Gen-Ki Karate

Sensei Zachary Bradley

T.Crooks
R.Crooks
A.Crooks 10107
Rules --------------------------------------------------------------------- 1
History of the Arts ---------------------------------------------------- 2-3
P hysical Aspeet -------------------------------------------------------- 4
Mental Aspeet -------------------------------------------------------- 5
Moral Aspect ---------------------------------------------------------- 6
Zen In Karate ---------------------------------------------------------- 7
Example of Promotion Exam --------------------------------------- 8
Time Requirements for Promotion ------------------------------- 9
Requirements for Obtaining Yellow Belt ------------------------ 10
Requirements for Obtaining Green Belt ------------------------- 11
Requirements for Obtaining Blue Belt --------------------------- 12
Requirements for Obtaining Purple Belt ------------------------ 13
rd
Requirements for Obtaining 3 degree Brown Belt ----------- 14
Requirements for Obtaining 2 nd degree Brown Belt ---------- 15
Requirements for Obtaining 1st degree Brown Belt ----------- 16
Requirements for Obtaining 1st degree Black Belt ------------ 17
T erminology ----------------------------------------------------------- 18-21
Vital Points of the Body --------------------------------------------- 22-23
Stretching Exercise ---------------------------':"----------------------- 24-26
Blocks ------------------------------------------------------------------- 27-29
Strikes ----------------------------------------------------------.,.------- 30-33
I(jcks --------------------------------------------------------------------- 34-35
Stances ------------------------------------------------------------------ 36-39
Self-defense Techniqu es --------------------------------------------- 40-42
Notes
No gum is allowed in the workout area.

No smoking is allowed in the dojo.

No profanity is allowed in the dojo.

A clean uniform must be worn at all times, with the proper patches displayed.
Permission must be given to display anything else on your uniform.

Always address the Head Instructor as "Sensei."

Respect will be given to all higher ranks, regardless of age,

since they also have worked hard to receive recognition.

Never leave class for a break, water, or an early dismissal, except with permission.

When arriving late for a class ask permission to enter.

Respect should be shown by "bowing" whenever entering or leaving the workout area
and when addressing the Sensei.

Always pay strict attention to the instructor and not to other distractions.

No jewelry may be wom in the workout area.

No one is allowed to use equipment (weights, punching bags, wall pulleys stretching
machines etc.) unless authorized by an instructor.

No sparring, breaking or use of weapons is allowed unless authorized.

Only approved uniforms, sparring equipment, etc will be allowed in the dojo.

All student equipment must be checked before it is used.

All sparring equipment and unif9rms must be purchased from our inventory to
maintain safety and uniformity.

Any outside activity that brings discredit to the dojo, Sensei, the art of Karate, or the student
(fighting, etc.) are sufficient reasons for dismissal.

Never lose your temper in the dojo, especially when practicing Kumite or self-defense.

Never lean on walls in the dojo or lay spread out on the floor. Students must stand, kneel or sit.

No horseplay is allowed in the dojo.

Never talk during class except to ask a question or to answer one.

Permission must be given to attend a tournament, seminar or other martial arts function.

1
 Taishi Daruma (Bhodi Dharma) introduced Zen. Sect. At the age of 130 he traveled from
India to China in an attempt to spread Buddhism. Few men, if any, have influenced Eastern
thought and culture to a greater extent than Taishi Daruma, an Indian Buddhist monk who
crossed the Himalayan mountains to Chien-K'ang, the capital of Liang province in China
around 500 A.D. There he instructed the Emperor Wu, who, despite his willingness to encour-
age the spread of Buddhism, was unable to fully comprehend the teachings. Daruma then
traveled to the country of Wei in North China, where he went into retreat at Shorinji, a temple,
to meditate and instruct for nine years. The monks were physically and mentally unfit to
endure the severity of the discipline imposed by Daruma for the purpose of bringing them to
satori (enlightenment). With the purpose of strengthening them to endure to the rigors of his
discipline he taught a system of exercises based on the Buddhist doctrine of inseparability of
mind and body, which soon earned for them the reputation of being the most formidable
fighters in China. ThUS, we have the Shorinjuryu system of defense as the foundation of
Chinese kampo. Presumably, Daruma brought the elements of this system with him from India.
Despite the great values of Shorinjuryu as a defensive system, this knowledge would have
died with Daruma. Dot Mar, a Chinese Indian Abbot of the Sil Lum Monastery in China,
spread Daruma's Science in the form of Mo Kempo and Gan Fu, which were early Chinese
forms of Karate. Chen Yuan Ping later introduced Chinese Kempa to Japan in 1644.

