering the stance, execute a m iddle level block with the right fist in a m otion starting from outside the left elbow, sim ultaneously drawing the left fist to the left hip. At the com pletion of the m ovem ent, the right shoulder is to be turned toward the fronto The point of these m ovem ents is to block a right fist attack from an opponent 4 1 5 6 7 2,3 8 la 9 with the left fist-forearm block, followed im m ediately by a switching of the blocking arm s and a change from a disadvantageous position (the bIoeker is exposed especially to a left fist or foot attack from the opponent) to an advantageous one (one relatively protected against attacks from the opponent's Ieft side). This kind of shift is a characteristic of this kata, occurring m any tim es in it. 4. Pivoting to the right with both feet in place, turn to face again toward the front along Line 2, at the sam e tim e executing a m iddle level ham m er ( u c h i k o m i ) with the left fist (the arm bent at the elbow and turnstriking block ONMLKJIHGFEDCBA ing with the body) and drawing the right fist to the right hip. During the m otion shift to a front stance. After the block of an attack from the rear in the preceding m ovem ent, an opponent at the front attacks and is now blocked away with the left fist while the blocker turns to face him . 5. Keeping the sam e stance, change fists to block with the right and retract 11 12 14 EDCBA 13 BASSAI 89 , 15 4, 5 16 17 18 the left fist to the hip. Note that the bloeking (right) fist is to pass below and outside the elbow of the retraeted (left) arm . The feeling of the m otion is that of erossing the wrists of the bloeking and retraeted arm s. 6. Shifting the fun weight to the left leg without m oving the left foot, m ove the right foot in a shallow are through a position next to the left foot and out onto the right bran eh of Line 1. During this m otion, while holding the right arm bent at the elbow, lower the body without breaking its upright posture, execute a lower level block to the right side in a scooping m otion to the right, upward and away from the body, and then execute a right m iddle level ham m er striking block (uchikom i) and bring the right foot to rest in a front stance. The final position of the right foot is shown in the sketch beneath figure 23. 7. Keeping the stance, switch so as to block with the left arm , and pull the right fist to the right hip. Sim ultaneously twist the upper trunk as m uch as possible to direct the left shoulder toward the fronto 8. Pivoting with the feet in place, turn the body to face toward the front 19 20 21 22 24 6,7 23qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 25 26 8-10 (i.e., forw ard along Line 2). A t the sam e tim e, straighten the right leg and place the left fist, fingers tow ard the body, onto the right fist. 9. W ithout changing the stance, open the left hand, keeping the four fingers together, direct the palm dow nw ard, and extend it to the fronto The intention here is to block an opponent's attack from the front w ith a sw eeping block by the left hand from inside tow ard the left side. EDCBA 1 0 . W ithout changing the position of the body and legs, clench the left fist and draw it back to the hip, at the sam e tim e executing a m iddle level attack tow ard the front w ith the right fist. The m eaning here is that of grasping the opponent's w rist or arm and pulling him in w hile attacking w ith the right fist. Il. W ithout shifting the feet, twist. the body by retracting the left shoulder, sim ultaneously sw inging the right fist as if draw ing a circle tow ard the left to execute a m iddle level block as show n in figure 30, w ith the elbow slightly bent and the fingers upw ard. A t the com pletion of the block, the right shoulder is to the front, the upper body facing to the left, and the left knee is bent. This is a 27 28 29 30 11 31EDCBA 1 2 qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 32 13 33 34 block against an attack to the chest by an opponent. A lw ays keep the eyes on those of the opponent. 1 2 . W ithout m oving the feet, draw the right fist to the hip and execute a m iddle level attack to the front w ith the left fist. A t the sam e tim e, straighten both legs and direct the body to the fronto A lw ays rem em berthat w hen the hand is pulled back to the hip after blocking, as in this case, one m ust have the feeling of grasping the opponent and pulling him in. 1 3 . K eeping the feet in place, tw ist the body to the right, draw ing the right shoulder back, at the sam e tim e sw inging the left fist in a circle tow ard the right, w ith the elbow slightly bent and the fingers upw ard, to execute a m iddle level block. The left shoulder should be to the front, the upper body facing to the right, the right leg slightly bent, and the face to the fronto This m ovem ent is the m irror im age of M ovem ent Il, show n in figure 30. 1 4 . K eeping the left foot in place, step out along Line 2 w ith the right foot , , , • 35 14 36 15 37 16 38 39 17 40 18 42 41 into a left back stance, sim ultaneously executing a right sw ord hand block. The left hand is held in front of the solar plexu s w ith the palm upw ard. 15. W ithout shifting the right foot, step forw ard along Line 2 w ith the left foot into a right back stance, at the sam e tim e executing a left sw ord hand block, the right hand being held in front of the solar plexus. 16. K eeping the left foot in place, m ove forw ard along Line 2 w ith the right foot into a left back stance, at the sam e tim e executing a right sw ord hand block, holding the left hand in front of the solar plexus. 17. W ithout m oving the left foot, step back w ith the right foot into a right back stance, at the sam e tim e executing a left sw ord hand block, holding the right hand in front of the solar plexus. In other w ords, reverse M ovem ent 16 to return to the final position of M ovem ent 15. 18. Thrust the right shoulder forw ard, pass the right hand under the left arm , and extend it forw ard in a right arm block w ith a feeling of draw ing the right leg tow ard the left. 19. Lift the right foot to the position show n in figure 41 and im m ediately thrust it forcefully dow nw ard tow ard the front w hile sim ultaneously clenching both fists and pulling them vigorously tow ard the chest, so that the left fist assum es a final position just below the right nipple." Follow ing M ovem ent 18, in w hich one has grasped the opponent's hand, one now bring s the right foot up to step forcefully dow n onto the opponent's thigh. For this purpose, raise the right leg as high as possible w hile coordinating its m otion w ith that of the arm s. 20. W ithout changing the position of either foot, turn to the left so as to face to the re ar w hile sim ultaneously executing a left m iddle level sw ord hand block, positioning the right hand in front of the solar plexus. 21. W ithout shifting the left foot, step forw ard along Line 2 (i.e., tow ard the point of origin) w ith the right foot w hile sim ultaneously executing a right 23. C ustom arily there is a kiai at this point in the kata. [Translator's note.] BASSAI 93 , 43EDCBA1 9 44 45 , 20 46qponmlkj " 47 48 49 22 m iddle level sword hand block and bringing the left hand in front of the solar plexus. 22. Keeping the left foot in place, draw the right foot back to the left foot while at the sam e tim e executing an upper level two-handed block, as shown in figure 49,24 with the body facing forward. Note the position of both fists above the head, the point being to block with both wrists an opponent's two-handed upper level attack. 24. In the latest edition, this block is executed from a half-facing posture. [Translator 's note.] 0 94 THE KATA. 50 52 51 23. W ithout m oving the left foot, stam p forw ard tow ard the starting point into a front stance along Line 2 w ith the right foot. D uring this m otion, pulI the fists vigorously apart, to a distance of about tw o feet, in a ripping m otion over the head, then continue to sw ing dow nw ard, describing a sem icircle w ith each fist, fingers inw ard, and finally execute m iddle level ham m er attacks to the front from both sides w ith the fists, fingers upw ard. M otions of the hands and feet should end together. The point here is to block w ith both hand s an opponent's tw o-handed attack and then to step in and attack his tw o sides w ith ham m er strikes. 24. W ithout altering the stance, slide forw ard (yori-ashi) w hile pulling the left fist to the hip and sim ultaneously execute a right m iddle level punch. The point here is to pursue an opponent w ho has fallen back in surprise at the preceding attack and to deliver an im m ediate finishing blow . 25. K eeping the feet in place, pivot 180 degrees to the left tow ard the far end of Line 2, and sim ultaneously thrust the right sw ord hand forw ard to the , , 53 23 54 55 I • 56 24 57 59qponmlkjihg 58 lower area and draw the open left hand, palm upward, to a point in front of the right shoulder. Im m ediately, while clenching both fists, m ove them apart in a ripping m otion to execute with the right hand an upper level forearm block toward the front on Line 2, then draw the left foot back to the right foot. The head is to be turned to the left so that one is facing toward the front along Line 2. Refer to M ovem ents 21 and 22 of Heian Godan. 26. W ithout shifting the left foot, stam p forward with the right foot along Line 2 (i.e., away from the origin) and assum e a horse-riding stance, at the sam e tim e executing a right down block toward the front of Line 2, withdrawing the left fist to the hip and turning the head to face to the right. 27. W ithout m oving the feet, face to the left and cross both arm s in front of the chest, the right arm above. In a m otion sim ilar to that of drawing a bow, extend the left arm out to the left side, the hand open and the palm facing to the front, while drawing the right fist to the right hip. 28. Pivoting on the left foot, swing the right foot up in a crescent kick to • 60 25 61 62 26,27 63 64 65 68 69 strike the extended 66 28-31 6 70 71 left palm and then low er the right foot to a position on Line 2 directly below that of the left hand at the conclusion of M ovem ent 27,25 at the sam e tim e executing a right elbow attack. riding stance It is im portant at this point. O ne should be in a horse- not to low er the left hand w hile kicking (refer to figure 29 of H eian G odan). Face tow ard the front, i.e., tow ard the space to the right of Line 2. EDCBA 2 9 . M aintaining both stance and posture, sim ultaneously thrust the right 25. It is to be noted that it is the sam e line as the hand, not the sam e point. [Translator's note.] BASSAI 97 , 72 73 74 qponmlkjihgfedcbaZYXWVUTSRQPONM 32,33 75 fist dow nw ard and clench the left fist, holding it in its position in front of the chest. The fingers of both fists are turned tow ard the body. The point here is a low er level block w ith the right fist and protection of the solar plexus region w ith the left fist. 30. In the sam e stance and posture, thrust the left fist dow nw ard and bring the right fist up in front of the chest. The low ered arm should pass on the inside in this m otion. 31. K eeping the sam e stance and posture, sim ultaneously thrust the right fist dow nw ard and bring the left fist up in front of the chest. The final position here is identical to that of M ovem ent 29. 32. K eeping both feet in place and assum ing a front stance, w ithdraw the left fist, w ith palm upw ard, to the left hip and place the right fist on the left fist w ith palm turned inw ard. Face to the right (i.e., tow ard the origin of Line 2). 33. K eeping the sam e stance, attack to the front sim ultaneously w ith both fists, the left in an upper level attack, fingers dow nw ard, the right in a low er level attack, fingers upw ard. The fists should define a vertical line. This position is show n in figure 76. 34. W ithout m oving the left foot, draw the right foot back to the left, sim ultaneously pulling the right fist back to the right hip. and placing the left fist on it w ith the right palm turned upw ard, the left tow ard the body. 35. W ithout m oving the right foot, execute a stam ping step" w ith the left foot tow ard the rear along Line 2 into a left front stance, sim ultaneously executing an upper level attack w ith the right fist, fingers dow nw ard and a low er level attack w ith the left fist, fingers upw ard. This is the m irror im age of the position show n in figure 76. 36. W ithout m oving the right foot, pull the left foot back to the right foot w hile placing the tw o fists at the left hip. 26. In the latest edition, the stam ping steps in M ovem ents 35-37 are front kicks. [Transla.tor's note.] 98 THE KATA 78 77 76 79EDCBA 34 , , , 35 81 36 80qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 83 82 37. K eeping the left foot in place, perform a right stom ping step tow ard the real' along Line 2, sim ultaneously fist, fingers dow nw ard, upw ard;" This is the sam e as M ovem ent M ovem ents 33 to 37 are a three-tim e m ent. Such units occur frequently technique executing being that an upper level attack w ith the left and a Iow er level attack em ployed w ith the right fist, fingers (right-left-right) of a m ove- 33. repetition in the various kata, in this case the repeated w hen one's hair is grasped by an opponent; 27. C ustom arily there is a kiai at this point in the kata. [Translator's note.] BASS Al 99 37 86 85 84 while looking steadily at the opponent and without trying to m ove the head from the position to which it is pulled, attack sim ultaneously to the philtrum and lower abdom en with the two fists. This is an exam ple of the tactic, "Cut his m eat while cutting your skin" (i.e., take a cut skin to inflict a cut m uscle). 38. Pivoting on the right foot, swing the left leg counterclockwise to align the feet in a wide stance along Line 1; then bring the right fist down from shoulder level to the left side as if drawing a circle and execute a lower level forearm block. At the sam e tim e, withdraw the left fist to the hip and draw the left shoulder back so that the right shoulder extends to the fronto The left leg assum es a front stance naturally. EDCBA 3 9 . W ithout shifting either foot, while pulling the right fist back to the hip and drawing the right shoulder back, swing the left fist from the shoulder level down and to the right in a large circle and perform a left lower level forearm block. At this point, the left shoulder should be toward the front and the body in a half-facing posture, as in M ovem ent 38. The right leg goes naturally into 87 38 88 89 90 - ., 92 91 95 93 39 96 40 94 97 a front stance. This technique is em ployed to scoop and im m ediately throw back an opponent's foot, so it is essential to sweep as low as possible. EDCBA 4 0 . Pull the left foot half the distance in toward the right; then step out along Line 2 with the right foot into a left back stance, at the sam e tim e executing a right sword hand block and positioning the left hand in front of the solar plexus and facing to the fronto 4 1 . W ith out m oving the left foot, while turning the face half left, m ove the body back onto Line 1, m aintaining the right hand and foot in the sword hand position. B A SSA I 101 , 98 41 99 102 100 101 103 4 2 . qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA W ithout turning the head, draw the right foot close to the left foot, then advance diagonally to the front with the left foot into a right back stance, at the sam e tim e executing a left sword hand block and positioning the right hand in front of the chest. For the sword hand posture, refer to Heian Shodan. ONMLKJIHGFED Y a m e . At the com m and "Yam e," hold the right foot in place and draw the left foot to the right foot, returning the hands to the yči position. 102 THE KATA 2 1,2 3 1qponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 4 KW ANKU This kata consists of sixty-five m ovem ents and requires about two m inutes to com plete;" The line of :m ovem ent is of the plus-m inus type. ONMLKJIHGFEDCBA Y o i . W ith feet apart in a natural stance and the arm s straight, place the hands in front of the groin. W ith the hands opened, fingers together, and thum bs extended, place the right thum b and fingertips on those of the left. The palm s of both hands are directed toward the body. This position of the hands closely resem bles that of the Ogasawara school of etiquette. Refer to figure 2. L M aintaining the position of the hands relative to each other, raise them slowly and position them at a point ab ove the head as showu in figure 3. Sight through the opening form ed by the hands. 2. W ith a feeling of violently rending the form ed position of the hands, draw them apart to a distance of about one foot," then slowly lower them to either side as if describing a circle, bringing the left hand to a position in front of the groin, the palm facing to the right front, and the right hand so that the edge is placed along the left palm , the two palm s perpendicular, the right palm facing diagonally to the left fronto Note that the preceding m ovem ents have the double m eaning of dem onstrating that one is unarm ed and of protecting one's groin. This sort of double m eaning is essentially that im plied by the description "Two is one, one is two," applied to the yin-yang sym bol. 3. M oving the left foot a step to the left into a right back stance, as shown in 28. This kata is K a n k i ; in Japanese. This edition retains the O kinaw an K w ankii. [Translator's note.] 29. It m ust be realized that M aster Funakoshi w as a short m an by m odern standards; a taller m an w ould have to adjust the hand separation to execute the m ovem ent properly. [Translator's note.] EDCBA KW ANKU 103 ,~ , VI ONMLKJIHGFE P. / .- '" ' 6 5 7 3 8 figure 7, execute an upper level block w ith the open left hand, palm directed to the right. Place the right spear hand in front of the chest holding the hand at a slightly higher level than for a sw ord hand block. Face to the left. 4. Pivoting w ith the feet in place, shift to a left back stance w hile executing an upper level block w ith the open right hand and bringing the left spear hand in front ofthe chest. T his is the m irror im age of the position show n in figure 7. T he face is turned to the right. 5. Pivoting w ith the feet-in place, face to the front, straightening the knees, and bring the right hand from its position to the right and rear forw ard and then back in a circular m otion to end w ith the fist at the right hip, w hile at the sam e tim e placing the left hand, w ith palm dow nw ard, under the right upper arm and draw ing it tow ard the front along the low er surface of the right arm until it is extended horizontally to the fronto R efer to figure 12. T he point of this m otion of the right hand is to draw an opponent's arm inw ard, that of the left hand to block from the inside an attack from the opponent. 9 4 10 11 12 13 14 15 7 16 8 6. C lenching the left fist and draw ing it to the left hip, execute a m iddle level attack w ith the right fist. It is im portant that one m aintain an upright posture and especially that he not extend the right shoulder too far to the fronto 7. K eeping the feet in place, sw ing the right fist in a circular m otion to execute a m iddle level forearm block, extending the right shoulder to the front and draw ing the left shoulder tow ard the back and the left fist to the left hip. That is, rotate the trunk to the left to as sum e a half-facing posture. The left leg w ill bend naturally. R efer to figure 30 of B assai. 8. W ithout m oving the feet, rotate the trunk again to the front and execute a m iddle level attack w ith the left fist, draw ing the right fist to the hip. A t this tim e straighten both knees. 9. W ithout m oving the feet, tw ist the upper body to the right and at the sam e tim e execute a m iddle level forearm block w ith the left arm . The left shoulder is extended to the front, the right shoulder is pulled to the rear, and the right fist rem ains at the right hip. N ote that M ovem ents 7, 8 and 9 are the sam e as M ovem ents Il, 12 and 13 in B assai. 17 9' 18 ONMLKJIHGFEDCBA 19 20 DCBA 1 0 , I l , I 21ONMLKJIHGFEDCBA 1 0 . 22 1 2 23 1 3 nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA D raw the left foot halfw ay in from the left, look to the back, place the tw o fists at the left hip, the right on the left w ith the fingers of the left fist upw ard, those of the right tow ard the body, and bring the sole of the right foot against the inside of the 1eft leg just ab ove the knee. T his position is sim ilar to that show n in figure 8 of H eian N idan. n. E xecute an upper level attack to an opponent at the back w ith the right back fist,w hile at the sam e tim e striking out w ith the right sw ord foot to the opponent's testicles. T his m ovem ent is sim ilar to M ovem ent 8 of H eian N idan. 1 2 . W hile low ering the right foot into a right back stance and looking along L ine 2 tow ard the front, execute a left m iddle level sw ord hand block, placing the right spear hand in front of the solar plexus. T his is the sam e as in H eian N idan; as indicated there, one is to execute this m ovem ent and the preceding one in rapid, continuous succession. 1 3 . W ithout shifting the left foot, step forw ard w ith the right foot onto L ine 2 into a left back stance, at the sam e tim e executing a right m iddle level sw ord hand block. 1 4 . K eeping the right foot in place, step forw ard w ith the left along L ine 2 into a right back stan ce, executing a left m iddle level sw ord hand block. 1 5 . W ithout shifting thc left foot, w hile stepping forw ard w ith the right foot, execute a m iddle level attack w ith the right spear hand, palm facing to the left, sliding the left hand, palm dow nw ard, along the low er surface of the right arm up to the arm pit.." N ote that M ovem ents 10 to 15 are identical to the sequence cited in H eian N idan, and one should refer to explanations for that sequence. 1 6 . K eeping the feet in place, turn counterclockw ise to face to the rear along L ine 2, sw ing the right hand in a large are that brings the back of the hand alm ost in contact w ith the forehead and then forw ard in a right sw ord hand attack w ith the palm turning upw ard at the m om ent of focus. A t the sam e tim e, execute an upper level block w ith the open left hand, w ith the back of the hand 30. C ustom arily, the front stance is used in this m ovem ent, and there is a kiai at this point in the kata. [T ranslator's note.] 1 0 6 I I L T H E K A T A 24 , 25ONMLKJIHGFEDCBA 26DCBA 1 5 28 27 nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA facing the forehead. The m ain point of the sixteenth and seventeenth m ovem ents is the sam e as those of the eleventh and tw elfth m ovem ents of H eian Y odan. K ick tow ard the tip of the extended right hand w ith the right foot. Low ering the right foot to Line 2 and pivoting through 180 degrees to face forw ard along Line 2, at the sam e tim e thrust the right sw ord hand tow ard the front lower level, parallei to the upper surface of the left thigh, and place the left sw ord hand in front of the right shoulder, both palm s directed upw ard. Then, clenching the fists and draw ing them apart in a ripping m otion, bring the right fist back in an upper level forearm block, the palm tow ard the head, tow ard the rear along Line 2 w hile extending the left fist tow ard the front along Line 2 in a dow n block. D uring this m otion, assum e a right back stance, continuing to look forw ard along Line 2. 1 9 . K eeping both feet in place, again thrust the right sw ord hand to the low er level in front and place the left sw ord hand in front of the right shoulder, both palm s upw ard. 1 7 . 1 8 . , 29 1 6 30 1 7 3 1 32 ( • 33 18, 1 9 35 34 2 0 36 2 0 . nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA K eeping the right foot in place and straightening the knees, draw the left foot slightly in tow ard the right. A t the sam e tim e, clench the fists and draw them apart, bringing the right fist to the right hip and sw inging the left arm horizontally out to the left (i.e., tow ard the front along Line 2), w ith palm dow nw ard. Face along the left arm . 2 1 . R otating the trunk to face tow ard the front along Line 2 w ithout m oving the feet, sw ing the right sw ord hand in a w ide are carrying it past the forehead tow ard the front, w ith palm upw ard, m oving the left sw ord hand in an upper level block so that it is brought in front of the forehead, w ith the palm forw ard, at the m om ent of focus of the right sw ord hand. 2 2 . R ick to the front w ith the right foot, touching the tip of the right hand. 2 3 . Low ering the right foot to the front along Line 2 in a m ovem ent sim ilar to that in M ovem ent 18, pivot counterclockw ise to the real' and thrust the right sw ord hand tow ard the low er level, placing the left sw ord hand in front of the right shoulder. Im m ediately clench the fists and draw them apart, the right to ONMLKJI \ • a 37 38 39 2 1 40 t r IONMLKJIHGFEDCBA 42 41 23,24 I 44 43 an upper level block to the back (i.e., tow ard the front of Line 2) and the left fist to a dow n block tow ard the fronto D uring this m ovem ent, assum e a right back stance and turn the face to the left, i.e., tow ard the rear of Line 2. 24. K eeping both feet in place, again thrust the right sw ord hand tow ard the low er level and position the left sw ord hand at the right shoulder. 25. W ithout m oving the right foot, straighten up and, draw ing the left foot slightly in tow ard the right, clench both fists and draw them past each other, the right fist to the right hip and the left horizontally out to the left side tow ard the rear of Line 2. This is the sam e as M ovem ent 20. 26. Placing both fists at the right hip, the left on the right, w ith the palm of the right upw ard, that of the Ieft tow ard the body, face to the left (i.e., along the right branch of Line 3) and place the left foot ab ove the knee on the inside of the right leg in the initial position for a left side kick. 27. Execute sim ultaneously a left upper level back fist attack and a left side kick w ith the left sw ord foot tow ard the right branch of Line 3. , 45 26,27 46 47 28 25 48 29,30 49 51 50nmlkjihgfedcbaZYXWVUTSRQPONMLKJIH 28. Low ering the left foot onto the right branch of Line 3 in a left front 2 7 to 31 are the stance, strikethe right elbow w ith the left palm . M ovem ents ONMLKJIHGFEDCBA sam e as those in w hich the side kick is executed in H eian Y odan, and one should refer to the description given there. 29. Straighten up, bring the right foot to the left foot, face to the right (i.e., along the left branch of Line 3), placing both fists at the left hip, then slide the sole of the right foot up the left leg to a point above the knee . . 30. Sim ultaneously execute a right upper level back fist attack and a right side kick, using the right sw ord foot, to the right (i.e., along the left branch of Line 3). . 31. Low ering the kicking foot to the left branch of Line 3 into a front stance, attack to the right w ith the left elbow , striking the elbow w ith the right palm . W hile low ering the right foot, there should be a suggestion of draw ing the left foot in slightly. This sam e point applies in M ovem ent 28. 32. K eeping both feet in place and assum ing a right back stance, face to the left along the right branch of Line 3 and execute a left sw ord hand block. 33. W ithout m oving the left foot, step diagonally to the front w ith the right foot into a left back stance and execute a right sw ord hand block. R eference should be m ade to M ovem ents 13 to 16 of H eian N idan, w hich are identical to M ovem ents 32 to 35. 34. Pivoting w ith the left foot in place, return the right foot to Line 3 in a left back stance and execute a right sw ord hand block. 35. Pivoting on the right foot, step diagonally to the front w ith the left foot, assum ing a right back stance, and execute a left sw ord hand block. 