Another important contribution to Karate came from jiu-jitsu, which, in its most ancient form
probably came from the Indus Valley. It is known that jiu-jitsu was taught during the reign of
Fu-Hi, the first historical Chinese Emperor, in 2852 B.C. The Japanese invasion of Korea in
1652 introduced the Japanese to jiu-jilsu, which was readily accepted by the Samurai, as well
as other aspects of Chinese culture. Some forms of Martial Art similar to jiu-jitsiJ, existed in
Japan prior to this as indicated qy the Kohiki (Record of Ancient Matters) and the Nihon Skaki
(Chronicles of Japan) that were compiled about 800 A.D. During the Muromachi period (1392-
1573) Japanese jiu-jitsu developed markedly and came into full flower during the Edo period
(1615-1868) due in part to the frequent civil struggles, which occurred.

At the time of the Restoration of 1868, jiu-jitsu fell into disrepute along with other feudalistic
institutions. Professor Jigoro Kano, who was versed in the Tenshin Shin-Jo and Kito schools
of jiu-jitsu, devised modern or Kodekan Judo as a synthesis of the feudalistic systems in
which universality and systematized techniques were used.

We may now complete the final link in the history of Karate by tracing its development in
Okinawa. In 1400 the Sho dynasty consolidated its civil administration with the prohibition and

- 2
confiscation of all arms, leading to an interest in fighting with hands and feet. Fresh impetus
was given to this inclination when China replaced civil emissaries with military personnel,
some of whom were skilled in Chinese Kempo. This ancient art was well received by the
Okinawan's and absorbed into the native system of unarmed self-defense to become
Okinawa-Tao Interest was fanned in Okinawa-Te when a Kyushu Lord terminated the Sho
dynasty with. the capture of Okinawa and a fresh prohibition against weapons. It is not clear
whether the Satsuma Clan or the Shimazu Clan brought this about. The sources consulted on
this point are in conflict. At any rate, Okinawa-Te advanced tremendously as a result of such
oppressive measures. Due to fear of civil authorities, it was necessary to teach Okinawa-Te in
the utmost secrecy and it was not to see the light of day again until 1901. In the light of the
foregoing developments, let us now consider the advent of modern Karate.

Modern Karate, as we know it today, is of relatively recent origin and was systematized
from elements of Chinese Kempo, Hoppa Ken, Okinawa Te and Japanese jiu-jitsu by Master
Choke Motobu; circa 1917. Master Motobu often does not receive proper credit for his role as
the father of Modern Karate. This honor is sometimes accorded to Master Gichin Funakoshi,
whose most important contribution to Karate is probably the result of his having introduced
Karate to Japan through the auspices of the Ministry of Education around 1920.

At the turn of the century, Karate was still a secret art, taught only to a seled few, as it had
been for three hundred years before. In 1901, Master Ankoh ltus (teacher of Masters Mobotu
and Funakoshi) broke with this tradition by teaching Karate as part of the regular curriculum of
the Okinaqa Normal School. This action followed by Funakoshi's work in Japan has done
much to speed the dissemination of modern Karate knOWledge throughout the world.

Modern Karate may be considered to be Shorei and Goju styles in various proportions
possibly combined with elements of the ancient Gan-Fu or Kung-Fu (poison hand) techniques.
Shorei is a hard fist, low stance form relying principally on the upper body, and was developed
by Chojun Miyagi in Naka, Okinawa 1917. The Gojuryu style emphasized kicking and places
less reliance on the fists, permitting open hand styles of blocking which are conductive to
grabbing ones opponent. The latter development is the work of Gogen Yamaguchi, the father
of Gojuryu and a noted Karate Master in Japan.

The science of Karate in its development over the centuries has been long, arduous and
even in danger of being lost to mankind by suppression of indifference. It has nevertheless
persisted due to the devotion of its many students and masters, often in the face of the
greatest hardships. Karate, which clearly surpasses all other Martial Arts, must be consid-
ered, in its final form and spirit, an expression of man's indomitable will to survive adversity in
the most direct, self reliant manner possible, requiring only that which nature gave him-a mind
and body; rigorously disciplined as an inseparable entity.

3
 Let us consider this topic from a viewpoint other than that of a system of physical culture.
The foundation of Karate techniques can be described as a threefold subject of power, speed
and form. This discussion will concern itself with power, speed and form as they may
be explained in the light of the laws of physics.

Power results from a force exerted upon an object. Force may be simply stated as the
product 'of mass (such as a fist and the body weight that is behind it) and acceleration (change
of velocity) or FXMA. This immediately suggests two ways in which the power of a blow may be
increased. One way consists of throwing the body mass behind the fist starting from the hips
first, through the shoulders and arm and finally to the fist for a much greater increase in force
than one could hope for by merely "throwing a fist". Another way consists of the sudden tensing
of the body muscles at the moment of impact followed by instantaneous relaxation for the
devastating whiplash effect, which is the hallmark of a Karate blow. Anyone who has ever
played "Crack the Whip" on ice or roller skates is well aware of the rapid acceleration that
occurs under such conditions. This action occurs over such a short interval of space, it is
almost indistinguishable to the eye. In the case of a blow, its effect is readily discernable. This
result of sudden muscular tension may be further intensified by the action of the saika-tenden in
driving the breath down and out upon impact. A kiai, would of course, provide the ultimate in
shocking power by providing a degree of tension and relaxation which is not
possible by other means.

Newton's second law states, "For every action there is an equal and opposite reaction. In U

this case, still more force will result from the action of pulling back the non-striking or grabbing
hand at an even faster rate than the striking fist advances. A correct stance with feet firmly
planted, is a necessity, which is .also consistent with Newton's second law. In this case, the
feet, at the moment of impact are pressed against the floor with a specific force. It is evident,
by the principle just mentioned, that the floor presses against the feet with an equal and
opposite force, thus returning the shock of impact to the opponent.

We have now demonstrated that the mechanics of Karate are based on sound scientific
principals and may be applied to blows administered with any part of the body. The Ippon
Kumite Katas are designed to develop power through their continued practice.

Speed is more difficult to separate from psychological effects in that the mind (if we may
define it as a bundle of thoughts distinct from that, which is instinctive or reflexive) may impose
mental blocks and other impediments to maximum speed. The time required to perform a
particular technique may be brought to the irreducible minimum (a function of reaction time)
only by rigorously disciplining the mind and body to permit one to perform without the hindrance

4
imposed by mental states. At the physical level this is best accomplished by devotion to
the Tauza Naru Waza or continuous motion techniques.

Form contributes directly to power by providing a strong foundation for the actions
performed through correct stances as explained above. Form also contributes to speed in
providing a correct method of performing the techniques of Karate. This is best accomplished
by working Katas.

The discipline of the mind and strengthening of the will are two very important aspects of
Karate. The beginning Karate-ka first learns this discipline at the physical level where he finds
it impossible to assimilate the material fast enough and his strength and endurance fail under
the pace set by his instructors. In these first few weeks of confusion, sore muscles and some-
times near exhaustion, he faces the first test to retire gracefully. The excuses may include the
pretext of overtime, perhaps a sore back, or too much school work. Should he continue or just
not come anymore? To quit, is to lose a part of the self and it becomes easier to quit the next
time. To continue, is to prepare to meet greater difficulties and overcome them by the
strengthening of will and the disciplining of the conscious part of the mind, which offers
convenient ''ways-out."

At some later point the Karate-ka may SUddenly discover that through perseverance he has
gained some degree of ability in performing the techniques as well as the physical ability to
come through the lessons in good shape.

Still later on, the student may find himself in a new dilemma more serious than the first.
Despite a feeling of well being due to improved physical condition, the unique situation arises
in which the student realizes he is both tori and his own opponent.

Mastery of mind and body, since they are inseparable, may only be accomplished by long
and continued discipline. Much of this discipline may be found in studying the hard art of
Karate. To pursue this goal with the philosophy of Daruma, that is, to rise again after each
defeat is to rise victorious.