36. W ith out m oving the right foot and bringing the left tow ard the rear along Line 2, attack w ith the right sw ord hand in a m otion bringing it alm ost in contact w ith the forehead and then sw inging to the right and horizontally outw ard tow ard the front (i.e., tow ard the rear of Line 2), the palm facing upw ard. The left sw ord hand is brought upw ard in an upper level block, com ing in DCBA 1 1 0 TH E K A TA 52DCBA 3 1 53ONMLKJIHGFEDCBA - , , 54 32 nmlkjihgfe 55 front of the forehead w ith the palm to the front at the m om ent of focus of the right hand. D uring this m otion, one should assum e a front stance w ith the right shoulder directed to the front, the trunk rotated to the left. This m ovem ent is the sam e as M ovem ents 16 and 2l. 37. K ick the tip of the right hand w ith the right foot and im m ediately retract the kicking foot. 38. Jum p forw ard tow ard the rear of Line 2, landing on the right foot w ith the right leg bent and supporting the fu1l body w eight and the left foot draw n up just behind and lightly touching the right, at the sam e tim e extending the left hand to the front as if grasping a r t object, then pu1ling it back to the left hip, and sw inging the right hand in a large arc that brings it alm ost in contact w ith the stom ach and chest and then outw ard in an upper level back fist attack to the fronto The m otion s ofthe hands and feet m ust end sim ultaneously. R eference should be m ade to the description of the jum p-in technique of H eian Y odan, w hich is the sam e as the present one. 56 - , 34 - 57 35 58 59 33 t t 60DCBA 61 3 6 62 37 63 3 9 . Step backw ard w ith the left foot to assum e a front stance, at the sam e tim e executing a m iddle level forearm block w ith the right fist. 4 0 . W ithout altering the position of the hip s and legs, draw the right fist to the hip and execute a m iddle level reverse punch w ith the left fist. 4 1 . K eeping the hips and legs fixed, pull the left fist back to the hip and execute a m iddle level attack w ith the right fist. M ovem ents 40 and 41 are a continuous attack (renzuki) technique and are to be executed in rapid succession. 4 2 . Pivoting counterclockw ise on the left foot to face to the rear (i.e., tow ard the front of Line 2), draw the right knee up high to the body and, w ith the palm s sliding forw ard along the sides of the raised thigh, thrust forw ard to the m idsection w ith the right fist, fingers upw ard, and place the left hand on the inner surface of the right w rist. 43. W ithout m oving the left foot, low er the right foot to the front into a ONMLKJI • , , 64 39-41 65 66 \ 68nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 4 3 69 70 rONMLKJIHGFEDCBA , \ 71 72DCBA 73 74 4 4 front stance and rest the fingertips" of both hands on the floor as show n in figure 69. It is im portant to look to the front during this m ovem ent. This is astance peculiar to K w ankii, us ed in astalem ate situation in w hich each opponent has apparently exhausted his potential. The one now suddenly drops his body to the ground to startIe the opponent for an attack. 4 4 . Pivoting w ith the feet in place, tw ist the upper body counterclockw ise to face tow ard the rear in a right back stance and execute a low er level block to 31. In the latest edition, the palm s are dow n on the floor (figure 71 and 72). [T ranslatora no te.] K W A N K U I l3 45 '" 75 - nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 76 46,47 77 the left w ith the left sw ord hand. The left palm is parallel to and about six to seven inches above the left thigh. The right sw ord hand is placed below the left nipple w ith the palm upw ard. 45. K eeping the left foot in place, step forw ard (i.e., tow ard the rear of Line 2) w ith the right foot, assum ing a left back stance, and execute a right sw ord hand block. 46. Pivoting counterclockw ise on the right foot, step w ith the left foot anto the left branch of Line 1 into a front stance w hile executing a m iddle level forearm block to the left w ith the left fist and pulling the right fist to the right hip. 47. W ithout m oving the feet, draw the left fist back and execute a right m iddle level reverse punch. 48. Pivoting w ith the feet in place, turn the body to the right to as sum e a fra nt stance and execute a right forearm block w ith the right fist, draw ing the left fist to the hip. 49. M aintaining the posture of the body, execute a left m iddle level reverse punch, draw ing the right fist back to the hip. 50. M aintaining the posture of the body, draw the left fist back to the hip and execute a m iddle level attack w ith the right fist. M ovem ents 49 and 50 constitute a continuous attack (renzuki). 51. Turning to the right w ith the w eight on the left foot, com e to face to the rear of Line 2 w hile draw ing the right foot up to the side of the left knee and placing both fists at the left hip, the one on top of the other, to assum e the initial stance of the right side kick. 52. Standing on the left leg, execute an upper level attack to the rear of Line 2 w ith the right back fist w hile kicking to the low er level w ith the right sw ord foot. 53. Sim ultaneously lower the right foot to the rear of Line 2 to assum e a right back stance, facing tow ard the fra nt of Line 2, and execute a left m iddle level sw ord hand block. 114 TH E K A TA 78 IONMLKJIHGFEDCBA 81 80 79 51,52 82 54. A dvancing a step along Line 2 w ith the right foot, execute a m iddle level attack hand, to the 55. w ith the right spear hand, palm to the left, w hile sliding the left sw ord palm dow nw ard, along the low er surface of the right arm to bring it up arm pit. A s ifresponding to one's right arm being tw isted to the right (the opposite of the analogous situationin H eian Sandan), pivot to the left on the right foot to advance a step along Line 2, assum ing a horse-riding stance. D uring the turn, bring the right forearm in a tw isting m otion to a position over the right shoulder w hile executing an upper level attack to the left (i.e., tow ard the front of Line 2) in a w ide m otion w ith the left back fist. The right fist should be draw n back to the right hip so that its m otion is com pleted at the instant of focus of the left back fist attack. Face along the left arm , 56. M aintaining the posture of the body, shift sidew ays (yori-ashi) to the left (i.e., forw ard along Line 2), w ith both feet and execute a left upper level back fist attack in a large circular m otion of the fist. , a • 83 53 84 85 54 1 87 86 DCBA t e : NMLKJIHGFEDCBA "/,.,. 89 88ONMLKJIHGFEDCBA \:, 90 , l:~ --' ., '4.-:;-' 91 55 -92 56 57. K eeping the feet in place, rotate the trunk and attack w ith the right elbow to the left along L ine 2, striking the right elbow w ith the left palm . D uring the m otion the left foot adjusts naturally so that one assum es a front stance. 58. Pivoting w ith the feet in place to face tow ard the rear of L ine 2, shift to a front stance, the trunk directed tow ard the right branch of L ine 3, and place one fist over the other at the left hip. 59. W ithout changing the stance, execute a dow n block w ith the right fist. 60. A s show n in figure 96, pivot on the right foot to step tow ard the rear of 1 1 6 T H E KATA 93 \ , , nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 94 58,59 95 96 97 99 100 101 ,.:~ 98 DCBA 6 0 ,6 1 Line 2 w ith the left foot, m oving into a horse-riding stance. A t the sam e tim e, strike dow nw ard from over the head in a w ide m otion of the left fist and sw ing the right fist upw ard. 61. W ithout changing the stance, attack dow nw ard, the right fist passing inside the left to form a cross w ith the fists as show n in figure 101. 62. Standing in the sam e position, open the fists and thrust the hand s up over the' head w ith the w rists still crossed, at the sam e tim e straightening the legs. 63. W ith the w rists still crossed over the head, pivot to the right on the right K W A N K U 1 I7 ,,~ ~ •••• nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA ~ ./ / \< ' 6 2 102 DCBA 104 103 105 6 3 ,6 4 106 foot as show n in figure 104, bringing the left foot onto the forw ard segm ent of Line 2 and assum ing a front stan ce facing tow ard the rear of Line 2. 64. M aintaining the posture of the body, clench the fists, keeping the w rists crossed, and low er them to just below eye level. 65. Facing tow ard the rear of Line 2, kick high w ith the left foot and follow im m ediately w ith a high right kick, the latter being executed before the left foot touches the ground;" A t the sam e tim e, m ove the left hand as if grasping 32. C ustom arily there is a kiai at this point in the kata at the start of the jum p. [T ranslator's note]. 1 1 8 T H E K A T A 108 107 109ONMLKJIHGFEDCBA 110 \ III nmlkjihgfedcbaZYXWVUTSRQPONMLKJIH 65 112 113 som ething in front and then back to the left hip, and w ith the right hand execute an upper level back fist attack to the front (i.e., tow ard the rear of Line 2), in a w ide circular m otion bringing the fist from the low er ab dom en across the chest to the fronto The feet should land on the fl.oorto form a front stance at the instant of com pletion of the hand m otions. NMLKJIHGFEDCBA Y a m e . Pivoting to the right on the right foot and stepping out onto the left branch of Line 1 w ith the left foot, bend the trunk forw ard and sw ing the right fist, w ith palm upw ard, from the inside outw ard tow ard the right in a circular dow nw ard block, both fists com ing finally into a natural position in front of the DCBA K W A N K U 1 1 9 114 115 upper thighs at the m om ent at w hich the left foot touche s the floor. The final position is the yči stance of H eian Shodan. K w ankii is one of the longest form s in karate and is so varied in its scope of F ig h tin g F o r m a g a in s t E ig h t E n e m ie s . techniques that it is w idely know n as the NMLKJIHGFEDCBA M any feel that if one m asters this form , he w ill be able to defend him self against several opponents at once, since even in such cases attacks com e at m ost from tw o or three at any one instant, rather than from all sim ultaneously. TEKKISHODAN This kata consistsof tw enty-nine m ovem ents and takes about one m inute to com plete. The line of m ovem ent is the straight line. Y o i . Standing in the feet-together stance, open both hands and hold them in a position to guard the testicles, placing the fingers of the left hand over those of the right. The open hands im ply as w ell the second m eaning that one has no w eapons. C onsistent w ith the first m eaning of protection of the testicIes, the hands should be held slightly aw ay from the body. 1. Turning the head to face to the right, as show n in figure 3, pass the left foot lightly over the right and, w ithout m oving the right foot or altering the posture, cross the legs to place the left foot to the right of the right foot on the line of m ovem ent. In this m ovem ent, there is a feeling of low ering the hips. The m ovem ent is preparatory to a defense against an opponent from the right. 2. W ithout m oving the left foot, continue to look to the right and take a DCBA 1 2 0 T H E K A T A 1 DCBA • • ONMLKJIHGFEDCBA 2 I W I 3 1 • 4 large step to the right w ith the right foot intoa horse-riding stance, at the sam e tim e placing the left fist at the hip and extending the right arm out to the right side, palm to the front, in a circular m otion past the front of the right shoulder. D uring the m otion, assum e the posture show n in figure 4. The basic stance of the Tekki form s is explained in som e detail in the section on stances in chapter 2, and reference and careful study of the discussion there should be m ade. This standing form is the essential point of this form and m ust be practiced w ith particular care. The m eaning of the present m ovem ent is that of hooking and blocking an attack from the right side w ith the right w rist. 3. K eeping the body fixed from the w aist dow n, rotate the trunk to the right as show n in figure 5 and execute a left elbow attack, at the sam e tim e striking the palm of the right hand against the left elbow w ith a sense of draw ing an opponent into the elbow . In applying the elbow attack, one keeps the fist clenched, fingers tow ard the body, and holds the forearm parallel to the plane of the chest and about six to seven inches from it. It is essential in this m ove- 5 6 8 7 T E K K I S H O D A N 1 2 1 ti 9 • •nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 7 10 11 8-12 m ent that only the upper part of the body be rotated, the low er part being held 12 in its original posture. 4. K eeping the low er part and sim ultaneously of the body fixed, face to the left along Line place the right fist at the hip and the left fist, palm inw ard, onto the right, as show n in figure 6. N ote that the front, rected 1 the trunk w ith care given not to raise the shoulders, is turned directly to and only the face is di- to the left. 5. W ithout altering the stance, execute a low er level block fist, bringing it first to a point in front of the right shoulder. show n in figure 7. The left fist is position ed about left thigh, the m otion being identical w ith the left This is the position six to seven inches above the to the first block of H eian Shodan in every respect except for the change in stance to horse riding. 6. W ithout altering hip in a rotating the stance, sim ultaneously draw the left fist to the left m otion and position the right fist in front of the chest as show n in figure 8. In this position of the right solar plexus, the forearm arm , w hich is intended is parallel as a protection of the to the plane of the chest at the level of the solar plexus and about six to seven inches from the chest, The fist, w hich is not to extend beyond elbow , m aking the left side of the body, is placed a slight decline in the forearm or "w ater-flow ing" m iz u - n a g a r e 7. K eeping slightly that this m ovem ent, the position). the left foot in place, pass the right foot lightly show n in figure 9, w ithout low er than from the elbow to the fist (the NMLKJIHG altering the posture w hich is preparatory over the left, as of the rest of the body. to defense against an opponent N ote to the left, is to be m ade w ith the hips low . 8. K eeping the right foot in place, take a large step to the left w ith the left foot into a horse-riding stance, sim ultaneously forearm up in a m iddle turning the face to the front and rotating the right level forearm position show n in figure Il. The right fist should be slightly below eye level, and block to as sum e the the point of the elbow about six to seven inches from the body. DCBA 1 2 2 T H E K A T A 13 9. W ithout altering the stance, pass the right fist across in front of the left shoulder, w ith the fingers upw ard, and bring the left fist to the front ofthe body into the transitional position show n in figure 12. DCBA 1 0 . A s show n in figure 13, continue im m ediately to extend the right arm dow nw ard to the front and right side in a low er level block, the back of the fist directed forw ard, and sim ultaneously execute a m iddle level block w ith the left arm , the fist stopping above the left shoulder, fingers tow ard the head." This m ovem ent should be executed forcefully, the right fist sliding through the crook of the left elbow and dow nw ard and the left fist sw inging upw ard. The point of this m ovem ent is a defense against sim ultaneous attack w ith a fist and a foot. Il. Follow im m ediately w ith a left back fist attack to the front, placing the right w rist, fingers dow nw ard, below the Ieft elbow as show n in figure 14. M ovem ents 9 to 11 are techniques identified w ith the horse-riding stance and require diligent practice because of their considerable difficulty. A lthough they have been treated separately to facilitate description, they are in fact to be executed in a single m otion. The point of M ovem ent 11 is to draw an opponent's attacking fist dow nw ard and tow ard the body w ith the right hand and to counterattack to the upper jaw w ith the left back fist. H ence, the left fist m ust end in a position directly in front of the face. 1 2 . W ithout altering the stance of the preceding m ovem ent, face to the left as show n in figure 15. 1 3 . W ithout altering the posture of the trunk, kick the left foot upw ard and inw ard as show n in figure 16. The soIe of the left foot should reach alevel ab ove that of the right knee. The purpose of this m ovem ent is to w ard off a kicking attack from an opponent. A fter learning them w ell, one should execute M ovem ents 13 and 14 as a single, continuous m otion. 33. A fter com pleting the m iddle level block, the left arm continues w ithout perceptible pause from in front of the body up to the position above the left shoulder. [T ranslator's note.] T E K K I S H O D A N 1 2 3 I,l.. , \. NMLKJIHGFEDCBA ,~ r · 17 , . 14,15 18 19 nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 16 20 14. Thrust the left foot dow n forcefully into its previous position (horseriding stance), at the sam e tim e rotating the left fist clockw ise until the palm is directed dow nw ard and tw isting the body to the left as show n in figure 17. Throughout the m otion, the right fist is m aintained in its position at the point of the left elbow . O ne m ust give particular care not to alter the position of the hips and legs in turning the trunk to the left. The point to this technique is to thrust the foot dow n onto an opponent's leg w hile blocking his fist attack w ith the left w rist. 15. W ithout altering the stance, turn only the head to face to the right as show n in figure 18. The purpose of this m ovem ent is to prepare for an attack sensed from the right. 16. W ithout altering the posture of the body above the w aist, kick the right foot upw ard as show n in figure 19. The sole of the right foot should com e higher than the level of the left knee. N ote that the left leg rem ains bent, and the hips in their low position. The entire m ovem ent is the m irror im age of M ovem ent 13. A fter learning this m ovem ent w ell, it is to be executed continuously w ith M ovem ent 17. 17. D rive the right foot forcefully back to its original position (horse-riding stance), at the sam e tim e rotating the trunk to the right to execute a m iddle level block w ith the left arm , fingers upw ard, as show n in figure 20. The purpose of this m ovem ent, together w ith the preceding one, is to sw eep an opponent's kick w ith the right foot and to follow im m ediately by sim ultaneously attacking his supporting leg and blocking his m iddle level attack. 18. W ithout altering the stance below the w aist, face to the left as show n in figure 21, the trunk directed squarely to the front, and sim ultaneously draw the right fist back to the hip and place the left fist, fingers to the back, on the right. This m otion, w ith the turning of the head to the left, is preparatory to receiving an opponent from the left sensed w hile one is engaged in blocking an attack from the right. 19. M aintaining the stance, thrust both fists to the left from their on-guard 124 TH E K A TA 21nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 22 ONMLKJIHGFEDCBA 24 23 position at the right hip, the left arm to extend straight out to the left and, as show n in figure 22, the right to be bent at the elbow so that the forearm is about six to seven inches from the chest and the fist below the level of the shoulder and about even w ith the left side of the body;" This is a type of double-hand attack (m orote-zuki). The left fist blocks to the outside an attack from the left and attacks the m iddle level of the opponent w hile the right fist either guards the chest or itself attacks. In actual practice, the body could be rotated m ore to the left w ith the right fist attacking the opponent's chest. 20. W ithout altering the stance, draw the right fist to the right hip, open the left fist, and block an attack from the left in a hooking m otion w ith the left w rist, palm to the front, as show n in figure 24. The final position is the m irror im age of that of M ovem ent 2. DCBA 2 1 . W ithout altering the stance below the w aist, rotate the trunk to the left and attack w ith the right elbow as show n in figure 25, the right fist rem aining clenched w ith the fingers inw ard. A t the sam e tim e, strike the elbow w ith the left hand in a m otion indicating the grasping and pulling forw ard of an opponent. This is the m irror im age of M ovem ent 3. O ne m ust take care not to break the stance of the hips and legs. 22. W ithout altering the stance of the hips and legs, face to the right, the trunk directed to the front, and draw the left fist to the left hip, placing the right fist, fingers inw ard, on the left as show n in figure 26. This is the m irror im age of M ovem ent 4. 23. W ithout altering the stance, m ove the right fist through a point in front of the left shoulder and dow nw ard into a low er level block to the right side, the final positionbeing M ovem ent 5. that show n in figure 27. This is the m irror im age of 24. W ithout altering the stance, retract the right fist to the hip in a forceful 34. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] T E K K I S H O D A N 1 2 5 25 27 26 28 tw isting m otion and position the left fist in front of the chest w ith the forearm in a horizontal plane as show n in figure 28. The front of the left fist should not extend beyond the side of the body. The forearm should be about six to seven inches from the chest w ith the slight w ater-fiow ing (m izu-nagare) decline in the line from the elbow to the fist. 25. W ithout altering the posture of the body above the w aist, and holding the right foot in place, pass the left foot lightly over the right tow ard the right side, as show n in figure 29. D uring this m otion, it is im portant to hold the hips low and bend the knees. The hips should m o ve at a constant level w hether the legs are crossing or assum ing an open stance. 26. K eeping the left foot in place, take a large step to the right w ith the right foot into a horse-riding stance, at the sam e tim e executing a m iddle level forearm block w ith the left fist w hile facing directly to the front, as show n in figure 31. This is the m irror im age of M ovem ent 8. 27. W ithout altering the stance, bring the left fist up in front of the right 29 25DCBA 1 2 6 T H E 30 K A T A • • 31 26-30 32 33 34 36 DCBA 35 shoulder, fingers inw ard, as show n in figure 32 and extend the right fist dow nw ard and to the front, fingers dow nw ard. 28. W ithout pausing, draw the fists apart in a ripping m otion, the right fist upw ard to the right as show n in figure 33, fingers tow ard the head, and the left fist dow nw ard, fingers dow nw ard. The m eaning of the m ovem ent is a block w ith both w rists against an opponent's sim ultaneous fist and foot attacks. 2 9 . W ithout pausing, rotate the back of the right fist tow ard the back, draw ing the fist back above the right shoulder, then sw ing it dow nw ard to the front, at the sam e tim e positioning the left w rist under the point of the right elbow as show n in figure 34. Like M ovem ents 9 to Il, M ovem ents 27 to 29 are to be executed quickly in a single, continuous m otion. The point of the m otion of the right fist in the present m ovem ent is to attack an opponent's philtrum w ith the knuckles of the fist; one should face directly to the fronto 3 0 . W ithout altering the stance, face to the right as show n in figure 35. 3 1 . W ithout altering the posture, kick upw ard to the in side w ith the right foot as show n in figure 36. The sole of the right foot should be brought up to a level above that of the left knee, w hile the hips are to be m aintained in a low position and the left leg bent. A fter learning the m ovem ent s w ell, this and the next m ovem ent are to be executed as a single m otion. 3 2 . Thrusting the right foot forcefully dow n into its previous position, rotate the body and arm s tow ard the right as show n in figure 37 and execute a m iddle level block. D uring the block, rotate the right w rist com pletely, so that the back of the fist com es to be directed upw ard, w hile continuing to hold the left fist at the point of the right elbow . 3 3 . W ithout altering the stance, face tow ard the left as show n in figure 38. 3 4 . W ithout altering the posture, kick up quickly tow ard the center w ith the left foot as show n in figure 39. The sole of the left foot should be brought up to alevel above that of the right knee. The hips are to be kept in a low position T E K K I SHOD AN 1 2 7 3 1 32,33 37nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 38 42 41 • 39 34 43 and the right leg bent. H aving learned these techniques w ell, one should execute this and the follow ing m ovem ent in a single m otion. 35. Thrusting the left foot forcefully back into its previous position, rotate the trunk and arm s tow ard the left as show n in figure 40 and execute a m iddle level block. The hips and legs are to be fixed firm ly in the horse-riding stance. 36. W ithout altering the stance of the hips and legs, face to the right, turning the body squarely to the front, draw the left fist back to the hip, and place the right fist on the left as show n in figure 4l. 37. W ithout altering the stance, thrust both fists sim ultaneously out to the right as show n in figure 42. 35 N ote that the right arm is fully extended to the 35. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] DCBA 1 2 8 T H E K A T A 44 right side, w hile the left e1bow is bent so that the forearm is positioned six to seven inches in front of the chest and the left fist in line w ith the right si de of the body. Y a m e . A t the com m and right foot tow ard tion, then turn A lthough tate holding the left foot in place, draw the the hands and feet slow ly to the yči posi- the left, returning the he ad slow ly to face to the fronto this kata ha-s been divided description, sixteen of "Y am e," and certain seventeen, tw o, thirty-four groups, i.e., tw enty-seven and thirty-five, into thirty-seven m ovem ents nine to eleven, thirteen to tw enty-nine, thirty-one to facili- and fourteen, and thirty- are properly considered to be single m ovem ents, so that it consists in fact of tw enty-nine m ovem ents. TEK K I N ID A N There are tw enty-six m ovem ents perform . The line of m ovem ent in this form , taking Y o i . Stand at the left end of the line of m ovem ent heels apart identical and the fists held naturally one m inute to in front in the natural of the upper stance, the thighs. This is to the yči stance of H eian Shodan. 1. A s show n in figure 2, w hile turning w ithout about line, as in Tekki Shodan. NMLKJIHGFEDCBA is the straight m oving the right foot, step lightly the he ad to face to the right and w ith the left foot over the right to cross the 1egs and bend the arm s at the elbow s, bringing the forearm s up into a horizontal position w ith the fists just below the level of the nipples. This stance, w ith the chest protected, 2. H olding is one of readiness right foot into a horse-riding both this fists, w ith initial block w ith 1 against the left foot in place and taking stance, first m ove the forearm s the fingers dow nw ard, m om entum , the right continue fist, fingers an opponent this on the right. a big step to the right w ith the upw ard to bring to the level of the chin. Then, m otion dow nw ard, sm oothly as show n into a m iddle using level in figure 4, the left 3 DCBA T E K K I 4 N ID A N 1 2 9 ONMLKJIHGFEDCB ====~~~,.~~~~ . --~.r------ONMLKJIHGFEDCBA DCBA a 5 3 6 4 7 5 forearm positioned horizontally in front of the chest, fingers-dow nw atd. N ote that one should be facing tow ard the right at the end of the m ovem ent, w ith the right fist at the level of the shoulder and the point of the right elbow six to seven inches from the side of the body. The point of the m ovem ent is an in side block w ith the right w rist of an attack from the right and protection of the chest w ith the left fist. a. K eeping the right foot in place and crossing the left foot lightly over it w hile continuing to face to the right, straighten the right arm out tow ard the front by sw inging it inw ard from the right, fingers upw ard. A t the sam e tim e, place the opened 1eft hand lightly at the inside of the right elbow . The left hand is just below chest level. The right arm is held straight and the left forearm is parallel to the plane of the chest. The m eaning of the m ovem ent is to block an attack sensed to com e from the front w hile continuing to face to the right on guard against the opponent from that direction. 