-5
 The Sho-Chiku-Bai or pine, bamboo and plum flower on the seal of Master Choke Motobu
may well be taken as symbolic of the moral side of Karate. The pine symbolizes sturdiness
and strength in its straight trunk and constancy and long life in its evergreen needles. In form,
Karate is an extremely violent art, but in its spirit it is non-violent. This seeming paradox may
be explained by the Karate student who prepares to inflict the utmost violence upon an
opponent.· In the final word, he is joined against doing so, except when forced to defend his life,
his family, or his country. Greater strength of character is often required to walk awrf from
unnecessary fights than would be the case if he accepted the challenge of every street
hoodlum who wanted to "try him out."

Conversely the Karate student would never issue a challenge to fight, no matter how angry
he may be. To strike the first blow would be to profane the spirit of Karate as exemplified by
the Ippon Kumite Katas, the Taezu Naru Wazas and the formal Katas, which always begin and
end with a block.

The bamboo personifies the ideals of resilience and purity by its graceful bending in the
wind before breaking. Here the Karate student is reminded what his motives are and that he
seeks no advantage over his fellow man, through the power of his art. He is also resiient in
that he does not break before adversity and though left with nothing but circumstances, his
bare hands will defend him against attack, by virtue of the self-reliance, which so richly endows
the spirit of Karate.

To the Japanese, the meanings of the plum trees are numerous. The bark represents old
age. The new blossoms are happ~ evidence of life springing forth like fresh hope. To Master
Motobu, it meant that everyone should love Karate. The implication of this brief stalement
imposes many obligations upon the individual Karate student, for it is through him that the
community will form its impressions of Karate and all other Karate students. Any aggressive
use of one's Karate or actions in ones life, which are less than honest, decent and forthright,
may bring about the downfall of Karate. In short, Karate carries with it, the obligation to be
above reproach. For three hundred years before Master Ankoh Itus, the Okinawa masters
selected their students only after the most intensive scrutiny due to the masters' secretnature
of Karate. So should the Karate-ka examine his character for faults.

-- 6
 It is almost impossible to explain Zen. It may be possible to explain it in Karate or even to
use Karate as a way to arrive at Zen.

Western man has been given to conceptual thinking. These are the fruits of this conscious
thought. This dualism must always be categorized as good or bad, rich or poor, etc. In the
case of a few western mystics, he has lost the original mind or intuitive realization. His ego
has swallowed him up so that he can perform few actions without considering all possible
factors involved. Ultimately, by the regressive effect of such an approach, he is hampered from
making any direct or spontaneous action. He must rely on an intellectual approach that weighs,
sorts, and chooses. He than finds that he has run into a brick wall and can go no further. To
overcome this limitation, by letting the original mind make the decisions on an intuitive basis, is
alarming. The reason is because he does not trust himself beyond his conscious thought. He
has never given himself to the meditation practiced by oriental philosophers and has missed a
viewpoint of himself that is quite different from an ego inspired approach. Let us consider how
this affects the Karate student. In Ji-Ju kumite, the Karate-Ka is faced with an opponent that
must always consider how he can best attack and how he will evade that thrust, block or
punch. In considering all these possibilities, besides watching for the opponent's first move, he
must be able to correctly interpret it, instead of becoming tense and unprepared to meet the
attack. When the attack comes and he blocks after the blow, he becomes frustrated. At the
next attack, he may simply freeze up, lost in decision and grow more confused with each
encounter or challenge.

Zen Viewpoint supplies the answer to this dilemma, which also explains the old proverb,
"Security in the shadow of danger." This is simply standing quietly, detached from opponent
and self, planning for nothing. The mind is cleared of thought and is like a mirror reflecting only
that, which is before it. In this manner, the mind and body are free to act in the most
spontaneous manner without the impedimentof ones mental state.

It is very difficult to stand calmly before an opponent with no thoughts flowing through the
mind and without trying to make advance decisions. HaVing the will to do so however, will be
rewarded by flashes of intuitive response. It does not matter whether the response is correct
by conventional standards. The end result of proper training will enable one to go on without
constant planning and revamping plans and yet be equal to whatever comes their way. The
very freedom of trusting one's self to react without worrying about reactions will remove any
mental block.
 1. School rules
2. History
3. Physical aspect
4. Mental aspect
5. Moral aspect
6. Zen
7. Stances
8. Kicks
9. Blocks
10. Strikes
11. Vital points
12. Terminology
13. Self-defense
14. Katas
15. Sparring
16. Class participation and attention
17. Character and attitude
18. Tournament participation

The instructor will grade the student according to this scale:

1. Well above average (90% - 100%)

2. Above average (85% - 90%)

3. Average (80% - 85%)

4. Below average (70% - 80%)

5. Failure (below 70%)

PLEASE NOTE: All tuition must be current and the promotion fee must be paid for,
before a student is allowed to test for rank.

8
 I v

AVERAGE MINIMUM HOURS

RANK ACTIVE TIME OF TEACHING

Yellow 2 months
(Shichikyu) 25 lessons

Green
(Rokkyu) 3 - 4 months

Blue 25 hours of teaching

(Gokyu) 5 -7 months white & yellow belts

Purple 25 hours of teaching

(Yankyu) 8 - 10 months white thru green belts

Third Brown 25 hours of teaching

(Sankyu) 11 - 13 months white thru blue belts

Second Brown 25 hours of teaching

(Nikyu) 14 - 16 months white thru purple belts

First Brown 25 hours of teaching

(lkkyu) 18 - 20 months white thru 3rd brown

First Black 25 hours of teaching

(Shodan) 19 - 24 months white thru 2nd brown

9
 YELLOW g£LT SHfQHfl<YLI
I. . BLOCKS: VIII. TERMINOLOGY
Jodan age uke High rising block Age Uke Rising Block
Chu dan uke Middle block Doja. Exercise Gym
Gedan barai uke Low sweeping block Dan High Grade Degree
,
, Ji-ju Kumite Free Style
Karate Empty Hand
II. STRIKES: Kyu Rank or lower class
Seiken Corkscrew punch Mate Wait
Shuto Knife hand Tori Attacker
Tettsui Hammer fist Sensei Teacher
Hanuchiken Extorted knuckles Kata Prearranged Form
Tate .Vertical fist
Mawashi Roundhouse punch
Ura zuki Uppercut

III. KICKS:
Mae geri Front snap kick
Mae kin geri Instep groin kick
Yoko geri Side kick
Ushiro geri Rear kick
Kangetsu geri Joint breaking

IV. SELF DEFENSE:

Three (3) defenses from a right punch
Two (2) defenses from a front collar grab
One (1) defense from a rear choke
"

V. SENSEI HISTORY

VI. .KATA',
Pinon #1.Chon~i:

VII. STANCES:
Heisuke-Dachi Feet together
Hachiji-Dachi Spreadout
Zen Kutsu-Dachi Lunge
Kiba-Dachi Straddle leg

10
 GREEN gELT - ROKKYLJ
I. FIRST HALF OF KARATE HISTORY. IX. TERMINOLOGY
Ashi Foot or Leg
II. BLOCKS: Atama Head
Tekubi-Uke Wrist Block Gyaku Reverse
Mae-Ude Forearm Block Goshi Hip
Shotei-Uke Palm Hand Block Gen-Ki Vigor. Energy
Geri Kick
III. STRIKES: Hiza Knee
Yoko Side
Riken Back Fist Mae Front
GyakuAuki Reverse Punch Ushiro Rear
Oi Zuki Lunge Punch
Kagi Zuki Hook Punch
Mae-Naru-Ken Snap Punch