4. W ithout m oving the left foot, take a big step to the right w ith the right foot into a horse-riding stance. A t the sam e tim e, w hile m aintaining the posture of the trunk and head, sw ing the right fist out to the right, fingers upw ard, holding the left hand still in place at the right elbow . The right fist should com e to re st slightly ab ove hip level. The m ovem ent defl.ectsa m iddle level attack from the right w ith a block using the right w rist. 5. K eeping the right foot in place, draw the left foot to the right and straighten the knees to assum e the feet-together stance. A t the sam e tim e, face to the left and bring the fists, fingers dow nw ard, to chest level, as show n in figure 7, the elbow s extending out to either side. 6. C ontinuing to face to the left and keeping the right foot in place, take a big step to the left w ith the left foot into a horse-riding stance and block to the left, starting the arm m ovem ent by raising both forearm s, the backs of the fists turning outw ard to the sides, to obtain m om entum and then continuing sm oothly into a m iddle level block w ith the left fist, fingers dow nw ard, placing the right forearm in a horizontal position in front of the chest, fingers dow n1 3 0 T H E K A T A 8 nmlkjihg • 9 6 10 7 11 a 8-10 DCBA 1 2 w ard. T he final position is the m irror im age of that show n in figure 4. T he m ovem ent is the m irror im age of M ovem ent 2. 7. C ontinuing to face to the left w ith the body directed to the front, cross the right foot 1ightly over the left. A t the sam e tim e, sw ing the left fist tow ard the center, fingers upw ard, so that the left arm extends tow ard the front w ith the opened right hand placed on the inner m argin of the left elbow . T his is the m irror im age of M ovem ent 3. T he left fist should be at the level of the solar plexus, causing the right elbow to be som ew hat elevated, and the right forearm parallel to the plane of the chest. 8. T ake a big step to the left w ith the left foot into a horse-riding stan ce w ithout altering the body posture or shifting the right foot. Sim ultaneously sw ing the left fist, fingers upw ard, out to the left, the right hand being held in place at the left elbow . T his m ovem ent is the m irror im age of M ovem ent 4. N ote that the fist is at approxim ately hip level, the left elbow straightened. 9. W ithout altering the stance of the hip s or legs, turn the face to the right, bring the right fist to the left hip, the back of the fist directed to the front, and having opened the left fist, place the palm of the left hand against the right fist, the back of the left hand directed to the left side. l O . W ithout altering the stance of the hip s and legs and continuing to face to the right, execute a right m iddle level block w ith the right fist, fingers upw ard, holding the left hand throughout the m otion on the inner m argin of the right forearm w ith the fingertips at the right w rist as show n in figure 13. C ontact of the left hand and right arm should not be broken during the m otion. T he body continues to bedirected tow ard the fronto Il. K eeping the left foot in place, look to the front and raise the right knee up high. A t the sam e tim e, draw the right fist back to the right hip in a sm ooth m otion, fingers upw ard, and place the palm of the left hand against the right fist as show n in figure 14, w ith the back of the hand directed to the fronto 1 2 . Stam p the right foot dow n strongly into its form er position to assum e a horse-riding stance. A t the sam e tim e, tw ist the upper body to the left and T E K K I N ID A N 1 3 1 rnmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA J ONMLKJIHGFEDCBA --------;r- 13 14 11 15 • • 12-14 attack directly to the front w ith the right elbow , the back of the right fist upw ard, the palm of the left hand rem aining against the front of the right fist as show n in figure 15. D uring this m ovem ent, the position of the head and the setting of the hip s and legs m ust rem ain unchanged, in spite of the turning of the body to the left. A lthough M ovem ents I l and 12 are presented as tw o m ovem ents, they should be executed as a single m otion. The point he re is sim ultaneous attacks to the opponent's leg w ith the right foot and to his solar plexus w ith the right elbow . 13. W ithout altering the hips or legs, return the upper body to its earlier position (directed to the front) and face to the right. A t the sam e tim e, open the right hand and execute a right m iddle level block to the right side w hile draw ing the left fist back to theleft hip, as show n in figure 16. The point here is to grasp an opponent's w rist as he attacks from the right. In the block, the right hand should be about at the level ofthe right shoulder. 14. W ithout altering the stance, clench the right fist and draw it back to 17 132 TH E K A TA 16 22 21 23 24nmlkjihgfedcbaZYX the right hip, fingers upw ard, at the sam e tim e positioning the left arm horizontally in front of the chest, fingers dow nw ard. The point here is to grasp an opponent's attacking arm and, w hile tw isting it, draw it in to the right hip. 15. W ithout altering the posture or m oving the right foot, cross the left foot lightl] over the right. 16. K eeping the left foot in place, take a big step to the right w ith the right foot into a horse-riding stance. A t the sam e tim e, face to the front and execute a m iddle level block directly to the front w ith the left forearm , rotating the left fist in the m otion until the back of the fist is turned dow nw ard. The right fist is m aintained at the right hip. The final position is that show n in figure 31 of Tekki Shodan. 17. W ithout changing the stance, sw ing the left fist across in front of the right shoulder and dow n into a left dow n block, at the sam e tim e starting the right fist from below and outside the left elbow and draw ing it up into a m iddle level block. 18. C ontinuing the upw ard m otion of the right fist, raise it above the right shoulder w ith the fingers directed tow ard the front and attack at face level to the fronto A t the sam e tim e, bring the left forearm into a horizontal position across the chest w ith the back of the fist upw ard and the left w rist just under the point of the right elbow ;" Execute M ovem ents 17 and 18 as a single m ovem ent. The m ovem ent is sim ilar to that show n in M ovem ents 27, 28 and 29 of Tekki Shodan. 19. K eeping both feet in place, sim ultaneously turn the he ad to face to the left, open the right hand and w ithdraw it to the right hip, palm inw ard, and place the left fist against the right palm . This is the m irror im age of M ovem ent 9. 20. W ithout changing the stance, execute a left m iddle level block w ith the left fist to the left side, rotating the fist until the fingers are upw ard, placing the 36. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] DCBA T E K K I N 1 D A N 1 3 3 ------~ .-----25 26 21 • r--- 27 22-24 nmlkjihgfedcbaZY right hand on the inside of the left forearm w ith the fingertips at the left w rist. This is the m irror im age of M ovem ent 10 (ef. figure 13). The right hand and left forearm are to rem ain in contact throughout the m otion. 21. W ithout shifting the right foot, sim ultaneously turn the head to face directly to the front, raise the left knee up, and pulI both hands back to the left hip, bringing the left fist to the hip, fingers upw ard, in a flow ing m otion and the right palm against it. This is the m irror im age of the position show n in figure 14. 22. Stam ping the left foot strongly into its form er horse-riding stance, rotate the upper body to the right and attack to the front w ith the left elbow , The back of the left fist is turned upw ard and the right hand is positioned w ith the palm against the front of the left fist. This is the m irror im age of the position show n in figure 15. M ovem ents 21 and 22 are m irror im ages of M ovem ents Il and 12, and the com m ents given there apply here as w ell. M ovem ents 21 and 22 should be executed as a single m ovem ent. 23. W ithout altering the stance of the hips or legs, return the body to face directly to the fronto A t the sam e tim e, turn the he ad to the left, open the left hand to execute a m iddle level block to the left side, palm dow nw ard, and pulI the right fist back to the right hip. This is the m irror im age of figure 16. 24. W ithout changing the stance, draw the left fist in a tw isting m otion to the left hip, at the sam e tim e bringing the right forearm to a horizontal position in front of the chest. This is the m irror im age of M ovem ent 14 (see also figure 8 of Tekki Shodan). 25. W ithout m oving either the upper body or the leftleg, cross the right foot lightly over the left. 26. H olding the right foot in place, take a big step to the left w ith the left foot. A t the sam e tim e, turn the head to face to the front and sw ing the right fist into a m iddle level block to the front, fingers upw ard, w hile holding the left fist at the hip. R efer to figure Il of Tekki Shodan. 27. W ithout altering the stance, block w ith both fists, the right starting from 134 TH E K A TA 28 ------,1 -.32 26-28 ------t.~ 29 30 33 34 25 31 , t 36 35 a position in front of the left shoulder and striking dow nw ard, the left starting beneath .and in front of the right elbow and sw inging outside the right forearm upw ard in am iddle level block. 28.W ithout pausing, continue the upw ard sw ing of the left fist to a point above the left shoulder, then strike out im m ediately to the front at face level, at the sam e tim e placing the right forearm in a horizontal position in front of the chest, the back of the w rist lightly touching the point of the left elbow ." M ovem ents 27 and 28 are the m irror im ages of M ovem ents 17 and 18 and 37. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] DCBA T E K K I N ID A N 1 3 5 should be executed in a single, rapid m otion. D etails of the m otions can be seen in M ovem ents 27, 28 and 29 of Tekki Shodan. NMLKJIHGFEDCBA Y a m e . This com plete s the kata. A t the com m and "Y am e," slow ly draw the left foot in and return to the yči position. TEKKISANDAN This form consists of thirty-six m ovem ents and requires about one m inute to com plete. The line of m ovem ent is the straight line, as in Tekki Shodan and N idan. YOi. A ssum e the natural stance w ith heels separated, holding the clenched :fists naturally in front of the upper thighs and facing directly to the fronto This is the sam e as the yči stance of H eian Shodan. 1. K eeping the left foot in place, stam p to the right w ith the right foot into a horse-riding stance, executing a m iddle level block w ith the left :fist, :fingers upw ard, and draw ing the right :fist to the right hip (see :figure 31 of Tekki Shodan). 2. W ithout altering the stance, strike dow nw ard w ith the left :fist from a point in front of the right shoulder in a low er level block w hile bringing the right :fistfrom outside the left elbow in a m iddle level block, the :fists describing a ripping m otion. 3. W ithout altering the stance, position the left forearm in a horizontal plane in front of the chest, palm dow nw ard, and drop the right forearm , palm inw ard, dow n next to the left, as show n in :figure 5, w ith the right elbow touching the left w rist. A n opponent, having his low er and m iddle level attacks blocked in M ovem ent 2, retracts his :fists and attacks again im m ediately w ith a double-hand technique. R is left :fist is blocked dow nw ard w ith the left hand and his right arm is deflected w ith the right w rist. 2 DCBA 1 1 3 6 T H E K A T A 3 1-8 ONMLKJIHGFEDCB 4 - 5 6 7 DCBA 8 4. W ithout altering the stance or the position of the left arm , bring the right up to the upper level on the right side (see figure 6). Finding his Ieft fist deflected and his right fist knocked aside, the determ ined opponent relentlessly retracts his left fist and attacks once again; it is this attack being blocked here, the opponent's left w rist being hooked by the right w rist. 5. W ithout altering the stance or the position of the left arm , attack to the upper level w ith the right back fist in such a w ay that the right elbow com es to touch the upper surface of the left w rist(see figure 7). The right fist should be centered in front at slightly low er than eye level. The target is the opponent's philtrum . A fter learning them w ell, M ovem ents 3 through 5 should be executed as a continuous, rapid unit. 6. W ithout altering the stance, draw the right fist back to the right hip (w ith fingers upw ard), open the left hand, holding the fingers together and thum b 9 10 11 TEK K I 9 SA N D A N • 137 • 12 10-17 13 dow n, and position the palm of the left hand lightlyon the inner surface of the right w rist.38 7. W ithout altering the stance, attack to the m idline in front w ith the right fist, m oving the left hand along w ith the rotating right hand, so that the left palm com es to re st at the com pletion of the attack on top of the right elbow . A fter learning them w ell, M ovem ents 6 and 7 should be executed as a rapid unit. 8. Turning the head to face to the right, rotate the right fist to direct the palm upw ard w hile leaving the left hand at the sam e position on the right arm . DCBA 9 . W ithout altering the posture, pass the left foot lightly over the right. The bending of the right leg is to be m aintained during the m otion and care taken that the torso not be tilted forw ard. 1 0 . K eeping the left foot in place, stam p to the right w ith the right foot into a horse-riding stance, push the right arm outw ard to the right, continuing to hold the left hand in its position at the right elbow as show n in figure 12. The m ovem ent blocks a m iddle level attack from the right. Il. W ithout altering the stance, again rotate the right fist to direct the palm dow nw ard, and sim ultaneously, holding theleft hand in its position at the right elbow throughout, describe a com plete circle w ith the extended right arm , the right shoulder as its center, the hand passing dow nw ard to the left, then to the upper left section, over the forehead, and dow nw ard, as show n in figure 16. A n opponent's kick to the open right side of the body is blocked by hooking his leg w ith the radial edge of the right w rist. 1 2 . W ithout altering the stance, draw the right fist back to the right hip, fingers upw ard, at the sam e tim e sliding the left palm sm oothly along the right forearm to rest it on the inside surface of the right w risr" at the right hip and turning the head to face to the fronto 38. "W rist" is not accurate for custom ary praetice. N ow , the fingers of one hand are placed on the other hand. [T ranslator's note.] 39. See note 38. 1 3 8 T H E K A T A 17nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 18 20 19 13. W ithout altering the stance, thrust the right fist out to the m idline in front, palm -dow nw ard, w hile sliding the left palm sm oothly along the upper surface of the right forearm to rest it on the right elbow . 14. W ithout changing the stance, rotate the right fist, directing the palm upw ard, to execute a m iddle level block, at the sam e tim e thrusting the left fist dow nw ard in a low er level block, palm dow nw ard. 15. W ithout altering the stance, sim ultaneously execute a m iddle level block w ith the left fist, in a m otion beginning outside the right elbow , and a low er level block w ith the right fist, in a m otion beginning in front of the left shoulder and passing dow nw ard. The sim ultaneous execution of these tw o techniques bring s the hands apart in a ripping m otion, as show n in figure 22 and reverses the blocking role s of the tw o arm s in M ovem ent 14. 16. W ithout altering the stance, draw the left fist back and upw ard over the left shoulder and instantly attack forw ard to the upper section (a back fist attack to the opponent's philtrum ), w hile at the sam e tim e positioning the right 21 22 24DCBA 23 T E K K I SANDAN 1 3 9 29nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 30 32 31 forearm in a horizontal plane in front of the chest. The fists rem ain clenched and the palm dow nw ard, so that the left elbow rests lightlyon the right w rist." M ovem ents 15 and 16 should be executedas a single, sudden unit after they have been w elllearned. DCBA 1 7 . W ithout altering the stance or the posture, turn the head to face to the left. 1 8 . W ithout altering the posture of the trunk or head and w ithout m oving the left foot, cross the right foot sm oothly over the left. 40. C ustom arily there is a kiai at this point in the kata. [T ranslator's 1 4 0 T H E K A T A note.] 33 34 • • 26 36 19. W ithout m oving the arm s or the right foot, step to the left w ith a strong stam ping m otion of the left foot, at the sam e tim e turning the head to face to the fronto 20. W ithout altering the stance, bring the left fist dow n to the right arm . This position is the m irror im age of that show n in figure 5. The point here is to strike aside an opponent's m iddle level attack w ith the left w rist. 21. W ithout altering thestance, draw the left fist back to the left upper section in a m otion that is the m irror im age of that show n in figure 6. The purpose here is to block to the left a second attack from the opponent. 22. W ithout altering the stanoe, attack tow ard the m idline in front w ith the back fist. This is the m irror im age of the attack show n in figure 7. A fter learning them w ell, M ovem ents 20 through 22 should be executed as a continuous rapid unit. ~ 23. W ithout altering the stance, draw the left fist back to the left hip, palm up, open the right hand, w ith the thum b dow n, and place the right palm on the inner surface of the left w rist." 24. W ithout altering the stance, attack to the front w ith the left fist, palm dow nw ard, sliding the right palm sm oothly along the left forearm to the elbow . 25. W ithout altering the stance or the position of the right hand, rotate the left fist, directing the fingers upw ard, w hile turning the head to face to the left. 26. W ithout altering the position of the body or left leg, pass the right foot sm oothly over the left. 27. W ithout m oving the right foot, stam p to the left w ith the left foot into a horse-riding stance and sw ing the arm s out to the left, holding the right hand in place at the left elbow . This is the m irror im age of the m otion show n in figure 12. 28. W ithout altering the stance, rotate the left fist, directing the fingers dow nw ard, and describe a large circle w ith the left arm passing to the right side 41. See note 38. TEK K I SA N D A N DCBA 1 4 1 27-32 37nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 38 39 and over the forehead, the right hand being m aintained at the left elbow . This is the m irror im age of the m otion show n in figure 16. DCBA 2 9 . W ithout altering the stance, draw the left fist back to the left hip w hile sliding the right palm sm oothly dow n the left forearm to the w rist" and turning the head to face directly forw ard. 3 0 . W ithout altering the stance, attack to the front w ith the left fist,fingers dow nw ard, sliding the right palm sm oothly up the left forearm to the elbow . 42. See note 38. 1 4 2 T H E K A T A 40 • 45 33 3 1 . 46 47 • 48ONMLKJIHGFE ~4-36 nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA W ithout altering the stance, sim ultaneously turn the head to face to the right, open the right hand and m ove the right arm to the right side as if catching an opponent's fist attack, at the sam e tim e pulling the left fist back to the left hip. T his is the sam e position as that show n in figure 16 of T ekki N idan. 32. W ithout altering the stance, sim ultaneously draw the right fist to the hip in a tw isting m otion and position the left arm in a horizontal plane in front of the chest w ith palm dow nw ard. T his position is that show n in figure 28 of T ekki Shodan. 33. W ithout altering the posture of the body or m oving the right foot, pass the left foot lightly over the right. 34. W ithout m oving the left foot or the right fist, take a stam ping step to the right side w ith the right foot into a horse-riding stance w hile sim ultaneously executing a m iddle level block w ith the left fist and turning the head to face directly to the fronto 49 50 51 T E K K I SA N D A N 1 4 3 '1 I 35. W ithout altering the stance, sim ultaneously execute a m iddle level block w ith the right fist in a m otion starting ouside the left elbow and a low er level block w ith the left fist, the m otion passing dow nw ard from in front of the right shoulder in a ripping m otion of the hands. 36. W ithout altering the stance, draw the right fist back over the right shoulder, w ith fingers forw ard and instantly attack forw ard w ith the back fist to the upper section, at the sam e tim e positioning the left forearm in a horizontal plane in front of the chest w ith the fist clenched and fingers dow nw ard. The right elbow is touching the left w rist;" M ovem ents 35 and 36 should be executed as a rapid single unit. NMLKJIHGFEDCBA Y a m e . W ithout m oving the left foot, draw the right foot sm oothly in to it, straighten the legs, and slow ly drop the fists to return to the yči position. H A N G ETSU This kata consists of forty-one m ovem ents and takes about one m inute to com plete. The line of m ovem ent is the cross." Y o i . The stance is the natural stance w ith heels separated, the fists being held com fortably in front of the thighs. This is the sam e as the yči stance of H eian Shodan. I 2 1 3 4 1,2 ONMLKJIHGFEDCBA 43. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] 44. O riginally the num bering of the em bu sen in H angetsu w as reversed. H ow ever w e have changed it to conform w ith the other kata in the interest of continuity. [T ranslator's note.] DCBA 1 4 4 T H E K A T A 6 ONMLKJIHGFEDCBA 5 , • I I 7 3,4 DCBA 8 10 9 1 . K eeping the right foot in place, step forw ard w ith the left foot (front stance}" onto L ine 2, sliding the foot in a crescent-shaped arc as show n in figure 2, at the sam e tim e executing a m iddle level block w ith the left fist, bringing it up from the right side in a large sem icircular m otion, and retracting the right fist to the right hip, fingers of both fists upw ard. T his form is of the Shčrei school, w hich stresses in particular the training and developm ent of the body. T hese m ovem ents are executed slow ly and display application of pow er at the critical points of each technique. T his fact should be kept in m ind during the form , especially in the m anner of application of strength and in the tensing of the legs. 2. W ithout altering the stance, slow ly pull the left fist back to the hip and extend the right fist tow ard the fronto 3. K eeping the left foot in place, step forw ard onto L ine 2 into a front stance w ith the right foot describing a crescent-shaped path and execute a m iddle level block to the front w ith the right fist, bringing it in a sem icircular m otion 45. In the latest edition, the w ord NMLKJIHGFEDCBA z e n k u ts u (front) w as elim inated, because this front stance is not like the front stance in the other form s, T he stance now used in this form is called the half-m oon stance ( h a n g e t s u - d a c h i ) . [T ranslator's note.] H A N G E T S U 1 4 5 5-10 . ~, , - . j . , F' .' . ~ . NMLKJIHGFEDCBA ~ T ,~ ~ ' Il 12 , ',·n·' --- 13 4. W ithout altering the stance, draw the right fist back to the hip and extend the left fist tow ard the fronto 5. K eeping the right foot in place, slide the left foot forw ard along Line 2 in a crescent-shaped are into a front stance, at the sam e tim e executing a m iddle level block w ith the left fist in a large sem icircular m otion passing in front of the right shoulder, and w ithdraw the right fist to the hip. This m ovem ent is sim ilar to M ovem ent 1 (cf. figure 3). 6. W ithout altering the stance, extend the right fist tow ard the front, at the sam e tim e pulling the left fist back to the hip. This is identical to M ovem ent 2. 7. W ithout altering the stance, form both fists into index finger single-point fists and slow ly draw them to points just below the nipples, palm s dow nw ard, from their final positions in the preceding m ovem ent. R aise and extend the elbow s to the sides and low er the shoulders. 8. W ithout altering the stance, extend both fists (stilI in single-point fists) tow ard the front w ith palm s dow nw ard. The fists are held at shoulder w idth. 9. W ithout altering the stance, open both fists to four-finger spear hands, w ith palm s facing each other, then pull the arm s slow ly backw ard to either side of the head, bending the elbow s as necessary. In their final positions, the upper arm s are level w ith the shoulders, the elbow s bent at right angles, so that the arm s and head together form a figure suggestive of the character for m ountain (tli). The chest is expanded, This posture, because of the positions of the arm s, is called the m ountain posture (yamagamae). It is an upper level block w ith both arm s. DCBA 1 0 . W ithout altering the stance, straighten the arm s and lower them to the sides, the palm s turned inw ard tow ard the thighs." The position is that of a low er level block w ith both arm s. 46. It is custom ary to cross the arm s in front of the body w hile low ering them to the sides. [T ranslator's note.] T H E K A T A nmlkjihgfedc - ;~ past the front of the left shoulder in a m otion that is the m irror im age of M ovem ent lo 1 4 6 " 14 ! t NMLKJIHGFEDCBA ONMLKJIHGFEDCBA )!!--\ .- ~~' 15 , 16 17 18 20 21 22DCBA 1 1 . K eeping the left foot in place, step forw ard w ith the right foot and then turn counterclockw ise to the rear into afront stance, at the sam e tim e executing 47 a m iddle level block w ith the right hand, palm upw ard, in a m otion proceeding from outside the left elbow and a low er level block w ith the left hand, palm dow nw ard, starting in front of the right shoulder, the hands describing a ripping m otion. The final position is show n in figure 19. The m ovem ent is to be executed very quickly. B oth hands are to be held w ith the index fingers straightened, 47. C ustom arily there is a kiai at this point in the kata. [T ran.slator's note.] H A N G E T S U 1 4 7 -- , , nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 23 13,14 24 25 15, 16 26 the rem aining fingers and thum bs bent at the first joints. In the final position the hands are spaced shoulder w idth, i.e., the right hand is held in front of the right shoulder, the left in front ofthe left thigh. 12. W ithout altering the stance, slow ly rotate the right w rist to direct the palm dow nw ard in a strong m otion. D uring the m otion, the right forearm should be depressed and draw n inw ard slightly tow ard the body. T he point of the m ovem ent is first to block an opponent's m iddle level fist attack, then to rotate one's hand, catch the attacker's w rist, and draw him inw ard. 13. K eeping the left foot in place, step forw ard into a , front stance, tow ard the rear of L ine 2, and execute a low er level block w ith the right hand, palm dow nw ard, beginning in front of the left shoulder, and a m iddle level block w ith the left hand, beginning outside the right elbow , the hand s being held as described in M ovem ent 12 and m oving together in a ripping m otion. T he final position is the m irror im age of that show n in figure 19. T hroughout the m ovem ents apply strength at crucial points. 14. W ithout altering the stance, slow ly rotate the left w rist directing the palm dow nw ard. T his is the m irror im age of M ovem ent 12. 15. K eeping the right foot in place, step forw ard (tow ard the rear of L ine 2) w ith the left foot il}to the position show n in figure 25. T he final stance and m otion of the hands are identical to those in M ovem ent I l . T he m eanings and notes given above apply here as w ell. M ovem ents I l through 16 are a threefold repetition of a pair of m otions. 