IV. KICKS:
Mae Kekomi Front Thrust
Hiza Geri Knee Kick
Mae Shokuto Foot Edge

V. SELF-DEFENSE:
Three (3) Defenses from Left Punch
One (1) Overhead Club Attack
Use of Take Downs

VI. STANCES:
Fudo Dachi Feet Apart
Ko Kutsu Dachi Layout
Tsuru Dachi Crane '.

VII. TOURNAMENTS:
Participation in three (3)

VIII. KATAS:
Pinon #2
·Dan-Gun:

Plus a// requirements for the rank of Yel/ow Belt

11
 gLUE. J::£L1 - qOKYU
I. ALL OF THE KARATE HISTORY x. TERMINOLOGY
Hagime Begin
II. BLOCKS: - Karate Ka One interested in Karate
Ketuchi or Kakuta Bent Wrist Obi Belt
Haishu BankHand· Keage Side or knife
Nagashi Push Away Makiwara Striking board
Tettui Hammer Fist XeWaza Hand Techniques
Hiza Knee
III. STRIKES; Zen Concentration
Morole Zuki Double Punch Waza Technique
YamaZuki U Punch Kiai Yell
ShoteiZuki Palm Heel Solo Outside or outer
Empi Elbow Tatemi Straw Mat
Haishu Back Hand Taniswara Art cif Breaking hard object
Koko Shuto Tiger Mouth Rei To bow
Hara Stomach
IV. KICKS: Ippon Onepoint
Mae Fumi Komi Front Stomp
Yoko Keage Side EdgeSnap
YokoKekomi Side Thrust
Ushiro Kekomi Rear Thrust
Mawashi Geri Roundhouse

V. SELF DEFENSE:
Two-Man Attacks
All Club Attacks
One (1) Knife Attack

VI. ALL VITAL POINTS

VII. STANCES:-
Ko Neko Dachi Layout Cat
NekoDachi Formal Cat
Shiko Dachi Stand-up Squat

VIII. TOURNAMENTS:
Participation in three (3)

IX. KATAS:
Pinon #3 Do-San:

Plus all the requirements for the rank

of Yelfow Beft and Green Belt

12
 PURPLE EELT - YANKYU
I. BLOCKS: IX. TERMINOLOGY
Kage Uke Hook Block Atama Age Uke Head Rising Block
Keito Uke Chicken Head AtemiWaza Attack Vital Points
KakiWake Wedge Block Barai Uki Waza Blocking Technique
Ju Ji Uke X-Block Chudan Barai Uki Middle Block Defense
Shuto Uke Chop Block Chikara Strength
Fudi Dachi Preparation Position
II. STRIKES: Fumi Komi Stomp
Oni Ken Zuki Extended Middle Knuckle Gedan Barai Low Defense
Ippon Ken Zuki One Knuckle Thrust Hidari Left
Kumade Uchi Bear Hand Iku Let's Go
Seiryuto Uchi Ox Jaw 0 Major
Oye Yubi Thumb Punch Oi-Zuki Lunge Punch
Urs Shuto Thumb Edge Osu Push
Nukite Finger Thrust Morote Two Hands

III. KICKS:
Kagi Geri Hook Kick
Mikazuki Geri Crescent Kick
Haku Geri Sweep Away
Kagato Geri Heel Kick

IV. SELF DEFENSE:

4-Man Attacks
2-Man Attack with Clubs
Self Defense from Sit down Position

V. STANCES:
Sanchin Dachi Hourglass
Hangetsu Dachi Wide Hour Glass
Sochin Dachi Diagonal
Mae Cherokyu Leaping stance

VI. TOURNAMENTS:
Participation in three (3) tournaments

VII. KATAS:
Pinon#4 .
Nekobuto #1 Won-Byo:

Plus the requirements for the rank of Yellow Belt, Green Belt and Blue Belt.

13
 3~ gROWN EELT - SANKYLI
I. BLOCKS:
Seiken Uke Fist Block
Geri-Uke Mikazuke Kick Block
Tsu-Kami-Uki Grabbing Block

II. STRIKES:
Ippon Nukite One Finger
Nihon Nukite Two Fingers
Nishi-Ken Split Fingers

III. KICKS:
Mae Tobi Geri Forward Flying
Yoko Tobi Geri Side Flying

N. . KATAS: V. HISTORY:
Pinon #5 Physical Aspect
Saifa Yul-Gok: Mental Aspect

VI. TOURNAMENTS:
Participation in three (3) tournaments

VII. SELF DEFENSE:

Techniques Against
Two Club Attacks at the same time
4-6 Man Attacks

VIII. TERMINOLOGY:
Goju Japanese Karate Style
Hanutchiken Extended Knuckles
Empiuke Elbow Defense
Ippon Nukite One Finger Thrust
Isshin Ryu Okinawa Karate Style
JiKan Time
Ji Do Kuan Korean Karate Association
NanpaKen India & Okinawa Hand Techniques
Nishi Ken Split Finger
NageWaza Throwing Techniques
Okinawate Okinawa Karate
Osu. Push

Plus the requirements for the rank of Yellow, Green, Blue & Purple Belt.

. 14
 2-Nl EROWN EfLT - NflNU
I. BLOCKS:
All

II. STRIKES:
Ka Kuto Keutchi Bent Wrist
Keito Ken Chicken Head
Mae UdeKen Forearm Punch
OkinawaTe Okinawa Hand
HuChao Tiger Claw

III. KICKS:
Mawashi Tobi Geri Roundhouse Flying Kick
(plus other combination kicks)

IV. KATAS:
See Sensei Joan-Gun:

V. HISTORY:
Moral Aspect
Zen in Karate

VI. SELF DEFENSE:

All punches, grabs & weapons

VII. TERMINOLOGY:
Kangetsu Joint Kicking
MaeUde Forearm
Mae Atama Front of Head
Mae UdeUke Foreami Defense Block
Maiita Surrender
Montel Pupil
MudanSha Dan Holder
Muken Fa Chinese Karate Style
Mune Chest
Moo DukKwan Korean Karate Association

VIII. TOURNAMENTS:
Participation in three (3) tournaments

Plus all the reqUirements for the rank of Yel1ow, Green, Blue, Purple and Third brown Belt.

15
 1,a 'CROWN 'CELT - fKfNLI
J. BLOCKS:
All

II. STRIKES:
All

III. KICKS:
All

IV: . KATAS:
Nonfunchin Toi~ye:

V: HISTORY:
All History
All Aspects

VI. TOURNAMENTS:
Participation in three (3) tournaments

VII. TERMINOLOGY:
Tong (or Kong) Su Do Korean Karate Style
Tae KwonDo Korean Karate Style
Taezu Naru Waza Continuous Arm Movements
Ukemi Art of Falling
Ura Uchi Ken Back Fist
UraAtama Back of Head
Uye Up
Wado Japanese Okinawa Karate Style
Yuku Proceed
Yudan Sha Black Belt Holder
Yubi Fingers
SiakaArden Lower Abdomen
Shita Hara Lower Stomach
Shin Tai Uke Body Defense
Shaolin Chinese Karate Style
Shito Japanese Karate Style
Shial Contest
Shoringi Daruma Karate Style
Tode Chinese Kempa
Kao Face

Plus all the requirements for Yellow, Green, Blue, Purple, Third Brown and Second Brown Belt.

16
I. TIME:
Minimum of 19 to 24 months

II. BLOCKS:
All

III. STANCES:
All

IV. STRIKES:
All

V. KICKS:
All

VI. KATAS:
All Hwa-Rang:

VII. HISTORY:
All

VIII. TERMINOLOGY:
All

IX. SELF DEFENSE:

Every possible situation (at least 100 different self defense techniques)

X. TOURNAMENTS:
Participation in at least fifteen (15) toumaments

XI. In order to achieve the rank of Shodan, you must receive a majority of the
votes from the Black Belts judging you.

The student must be able to work the required number of formal katas as required by the
instructor and the Promotion Board. The student must be able to work allippon Kumite Kata
Waza and all blocking, chopping, punching and all Karate movement techniques.
Belt rank shall be awarded depending on hours of Karate practice, number of formal Katas
worked, Ippon Kumite Kata worked and Ji ju Kumite ability. See instructor for further information

17
 age uke rising block
ashi foot or leg
atama head
atama age uke head rising block
atemi waza attack vital points
barai uke waza blocking techniques
chi ~ara strength
chudan bari uke middle block defense
chudan uke middle defense
chugaeri forward somersault
dan high grade degree
dojo exercise gym
fudo dachi
fumi komi
gedan bari
gedan uke
Gen-Ki
preparation position
stamp
low block
low defense
vigor, energy or vitality
o
geri kick
goju Japanese Karate style
goshi
gyaku
hachi ju dachi
hagime
hip
reverse
spreadout position
start
o
I:
ha-nutchi-ken extended knuckles
hara stomach
hi dari left
hi ji ate elbow
hiza
hiza tsui geri
hon ken
hoppa ken
iku
knee
knee hammer kick
four wrist-fist
mongolian & manchukuo foot defense
let's go
--
impi uke elbow defense
ippon one point
ippon kumite kata pre arranged techniques
ippon nuki te one finger thrust
ippon tekubi uke one wrist defense
ishi ken extended index finger
Isshin ryu Okinawa Karate style
Ji do Kwan Korean Karate Association