16. W ithout altering the stance, slow ly rotate the right w rist directing the palm dow nw ard. DCBA 1 7 . Pivoting on the left foot (it should be located on the intersection of L ines 1 and 2), step out tow ard the right w ith the right foot into a front stan ce (i.e., onto the left branch of L ine 1), at the sam e tim e turning the head to face to the right and executing a m iddle level forearm block w ith the right fist, the left fist being w ithdraw n w ith fingers upw ard to the left hip. M ovem ent 17 is to be perform ed very quickly. 148 T H E K A T A • • , 27ONMLKJIHGFEDCBA - nmlkjihgfedcbaZYXWVUTSRQPONM 28 DCBA 1 7 -1 9 29 30 1 8 . W ithout altering the stance, draw the right fist back to the right hip (w ith fingers upw ard) and thrust outw ard w ith the left fist in a m iddle level attack. 1 9 . W ithout altering the stance, draw the left fist back to the hip, sim ulta- neously executing a m iddle level attack w ith the right fist. M ovem ents 18 and 19 are to be executed in a continuous, rapid m otion (renzuki), 2 0 . Pivoting w ith the feet in place, turn counterclockw ise to face along the right branch of L ine 1 (i.e., in the direction opposite to that of M ovem ent 17), then advance along L ine 1 in a sliding (yori-ashi) m otion into a front stance and execute a m iddle level block w ith the left fist, fingers upw ard, pulling the right fist back to the right hip; this m ovem ent is the m irror im age of M ovem ent 17. W ith respect to the sliding technique, see the explanation of figure 50 of H eian Sandan. W ith the feet in the position described in M ovem ent 19 and the right foot propelling the sliding m otion, the body turn s naturally to face in the direction of m otion. 31 32 20-22 33 34 , 35 36 23-25 37 38 21. W ithout altering the stance, draw the left fist back to the left hip and sim ultaneously execute a m iddle level attack w ith the right fist. 22. W ithout altering the stance, draw the right fist back, at the sam e tim e executing a m iddle level attack w ith the left fist. Like M ovem ents 18 and 19, 21 and 22 are to be executed as a single, continuous m otion (renzuki). 23. Pivoting w ith the left foot in place, turn 90 degrees to face tow ard the rear of Line 2, the right foot describing a crescent-shaped arco The m otion is better executed w ith a slight feeling of a sliding m ovem ent. Execute a m iddle level block w ith the right fist, w hile draw ing the Ieft fist back to the hip. The m ovem ent is sim ilar to M ovem ent 17. 24. W ithout altering the stance, execute a m iddle level attack w ith the left fist w hile draw ing the right fist to the hip. 25. W ithout altering the stance, execute a m iddle level attack w ith the right fist, draw ing the left fist back to the hip. M ovem ents 24 and 25 are to be executed in rapid succession, i.e., renzuki. 26. Pivoting on the right foot, draw the left foot to the right and upw ard in a large arco Turning to the rear (i.e., tow ard the front of Line 2), as sum e a horse-riding stance;" placing the left foot onto Line 2; at the sam e tim e, draw the left fist tow ard the right to execute a left back fist attack tow ard the front in the final position, as show n in figure 43. The eyes should be fixed on the left fist. The large circular m otion of the left foot and fist should be executed slow ly and w ithout interruption even as contact is m ade w ith the right leg and fist. A t the focal m om ent of the m otion s, strength should be applied to the fist, the foot, and to the low er abdom en, the feeling being that of an attack to an opponent's hand w ith the left back fist. 27. W ithout altering the posture of the body, step tow ard the front of Line 2, crossing the right foot lightly over the left. A n opponent having grasped the left fist w ith his right hand andproceeding to draw it tow ard him , one m oves to close up the distance. ONMLKJIHGFEDCBA 48. In the latest edition, this is a back stance. [T ranslator's 150 DCBA T H E K A T A note.] 39 ONMLKJIHGFEDCBA 40 4 1 4 4 45 42 f \t DCBA 26 43 46 2 7 W ithout m oving the right foot, kick upw ard in front of the left fist, at the sam e tim e draw ing the latter back to a point in front of the right shoulder. K icking the opponent's right arm , one frees and w ithdraw s his left fist. 29. Low er the left foot onto Line 2 to assum e a horse-riding stance," at the sam e tim e thrusting the left fist outw ard tow ard the left, along Line 2, i n a m iddle level attack, fingers dow nw ard. D uring the execution of this m ovem ent, both chest and abdom en are directed along the right branch of Line 1, w ith only 2 8 . 49. In the lat-est edition, this stance is the im m ovable. [T ranslator's note.] H A N G E T S U 1 5 1 , 47 nmlkjihgfedcbaZYXWVUTSRQPONMLKJIH 28 49 48 the face turned tow ard the left. A slight feeling of a sliding m ovem ent should accom pany the attack. 30. Pulling the left fist back to the left hip, tw ist the body to the left and thrust the right fist outw ard in a m iddle level reverse punch to the left side, at the sam e tim e changing to a front stance by bending the left knee w ithout altering the positions of the feet.. H aving freed the left fist from an opponent's grip w ith a left kick to his right arm , one follow s im m ediately w ith a left-right continuous attack (renzuki). DCBA 3 1 . W ithout altering the stance, execute a left upper level ri sing block (cf. figure 120f H eian Shodan). M ovem ents 28 to 31 should be executed rapidly as a unit once they have been learned w ell. 3 2 . Pivoting on the left foot and draw ing the left fist to the hip, turn to face to the rear (i.e., tow ard the back of Line 2) w hile sim ultaneously draw ing the right fist tow ard the left fist to execute a right back fist attack and draw ing the right foot to the left, sw inging it upw ard in a large are, and placing it dow n onto -50 • 29 51 • 52 3 0 ,3 1 53 55 58 59 56 60 57 32 61 the rear of Line 2 in a horse-riding stance, 50 com pleting the m otion as show n in figure 60. This m ovem ent is the m irror im age of M ovem ent 26. 33. M aintaining the posture of the body, m ove tow ard the rear of Line 2, crossing the left foot lightly over the right. This is the m irror im age of M ovem ent 27. 34. W ithout m oving the left foot, kick upw ard w ith the right foot in front of the right fist and draw thelatter back to the left shoulder. This m ovem ent is the m irror im age of M ovem ent 28. 50. In the latest edition, this is a back stance. [T ranslator's note.] DCBA H A N G E T S U 1 5 3 33 , 62 - , 64 34nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 63 35 36,37 35. Low er the right foot onto Line 2 in a horse-riding stance, 51 at the sam e tim e thrusting the right fist tow ard the right side in a m iddle level attack w ith fingers dow nw ard w hile holding the left fist at the left hip. This is the m irror im age of M ovem ent 29. 36. Pulling the right fist back to the right hip, tw ist the body to the right and thrust the left fist outw ard to the right side in a m iddle level reverse punch, at the sam e tim e changing to a front stance by bending the right knee and straightening the left w ithout altering the position of the feet. This m ovem ent is the m irror im age of M ovem ent 30. 37. W ithout altering the stance, execute a right upper level rising block (cf. figure 16 of H eian Shodan, noting how ever the front stance here). D uring the m ovem ent, draw the left fist back to the left hip. This is the m irror im age of M ovem ent 31. M ovem ents 34 to 37 should be executed as a rapid unit once they have been learned w ell. 38. Pivoting on the right foot and draw ing the right fist to the right hip, turn to face to the rear (i.e., tow ard the front of Line 2) w hile sim ultaneously draw ing the left fist tow ard the right to execute a left back fist attack and draw ing the left foot to the right, sw inging it upw ard in a large are, and placing it dow n onto the front of Line 2 in a horse-riding stance." This m ovem ent is identical to M ovem ent 26. 39. W ithout m oving the left foot, open the left fist and sw ing the right foot in a sem icircular are tow ard the front to kick the extended left palm . This is the crescent-m oon kick. R efer to the descriptions of this kick in M ovem ents 15 of H eian G odan and 27 of B assai. The point here is to grasp the opponent w hile in the final position of M ovem ent 38 and then to draw him inw ard and kick his chest w ith the right foot. 51. In the latest edition, this stance is the im m ovable. [T ranslator's note.] 52. In the latest edition, this is a back stance. [T ranslator's note.] 154 TH E K A TA 65 68ONMLKJIHGFEDCBA 67 66 69 70 71 72 38 40. K eeping the left foot in place, low er the right foot to its form er position to assum e a front stance, at the sam e tim e tw isting the body to the left and draw ing the left fist back to the hip w hile executing a m iddle level attack w ith the right fist." The right fist is to attack the sam e point in space previously occupied by the left hand. M ovem ents 39 and 40 are to be executed in a single, rapid m otion. DCBA 4 1 . K eeping the right foot in place, draw the left foot in tow ard it to as sum e 53. C ustom arily there is a kiai at this point in the kata. [T ranslator'snote.] H A N G E T S U 1 5 5 • 73 74 39 75 , 76 40 77 nmlkjihgfedcbaZYXWVUTSRQPONM a cat leg stance NMLKJIHGFEDCBA ( n e k o a 8 h i- d a c h i) and bring the hands together at the left knee in the position of a leg block (against a foot), as show n in figure 79. A s described in chapter 3, the cat leg stance requires the trunk to be upright, the w eight resting on the bent right knee, and the left leg bent w ith the ball of the foot held lightlyon the ground. This is a difficult stan ce requiring careful study of the illustration and praetice. Y a m e . W ithout m oving the right foot, m ove the left foot out and return to the yči stance. DCBA 1 5 6 T H E K A T A , 78 79DCBA 4 1 80 ONMLKJIHGFEDCBA 81 jU T T E There are tw enty-four m ovem ents, taking about one m inute to com plete; the line of m ovem ent is the cross, i.e., the sam e as that of H angetsu. NMLKJIHGFEDCBA Y o i . The yči stance is that show n in figure 2, the feet-together stance, w ith the right fist at a point eight to nine inches in front of the chin and the palm of the left hand covering the right fist. The elbow s are slightly out, and the arm pits slightly open. 1. W ithout m oving the right foot, drop the left foot back to assum e a front stance. D raw ing the left fist slow ly to the left hip, form the right hand into a shallow fist w ith the distal tw o joints of the fingers tightly flexed and rotate it slow ly in a circle starting in front of the chest, passing upw ard b y the chin, then outw ard to the front, and finally dow nw ard to execute a m iddle level dow nw ard pressing block ( o s a i- u k e ) w ith the palm upw ard. In this m ovem ent, the w rist of the opponent is deflected dow nw ard by the block w ith the right w rist. The final position is sim ilar to that show n in figure 55 for Em pi except that in the present case the left fist is brought to the left hip. The shallow fist described for the right hand is characteristic of this kata, being contained in each of M ovem ents 1 through 7, so that it should be practiced w ith diligence. 2. W ithout m oving the right foot, w hile stepping diagonally left to the front w ith the left foot on to the left branch of Line 1 into a front stance, flex the fingers and thum b to form a shallow fist of the left hand and raise it slow ly, as if lifting a heavy object, into a m iddle level block, palm upw ard as show n in figure 7. A t the sam e tim e, form the right fist as before and invert it, pressing dow nw ard in a m iddle level block. N ote that the strength is to be focused in the tip s of the fingers, and the hands should be at shoulder w idth. The point to the m otion of the right hand is to hold an opponent's w rist dow n. 3. W ithout changing the positions of the legs or the right hand, drop the J U T T E 1 5 7 2 5 3 6 1 left forearm to the right in a horizontal w ith the palm dow nw ard, Such m ovem ents opponent's as one .through three shifting the or pushing left foot, of Line 1 into a front stance, it to the hip w hile executing right w rist, the hand 1 5 8 T H E K A T A parallel to the plane of the chest clenched the he ad to face to the right. are techniques elbow s or w rists and knock them 4. W ithout draw ing position at the sam e tim e turning w ith the back of the hand branch 4 used to attack aw ay to the side by pushing the dow n up w ith the heel of the hand. step w ith at the-sam e the right foot tim e clenching onto the right the left fist and a m iddle level block to the right w ith the in a shallow fist. DCBA li li'it nmlkjihgfedcbaZYXW ___\<~_\~ FI \ •.. ..,.. ..• 9 4 10 5 12 Il 5. K eeping the left foot and :fistin place, pivot to the left to bring the right foot onto the forw ard branch of Line 2 into a horse-riding stance;" and sw ing the right hand inw ard tow ard the center from the right side as if hitting aw ay, its :fingersand thum b flexed into a shallow :fist,the back of the :fisttow ard the right side of Line 2, to execute a right m iddle level block. The right elbow should be slightly bent. Follow ing the block of an attack from the right side in M ovem ent 4, the present technique is a block of a subsequent attack from the front in w hich one steps into the opponent and hits aw ay the attack w ith the right palm . O ne should therefore be facing tow ard the front of Line 2. 6. Pivoting on the right foot, step forw ard along Line 2 w ith the left foot, assum ing a horse-riding stance;" and at the sam e tim e draw the right :fistto the hip and block inw ard tow ard the center from the left side w ith the left hand, its :fingers and thum b flexed into a shallow :fist. This is the m irror im age of M ovem ent 5. The technique is executed three tim es -in M ovem ents 5 through 7, and in each case the face is to be directed to the front, the body rotating to face to the left or right of Line 2 depending on the position of the legs (i.e., from left to right to left, respectively, in the three m ovem ents). 7. Pivoting on the left foot, step forw ard along Line 2 w ith the right foot into a horse-riding stance;" at the sam e tim e draw ing the left :fist back to the hip and blocking tow ard the center from the right side at m iddle level w ith the right hand, its :fingersand thum b flexed into a shallow :fist. This is identical to M ovem ent 5. 8. W ithout m oving the left foot, cross the right leg in front of the left, at the sam e tim e raising the fists and crossing them in front of the forehead, the right 54. M ovem ent 5 is custom arily initiated by draw ing the left foot in to L ine 2 rather than by holding the foot in place. In the latest edition, this stance is the im m ovable. [T ranslator's note.] 55. In the latest edition, this stance is the im m ovable. [T ranslator's note.] 56. In the latest edition, this stance is the im m ovable. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] DCBA J U T T E 1 5 9 / 6 /(".::::, ONMLKJIHGFEDCBA I\t~ ~ _ '" 13 .•.. ~ 7 14 15 8 outside the left. The face and body are directed tow ard the left side of Line 2. H aving blocked an attack com ing from the front of Line 2 in the previous m ovem ent, one now blocks an upper level attack from the left side w ith the crossed fists. The legs are crossed to protect the testicles in astance sim ilar to one occurring in H eian G odan. 9. W ithout m oving the right foot, step to the side, (i.e., tow ard the rear of Line 2) w ith the left foot into a horse-riding stance, at the sam e tim e sw inging the fists dow n to the sides, the backs of the fists directed outw ards, the face directed to the left side of Line 2. The fists are position ed about six to seven inches from the thighs. The point of the technique is sim ultaneous blocks to both sides of fist or foot attacks to the sides ofthe body. DCBA 1 0 . M aintaining the horse-riding stance, shift both feet to the left (i.e., tow ard the back of Line 2) w ith the sliding technique, at the sam e tim e thrusting the fists upw ard to cross the forearm s in front of the chest and then outw ard w idely in a ripping m otion to the tw o sides into the position show n in figure 19. 16 9 17 18 19 , '''''ji 20 23 22 21 1 0 D uring the m otion, continue to face to the left side of Line 2. N ote: this stance, called the m ountain posture (yam agam ae) because of the resem blance of the configuration of the head in the center and the tw o fists at the sides to the character for m ountain NMLKJIHGFEDCBA ( y a m a , [lj), is also applied w ith the hands open, as, for exam ple, in H angetsu. The m eaning of the m otion is to force apart the tw o fists of an opponent at the front delivering a tw o-handed attack. DCBA 1 1 . Facing to the right (i.e., tow ard the front of Line 2) and pivoting on the right foot, step forw ard along Line 2 w ith the left foot into the stance show n in figure 24', hitting in tow ard the center from the side w ith the left fist w ithout altering the posture of the body or arm s from the preceding m ovem ent. Throughout the block, the eyes are to be fixed on an opponent at the front of Line 2. The purpose here is to block an opponent's upper level attack by striking it out of the w ay w ith the left fist w hile sim ultaneously stam ping dow n onto his instep w ith the left foot ( fu m ik o m i) . I n stepping in w ith the left foot, one is to support his w eight on the right leg w hile draw ing the left foot up to thigh level. ONMLKJIHGFEDCBA \ ~ ::.:'j , l -~ ' 24 Il 25 26 ,l---' c::l,\ ONMLKJIHGFEDCBA , ".-::.1/ •.... --/ 29 27nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 12 28 13, 14 30 12. C ontinuing to face tow ard an opponent to the front, pivot on the left foot and m ove in to attack to the front along Line 2 w ith the right fist and leg sim ultaneously w hile m aintaining the posture of the body and shoulders from the preceding m ovem ent. A ssum e the m irror im age of the stance show n in figure 24. The setting of the body and shoulder s is the m ountain posture, that of the hip s and legs a horse-riding stance. This and M ovem ent 13 are repetitions of the technique in M ovem ent Il. 13. C ontinuing to face tow ard an opponent at the front, pivot on the right foot and m ove in to attack to the front along Line 2 w ith the left fist and foot, sim ultaneously m aintaining the posture of the body and arm s to assum e the position show n in figure 29. This is identical to M ovem ent Il. 14. Slow ly low ering the fists, turn the head to face to the front (i.e., tow ard the right side of Line 2), and straighten the legs, keeping the feet in place, to as sum e astance sim ilar to the yči stan ce of H eian Shodan, but w ith slightly w ider separation of the feet. , ;)1 " 32 15,16 33 34nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 35 37DCBA 36 1 5 . Turning to the right and bending the right leg to as sum e a front stance, face tow ard the back of Line 2, open the right hand and sw ing it out tow ard the right, the back of the hand directed tow ard the right, the arm bent at the elbow , and w ithdraw the left fist to the hip. The right hand is placed as if it w ere about to grasp an object to the fronto The position is sim ilar to that show n in figure 16 for Tekki N idan, except that the stance in the present kata is the front stance, rather than the horse-riding stance. 1 6 . M aintaining the previous stance, low er the right hand w ithout changing its form to a point six to seven inches over the right knee. A t the sam e tim e, open the left hand into a form sim ilar to that of the right, w ith fingers straightened and held together, palm directed to the right, and m ove it to the point in space occupied by the right hand at the beginning of this m ovem ent. The positions of the hand s should define a vertical line. The point is to interrupt an 38 ONMLKJIHGFEDCBA 39 40 , , 17 41 42nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 43 attack w ith a stick at its start. R efer to the section on w eapons and K aratedo in the discussion of kum ite. 17. K eeping the right foot in place, lift the left foot up to the position show n in figure 38, at the sam e tdm e " raising the right hand high ab ove the shoulder and bringing the left hand to the right side of the body. W ithout pausing, sim ultaneously step tow ard the front w ith the left foot to assum e a front stance and push both hands forw ard to bring the left hand six to seven inches ab ove the left knee and the right at shoulder level in a vertical line w ith the left hand. The hands are to rem ain open. The final position here is the m irror im age of that in M ovem ent 16. The point of the m ovem ent is to step in w ith the left leg onto an s o k e i region (area w here the thigh m eets the low er abdom en) w hile opponent's NMLKJIHGFEDCBA forcing aw ay a stick held by him . 18. K eeping the left foot in place, bring the right foot up high, raise'" the left hand high above the shoulder and draw the right hand to the left side to assum e the m irror im age of the position show n in figure 38, then step im m ediately tow ard the front w ith the right foot to assum e a front stance and push both hands forw ard until the right is six to seven inches above the right knee and the left is at shoulder level in a vertical line ab ove the left fist. This m ovem ent is a repetition of the technique in M ovem ents 16 and 17. 19. Pivoting to the left on the right foot, step onto the left branch of Line 1, assum ing a back stance, turning the head to face to the left side of Line 1, and execute an upper level block w ith the right fist, fingers tow ard the head, and a low er level block w ith the left fist, fingers dow nw ard. Lean slightly to the right. The right elbow is to be bent and the fist held at about the level of the head, w hile the left arm is straightened and the left fist held six to seven inches 57. C ustom arily, prior to reversing the vertical positions of the hands, one rotates each hand clockw ise through 180 degrees about the forearm s as axes, bringing the left palm to face to the left side, the right palm to the right. [T ranslator's note.] 58. N ote 57 applies in this case as w ell, except that the initial rotation of the hands is counterclockw ise. [T ranslator's note.] --- 164 TH E K A TA , 44 i" 'l ••• NMLKJIHGFEDCBA ~ /l ~_/ 45 46 1 9 I 49ONMLKJIHGFEDCBA 50 51 52 over the thigh. This stance is the sam e as that in the last m ovem ent of H eian G odan and in M ovem ent 19 of K w ankii. 20. Turning to the right w ith the feet in place, bending the left leg and straightening the right leg, as sum e a left back stance, face to the right, and execute an upper level block to the left side w ith the left fist and a low er level block to the right side w ith the right fist. This is the m irror im age of M ovem ent 19. DCBA 2 1 . K eeping the right foot in place and stepping forw ard onto Line 2 w ith J U T T E 1 6 5 2 1 , 53 • nmlkjihgfedcbaZYXWVUTSRQPONMLKJIH 22 , NMLKJIHGFEDCBA 56DCBA 57 2 4 55 54 e. .. 23 l 58 the left leg after first straightening it," execute an upper level block w ith the left fist, and w ithdraw the right fist to the hip. T his is the sam e stance as that show n in figure 17 of H eian Shodan. In the present m ovem ent, the right fist is brought over the head prior to raising the left fist and is then retracted in such a w ay that the w rists pass through a crossed position, as discussed in detail w ith respect to M ovem ent 9 of H eian Shodan. 59. C ustom arily, the straightening of the left leg and the right arm block are em phasized as follow s: from the back stance of M ovem ent 20, one straightens the legs sharply, draw ing the feet tow ard each other, and executes a strong right rising block, retracting the left fist to the left hip. Subsequently, it has also becom e custom ary to use the front stance w hile executing the left rising block. [T ranslator's note.] 1 6 6 T H E K A T A 59 22. W ithout m oving foot, sim ultaneously a position in front in M ovem ent the forehead, of the forehead. counterclockw ise at the sam e tim e draw ing im age of the final block draw ing face to the back of Line the left fist to a position the right m oving the left foot, step forw ard back of Line 2) and execute tim e the right Shodan. w ith the feet in place;" an upper level block, bringing 24. W ithout along Line 2 w ith This is the m irror 21. R efer to figure 19 of H eian 23. Turning 2 and execute the left foot, step forw ard draw the left fist back to the hip and raise the right fist to fist back to in front of the hip. w ith the right (i.e., tow ard the an upper level block w ith the right fist, at the sam e the left fist back contained in each of M ovem ents technique in the discussion to the hip. N ote 21 through that the sam e technique 24. R efer to the description of H eian Shodan for greater is of this detail about the m otions of the fist and the stance. NMLKJIHGFEDCBA Y a m e . Pivoting on the right foot, turn left foot to the right, and return slow ly counterclockw ise, to the yči stance show n in Figure draw ing the 58. E M P ! nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA There are thirty-seven The line of m ovem ent Y o i . Standing 1 m ovem ents, taking about one m inute to com plete. is the T. in the feet-together 2 stance w ith the open left hand at the hip, 3 4 60. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] DCBA E M P I 1 6 7 1 2 DCBA 5 palm tow ard 3 6 4 7 the body, hold the right fist, fingers inw ard, against the left palm , as show n in figure 2. 1. Pivoting on the right foot, step out onto the left branch left foot, kneeling, the right forearm thigh the right knee on the floor, and thrust w ith the right fist, fingers inw ard, across the chest, fingersof dow nw ard in front of w hile positioning the left fist upw ard, the right. R efer to figure 4. The point of this m ovem ent leg of an opponent of Line 1 w ith the the left w ith the face turned to is to scoop the kicking to the right w ith the right arm , take hold of him w ith the left hand, and throw him . 2. C ontinuing to face to the right, straighten up w ithout shifting the feet, draw the left fist to the hip, fingers up, and place the right fist, fingers inw ard onto the left fist. 3. W ithout altering the position of the feet, execute the right fist. This is si m ilar to the third m ovem ent 4. Turning to the front and facing along Line 2 w hile straightening leg, forcefully left forearm a low er level block w ith of H eian Shodan. draw the right fist to the hip in a tw isting across the chest into a horizontal position the right foot in place, step forw ard foot, at the sam e tim e executing to im part initial m om entum point over the right shoulder arm , and then thrust 6. W ithout fist directly forw ard left. The m otion to the block, first bring the left fist upw ard and place the right hand forw ard under m otion. the feet, pull the left fist to the hip and thrust in an upper level attack, of the right to a the left and draw the right fist back to the of the tw o fists has the feeling of a ripping shifting tb.~ ~b.~"t. along Line 2 w ith the left a low er level block w ith the left fist. In order the left fist dow nw ard right hip. The parting the w ith the fist in front of ,,'..x '..\\.~R ~",m m . tR ~ ~R ~""t,n.\\.Ib~1:." ~C \~\\.~a.1:.~. ~R ~ \~tt ~1:.'..""t '..""a .\)C \\}.t 5. K eeping the right m otion and thrust turning the right the body slightly fist has the sense of an attack to the to the chin from underneath. 7. O pening draw ing 1 6 8 the outstretched right the left foot up to a position T H E K A T A fist, jum p forw ard just behind onto the right foob, the right heel, legs crossed. 9 10 Il 12 Sim ultaneously, reclenching the right fist, draw it tow ard the left shoulder, as if grasping and pulling an opponent inw ard, and execute a low er level attack w ith the left fist as show n in figure 13. The target of the attack of the left fist is the low er abdom en. 8. W ithout shifting the right foot, step backw ard w ith the left foot into a back stance, at the sam e tim e draw ing the left fist to the hip and extending the right fist to the front in a low er level block, separating the fists in a ripping m otion. The eyes are to be directed to the front throughout. In forcing an opponent to release a hold on the left forearm , one is here either pushing the opponent's hand aw ay w ith the right hand or attacking the upper or low er surface of the w rist w ith the right iron ham m er or w rist. 9. Turning counterclockw ise w ith the feet in place, m ove naturally into a front stance and execute a left dow n block w hile w ithdraw ing the right fist to the hip. The final posture is like that of M ovem ent 1 of H eian Shodan. DCBA 1 0 . K eeping the feet in place, draw the left fist back to the left hip and exe- , 13 7 14 8 ONMLKJIHGFEDCBA 15 16 9,10 , 17 18 19 20 cute an upper level attack to the front w ith the right fist. This m ovem ent is the sam e as M ovem ent 6. 11. Jum ping inw ard tow ard the rear of Line 2 w ith the right foot and placing the left foot at the back of the right heel, clench the extended right fist and m ove it tow ard the front of the left shoulder as if draw ing an opponent inw ard, at the sam e tim e executing a low er level attack w ith the left fist. This m ovem ent is the sam e as M ovem ent 7 (see figure 13). DCBA 1 2 . Stepping backw ard w ith the left foot into a left back stance, sim ultanoously draw the left fist back to the hip and execute a low er level block w ith the right fist. The w rists are crossed, the right fist being draw n along the upper side of the w ithdraw ing left forearm . This m ovem ent is sim ilar to M ovem ent 8. 1 3 . Turning counterclockw ise w ith the feet in place to face tow ard the back (i.e., tow ard the front of Line 2), m ove naturally into a front stance, at the sam e tim e executing a low er level block w ith the left fist and draw ing the right fist to the hip. This is sim ilar to M ovem ent 9. 21 1 2 ONMLKJIHGFEDCBA 22 1 3 23 24 25 26DCBA 1 4 27nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 28 1 4 . W ithout m oving the right foot, sw ing the opened left hand and left foot, in parallel paths, tow ard the left along the left branch of L ine 1, bringing the left hand up to eye level, the foot m oving so that a horse-riding stance is assum ed. T he eyes are to be fixed on the left hand throughout the m ovem ent. T he open left hand com es to be extended diagonally to the front at eye level, the eyes still fixed on it. I ! I II 1, 1 5 . W ithout m oving the left hand or foot, first sw ing the right fist upw ard, fingers directed tow ard the front, then strike the left palm w ith the right forearm so that the tips of the fingers of the left hand com e to the level of the right w rist, fingers of the right fist tow ard the back. D uring the m otion, place the right in step against the back of the left knee, face to the front, and give a kiai, "E i!" I K eeping the left foot in place, return the right foot to its position in M ovem ent 14, assum ing a horse-riding stance. M ove the left palm to the right side of the body, as if gathering up a kim ono sleeve, and sim ultaneously sw ing ONMLKJIHGFEDC 1 6 . 29 1 5 30 31 32 33 16-18 34 35 36 the right arm in a large clockw ise circle past the forehead, dow n to the right, and in front to entrap an opponent's arm ; then extend the left arm to the front in an open hand block, fingers together, thus blocking from the inside an opponent's m iddle level attack, w hile draw ing the right forearm over the left to bring the right fist to the hip. R efer to M ovem ent 5 of K w ankii. 17. W ithout altering the horse-riding stance, draw the extended left hand back to the hip w hile clenching the fist and executing a m iddle level attack w ith the right fist. 18. W ithout altering the stance, execute a m iddle level attack to the front w ith the left fist and w ithdraw the right fist to the hip. M ovem ents 17 and 18 should be executed in rapid succession as a continuous attack. 19. Pivoting on the right foot, step onto the left branch of Line 1 w ith the left foot into a front stance and execute a dow n block tow ard the left side w ith the left fist, starting the block from a point in front ofthe right shoulder, at the 37 19,20 38 39 21 40 --------r---~~_ 41 22,23 42 43 24 44 sam e tim e w ithdraw ing the right fist to the hip from the right low er section. T he m ovem ent is sim ilar to M ovem ent 1 of H eian Shodan. 20. K eeping the feet in place, execute an upper level attack w ith the right fist and w ithdraw the left fist to the left hip. T he upper body is tw isted slightly to the left during the m otion. DCBA 2 1 . K eeping the left foot in place, step forw ard onto the left branch of L ine 1 w ith the right foot into a back stance, w hile executing a m iddle level sw ord hand block w ith the right hand. 22. R everse the positions of the feet by bringing the right foot back in line w ith the left and then placing the left foot forw ard onto the left branch of L ine 1 at the initial position of the right foot (right back stance), at the sam e tim e executing a m iddle level sw ord hand block w ith the left hand. 23. K eeping the feet in place, pull the left hand back to the hip w hile clenching the fist and sim ultaneously thrusting the right fist forw ard in a m iddle level attack. 45 25,26 46 47 48 49nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 50 28 27 51 24. K eeping the left foot in place, step forw ard along the left branoh of Line 1 w ith the right foot into a left back stance and execute a m iddle level sw ord hand block w ith the right hand. 25. W ith the feet in place, turn counterclockw ise to face to the rear (i.e., tow ard the right branch of Line 1), at the sam e tim e executing a dow n block w ith the left fist from a front stance and w ithdraw ing the right fist to the hip. 26. W ithout altering the stance, thrust the right fist forw ard and then upw ard to attack an opponent's chin from underneath, pulling the 1eft fist back to the hip. A t the com pletion of the m otion, the upper body shou1d be turned to the left w ith the left shoulder back. 27-. Facing along the right branch of Line 1, jum p forw ard onto the right foot, bringing the left foot forw ard to touch the back of the right heel, A t the sam e tim e, open and then close the extended right hand, draw ing it in to a point in front of the left upper arm as if grasping an object and pulling it inw ard, w hile sim ultaneously executing a low er level attack tow ard the low er abdom en of an opponent w ith the left fist. This m ovem ent is sim ilar to M ovem ent 7. 28. Stepping backw ard w ith the left foot tow ard the left branch of Line 1 into a back stance, draw the left fist to the hip w hile extending the right fist forw ard in a low er level block. This m ovem ent is sim ilar to M ovem ent 8. 29. Turning w ith the feet in place, face tow ard the left branch of Line 1, m oving naturally into a front stance, and execute a left dow n block w hi1e retracting the right fist to the hip. 30. K eeping the feet in place and draw ing the left fist back to the hip, push upw ard in a m iddle level block w ith the open right hand, the palm upw ard, fingertips bent, and w rist bent back. For the form of the right hand refer to figure 53. DCBA 3 1 . K eeping the left foot in place, step forw ard onto Line 2 w ith the right foot into a front stance, at the sam e tim e blocking sim ultaneously upw ard w ith a pushing m otion of the right palm and dow nw ard w ith the left palm , as show n in figure 55. 174 T H E K A T A 52 '\ 53 54 55 56 ONMLKJIHG 31 I a '\ • 57 32 58 59 60 33,34 32. Step forw ard w ith the left foot along Line 2 into a front stance, w hile pushing upw ard w ith the left palm and dow nw ard w ith the right palm , perform ing the m irror im age of the m otion show n in figure 55. 33. Stepping forw ard along Line 2 w ith the right foot, block sim ultaneously upw ard w ith the right palm and dow nw ard w ith the left, in the sam e m anner as that show n in figure 55. M ovem ents 31-33 are a threefold execution of a technique." A s pointed out previously, the second m otion in such a series is to be perform ed lightly and the third w ith full force. 61. It is custom ary to do M ovem ents 31, 32 and 33 slow ly. [T ranslator's note.] DCBA E M P I 175 .\ & 61 62 ONMLKJIHGFEDCBA 63 35 64 34. K eeping the feet in place, pull the hands past each other in a ripping m otion, the left fist back to the hip from below and the right fist up in front of the left shoulder and then dow nw ard in a low er level block to the front along Line 2. The body should shift into a left back stance. The left shoulder is retracted so that the body is directed tow ard the left side of Line 2, w ith the face directed to the right along Line 2. The right fist is held about six inches above the right thigh. 35. Sliding forw ard along Line 2 in a yori-ashi m otion, position the open right hand in front as show n in figure 63, w ith the palm upw ard, elbow rotated slightly inw ard to be alm ost touching the side of the body, at the sam e tim e bringing the left hand, palm upw ard, to a point eight to nine inches in front of and slightly ab ove the forehead. 36. Leap backw ard off both feet, as high and as far as possible, along Line 2, turning counterclockw ise through a full 360 degrees in the air, landing in a left back stance and executing a right m iddle level sw ord hand block at the m om ent 65 66 67 36 68 69 70nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA oflanding. G ive a kiai, "E i," at the start of the leap. T he point here is to block an opponent's upper level attack w ith the left hand and thrust the right hand betw een his thighs, then raise him up and throw him bodily tow ard the rear. U pon landing, both feet m ust touch the ground at the sam e instant. DCBA 3 7 . Step backw ard along L ine 2 w ith the right foot into a right back stance and execute a left m iddle level sw ord hand block. NMLKJIHGFEDCBA Y a m e . Sliding the left foot back, slow ly assum e the yči stance. GANKAKU T here are forty-tw o m ovem ents, taking about one m inute to com plete. T he line of m ovem ent is the straight line. Y 6 i . A ssum ing the natural stance, w ith feet turned outw ard and heels apart, I , 1 2 3 1-4 4 o 5 DCBA 7 ONMLKJIHGFEDCBA 6 place the fists at their natural level in front of the thighs. This stance is identical to the yči stance of H eian Shodan. 1. Pulling the right foot back, sim ultaneously sw ing the right hand up from the t.high to a point in front of the left shoulder, placing it on the back of the left hand to assum e (N E: the custom ary 2. W ithout altering body, changing the left hand the upper position level side block of the hands show n in figure positians during the m otion com es to rest on the inside surface the hand s ap art, attack so that the palm 10 of H eian G odan. to the front w ith the left fist and draw Il of H eian G odan. 4. Execute a m iddle level reverse punch fist to the left hip. w ith the right fist, draw ing on the 8 left foot, 9 1 7 8 T H E K A T A turn of of the right w rist to form a the right fist to the hip. R efer to M ovem ent 5. Pivoting 3. the stance, draw the hands across to the right side of the the ir relative cross w ith the w rist. R efer to M ovem ent 3. D raw ing position is show n in figures 5 and 6.) counterclockw ise 10 through the left 360 degrees, Il 12nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 13 14 stam ping w ith the right foot to execute a right low er level block to the back. The point of the m otion is a block against a kicking attack to the buttocks from behind. 6. K eeping the feet in place, turn to face to the front (i.e., forw ard along the line of m ovem ent) to as sum e a front stance, and thrust the hands, w ith fingers straightened, the right w rist crossed inside the left, upw ard to a position in front of the forehead. Look intently from under the crossed forearm s. 7. W ithout altering the stance, low er the hands to chest level w hile clenching the fists. 8. Facing to the front, execute a double kick (nidan-geri), first w ith the right foot, then the left, landing on both feet sim ultaneously in a front stan ce w hile thrusting the crossed fists dow nw ard, the right over the left, to a point seven or eight inches above the left knee in a low er level scissors block. 9. Pivoting on the right foot to the right (i.e., clockw ise) through 180 degrees to face to the rear, as sum e a front stance w hile thrusting the still crossed fists 15 5 16 17 6, 7 18 20 19 23 ONMLKJIHGFEDCBA 21 24 22 25 dow nw ard tow ard the left knee in a low er level scissors block. This block is the sam e as that in M ovem ent 8. DCBA 1 0 . Turning 180 degrees (clockw ise) w hile keeping the feet in their sam e positions and assum ing a left back stance, execute a right low er level block, fingers dow nw ard and position the left fist, fingers upw ard, in front of the body at w aist level as show n in figure 32. The extended right forearm should be parallel to the right thigh. Il. Stepping forw ard w ith the left foot and assum ing a right back stance, execute a low er level block to the front w ith the left sw ord hand, palm dow nw ard, placing the right sw ord hand, palm upw ard, in front of the abdom en, 1 8 0 T H E K A T A 30 27 28 31 32 DCBA 9 2 ONMLKJIHGFED 33 1 0 w ith the fingertips about even w ith the left hip. N ote that in blocks ofthis type it is alw ays the case that the hand that is retracted (here, the right) crosses above the front (blocking) forearm . 1 2 . W hile stepping forw ard w ith the right foot into a front stance, first raise both hands to a crossed position, the right inside the left, and then m ove them into the opening block position show n in figure 38. 1 3 . Pivoting to the left w ith both feet in place, assum e a horse-riding stan ce and again cross the w rists, the right in side the left, this tim e w ith the open G A N K A K U 1 8 1 , 34 ONMLKJIHGFEDCBA 35 Il 36 37 40 41 , DCBA 38 1 2 39 palm s directed tow ard the body; then m ove the hands into the m iddle level opening block position show n in figure 42. 1 4 . A gain cross the hands and then low er the hands to the sides, the arm s extending slightly outw ard. A t the sam e tim e, turn the head to face to the left (i.e., to the rear of L ine 1) and straighten the body to its natural height. 62 W henever the present m otion of low ering the hands to the sides is executed, the feeling should be that of ripping an object and forcing the halves to one's sides. 62. It is custom ary to do M ovem ents 11-14 slow ly. [T ranslator's note.] 1 8 2 T H E K A T A 1 3 , 1 4 42nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 43 1 5 . 44 45 W ith the feet in place, as sum e a right back stance and draw the hands apart, the left hand from in front of the right shoulder, the right from the low er left side, executing an upper level block to the right w ith the right fist and a low er level block w ith the left. The fists are to be clenched during the blocks. The final position is that show n in figure 43 for H eian G odan .. 1 6 . K eeping the left foot in place, step forw ard (tow ard the rear of the line of m ovem ent) w ith the right foot to assum e a left back stance, facing along the line of m ovem ent w ith the trunk directed to the right side of the line (relative to the yči position). A t the sam e tim e, draw the fists apart in a ripping m otion, the right above the left, the left fist starting from the low er right side, the right from in front of the left shoulder, to execute an upper level block w ith the left fist and a low er level block w ith the right. 1 7 . Pivoting on the right foot,turn counterclockw ise through 180 degrees to step forw ard (tow ard the rear of the line of m ovem ent) w ith the left foot and as sum e a right back stance. A t the sam e tim e, bring the arm s across the front ONMLKJIHGFEDC t 46 47 1 5 48 49 1 6 50 1 7 nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 51 52 55 54 19-21 18 56 of the body, then draw them apart, the right from the low er left side into a right upper level block, the left fist from in front of the right shoulder dow n into a low er level block. 1 8 . Shifting tow ard the rear of the line of m ovem ent, drop the right foot back into the area to the right of the line of m ovem ent, kneel on the right knee, w ith the left knee bent, and face tow ard the left side of the line of m ovem ent, concentrating the eyes on those of the opponent. A t the sam e tim e, cross the w rists, 1 8 4 T H E K A T A 53 57 59 58 60 61 ONMLKJIHG 22 /., .) . ~ • .. 1 I 62 23 63 64 24 the right above the left, in a scissors block against an opponent's foot attack, as show n in figure 52. 63 19. R aise the hips, bringing the right foot back onto the line of m ovem ent, assum e a horse-riding stance w hile executing a m iddle level opening block. In blocking, the fists should cross, the right ab ove the left, in a m otion that overcom es their initial inertia. 20. R aise the hips to norm al height, cross the w rists again in an opening block technique and low er the fists slow ly to the sides. 63. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] GANKAKU 185 65 66 67 25-27nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 21. B ring both fists to the hips, the fingers directed to the back and the elbow s extending out to the sides (arm s akim bo). 22. B ending the left knee w hile holding the right knee straight, rotate the body to the left and attack to the front w ith the right elbow . The eyes are to rem ain fixed on those of the opponent. 23. B ending the right knee w hile straightening the left, rotate the body to the right and execute a left elbow attack against an opponent to the fronto This is the m irror im age of the preceding m ovem ent. 24. Pivoting on the right foot to the right through 180 degrees w ithout raising the level of the hips, execute a m iddle level opening block, the backs of the fists directed forw ard, crossing the left foot behind the right and resting it w ith its outside edge against the right side of the right heel. 25. B ringing the arm s across the body, the left hand in front of the right shoulder, the right at the low er left side, draw the arm s apart, executing a low er level block w ith the left fist and an upper level block w ith the right, at the sam e tim e looking at an opponent to the left and placing the instep of the left foot on the back surface of the right knee, as show n in figure 66. The nam e of this kata, G ankaku (crane on a rock), is derived from this onefooted stance, w hich resem bles that of the crane. 26. C ontinuing to stand on the one foot, draw the right fist to the right hip, fingers upw ard, and place the left fist on top of the right, fingers inw ard, continuing throughout the m otion to face tow ard an opponent to the left and m aintaining eye contact w ith him . 27. Sim ultaneously attack w ith the back of the left fist and kick w ith the left sw ord foot (sokutč). The target of the fist attack is the upper jaw of the opponent, that of the left side-kick, his abdom en. 28. R eturning the left foot to the ground, draw the left fist to the left hip and stepping forw ard w ith the right foot, execute a m iddle level right front punch to the left side (i.e., tow ard the front of the line of m ovem ent). A fter learning 186 TH E K A TA 68 70 69 71 them w ell, one should execute M ovem ents 27 and 28 as a single, continuous m otion. 29. Standing on the left foot w ith the in step of the right foot on the back of the left knee, cross the left hand to the low er right side and the right hand to a position in front of the left shoulder. D raw the fists apart in a ripping m otion, executing an upper level block w ith the left fist and a low er level block w ith the right, w hile gazing into an opponent's eyes. This final stance is the m irror im age of that show n in figure 66. The trunk is directed tow ard the left side of the line of m ovem ent. 30. W ithout altering the preceding stance, place the fists, the right over the left, at the left hip. This m ovem ent is the m irror im age of M ovem ent 26. DCBA 3 1 . Sim ultaneously attack w ith the right back fist and kick w ith the right sw ord foot. This is the m irror im age of M ovem ent 27. 32. Low er the right foot into a horse-riding stance and im m ediately attack 72 28ONMLKJIHGFEDCBA 73 29-31 74 75 76 DCBA 3 2 77 33-35 78ONMLKJIHGFEDCBA to the right side (i.e., tow ard the fra nt of the line of m ovem ent) w ith a left m iddle level reverse punch, draw ing the right fist to the right hip. 3 3 . T urning to the left to face tow ard the rear of the line of m ovem ent, place the left foot on the back of the right knee. A t the sam e tim e, bring the arm s across the front ofthe body, then raise the right fist in an upper level block and drop the left to a low er level block. T his is sim ilar to M ovem ent 25. 3 4 . W ithout altering the stance, place the left fist on the right at the right hip. 3 5 . Sim ultaneously attack w ith the back of the left fist and the left sw ord foot. 3 6 . A s the left foot touches the ground, draw the left fist to the left hip and attack tow ard the left side (i.e., tow ard the rear of the line of m ovem ent) w ith a right m iddle level reverse punch. 3 7 . W ithout altering the stance, turn the head to face to the right (i.e., tow ard the front of the line of m ovem ent), at the sam e tim e executing a m iddle 80 81 36-39 82 79 83 84 86 85 level block w ith the right hand, the fingers together, the palm tow ard the front, as if grasping an object (cf. M ovem ent 13 of Tekki N idan). DCBA 3 8 . W ithout altering the stance, tw ist the upper body to the right and attack to the right side (i.e., forw ard along the line of m ovem ent) w ith the left elbow , the forearm being held in a vertical plane, w hile striking the front portion of the elbow w ith the right hand. The left elbow should be about six inches from the chest at the m om ent of contact w ith the right hand. 3 9 . W ithout altering the stance, draw the open left hand back to the left hip w ith the palm turned upw ard, place the right fist onto the palm , fingers inw ard, w hile continuing to face to the right. 4 0 . Pivot to the right through 360 degrees on the right foot. D uring the turn, raise the arm s in front to bring the open hands up over the head, the fingers of the left over those of the right, then low er them , clenching the fists, to draw the right fist to the right hip, fingers upw ard, and the left onto the right, fingers inw ard. The m otion of the hands should end at the instant of com pletion of the G A N K A K U 1 8 9 , , 9 1 4 0 , 4 1 ONMLKJIHGFEDCBA 92 93 4 2 9 4 turn, and the head should be turned to face to the left (i.e., backw ard along the line of m ovem ent). 4 1 . Sim ultaneously attack w ith the back of the left fist and w ith the left sw ord foot." 4 2 . A s the left foot touches the ground, draw the left fist back to the left hip and execute a right m iddle level front attack, stepping into the attack w ith the right foot. NMLKJIHGFEDCBA Y a m e . Pivot to the left on the right foot to return to the yči position. ]ION There are forty-seven m ovem ents, taking approxim ately one and a half m inutes to com plete. The line of m ovem ent is the 1. Y o i . The stance here is sim ilar to that of Jutte, the feet together and the right fist covered w ith the left hand. The position of the fists is out to the front and slightly below eye level. 1. Step back w ith the left foot to assum e a front stance. Sim ultaneously w ith this m ovem ent, block dow nw ard w ith the left fist and perform a m iddle level forearm block w ith the right fist, the tw o fists m oving in a ripping fashion, the left beginning from in front of the right shoulder and sw iIl;gingdow nw ard, the right from in front of the left thigh and sw inging upw ard. 2 . Step diagonally forw ard to the left w ith the left foot. D uring this m otion, cross the fists in front of the chest, w ith the right w rist in side the left, and as sum e the m iddle level opening block posture;" N ote that in the opening block m otion the hands m ay be form ed either into fists (as here) or into the sw ord hand, w ith the palm s in either case facing either to the front or tow ards the body. In all four cases, it should be observed, how ever, that the hands are to be held at about shoulder w idth from each other. 64. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] 65. T his m ovem ent is custom arily perform ed slow ly. [T ranslators note.] 1 9 0 T H E K A T A nmlkjihgfed 2 1 \ 5 4 3 nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 1 6 8 7 3. W ithout m oving the left foot, kick high betw een the fists w ith the right foot. 4. Stam ping dow n strongly w ith the right foot, sim ultaneously execute a m iddle level attack to an opponent's chest w ith the right fist. 5. W ithout shifting the feet, retract the right fist and perform a m iddle level .attack w ith the left fist. 6. W ith out m oving the feet, execute a m iddle level attack w ith the right fist, retracting the left fist. A fter M ovem ents 5 and 6 have been thoroughly practiced, they should be executed as a continuous m otion. O ne should rem em - DCBA J IO N 1 9 1 10 ONMLKJIHGFEDCBA 3 2 9 Il 4-6 , , 13 14 15 7 ber that the retracted fist, be it the left or the right, should alw ays be poised for attack. 7. H olding the left foot in place, step diagonally to the right'" w ith the right foot into a front stance. A t the sam e tim e, first cross the fists, the right inside the left, and then draw them into a m iddle level opening block position." 8. K ick high betw een the tw o fists w ith the left foot. 9. K eeping the right foot in place, stam p dow n strongly w ith the left foot, 66. T his step is diagonally right from L ine 2. [T ranslator's note.] 67. T his m ovem ent is custom arily perform ed slow ly. [T ranslator's note.] DCBA 1 9 2 T H E K A TA 12 17 9-11 18 19 20 low ering it from the kick of M ovem ent 8, sim ultaneously retracting the right fist and perform ing a m iddle level attack w ith the left fist. 10. W ithout m oving the feet, retract the left fist and execute a m iddle level attack w ith the right fist. 11. W ithout m oving the feet, retract the right fist and perform a m iddle level attack w ith the left fist. A fter thorough practice, M ovem ents 10 and 11 should be executed as a continuous m ovem ent. M ovem ents 2 to Il bear som e sim ilarity to the continuous attack m ovem ents in H eian Y odan. 12. K eeping the right foot in place, step w ith the left foot to the left onto Line 2. D uring this m otion, raise the right hand over the forehead w ith the palm facing to the front, then pull it dow n w hile raising the left fist in an upper level block sim ilar to that in H eian Shodan. This m ovem ent also reflects that of the H eian form in its m om entary crossing of the arm s and ripping m otion of the fists. ONMLKJIHGFEDCBA • 21 • 22 12, 13 23 24 • 25 26 1 4 , 1 5 27 28 1 3 . nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA K eeping the feet in place, retract the left fist to the left hip and perform a m iddle level attack w ith the right fist. 1 4 . W hile stepping forw ard w ith the right foot, first raise the left hand over the forehead, w ith the palm facing to tne front, then retract it to the left hip, clenching the fist in the process, and sim ultaneously thrust the right fist upw ard in an upper level block. In this m ovem ent, w hich is sim ilar to the upper level block in H eian Shodan, the term ination of m otion of the fists and feet should coincide. 1 5 . W ithout m oving the feet, retract the right fist to the right hip w hile executing a m iddle level attack w ith the left fist. 1 6 . Stepping forw ard w ith the left foot, sim ultaneously raise the right hand w ith the palm forw ard in an upper level ri sing block, then retract the right hand from in front of the forehead to the right hip and raise the left fist upw ard in an upper level block. This m ovem ent is sirnilar to the upper level block in H eian Shodan. I , 29 30 16ONMLKJIHGFEDCBA 31 1 7 32 , " J. , - nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCB .•, 33 DCBA 1 8 • t 34 1 9 35 36 1 7 . Step forw ard w ith the right foot, sim ultaneously executing a m iddle level attack w ith the right fist and retracting the left fist to the left hip.:" 1 8 . K eeping the right foot in place, pivot counterclockw ise to step onto Line 3 w ith the left foot (assum ing a back stance), sim ultaneously blocking w ith both fists in a ripping m otion, The right fist starts below and under the left arm and rises to an upper level block; the left fist, w ith palm upw ard starts in front of the right shoulder and blocks dow nw ard in a low er level block. 1 9 . C hanging to a horse-riding stance w ith a sliding m ovem ent to the left, look to the left and retract the left fist to the left hip in a tw isting m otion and position the right fist, w ith fingers dow nw ard, in front of the solar plexus, w ith the forearm parallel to the body and about six inches in front of it. 2 0 . K eeping the left foot in place, face to the right onto the left branch of Line 3 and as sum e a back stance. A t the sam e tim e, in a ripping m otion of the hands, block dow nw ard w ith the right fist in a m otion starting from in front of the left shoulder and raise the left fist from below the right arm to execute an up per level block. 21. W ith a sliding m otion to the right, retract the right fist to the right hip w ith a tw isting action and sim ultaneously thrust to the right w ith the left fist in a m otion bringing the left forearm into a horizontal position parallel to the plane of the chest and about six inches in front of it. 69 R efer to the sam e m ovem ent in Tekki Shodan. This m ovem ent is the m irror im age of M ovem ent 19. 2 2 . H olding the right foot in place, step forw ard along Line 2 w ith the left foot, retract the right fist, passing und er the left arm , to the right hip, and sw ing the left fist dow nw ard in a ripping m otion from outside the right shoulder into a left low er level block. 2 3 . Stepping forw ard w ith a sliding m otion w ith the right foot into a horse68. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] 69. It is difficult to distinguish betw een "execute" and "assum e the position" in this case and in M ovem ent 19. "E xecution" or "thrust" im plies an attack, w hereas "assum e the position" im plies placing the hand for protective purposes. [T ranslator's note.] J IO N 1 9 5 2 0 , , , 37DCBA 2 1 28 40 nmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 38 39 41 42 22 24 riding stance, sw ing in the right palm from the side in a m iddle level block; at the end of the block, the right shoulder is tow ard the front, and the body is in a fun half-facing position. The left fist is retracted to the left hip. 24. Stepping forw ard in a sliding m otion w ith the left foot into a horse-riding stance (body facing in the direction opposite to that in M ovem ent 23), sw ing the left palm in from the side to execute a m iddle level block. A t the end of the m otion, the left shoulder is directed tow ard the front and the body is in a full halffacing position. The right fist has been retracted to the right hip. This m ovem ent is the m irror im age of M ovem ent 23. 1 9 6 T H E K A T A 43 44 25 46 45 26 47 25. Stepping forw ard w ith a sliding m otion of the right foot into a horseriding stance, sw ing the right palm inw ard from the side to execute a m iddle level block. This m ovem ent is identical to M ovem ent 23. 26. Pivoting on the right foot, turn through 90 degrees to the left (counterclockw ise) to bring the left foot onto the left branch of Line 1 and bend the right knee slightly to assum e a right back stance. A t the sam e tim e, in a ripping m otion of the arm s, perform a right upper level block w ith the right fist and a low er level block w ith the left fist, the arm s starting w ith the right crossed under the left and the face directed to the left. 27. Sliding the right foot to the left and straightening up w ith feet touching in a feet-together stance, w hile looking to the left, bend the left elbow to form a right angle, holding it out to the left, and place the right fist, w ith fingers upw ard, on the inner surface of the left elbow . This is the tw o-handed upper level block to the left side. 28. K eeping the left foot in place, slide the right foot to the right along Line 1 48 49 28 50 29, 30 51 27 52ONMLKJIHGFEDCBA 53 54 31 55 into a left back stance, at the sam e tim e executing, w ith a ripping m otion, an upper level block w ith the left fist and a low er level block w ith the right, the m otion starting w ith the left fist below the right. T he face is directed to the right. 29. Slide the left foot to the right and stand upright w ith the feet touching in the feet-together stance. A t the sam e tim e, assum e the posture of a tw ohanded upper level block to the right, as show n in figure 50. T his m ovem ent is the m irror im age of M ovem ent 27. 30. W ithout m oving the feet, face straight ahead and slow ly low er the fists to the sides, m aking an opening block w ith the right hand inside as the fists cross on the w ay dow n. DCBA 3 1 . Facing along L ine 2, leap forw ard onto the right foot, draw ing the left foot up behind the right heel. L and, as show n in figure 54, w ith the hips low ered and the w rists crossed, the right above the left, to block w ith the w rists against a low er level kick. , , • 56 32 57 58 33 59 60 34 37 61 62 63 32. M ove the left foot a step to the back, sw ing both fists from the crossed w rists position tow ard the back on either side. In this m ovem ent, the kicking foot of the opponent has been grasped w ith either the left or the right hand and is being pulled to that side. 33. W ithout m oving the right foot, step forw ard w ith the left foot, and sim ultaneously execute a m iddle level opening block, the right w rist first crossing inside the left, the tw o then separating. 34. Stepping forw ard w ith the right foot into a front stance, raise both fists over the forehead, the right in front of the left, in an upper level scissors block, as show n in figure 60. N ote that the preceding three m ovem ents have been designed to provide an ingenious com bination of techniques involving the low er, m iddle, and upper levels, thus allow ing for a very interesting range of possibilities. Those w ho w ish to study karate m ust seek such points in the kata and w ork to appreciate them . 64ONMLKJIHGFEDCBA 65 66 67DCBA J IO N 1 9 9 - - - - . . ii~ . - - / ~ ~ 'r 68 69 ....l- ~ ~ _ L ....38 70 _ 39 71 35. W ithout m oving from the previous stan ce, attack the face of the opponent w ith a right back fist. 36. W ithout m oving the body, sim ultaneously block w ith the left palm , covering the opponent's attack, and raise the right fist high over the right shoulder, bending the right elbow . 37. A ttack directly to the front w ith the right back fist to the opponent's philtrum . A t the end of the attack, the right elbow is resting on the upper surface of the left w rist, w hich has beeri brought up to it from below . R efer to figure 34 of Tekki Shodan. M ovem ents 35 through 37 should be executed sw iftly in a single, continous m otion once they have been learned w ell. 38. Pivoting counterclockw ise on the right foot, com ing to face along the right branch of Line 3 and assum ing a front stance, execute a left m iddle level forearm block. 39. A dvance the right foot along this branch of the line of m ovem ent, sim ultaneously w ithdraw ing the left fist to the hip and executing a right m iddle level front attack. ,.-- . 72 40 73 - , ~~ 41 74 42 nmlkjihgfed , , 76ONMLKJIHGFEDCBA 75 77 43 78 40. Pivot to the right on the left foot, com ing to face in the opposite direction along Line 3, and sim ultaneously execute a right m iddle level forearm block and pull the left fist to the hip. DCBA 4 1 . Step forw ard into a front stance w ith the left foot, sim ultaneously pulling the right fist to the hip and attacking w itha left m iddle level front attack. The previous four m ovem ents, involving the sam e technique to the left and to the right, are executed in asim ilar fashion. 42. Pivoting to the left on the right foot, step onto Line 2 w ith the left foot into a front stance, facing along this line, w hile sim ultaneously executing a dow n block w ith the left fist and draw ing the right fist to the right hip. 43. Lifting high both the right fist and foot, as show n in figure 75, stam p in strongly w ith the right foot, sim ultaneously striking dow n the opponent's upper level attacking arm w ith the right ham m er block. 44. Lifting high the left fist and foot, stam p into an opponent w ith the left foot and block his upper level attack dow nw ard w ith the left w rist . , •I 79 44 80 45 81 82 46 83 84 47 85 45. Lifting high the right fist and foot, sim ultaneously stam p into the opponent w ith the right foot and block his upper level attack w ith the right w rist. 46. Pivoting on the right foot, turn counterclockw ise to bring the left foot onto Line ONMLKJIHGFEDCBA 1 . Sim ultaneously, cross the right arm over the left, w ith the fingers of both fists dow nw ard. Then (facing to the left), w ith a sliding m otion to the left and a ripping m otion of the hands, extend the left fist to the left and draw the right fist to a position in front of the chest as show n in figure 82. 47. In the m irror im age of the preceding m ovem ent, crossing the left arm over the right, execute a sliding m otion to the right, and w ith a ripping m otion of the hands, sim ultaneously extend the right fist to the right and pull the left fist to a position in front of the chest;" The face is directed to the right. The m eaning of these m ovem ents is that of grasping a fist attacking from the side and draw ing it in, w hile at the sam e tim e attacking the opponent's side at a point below the arm pit. NMLKJIHGFEDCBA Y a m e . Slow ly draw ing the right foot in to the left and the hands to the ir starting positions, as sum e the yči posture. Such form s as Em pi, G ankaku, and the present one, Jion, are fine form s, taking on ever m ore m eaning the longer they are practiced. TE N N O K A TA O M O TE The Ten no K ata m ay be called the introductory kata to sparring, and thus it is a kata for sparring to be practiced by oneself. A lw ays im agine an opponent and practice this form di1igently. This form is com posed of three sections: 1. Parts A through D consist of the basics of the thrust. 2. Parts E through G contain a com bination of the m iddle level block and a thrust. 70. C ustom arily there is a kiai at this point in the kata. [T ranslator's note.] 202 DCBA T H E K A TA 86 3. Parts H through ONMLKJIHGFEDCBA J contain a com bination of an upper level block and a thrust. The basics of the thrust-punch are divided first into front punch and reverse punch, and these are further divided into m iddle level and upper level attacks. The stances include natural, front, back, and im m ovable. The com bination m iddle level block and thrust is used against an opponent's m iddle level attack by blocking and countering w ith a thrust. This com bination is used in three of the parts. Sim ilarly, the com bination of the upper level block and thrust is used against an opponent's upper level attack by em ploying an upper level block and countering w ith a thrust and is included three tim es in the form . In practicing the block-thrust com binations, the block and the thrust should first be practiced as separate m otions, as show n in the illustrations, but the principle of the com bination is based on one m ovem ent. A fter learning the m ovem ents, they should be executed as one. ( k im e te , literally, deIn all fist or spear hand attacks, the m om ent of focus NMLKJIHGFEDCBA ciding blow ) should be accom panied by a vigorous kiai. A t all tim es, im agine an opponent before you and execute the form w ith full strength, keeping your eyes fixed on the im agined opponent and your m ind alert to his presence. A. M id d le le v e l fr o n t a tta c k . Y 6 i . A ssum e the natural stance as show n in figure 1, settling and keeping the pow er in the low er abdom en and standing calm ly, ready to react to any circum stance. 1. Execute a right m iddle level front punch. The fist could, in the beginning, be draw n back to the hip before thrusting it outw ard, but it should be kept in m ind that after the technique is learned, the thrust should start from the yči position of the fist. The stance is fronto 2. R eturn to the yči position. This m ovem ent is executed slow ly. 3. Execute a left front punch (see figure 3). 4. R eturn to the yči position. 1 3 DCBA 2 T E N N O K A T A OM O TE 2 0 3 5 NMLKJIHGFEDCBA 4 B. U p p e r le v e l fr o n t p u n c h . 1. T his m ovem ent is the sam e as that in A l above, except that the attack is an upper level attack. 2. T his m ovem ent is sim ilar to A 2 above. 3. T his m ovem ent is sim ilar to that of B l, except that the left fist is used instead of the right, as show n in figure 5. 4. T his m ovem ent is sim ilar to A 4 above. O . M id d le le v e l r e v e r s e p u n c h . 1. E xecute a right reverse punch as show n in figure 6. W hile stepping forw ard w ith the left foot, thrust the right fist out in a reverse punch. 2. R eturn to the yči position. 3. E xecute a left m iddle level reverse punch. 4. R eturn to the yči position. D. U p p e r le v e l r e v e r s e p u n c h . T his series is identical to that in C except that the attacks are up per level attacks (see figures 8 and 9). 7 6 2 0 4 T H E K A T A 8 DCBA 9 13 NMLKJIHGF E. D o w n b lo c k , m id d le le v e l a tta c k . From this series on (through series ONMLKJIHGFEDCBA J ) , six m ovem ents are indicated in each case, although practicing a block-attack com bination as a single m ovem ent reduces them to series of four. 1. Step backw ard w ith the right foot to assum e a left im m ovable stance, at the sam e tim e executing a left daw n block as show n in figure 10. Im agining an attack to the low er abdom en or solar plexus level, one is blocking dow nw ard w ith the left fist. 2. Execute a m iddle level reverse punch, as show n in figure Il ; after repeated practice, 1 and 2 w ill be executed in one m ovem ent. 3. R eturn to the yči position. 4. and 5. These are the m irror im ages of M ovem ents 1 and 2, respectively. 6. R eturn to the yči position. The sequence is identical to that in E, except that the daw n block is changed to a m iddle level forearm block, as show n in figures 14 and 16. F. 14 M id d le le v e l [ o r e a r m . b lo c k , m id d le 15 le v e l r e o e r s e p u n c h . 17 16 TEN N O K A TA O M O TE 205 20 NMLKJIHGFEDCBA 19 18 21 G . M id d le le v e l s w o r d h a n d b lo c k , m id d le le v e l s p e a r h a n d . 1. D rop the right foot back to assum e a left back stance and execute a m iddle level sw ord hand block, as show n in figure 18. 2. A ttack w ith the right spear hand as show n in figure 19, paying particular attention to the shift from back stance to im m ovable stance. 3. R eturn to the yči position. 4. and 5. These are the m irror im ages of 1 and 2, respectively. 6. R eturn to the yči position. J , the m ovem ents analogous to 4 through 6 here w ill be In series H through ONMLKJIHGFEDCBA om itted from the descriptions. H. U pper le v e l s w in g in g b lo c k w ith sw ord hand ( s h u ti5 - b a r a i) , u p p e r le v e l a tta c k . 1. D rop the right foot back and execute a left upper level sw ord hand block 23 22 2 0 6 T H E K A T A 24DCBA 25 point here is to avoid an opponent's upper level attack by shifting the body into a half-facing stance w hile blocking the attack aw ay. DCBA 2 . 3 . 2 0 8 Execute a right m iddle level reverse punch. R eturn to the yči position. T H E K A T A CH A PTER 5 ENGAGEMENTMATCHES Demonstrations of kumite. From the first edition. C H A PTER 5 ENG AG EM ENT M ATCH ES SIG N IFIC A N C E O F M A TC H IN G wvutsrqponmlkjihgfedcbaZYXWVUTSRQP Sparring gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA (kum ite) is a form used to apply offensive and defensive techniques, practiced in the kata, under more realistic conditions, in which by prearrangement between participants one applies offensive and the other defensive techniques. It might be difficult for a spirited young man to understand the purpose of kata, so he will find it interesting after gaining some proficiency in the kata to practice sparring if he can find an appropriate partner and a suitable training area. However, it must be emphasized that sparring does not exist apart from the kata but for the practice of kata, so naturally there should be no corrupting influence on one's kata from sparring practice. When one becomes enthusiastic about sparring, there is a tendency for his kata to become bad. Karate, to the very end, should be practiced with kata as the principal method and sparring as a supporting method. It has long been said that there is no first hand (sente) in Karate,' and whether performing kata or kumite, the front fist is used for defense and the fist held to the back is used for offense. Consequently, immediately following (without a hairbreadth delay) the blocking of an opponent's attack with the front fist, the rear fist is used to destroy the opponent. If at this moment, there is even the slightest delay in the movement, one will then be forced inescapably into the predicament of maintaining adefensive role. The Japanese phrase go no sen o taru means simply "defense equals offense." This should give an insight into the relationship between defense and offense. However there are times, depending upon the moment, or adjusting to a changing situation, when the defensive hand becomes an offensive hand. This is called "hente" ("changing hands"), and frequently in actual cases it is more effective than the orthodox use. The effective use of this technique will indicate one's technical level. The front hand held in defense and the hand held back in the offensive position are variously contrasted as follows: front (defensive) hand death hand (shi-te) female hand (m e-te) yang hand (yi5 no te) regular hand (sei no te) rear (offensive) hand life hand (katsu-te) male hand (o-te) yin hand (in no te) irregular hand (ki no te) It has been said by our elders that "the essence of combat lies in between sei and ki [or the regular and the irregular], and without attaining the ability 1. The meaning is that in karate there is no advantage to the one who makes the first attack. [Translator's note.] SIG N IFIC A N C E O F M A T C ID N G 211 of changing gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA sei into ki and ki into sei how can one attain victory?" And also, "As yin and yang have no beginning, and movement or non-movement do not appear, who can win but one who knows the D o [Way]?"; thus since the essence of karate is found truly between ki and sei or between in (yin) and CBA y o (yang), those who study karate must diligently muse upon these words. A technique that has been called one of the secret techniques of karate is the triangle leap (sankaku tobi). This technique is used to escape from criticallifeand-death situations such as being at the edge of a high cliff in combat and suddenly reversing the positions by leaping in a triangular manner and gaining the offensive. It is not, as commonly and mistakenly described in the streets, a technique where one leaps about indiscriminately. One willlearn this technique with long training. There are the Ten no Kata Ura, triple engagement . (sam bon-g'um ite), single engagement (ippon-gum ite) as basic sparring, and there is free engagement (jiyu kum ite) for practice matches.GFEDCBA BA SIC SPA R R IN G aZYXWVUTSRQPONMLKJIHGFEDCBA TEN NO KATA URA Ten no Kata Ura is the first form of practice in which an opponent is involved. Up to this point an opponent was just imagined in training, but with a real opponent involved, there is some danger and at the same time more seriousness. Thus extra care in maintaining a correct posture and stopping the fist within an inch of the vital point becomes extremely important. At the beginning of the performance both parties stand facing each other with a suitable distance between them, and one must not forget to bow to the opponent with a humble spirit. This also applies at the end of the performance. The six parts of this ura portion of the Ten no Kata consist of parts E through J of the omote portion of the kata arranged so that they may be performed together by two people. When practicing, the partners should prearrange to alternately assume the attacking and defending parts. Both the attacking and defending partners should exert sufficient strength 1 2 4 3 5 in the lower abdomen gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA (tanden) and emit a kiai at the prec ise moment that the techniques are applied. When performing, both attacker with seriousness to their utmost One's intention and defender should exert themselves capability. must be to practice so that the block and attack are executed as one movement. The distance to be maintained between the opponents should be carefully studied. A . D aw n block, m iddle level recerse punch. 1. Attacker together (tsuki-te): Execute a lower level or middle level front punch with a kiai (see figure 3). Defender (uke-te): Step back with the right foot and execute a down block with the left arm. This is called "inside block." When stepping back with the left foot and blocking with the right arm it is called "outside photos for A through block." The F are all shown with inside block, but the outside block should also be practiced. 2. Defender: Execute a middle level reverse punch with the right fist. After learning the techniques cuted in one continuous time, the defender movement of 1 and 2 should all be exe- as in the omote of Ten no Kata. should not allow the attacker left fist. The movements movement. well, the uke movements of blocking and attacking must be one continuous Also, one must figure out a way to destroy the opponent's On the other hand, the attack er must remember At this a chance to strike with his to maintain balance. his balance even after having the attack blocked and be ready to attack again instantly.GFEDCBA 3. Both attacker and defender return to the yči stance. 4, 5 and 6. As in the omote of Ten no Kata, with the opposite side; then both opponents following sections, B through execute the above movements return to the yči stance. (In the H, the movements for the opposite side will not be explained.) B . M iddle level inside forearm block, m iddle level reoerse punch. 1. Attacker: Execute a right middle level front punch. Defender: Execute a left middle level in side forearm block as shown in figure 6. 2. Defender: Execute a middle level reverse punch as shown in figure 7. 3. Return to the yči stance. B A SIC SPA R R IN G 213 6 7 8 aZYXWVUTSRQPONMLKJIHGFEDCBA 9 gfedcbaZYXWVUTSRQPONMLKJIHG C . M iddle level sw ord hand block, m iddle level spear hand. 1. Attacker: Execute a right middle level front punch. Defender: Step back with the right foot and with the left sword_hand, block away the opponent's wrist. Assuming a back stance, be ready for a kick to the opponent's groin or solar plexus with the left foot. Refer to figure 8. 2. Defender: Extending the four fingers of the right hand, thrust at the opponent's midsection, as shown in figure 9. Shift from the back stance to the immovable stance. 3. Both return to the yči stance. D. U pper level sw ord hand block, upper level reuerse punch. 1. Attacker: Execute a right upperlevel front punch. 10 Il Defender: Step back with the right foot, and with the left sword hand knock away the opponent's wrist or forearm. Refer to figure 10. 2. Defender: Execute a right upper level reverse punch, or grasp the opponent's wrist and execute an upper level reverse punch while pulling in the opponent. 3. Both return to the yči stance. 12 E. 13 gfedcbaZYXWVUTSRQPONMLKJIHGFE U pper level rising block, m iddle level reoerse punch. 1. Attacker: Execute a right upper level front punch. Defender: Lowering the hips and stepping back with the right foot, execute an upper level rising block with the left arm. The intention here is to hit the opponent's chinor armpit. Refer to figure 12. 2. Defender: Execute a middle level reverse punch with the right fist. Refer to figure 13. 3. Both return to the yči stance. F. U pper level iron ham m er block, m iddle level reoerse punch. 1. Attacker: Execute a right upper level front punch. Defender: Step back with the left foot and raising the right fist hit the opponent's arm with the wrist. The feeling here is to hit the opponent's face with the raised right fist, follow through with a block to the opponent's 14 15 arm, and attack the opponent's solar plexus with the elbow at the same time. Refer to figure 14.GFEDCBA 2. Defender: Execute a middle level reverse punch with the left fist. Refer to figure 15. 3. Both return to the yči stance. T R IPL E aZYXWVUTSRQPONMLKJIHGFEDCBA ENG AG EM ENT M ATeR (S A M B O N -G U M IT E ) As mentioned in the Ten no Kata, the opponents bow to each other after assuming positions with an appropriate distance between them. Following this, at the command of yči the attaeker takes a step back with his right foot to assume the down block posture while the defender keeps his natural stance, as shown in figure 3. At this time, the attacker must thrust in with the intention of not allowing his opponent any opportunity to block his thrust, and at the same time it is important for the defender to be prepared to react appropriately to any attack; attention should not be distracted by concern for the correctness of the form. 1 2 6 7 8 At the ensuing counts of one, two and three the attacker advances thrusting to the upper, middle, or lower level in whatever order has been agreed upon before the beginning of the triple engagement. The defender will step back, practicing blocks such as upper level rising block, down block and so on, and at the same time as the last block at the count of three, he will alsq attack the opponent's vital points such as the philtrum, solar plexus and so on for the decisive blow. At the command of either "Yame" or "Naore," the attacker will withdraw his forward foot, and the defender will bring up his rear foot, both assuming the natural stan ce and face each other, and until the command of "Yasume" ("rest") is given, the opponents must not shift their eyes or move their limbs needlessly. This is called keeping the "mind in reserve," 15 17 16 18 that is; preserving one's alertness (literally, "remaining mind," orgfedcbaZYXWVUTSRQP zanshin). Triple engagment is practiced in this manner in a series of three alternating movements: right, left, right, one side then the other. Next the defender switches to become the attacker and vice-versa, and practice continues. The beginner will practice the attacker's and defender's techniques, keeping in time with the counts of one, two and three; it is important at this time to maintain the correct position of the hips and legs, and to correct the overall posture, but as one gradually improves, practice of oikom i should begin. In other words, instead of keeping time to the count of one, two and three, the attacker should deliver 19 LKJIHGFEDCBA 20 21 22wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLK his series of thrusts swiftly to keep the initiative, even as the opponent is himself trying to take away the initiative. Thus the attacker practices overwhelming the defender by not allowing him any chance of recovery; whereas the defender must practice to perfect the control of his body so as to move away from theattacks, trying to discover for himself the secret art of escaping from the brink of death by a hairbreadth. SINGLE ENGAGEMENT MATeR (IPPON-GUMITE) After bowing to each other, the opponents swiftly separate, taking up positions at an appropriate distance, as shown in figure 3; the attacker will adjust his breathing rhythm and distance and attack the opponentin the area agreed on before the match. It may be the upper, middle or lower level, or it may be a kicking attack. (Kicking techniques are explained in detail in chapter 2.) The defender will move accordingly to the front, back or either side, using blocking techniques and swiftly executing a decisive technique. At this time, the attacker should be experimenting with methods to make ineffective the defender's decisive blow and returning a decisive technique of 1 2 3GFEDCBA B A SIC SPA R R IN G 219 5 4 6 his own. Differing from the triple engagement, the decisive blow is accomplished after a single attack. The accurate measurement of the appropriate distanceCBA (m a ) is very important at this time. KICKING MATCHES Kicking techniques have been considered a specialty of karate, but actually they are less orthodox than hand techniques. Furthermore one cannot forget that at the moment of kicking one will be in the precarious position of standing on one leg, so kicks should be practiced with this thought in mind.gfedcbaZYXWVUTSRQPON 1 GFEDCBA 2 the opponent attacks with a right fist thrust to the upper section, this attack is warded away with an upper level rising block and followed up with a front kick to the opponent's groin with the right foot. Of course the left foot may be used for this attack also. Depending upon one's distance from the opponent, one may advance or retreat to kick. Refer to figure lo When the opponent attacks with a right fist thrust to the midsection, one K icking techniques against fist thrusts (tsuki).W hen 220 ENGAGEM ENT M ATCHES shifts to a half-facing stan ce and attacks the opponent with aroundhouse kick, aiming for the groin or solar plexus. Refer to figure 2. When the opponent attacks the upper section with a right fist thrust, kick into the opponent's side with a side thrust kick (yoko-geri), timing the attack to coincide with the start of the opponent's attack. Refer to figure 3. 3 4 When the opponent attacks with a right fist thrust to the upper section, lower the body slightly and, using a side-up kick with the right foot, kick the (w aki kage, a vital point). Refer to figure 4. opponent's arm pitgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA B locking techniques against kicks. When the opponent attack s with a front kick with the right foot, assume a half-facing stan ce to the right, and blocking the kick with the left fist, attack the opponent's face or solar plexus with the right fist. Refer to figures 5 and 6. When the opponent attacks with a side thrust kick to the chest or solar plexus with his right foot, assume a right half-facing stance, and kick the opponent's testicles with a front kick, using the right foot. Refer to figures 7 and 8.. When the opponent attacks with a side-up kick (yoko-gerikeage), leaping in and kicking with his right foot, assume a left half-facing stance, and at the same time strike at the opponent's testicles with a left fist thrust or a front kick with the right foot. Refer to figures 7 and 8.aZYXWVUTSRQPONMLKJIHGFEDCBA .5 6 • wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 8 7 10 9 When the opponent attacks with a right foot roundhouse kick (mawashigeri) to the side, chest or solar plexus, step back a half step assuming a left halffacing position, and avoiding the kick, quickly utilize the advantage to step in and attack the opponent's jump with the start side with a left fist thrust. of the opponent's ple xu s with a right fist thrust. Since the above explanations one should experiment Refer to figure 9. kick, and attack the opponent's Or solar Refer to figure 10. are concerned with and practice only with the basic s of sparring, other sparring techniques and also practice a series of different types of attack s and blocks. FREE SPARRING Until now practice as well as agreement has called for prior designation beforehand on the type of attack, of attacker to the upper, middle and lower levels plus kicking attacks. ( jiy u k u m ite ) , and defender, li miting it to fist attacks But in free sparring CBA there are no set rules as to who will be the attack er or defender, and so either one may freely attack, but· there is one agreement: the attacks be stopped short of the vital points, leaving a thin margin.GFEDCBA 222 I EN G A G EM EN T M A TC H ES ~ ---------------------------~ --- ---- will . 1 . 3 2 wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA At this time, without long and repeated praetice, one can easily injure the opponent inadvertently, so one must repeatedly remind himself to be very careful about his ability to control his attacks before engaging in free sparring. Beginning students must refrain at all times from heedlessly engaging in free sparring. If one has pieked the appropriate distance and the moment in rhythm, the deciding technique can be delivered, and, if it were a real combat situation, the conte st would be ended, so no pushing or grappling is allowed. Frequently one sees matches that resemble cock:fights, but people engaging in such matches should be considered as among those who do not really understand what a free engagement match is; thus they will not be able to even faintly discern the highly skilled level of an attack that never misses the vital point and that could be considered as the essence of karate technique. It is hoped that the chapter on the trainee's maxims will be thoroughly studied and understood. Furthermore, the matching up to the single engagement match was a process of learning defensive and offensive techniques, but in free engagement, the restrictions of action have been lifted as mentioned above, and it may be compared to an actual duel as in other martial arts where all possible defensive and offensive techniques can be fully used. It is important to keep this in mind and really understand the exquisite mystery inherent in free engagement. lA l aZYXWVUTSRQPONMLKJIHGFEDCBA Sparring which begins with both the offensive and defensive opponents ia i. Thus it is only the application of basic seated and facing each other is called gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA techniques as in the other engagement forms so far explained. Therefore the basic forms and sparring forms learned should be applied and studied by each individual. If the engagement were to be divided, it could be split into two situations: attack coming from the front and attack coming from the back. These in turn may be separated into attacks grasping one wrist, grasping both wrists, strangling, and so on, and by imagining all types of attacks one will be able to devise innumerable variations of counterattacks. 2 2. Explanations and demonstrations have been added by the translator to supplement the original text. lA l 223 1 2 3 4 GFEDCBA A l. Defender and attacker sit facing each other. They bow. 2. The attacker moves toward the defender with the right leg, grasping the defender's left wrist with the right hand, as shown in figure 3. a. The defender turns to his left, sliding the left knee as the hips and body turn, breaking the attacker's balance. At the same time, the defender draws his right arm to his left shoulder. 4. The defender strikes with the right sword hand to the attacker's right temple, or neck. B l. From a sitting position, the attacker advances the right leg, grasping the 5 6 defender's right wrist with the left hand and the right arm with the right hand. 2. The defender rotates his right wrist clockwiseover the attacker's two arms and raises the right knee, breaking the attacker's balance. 3. The defender immediately follows with a left fist attack to the attacker's face. Refer to figure 6. 7 8 gfedcbaZYXWVUTSRQPONMLKJIHGF C I. From a sitting position, the attacker moves toward the defender with the right leg and executes a right front punch to the face. 2. The defender blocks the punch with a right rising block. 3. The defender catches the attacker's right wrist with his right hand and draws the arm to his own right hip, simultaneously pivoting on the right knee and raising the left legoRefer to figure 8. 4. The defender punches the right side of the attacker's body with the left fist. D I. From a sitting position, the attacker advances his right leg and executes a right front punch to the face, as in CI. Refer to figure 9. 2. The defender blocks the punch with a left rising block. 3. The defender catches the attacker's right wrist with the left hand and 9 10 draws the arm to his own left hip, simultaneously pivoting and raising the right lego 4. The defender immediately followswith a right fist attack to the attacker's face. 11 LKJIHGFEDCBA 12 13 El. The attacker encircles the seated defender from behind, pinning the defender's arms to his sides, as shown in figure Il. 2. Raising the right arm and right leg, the defender breaks the attacker's hold, driving his left elbow to the attacker's solar plexus. 3. The defender follows with a left sword hand attack to the attacker's groin. FI. From a sitting position, the attacker moves toward the defender with the right leg and executes a right front punch to the face. . 2. The defender avoids the punch by falling to his left, supports his upper body with the palms of his hands on the fioor, and delivers aroundhouse kick to the attacker's solar plexus. Refer to figure 14. GI. From a sitting position, the attacker moves toward the defender with the right leg and executes a right front punch to the face. 14 15 2. wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA The defender escapes the punch by falling backward and slightly to the left, supports his upper body with the palms of both hands flat on the floor, and delivers a side-thrust kick to the midsection. Refer to figure 15. T H R O W IN G T E C H N IQ U E S Karate may be said to be hard technique when compared to the soft technique of jujitsu, but softness includes hardness and hardness includes softness. In other words, softness is necessary to become hard, and hardness is necessary to become soft, and to begin with, both softness and hardness are one. Thus in karate, hitting, thrusting, and kicking are not the only methods; (nagew aza) and pressure against joints are also included. throwing techniquesgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Depending upon the strength and skill of the opponent it is not always necessary to use powerful techniques like hitting, thrusting, and kicking, but, adjusting to the situation, softer techniques such as throwing may be used, and in this versatility there is an inexpressible savor. Whether throwing techniques or joint-pressure techniques, there are, as sta ted previously in the explanation of sparring and iai, innumerable techniques, and the important thing is to adjust according to the opponent, so the use of these techniques will be left to the discretion of the researcher. One must always keep in mind that since the essence of karate is found in a single thrust or kick, and one should never be grasped by or grapple with an opponent, one must be very careful not to be defeated through concern with throwing an opponent or applying a joint-punishment hold. Throwing techniques include byobndaoshi, kom anage, kubiuxi, kauuoaqurum a., teubam eqaeehi, yaridam a, taniotoshi, udeuia, sakaieuchi, and others." All these techniques should be studied, referring to basic kata.aZYXWVUTSRQPONMLKJIHGFEDCBA 1 3. Explanations original text. 2 3 and demonstrations have been added by the translator to supplement the T H R O W IN G T E C H N IQ U E S 227 44 B učbudaosh.i wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA (To topple a folding screen) 1. The opponent attacks the upper level from a down block posture. 2. Block with the left open hand as you step back with the right lego 3. Simultaneously step behind the opponent's right leg with the right leg, attack the opponent's chin with the right palm, and sweep the opponent's lego 4 5 K om anage (Spinning top) 1. The opponent attack s the upper level from a down block posture. 2. Simultaneously step back with the left leg and block the opponent's hand with the right wrist. Refer to figure 4. 3. Grasp the opponent.'s right wrist while placing the left hand in his armpit, simultaneously stepping forward with the left foot. 4. Force the opponent's arm down and to his right while pivoting to the right on the left foot. 6 228 ENGAGEM ENT 7 M ATCHES 8 aZYXWVUTSRQPONMLKJIHGFEDCBA 9 gfedcbaZYXWVUTSRQPONMLKJIHGFEDCB K ubiw a (To encircle the neck) 1. The opponent attacks the upper level from a down block posture.GFEDCBA 2. Step back with the left foot and block the opponent's upper level attack with the right wrist, hooking the opponent's arm down and to the 3. Slide the right foot forward and simultaneously attack the chin, as shown in figure 8. 4. While continuing to slide the right leg forward encircle the neck with the right arm. Force the opponent's head and upper backward, throwing the opponent to the ground. right. opponent's opponent's body over (Ralf wheel) 1. The opponent attacks the upper level from a down block posture. 2. Block the opponent's middle level attack by hooking downwards with the right wrist while stepping back with the left lego 3. Slide the right leg forward, inside the opponent's right leg, while grasping the opponent's neck with the right arm, and place your left hand under the opponent's right thigh. 4. Lift the opponent's right leg up and pull his neck over to the right, lifting and throwing him. Refer to figure 12. K ataw agurum a 13 14 15 16 gfedcbaZYXWVUTSRQPONM (V-turning swallow) 1. The opponent attacks the upper level from a down block posture.GFEDCBA 2. Step back with the left leg while executing an upper level scissors block. 3. Grasp the opponent's right wrist with the left hand and pull him in while attacking his face with a right back punch, as shown in figure 14. 4. Hold the opponent's elbow with the right hand, pivot counterclockwise on the right leg, lowering the body and kneeling on the left knee, and pull the opponent's arm to throw him. Tsubam egaeshi (To spear abalI) 1. The opponent attacks the upper level from a down block posture.LKJIHGFEDCBA Yaridam a 17 18 2. Step in with the right leg while blocking the opponent's upper level attack with the left hand and placing the right hand in the opponent's crotch. 3. Pull the opponent's right arm forward while lifting him up and throw him.gfedcbaZYXWVUTSRQPO 19 20 21 22 GFEDCBA (To push off a cliff) 1. The opponent attacks the upper level from a down block posture. 2. Step back with the left leg, simultaneously blocking the opponent's attack with the left hand and striking his solar plexus with the right fist. 3. Step across the opponent's right leg with the right leg while grasping his upper arm with the right arm. Refer to figure 20. 4. Throw the opponent down with the motion of the hips. Taniotoshi U dew a (To encircle with the arm) 1. The opponent attack s with a two-hand attack. 2. Stepping back with the left leg, execute a two-hand upper level rising block. Refer to figure 23.LKJIHGFEDCBA T H R O W IN G T E C H N IQ U E S 231 23 25 24 3. wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Sliding forward with the right foot, execute a two-fist hamm er attack to the opponent's sides. 4. Sliding in deeper, tackle opponent.gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Sakatsuchi (To hammer upside down) 1. The opponent attacks the upper level with a right front punch. 2. Step back with the left leg while executing an upper level rising block with the right arm. 3. Slide the right shoulder under the opponent's armpit while sliding forward with the right leg, dropping the hips and placing the left hand in back of the opponent's left thigh, as shown in figure 27. 4. Lift and overturn the opponent, and drive his head into the ground.LKJIHGFEDCBA 26 28 29 WEAPONS AND KARATE-DO In karate from the beginning, the bare hands and feet have been considered as blades, and it should be practiced with the idea that they will cut when touched, so there is no need to be especially cautious when faced with a weapon, but it goes without saying that distance and body shifting methods should be varied depending on the type of weapon that is used by the opponent. When sufficient skill has been acquired through practice, a sword, dagger, stick and so on should actually be used in practice to learn the techniques against these weapons and to prepare oneselfmentally against them. On the other hand, when one is using a weapon, it is natural to begin depending upon it and consequently lose readiness in the use of the feet, the elbows and the free hand. Should an opponent neutralize the weapon, one could become weaker than a weaponless man. When actually faced with a weapon, one's coat and shoes are useful, and even a handkerchief or piece of paper could become effective defensive weapons, depending up on their use. One could spit upon the opponent's face, emit a kiai, stamp one's foot or clap one's hands to distract the opponent as other means of defensive actions. Therefore, keeping in mind these methods, one will be able to easily control an opponent with a weapon. SELF-DEFENSE FOR WOMEN Women's self-defense somehow gives the impression of hardness and masculinity, and unfortunately this tends to create the misunderstanding among the public that the practice of karate willlead to ungracefulness, which is not at all the case. A sound mind in a sound body is a saying that applies not only to men but also to women. This saying may be changed to, "A sound child in a sound mother." It may be clearer to say that women's self-defense includes physical culture and calisthenics as well as self-defense. Health is not limited to a sound body, but rather that must be combined with a healthy mind. Further you may agree that the objective of karate is to instill the spirit of humbleness or modesty. There should not be any objection to training that will develop a healthy mind, a healthy body, and a gentIe spirit that at the same time knows the arts of self-defense. This section should be read with the above thoughts in mind. OBJECTIVES The objective of martial arts has always been to defend oneself and not to attack others, and in the case of women's self-defense this is especially true. If the physically delicate woman contests the attacks of a ruffian with WEAPONS AND KARATE-DO 233 physical force it is almost impossible for her to defend herself. Thus as noted earlier, when attacked, it is possible to easily escape from danger through knowledge of self-defense; so by all means the fundamentals of selfdefense should be ready for application at all times. The comparative weakness of a woman in protecting herself from a more powerful opponent must be offset by her quick and especially accurate techniques in attacking the vital points. In order to achieve this, one must practice regularly; otherwise, during emergencies, one might hesitate or become excited and increase the danger instead of avoiding it. One should first practice forms and basic techniques and eventually work up to sparring practice as one becomes more skillful, imagining situations that women encounter most and constantly practicing them so that in a dangerous situation one may escape without harm. Training also is an excellent form of healthful exercise, and may cuItivate overall physical beauty for women who are prone to lead sedentary lives. SECRET PRINCIPLES Crude tactics are a source of serious injuries (a little learning is a dangerous thing) is a proverb often quoted, and similarly, with just a little knowledge of the martial arts, one might become careless and adversely incur injuries with lifelong consequences, so one must always remember to be very careful. The secret principle of martial arts is not vanquishing the attacker but resolving to avoid an encounter before its occurrence. To become the object of an attack is an indication that there was an opening in one's guard, and the important thing is to be on guard at all times. One should refrain from walking alone at night as much as possible, and when that is unavoidable, one should take aroundabout route to avoid dangerous neighborhoods. If, even whiIe taking precautionary measures, one should be attacked by hoodlums in a stroke of illluck, then it is better to run away. Running away as far as possible and seeking shelter in someone's home or shouting for help would be the best forms of self-defense. Many times out of shyness women will not seek shelter in another's home or seek other help even when in danger of bodily harm. But to be so timid at times like these would be playing right into the hands of the attackers. When there are no avenues of escape or one is caught even before any attempt to escape can be made, then for the first time the use of self-defense techniques should be considered. Even at times like these, do not show any intention of attacking, but first let the attacker become careless. At that time attack him, concentrating one's whole strength in one blow to a vital point, and in the moment of surprise, escape and seek shelter or help. It is most important to be on guard without becoming excited and to act with presence of mind throughout such a situation from the beginning and even once the situation is in hand. When delivering the one blow against the attacker, the importance of using one's whole strength and being especially accurate cannot be overemphasized. In the event that this one blow is ineffective, the attacker will become more violent, a point not to be forgotten. The importance of using one's wholeGFEDCBA 234 ENGAGEM ENT M ATCHES strength and putting one's heart and soul in this one attempt has been stressed, but it is also important to do so only after reaching a rational conclusion that there is no other way out.GFEDCBA M ETH O D S O F PR A C TIC E The methods of practicing self-defense should be in accordance with chapter 4, part 2, "Advice on Training." Chapter 2, Fundamental Elements, should be studied regarding kicking and thrusting techniques. When practicing, one should imagine various situations, especially sparring,gfedcbaZYXWVUTSRQPONMLKJIHG iai and escape techniques (tori-te). The attacker may grasp the wrists, clothing, neck, or other parts of the body, and one must escape from his attempt to grasp and immediately deliver a counterattack. So the point to remember is the quickness of the counterattack, which is executed almost simultaneously while escaping from the attacker's hold. The techniques for escaping and counterattacking must be analyzed and practiced separately at first, but one must try gradually to reach a point where the blocking and attacking can be executed simultaneously. Escape techniques may be used against front, side, and rear grasping attacks. Attacks from the front may include such techniques as grasping a wrist, both wrists, the collar, hair or hugging, etc., and side attacks such as grasping the wrist and grasping the neck; also attacks from the rear may consist of similar techniques such as grasping the wrist, grasping the collar, hugging, etc. There may be times when several attackers may attack from both sides or from front and back. Considering all situations, always think about and practice against such attacks. SE L F-D E FE N SE FO R W O M E N 235 CHAPTER 6GFEDCBA V ITA L PO IN TS O F TH E H U M A N BO D Y 6 3 5 7 8 11 21 18 37 19 15 20 16 29 23 1 24 24 30 31 28 28 32 33 25 27 25 36 26 26 37 34 34 21 35 39 39 401------+-./ LKJIHGFEDCBA 27 27'--~ Vital Points of the Human Body (See pages 240-244 for explanation of the numbered points.) !i!!!iw CHAPTER 6GFEDCBA V ITA L PO IN TS O F TH E H U M A N BO D Y D EFIN ITIO N It is advantageous to those who train in Karate-do to know about the vital pointsCBA ( jin ta i gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA kyusho) of the human body. For example, if the face is attack ed with equal strength first at a random point and next at a vital point, there would be a eonsiderable difference in the effect of the blows. In other words, by vital points, the parts of the body where a blow would be comparatively effective are specified. Vital points are vital points, and the majority of those points of the body where moxa cautery is applied [in the orient] are vital points known since ancient times. In other words, points of the body where shock to the nerves can most readily be given are all vital points. Generally speaking, the vital points of karate and judo from ancient times and the points of moxa cautery have been the same, although moxa cautery points, which are located in places difficult to attack, or points which are relatively ineffective, are not included in the vital points of karate or judo. Since the objectives of moxa cautery differ from those of karate or judo, the existence of some differences is only natural. However, in the case of karate, there are several vital points that are not considered vital points in moxa cautery or judo. Thrusting with the fingers to the eyes, kicking up with the foot to the lower part of the opponent's chin, or striking the lower part of the chin with the fist (done frequently in boxing) are some good examples of points considered vital in karate but not considered so in moxa cautery or judo. The following section, which explains the vital points in more detail, is divided into "Causes of Death" and "Causes of Losing Consciousness." However, they are not in actuality clearcut classifications. Ideally, a division of the vital points would be into those that if struck with sufficient force would cause death and those where asimilar blow may cause only loss of consciousness; in fact even those points considered to be death-causing points, such as the solar plexus, may cause only unconsciousness or not even that if struck with insufficient force. Also, areas that are not generallj considered to be death-causing, sueh as the chest and ab domen , cannot be considered as entirely non-deatheausing, for if these points are struek by a very well-trained fist, the blow may cause death through internal hemorrhage. In short, a vital point is only a point where a blow is comparatively effective. The effectiveness of a blow is not solely due to the power of the blow itself; effectiveness will vary according to the condition of the person at the moment D E FIN IT IO N 239 he is struck and how well he is trained. If a person is well trained, he will be able to withstand a blow that ordinarily would be considered a deathblow. Consider the well trained chest of a wrestler. The powerful chest developed through constant training probably will not be affected much by an amateus's punch. My teacher, Master Itosu, had a body that could be likened to a cast-iron torso. There were many occasions at parties when everyone enjoyed a few drinks and some of the younger members would punch at the teacher, but the master smiled and kept taking sips of the wine without any indication that he even noticed the blows. The human body can be developed with training into such a powerful body as that of Master Itosu, so those who train in karate should develop, together with the training of the arms and legs for powerful strikes, literally ironlike or rocklike bodies through ceaseless effort.GFEDCBA T H E V IT A L PO IN T S The most widely used name s for the vital points have been used, and those points that did not already have name s were given name s for convenience. Since actual tests cannot be made in the classification of points into Cause of Death and Cause of Unconsciousness, knowledge transmitted through written notes and knowledge transmitted by word of mouth from the past have been used as the source. The following classification is considered to have more credibility than similar classifications that have been published so far. (Numbers in parentheses correspond to those in figures 1 and 2, page 238.) FRONT: READ AND FACE gfedcbaZYXWVUTSRQPONMLKJIHGFED Suture, coronal (tendo) : line of juncture of the frontal bone and the parietal bones. Cause of death is severe trauma to the cerebrum and disruptive stimulation of cranial nerves . (1) F rontal fontanel (tento) : the region of the head between the forehead and the caronal suture that is exposed and seen to pulsate in a newborn infant. Cause of death is concussion and trauma to cranial nerves.(2) Tem ple (kasum i) : especially suture of cheek bone and frontal bone. Loss of consciousness is due to tra uma to cranial nerves resulting in loss of sensory and motor function.(3) O ircum orbital region (seidon): upper and lower parts of eye socket. Loss of consciousness results from cerebral trauma and resulting loss of nervous control. (4) E yeball (gansei). Loss of consciousness produced by severe trauma to cerebrum resulting in disruptive stimulation of cranial nerves and loss of sensory and motor funetion. (5) G labella (uto): the point at the base of the nose between the eyes. Loss of consciousness results from severe trauma to cerebrum leading to disruptive stimulation of cranial nerves and loss of sensory and motor funetion. (6) 240 T H E V IT A L PO IN T S Suture, interm axillary (jinchu): wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA juncture of left and right upper jawbones below nose. Loss of consciousness results from trauma to cranial nerves and loss of sensory and motor function.(7) Louier jaw , center (gekon): one-half inch below lower lip. Loss of consciousness results from trauma to cranial nerves and loss of sensory and motor function. (8) M andible, base (m ikazuki) : lower ridge of lower jaw; also the articulation below and in front of the ears. Loss of consciousness results from concussion and loss of nervous coordination. (9) (This is a vital point in karate, although it is not so considered by some schools of judo.) A blow to any of the vital points of the face causes tra uma to the cranial nerves resu1ting in loss of nervous coordination and consciousness as well as vascular shock. There are twelve cranial nerves, possessing sensory, motor or mixed function, as follows: olfactorius, opticus, oculomotoris, trochlearis, trigeminus, abducens, facialis, acousticus, glossopharyngeus, vagus, spinal accessorius, and hypoglossus. FRONT: M ID D LE SECTION N eck, side (m atsukaze): the length of the sternocleidomastoid muscle covered by the platysma. Cause of loss of consciousness is trauma to the carotid artery and the pneumogastric nerve leading to shock and to loss of sensory and motor function.( 10) Supraclavicular [ossa (m urasam e) : front portion of the throat on either side, just above the collar bone at the origin of the lateral head of the sternocleidomastoid muscle. Cause of loss of consciousness is trauma to the artery located below the collar bone and to the sublingual nerve, producing shock and loss of motor function. (Il) Suprasternal notch (hichu): the concavity on the ventral surface of the neck between the sternum below and the hyoid bone above. Cause of loss of consciousness is blocking of the windpipe. (12) Sternal angle (tanchu): just below the juncture of the manubrium and the sternum. Cause of loss of consciousness is trauma to the heart, bronchus, arteries supplying the upper part of the body, and the pulmonary artery, leading to malfunction of the respiratory system and shock. (13) X iphoid process (kyosen): lowest part of the sternum. Cause of loss of consciousness is severe tra uma to the liver, stomach and heart, leading to shock and to disturbance of the nervous system followed by loss of motor function. (14) Solar plexus (suigetsu): concavity just below the sternum. Loss of consciousness is caused by trauma to the stomach and liver, leading to damage to adjacent regions above and below and in turn to effects on the nerves that produce loss of function of internal organs. (15) P oint about one inch beloio the um bilicus (m yojo, tanden). Loss of consciousness is caused by trauma to the small intestine and bladder and in turn to the large T H E V IT A L PO IN T S 241 gfedcbaZYXWVUTSRQ blood vessels and nerves in the abdomen, producing shock and Ioss of motor function.(16)gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Subaxillary region (kyi5ei): fourth intercostal space. Loss of consciousness results from severe trauma to the lungs and associated of lung function and stoppage of breathing Reqion. below the nipples (ganka) : between side. Cause of loss of consciousness loss oflung function, it is severe trauma failure. (17) the fifth and sixth ribs on either is similar to that in the preceding stoppage ofbreath and circulatory A bdom en, hypochondriac reqion. (denki5): seventh loss of consciousness nerves, leading to loss and circulatory case, i.e., failure. (18) intercostal space. Cause of is different for the left and right sides. On the right side, to the liver, leading to loss of nervous function associated with the liver and lungs. On the left side, it is severe tra uma to the stomach and sp leen with effects on the heart and lungs, producing tion associated A bdom en, lum bar reqion. (inazum a) : eleventh of consciousness disruptive space. Cause of loss region.(20) to the vital points mentioned the chest and abdominal with intercostal is different for the left and right sides and is nearly the same as that for the hypochondriac Attacks loss of nervous func- with the heart and lungs.(19) up to this point, which are located in regions, all result in primary effects on the spinal trauma cord and sympathetic to internal nervous This in turn affects cranial nerves, leading to loss of consciousness shock and by loss of sensory and motor function breathing. located It is noteworthy in this and consequent connection that attacks in the head do not always lead to loss of breathing organs system. caused by stoppage to vital of points in spite of loss of sensory and motor function. between brachioradialis W rist, inside (uchi shakutaku): the fingers. An attack and artery, to this point produces leading to an unusual trauma and flexor muscles of to the underlying nerve type of pain affecting the chest and throat regions and causing loss of motor function and loss of consciousness. (21) H and, back (shuki5): especially points between thumb and index finger and between middle and ring fingers. Cause of loss of consciousness is shock to the median nerve leading to an unusual type of pain in the chest and throat regions that produces loss of motor function. Asimilar result is to be expected from striking any one of the bones located at the back of the hand. (22) FRONT: LOW ER SECTION Inguinal region (yaki5): inner region of the upper thigh; part of the musculature of the pubic bones. Cause of loss of consciousness is trauma to the under- lying artery and nerve, as well as to the cIosing nerve, causing an unusual of pain in the hip and abdomen that produces type loss of motor function.(23) Thigh, low er, lateral part (fukuto): middle part of lateral vastus muscle. Cause ofloss of consciousness is cramping of the musclein the thigh leading to pain in the lower abdomen and loss of motor function in the lego(24) M edial m alleolus (naike, uchikurubushi, 242 T H E V IT A L PO IN T S uchikurobushi): the point just below GFEDCBA the medial tuberosity of the tibia. Although this term usually indicates the lowest part of the shinbone, i.e., the inside surface of the ankle,gfedcbaZYXWVUTSRQPONMLKJIH uchikurobushi as used to identify a point of attack denotes a point on the medial surface of the tarsal bone just below the ankle. Cause of loss of consciousness is trauma to the tibial artery, causing an unusual type of pain in the hip area that leads to loss of motor function.(25) 1 nstep (kO ri) : medial portion of top of the foot. The point of attack is slightly to the inside of the medialline between the tendons of the big toe and the second toe. Cause of loss of consciousness is trauma to the nerve located in the inside portion of the sole, the tibial artery and the deep fibular nerve, causing an unusual type of pain in the leg, hip and abdomen and leading to loss of motor function. (26) F oot, top, laieral part (soin, kusagakure): just below the heads of the fourth and fifth metatarsals. Cause of loss of consciousness is similar to that in the preceding case.(27) F ibula, m iddle (kO kotsu, m ukozune). An attack to this point produces trauma to the fibular nerve, leading to severe pain and loss of upright posture. (28) 'I'estes (kinteki). Cause of loss of consciousness is trauma to the nerves and arteries of the testicles and groin, inducing the testicles to rise and in turn producing loss of motor function and inability to breathe. (29) BACK: UPPER SECTION O oncavity behind the ear (dokko) : between the mastoid process and the lower jaw. Cause of loss of consciousness is trauma to cranial ner ves and spinal cord, resulting in loss of sensory and motor function.(30) N eck, back (keichii) : third intervertebral space. Cause of loss of consciousness is severe trauma to cerebrum, cranial nerves and spinal cord, producing loss of sensory and motor function. (31) BACK: MIDDLE SECTION Scapular ridge, m iddle (hayauchi): the level of the third intercostal space. Cause of loss of consciousness is severe trauma to lungs and spinal cord, producing difficulty in breathing and blood circulation combined with loss of motor function. (32) Space betw een fifth and sixth thoracic oertebrae (kassatsu). Cause of loss of consciousness is trauma to the spinal cord, aorta, heart and lungs, leading to loss of sensory and motor function and in turn to stoppage of breathing. (33) Lum bar region (ushiro denkO ) : left and right sides of ninth and eleventh thoracic vertebrae. The two sides of the ninth thoracic vertebra are generally designated shakkatsu denkč, and it is said that pressing on these two points with the thumbs can relax a spasm. However, the two sides of the eleventh thoracic vertebra are more effective points for attack. Cause of loss of consciousness is severe tra uma to the kidneys and associated nerve and blood vessels leading in turn to shock and loss of motor function.(34) T H E V IT A L PO IN T S 243 wvutsrqponmlkjihgfedcb Spine, tip (bite1} wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Cause of loss of consciousness is trauma to the entire spinal cord, 1eading to cerebra1 trauma and loss of sensory and motor function. (35) U pper arm , dorsalsurface (w anjun): middle part between biceps and triceps. Cause of Ioss of consciousness is trauma to ulnar and median nerves and b100d vesse1s of upper arm, producing an unsua1 type or pain in the chest and neck and loss of motor function.(36) E lbow , lateral surface (chiikitsu, h~jizum e). Cause of loss of consciousness is trauma to the u1nar nerve producing an unusua1 type of pain in the chest and neck with loss of motor function. (37) W rist, dorsalsurface (sotoshakutaku): space between ends of radius and u1na. Cause of loss of consciousness is trauma to the median nerve and loss of motor function. (38) BACK: LOWER SECTION central portion of the back of the upper thigh just below the buttock. Cause of loss of consciousness is trauma to the sciatic nerve producing an unusual type of pain in the ab domen and hip regions and Ioss of motor function. (39) Soleus m uscle, low er part (kusanagi). Cause of loss of consciousness is trauma to tibial artery and tibial nerve, producing an unusua1 type of pain in the abdomina1 and hip regions 1eading in turn to loss of motor function.( 40)GFEDCBA G luteal fold (ushiro inazum a): 244 T H E VITAL POINTS CHAPTER 7 MAXIMS FOR THE TRAINEE Kčmoku-ten, the guardian of the west of the four Guardian Kings, symbolizes thegfedcbaZYXWVUTSRQPONMLKJIHGFEDC un of A -un. Ris expression is that of the spirit of power in reserve. Statue in dry olay. National Treasure. Tčdai-ji temple. CHAPTER 7GFEDCBA M A X IM S FO R TH E TR A IN EE The word gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA "bu" of buda (martial arts) is written with the Chinese character for "stop" within a character signifying two crossed halberds meaning to stop confiict. Since karate is a budč, this meaning should .be deeply considered, and the fists should not be used heedlessly. Youth is justice and vigor. Vigor is stimulated by bu (martial arts) and it overfiows into good or sometimes bad actions. Thus if Karate-do is followed correctly, it will polish the character, and one will uphold justice, but if used for evil purposes, it will corrupt society and be contrary to humanity. Force is used as a last resort where humanity and justice cannot prevail, but if the fist is used freely without consideration, then the user willlose the respect of others and be shabbily treated, while being censured for barbaric action. At any rate, the high-spirited youth in the prime oflife is prone to rash speech and action, so prudence is essential. One must have dignity without ferocity. Martial arts must bring one to this height. It will not do to act recklessly to no purpose and cause trouble for others. Masters and saints may appear as simpletons. Those who are pretentious declare to the world that they are just novice scholars or martial artists. To stand still is to regress; those who think that they have learned everything and become conceited braggarts proclaiming their own merits after learning the movements of some kata and acquiring dexterity in the ir physical movements are not fit to be considered as serious trainees in the martial arts. It is said that even a worm that is an inch long has a soul half an inch long; thus as one continues to gain skill in karate, one must become more careful with one's speech. Again, it is said that the higher the tree, the stronger the wind, but does not even the willow manage to withstand the wind? Similarly the trainee of Karate-do must consider good behavior and humbleness as the highest of virtues. Mencius said, "When Heaven is about to confer an important office up on a man, it first embitters his heart in its purpose ; it causes him to exert his bones and sinews; it makes his body suffer hunger ; it infiicts upon him want and poverty and confounds his undertakings. In this way it stimulates his will, steels his nature and thus makes him capable of accomplishing what he would otherwise be incapable of accomplishing." If introspection reveals the self to be unjust, then no matter how base the opponent may be, will I not be afraid? If introspection reveals the self to be just, then I will go even though against a thousand or ten thousand men. A gentleman should be gentIe and never be menacing; close, yet never forward; slay but never humiliate ; no sign of indecency is found in his abode; his M A X IM S FO R T H E T R A IN E E 247 nourishment is never heavy; even aminor mistake is corrected but there is no accusation. Thus is his strength of will. A gentleman must be broad-minded and strong willed. The responsibilities will be heavy, and the way is long. Make benevolence your lifelong duty. This surely is an important mission. It is a lifelong e:ffort,truly a long journey. An ordinary man will draw his sword when ridiculed and will fight risking his life, but he may not be called a courageous man. A truly great man is not disturbed even when suddenly confronted with an unexpected event or crisis, nor angered upon finding himself in situations not of his own making, and this is because he has a great heart and his aim is high. Eight important phrases of karate: The mind is the same with heaven and earth. The circulatory rhythm of the body is similar to the sun and the moon. The Law includes hardness and softness. Act in accordance with time and change. Techniques will occur when a void is found. M a requires advancing and retreating, separating and meeting. ThegfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA The eyes do not miss even the sIightest change. The ears listen well in all directions. Therefore 1 say: Know the enemy and know yourself; in a hundred battles you will never be in peril. When you are ignorant of the enemy but know yourself, your chances of winning or losing are equal. If ignorant both of your enemy and of yourself, you are certain in every battle to be in peril. For to win one hundred victories in one hundred battles is not the highest skill. To subdue the enemy without fighting is the highest skiIl. When birds of prey are attacking, they fiy in low without extending their wings. When wild beasts are about to attack, they crouch low with their ears close to their heads. Similarly, when a sage is about to act, he always appears sIightly duH. Lin Hung-nien says a stone with no water within it is hard. A natural magnet with no water within it is dense. If a body is hard within and dense without, how can it ever be penetrated! If a thing has an opening, then it will be filled. If a thing has an inch of cavity, then one inch of water will fill it.GFEDCBA 248 M A X IM S FO R T H E T R A IN E E = p wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA JII] ~ # ii 1& w;:aZYXWVUTSRQPONMLKJIHGFEDCBA lili ;ff w;: w;: ffl ~ ~ o -o v LKJIHGFEDCBA v ,lE t§ gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA tIiJi ~ ~ :E . E J)c J)c lit ~ o t::l t::l ;f§ ~1: v tE ~U 1f v v :!it = p v ~ fih AA fih &\ ~ ~ T ~ ~ ~ 1f ~ ffl ffl ~ ~ ffl 1H E * JII] ~"J v :E . ffl rr '* ' q:r r,.'" ±tQ v ffl fih "'R ~ t-r o -o t i ffl -o l) ( tf!i ti: f§ V * ** m V o T -o ~ -o -o ~ -o ~ -o o -o O fq ~ tJ.!: ~ ~ - ffl :tJ fih ~ ~ :E . tJ.!: w\ ~ {1f *ffi t~ 1- lI ? lJ v t::l ffl ij)t v Ef! ,lE -o o V :tJ ffl tli! * tf!i -o o ~ m fih {jIJ w;: v. iii! iIiW ij)t v fih iii! OO -o ~~ o AA ~ v 1& o ~U lil1 v f1J *q:r ~U -o ~~ V ~ ~ $. JEo fih :E . ~ t::l of* ffl *-lik -o ~ A OO ~ V ~ * w\ - ~ :E . er fJi!i {jIJ t,m ffl =p q:r ~ ij)t * -o -o o jj~ ~~ w;: ~ - ~ fih of* -o v ;]< ~ try =p -o re 3~ Z ~ o :!it ~~ ~~ ~ :!it ~ o x: v V $i ~ iii! :!it A IilIIJ -f- r.t fih ~ -o v ~ 11 -o F~ F -o m ~ =p v Z $. o tE Jj 1m ~ 1& w\ v ~ ll1J T !liZ *{-fu ~~ -o ii!! 1: -o ~~ v r: V r'S J ~ .R f1J ffl ~ ~ 1& v o ~ :E . t::l :!it - ffl :E . V o t::l tli! -o ;ff t§ ~ flt V V 1& ti "'R 11 V 1& o V .m ffl '['fi § ~ ~ -o - iho P IA ! -T- A !It $. J3to O .g 1f fi $. ~ ajJ *- - l) ( ~ t~ v ~ ~ ~ -o ~ A .EjV A rr iho -o ll'n . .!fi. ~ $. IlIR 1f *5t :it ij ~ ~ ~ v Z JII] * * ffff o - - .I:t iho ~ :t - 1f tE IDi JB 1: T ~ -o s: /F - v ljiJ 1t Z 7* -o i!it o V ~ =p 1: Z f!} -o ffl ~ iJ ~1iJl ~ ~ J.X ~ Ji v ~ JII] t*o Ao }lW{ ~ JII] ~ v $ -o 3<: j]! ~ F o~ N -o Z fL Z 5t fF JII] f1= Z !JG ki tp i! A or v v Z - ""'- T --'-JI- t~ JIW{ ~U .I:t ~ ~ a Z + ~ pfAI Z Ji v ~1iI F~ ~ ~ :fJJa v - il ~ V tj! o ,llL,. 1f snz ~JJ p.c.,- Bjf. :E . Jm v ~ -1 3 A er iho ffl v 1f * ** GFEDCBA or tE J1! 11 /F fI} ~ fL q:r re Z v ;et tIt 1* 3~ Ao OO ~~ 7k ~ter ~~ v 5t tj !It $. ~~ -o -"ti i'lti rl; ~ or v pj - v :ft. ~ q:r o v A /F v 1m or JII] V 1 was unable to locate the original source of the kam bun [poetry in the Chinese style] that appears above. Several experts consulted felt that as it appears here, it may be incomplete or incorrect. For these reasons, 1 prefer not to impose my private interpretation on these passages and risk the transmission of inaccurate thoughts. Thus, 1 have not translated these Chinese sentences. [Translator's note.] M A X IM S FO R T H E T R A IN E E 249 APPENDIX wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA HOW TO MAKE A MAKIW ARA STANDING MAKIW ARA In Karate-do, thegfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA m akiw ara (straw-padded striking post) is used mainly to develop the fists and feet. It is important to constantly develop the fists and feet through the use ofthe makiwara at the same time one is polishing the techniques by practicing the kata and matching (kumite). The makiwara is made with rice straw bundled first with a string to a shape of approximately fifteen and one half inches in length, four and one half inches in width and two and one half to four inches in thickness and then bound tightly with straw rope, as shown in the illustration below. The straw rope should be Makiwara Cover Hanging Makiwara Makiwara Post MAKIWARA 251 a as thick as possible, and it should be flattened and softened with a wooden mallet. The post should be about seven feet in length and four and one half inches square; about thirty-nine inches is buried in the ground, leaving about fortyfive inches above ground. The length above ground will naturally vary according to the height of the trainee. To prevent rotting of that portion that goes into the ground, it may be lightly charred or tar may be applied. The portion of the post that is above ground is cut diagonally so that the top will be about half an inch in thickness. This will add flexibility and prevent injury to the bone of the fist when punching. The makiwara should be fastened to the post slightly below the top, as shown in the illustration on the previous page. If space is not available for a makiwara, it may be posted off the veranda so that one may strike it while standing on the veranda. The straw used for the makiwara is vulnerable to moisture. In order to prote et it from rain, a wooden or metal cover similar to that illustrated on the previous page may be used as a hood. HANGING MAKIW ARA The hanging makiwara (as shown in the illustration on the previous page) is a bundle of straw eut about twenty-six inehes in length and tied in a bundle approximately thirteen inehes in diameter with hemp rope; then straw rope is wound all around it to make a makiwara of approximately twenty-five pound s total weight. It should be similar to the makiwara target that is used in Japanese archery (kyiidč). This makiwara is hung with hemp ropes that are tied near both ends at approximately chest level, and it is used for thrusting and kicking praetice. This type of practice is not limited to the exclusive use of a hanging makiwara. The makiwara is suggested simply because it can be made cheaply and easily; thus anything that can be made with some ingenuity, without too much cost, and with readily available materials will be suitable.aZYXWVUTSRQPONMLKJIHGF 252 A PPE N D IX G LO SSARY gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA chiidan kake-te, 22 N ote: wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Vowels in Japanese are pro- nounced approximately like the following English vowels except that they are short and clipped; a macron over avoweI indicates that it is pronounced for twice the length of the vowel without the macron :CBA a as in pa, i as in machine, u as in m oon, e as in set, o as in toe. Consonants are like those in English except that g is always hard, as in g o . A word has at least as many syllables as there are vowels in the word. chiidam . oi-zuke, chiidan 42 shnuč-uke, chU kitsu, 29, 31, 53 244 Daruma (Bodhidharma), 7 denkč, 242 do, 5, 11, 212 dokko, 243 double kick, see nidan-geri Egami, Shigeru, vii E kkin 7 K y5, Empi, 8, 9, 35, 36, 157; kata, 167; 202 ashiw aza, 23-26 em pi, 21, 66 Azato, 8, 12 back fist, see uraken Bassai, 8, 9, 35, 36; kata, 87; 105, 154 bitei, hooking, see kake-te lower level, see gedan barai opening, see kakiw ake pulling in, see hiki-te scooping, see sukui-uke striking, see uchi-te sweeping, see harai-te trapping, see kakae-te bO jitsu, 4 budč, 242 fukuto, 23, 25, 161 fum ikom i, ganka, 242 Gankaku, 8, 9, 35, 36, 41; kata, 177; 202 gansei, 240 227, 228 gekon, 19 22 241 Gusukuma, 8 gyaku-zuki, Chinese boxing, 3 Chinto, 35 cM ji-dachi, 18, 29, 30, 42 gedan barai, gedan kake-te, 5, 8, 247 byobudaoshi, 19-20 [u d č -d a c h i, 244 block, block, block, block, block, block, block, block, fist, flat, see hiraken fist, one finger, see ippon-ken fist, regular, see seiken fist-thrust, see tsuki hachiji-dachi, 18, 29, 30-31 18, 19-20 half facing, see hanm i G L O SSA R Y 253 Hangetsu, 8, 9, 35, 36; kata, 144; kakae-te, 22 157, 161 gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA kakegoe, 62 hanm i, 30, 43, 53, 81, 88 kake-te, 21, 22 harai-te, 21-22 kakiw ake, 22, 76 hayauchi, 243 kara (~), 3-4 Heian, 8, 39 Heian Godan, 9, 35; kata, 79; 96, 97, kara (~), 4 154, 160, 165, 178, 183 Heian Nidan, 9, 35; kata, 54; 71,72, 73, 106, UO Heian Sandan, 9, .35; kata, 62; 77, 79, 80, 115, 149 Heian Shodan, 9, 35; kata, 48; 54, 56, kassatsu, 243 kasum i, 240 kataw agurum a, katsu te, 211 keage, 23-24, 29 keichu, 243 kekom i, 23-24, 25, 29 57, 60, 61, 62, 78, 120, 122, 129, kem /po, 7 136, 144, 152, 154, 162, 166, 167, kendo, 3, 4, 12 168, 173, 178, 193 ki, 211-12 Heian Yodan, 9, 22, 35; kata, 71; 81, 107, 110, Ul, 193 227, 229 kiai, 45, 47, 50, 56, 75, 78, 177, 203, 213 heisoku-dachi, 19-20, 63, 64, 80, 87 kiba-dachi, 19-20, 24, 29, 36, 83 hente, 211 kick, back, see ushiro-geri kick, crescent moon, see m ikazuki- hichu, 241 hijizum e, 244 hiki-te, 21, 22 hiraken, 18, 21 Hironishi, Genshin, vii hiza-tsuchi, 23, 25 geri kick, kick, kick, kick, front, see m ae-geri roundhouse, see m aw ashi-geri side, see yoko-geri stamp-in, see fum ikom i kihon, 29 iai, 223, 235 kim e, 56 in, 212 kim ete, 203 inazum a, 242 in no te, 211 ki no te, 2U kinteki, 243 ippon-ken, 18, 21, 23 knee strike, see hiza-tsuchi ipponzuki, 19 kčkoteu, 243 Itosu, 8, 12, 240 kO kutsu-dachi, 19, 20, 31, 52, 53 Japanese fencing, see kendo kom anage, 227, 228 kčri, 243 jinchu, jintai 66, 241 kyiisho, 239 kosa-uke, 82 Kosugi, Hčan, 10 Jion, 8, 9, 35, 36; kata, 190 Jion-ji, 36 Jion, Saint, 36 kubiw a, 227, 229 jodan age-uke, 29, 31 Ku Shanku, 8, 36 kum ite, 9,29, 35, 37, 164 kusanagi, 244 kusugakure, 243 judo, 4, 12, 239 Kwankii, 8, 9, :35, 36; kata, 103; 165 jump kick, see tobi-geri Jutte, 8, 9, 35, 36; kata, 157; 190GFEDCBA172 254 G L O SSA R Y kyoei, wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 242 Pinan,35 ~yosen, 241 kyU do, 252 Lin Hung-nien, 248 punch, front, see oi-zuki punch, reverse, see gyaku-zuki R entan G oshin K arate-jitsu, viii, Il renzuki, 76, 112, 114, 149, 150, 152 m a, 220 returning M a, 248 R yukyu m ae-qeri, wave, see nam i-gaeshi K em po: K arate, viii, 11 23, 29 m akiw ara, 17, 38, 251-52 matching, see kum ite sakatsuchi, 227, 232 Sakugawa,8, m atsukaze, 241 sankaku tobi, 212 Matsumura, Satsuma elan, 7 8, 12 m aw ashi-geri, 23, 24 Meiji period, Mencius, 29, 222 9 seidon, 240 247 seiken, 17, 21 m e-te, 211 m ikazuki, sei, 211-12 sei no te, 211 241 m ikazuki-geri, 23, 25, 84 m izu-nagare, 80, 122, 126 59, 64, 77 m orote-uke, m orote-zuki, 76, 125 movement, m u lc č z u n e , line of, see em bu sen CBA 243 m urasam e, 241 Seishan, 35 sente, 48, 211 shakkatsu denkč, 243 shakutaku, 242 Shao-lin Temple (Shčrin-ji), shihon-nukite, 18 shihonzuki, Shishu, see Itosu 211 aZYXWVUTSRQPONMLKJIHGFEDCBA m yojo, 241 shi-te, nagew aza, 227 sn e Hashi, 7 Shčrei-ryii, 8, 9, 35, 36, 145 Shčrin-ji Kempo, 37, Naifanchi, 35 naike, 242 Shčrin-ryii, nam i-gaeshi, 23, 26 su e Tai, 10 naore, 217 shukO ,242 nekoashi-dachi, 19-20, 156 nidan-geri, 23, 25-26, 29, 179 19 nihonzuki, 7, 37 56, 65 nukite, 21, 53, 56 8, 9, 35, 36 Shuri Castle, 10 ehndč, 3, 19, 21, 23, 52 ehuič-barai, 206 shnuč-uke, 59, sčin, 243 Ogasawara school, 103 sojitsu, 4 O shim a N ote, The, 8 sokei, 164 oikom i, 218 sokuto, 55, 72, 186 oi-zuki, 29, 31 sotoshakutaku, Okinawa, spear hand, see nukite 3, 9, 10 Okinawa-te, osae-uke, 157 o-te, 211 3, 7 stance, 244 back, see kO kutsu-dachi stance, cat leg, see nekoashi-dachi stance, feet together, see heisoku-dachi GFEDCBA G L O SSA R Y 255 front,gfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA see zenkutsu-dachi tsuki-te, 213 horse riding, see kiba-dachi Tobe, 8 immovable, see fudo-dachi tobi-geri, 23, 25 natural, see hachiji-dachi Tomigusuku, 8 T, see eM ji-dachi tori-te, 235 suigetsu, 241 stance, stance, stance, stance, stance, sukui-uke, 21-22 sword hand, see shuto sword foot, see sokuto uehikom i, 89, 90, 207 uehikurubushi (uehikurobushi), uehi-te, 23 uehi-uke, 57, 80, 88 taehikata, 19-20 ude uke, 47 Taikyoku, 9, 37, 42 Taikyoku Nidan, 9, 35; kata, 47 Taikyoku Sandan, 9, 35; kata, 47 Taikyoku Shodan, 9, 35; kata, 42 tai no shinshuku, 84 tam chii, 241 tanden, 213, 241 taniotoshi, 227, 231 techniques, foot, see ashiw aza techniques, hand, see tew aza Tekki, 8, 36, 38, 39, 41 Tekki Nidan, 9, 35; kata, 129; 136, 143, 163, 189 Tekki Sandan, 9, 35; kata, 136 Tekki Shodan,'9, 35; kata, 120; 129, 133, 134, 136, 143" 195, 200 udew a, 227, 231-32 tendč, 240 Ten no Kata, 9, 35, 37 Ten no Kata Omote, 202 Ten no Kata Ura, 212 tenui, 240 tettsui, 17, 65 tew aza, 21-23 thrust, four finger, see shihonzuki thrust, one finger, see ipponzuki thrust, two finger, see nihonzuki tsubam egaeshi, 227, 230 tsuki, 17, 220 tsuki-te, 21 GFEDCBA 256 G L O SSA R Y uke-te, 21-23 uke-te, 213 uraken, 17,21,55,75 ushiro denkO , 243 ushiro-geri, 23-24 ushiro inazum a, 244 uto, 240 w aki kaqe, 221 244 Wanshu,35 w anjun, yakO , 242 yam agam ae, 146, 161 yam e, 43, 54 yaridam a, 227, 230 yasum e, 218 yin-yang, 103, 212 yo, 212 yoi, 30, 31, 42, 43, 54 yoko-geri, 23-24, 29, 221 yoko-geri keaqe, 221 yo no te, 211 yori-ashi, 70, 115, 149 zanshin, 218 zenkutsu-dachi, 19-20, 42, 43 242 90000 9 7 8 0 8 7 0 1 1 1 9 0 7 LKJIHGFEDCBA ISBN 0-87011-190-6 ISBN4-7700-0370-6 C2075 P5800E (in Japan)