18
ji jU kumite free style contest
ji kan time
jodan age uke high rising block
jodan bari high movement
jodan uke high defense
ka gato geri heel kick
kachi win
kaeshi counter
kagato heel
kanojono her
kanset su joint kicking
kao face
karate
karate ka
karewa
kata
ke utchi
empty hand
people interested in karate
he
pre arranged form
front wrist
o
keage side or knife
kenpo fist law
kiai
kiba dachi
kibon kumite
kin geri
yell
straddle position
basic spinning
arch foot kick
o
I:
kokutsu dachi layout position
kong su do or (tong so do Korean Karate style
kyu rank or lower class
mae front
maeatama
mae geri
mae tobi geri
mae ude
mae udeuke
front of head
forward kick
flying jump kick
forearm
forearm defense block
--
maitta surrender
makiwara striking board
mate wait
mawashi uke round defense movement
mi gi right
montei disciple or pupil
Moo DukKwan Korean Karate Association
Morote two hands
morote zuke two hand punch
mudan sha Dan holder
Muken fo Chinese Karate style
mune chest·
nagewaza throwing techniques
nakadate-ippon-ken middle
nanpa ken India & Okinawa hand techniques
mawashi geri roundhouse kick
neko-ashi dachi cat position
nishi ken split fingers
nuki te edge of fingers
o major
obi belt
oi zuki lunge punch
Okinawa te
oni ken
osu
rei
ren l'hu
Okinawa Karate
extended knuckle
push
to bow
practice
o
riken uchi back of fist strike
rit su rei standin·g bow
sanchin dachi
sei ken
seikenzuki
seir yuto
hour glass position
normal fist
fist thrust
ox jaw shute
o
I:
Sensei teacher
Shi han head teacher/high degree
shiai contest
shiai jo contest area
shidodachi
shim pan
shime
shin sa
shin tai uke
standup position
referee
choke
examination or to judge
body defense
--
shita down
shita hara lower abdomen
Shito Japanese Karate style
Shoalin Chinese Karate style
Shorei Japanese Karate style
Shorin gi Daruma Karate style
shatei palm of hand
Shate kan Japanese Karate style
shuto edge of hand
siaka tanden lower abdomen
 sokuto geri side knife kick
sana mama do not move
soto outer or outside
soto tekubi uke outside wrist block
soto uke outside defense blocks
taezu naru waza continuous anm movements
tai kwon do Korean Karate style
tanago koro tsuki
taniswara
tatami
heel of hand thrust
the art of breaking hard objects
Japanese straw mat
.!
I

tewaza hand technique

tega18 na hand sword
tekubi
tekubi uchi
tettui
tode
toma ru
wrist
inside wrist
edge of fist
Chinese kempo
stop or halt
o
tori attacker
tosshin uke rush or rushing defense
tsuki
tsuki waza
uchi
uchiuke
thrust
punching thrusting techniques
inner or inside
inside defense
o
I:
uke or uki defense or defender
ukemi the art of falling
ura atama back of head
ura uchi ken back of fist
urs shute
ushiro geri
uye
wado
waza
thumb edge
backward kick
up
Japanese Okinawa Karate style
technique or tricks
--
yoko side
yoko geri side kick
yubi fingers
yudan sha holder of dan grade black belt degree
yuku proceed or to go
za rei to bow
zen concentration
zukiwaza punching techniques

21
 I VITAL POINTS of the Bod '

Top of Head Temple

Ear Eye

Nasal Bone Nasion

Side Of Neck Jaw

Clavicle ~ Philtrum
)
Adam's Apple Chin
'\ (
(
Sternum Wind Pipe

Solar Plexu Armpit

Inner Wrist Costal Area

Back Of Han . Floating Ribs

Knee loin Abdomen

Inste Groin

Shin
 VITAL POINTS of the Bod :
I

Base of Cerebellium Master Process

Kidney
:-:~:>.:, __---- Top of Spine

Lumbar Upper Back

Elbow Joint / Lower Back

Hollow of Kne Sacral Area

Achille's Heel Coccyx

Bottom of
\ l Foot

23
24 ..
 ~~~@J

.~ ~ ~~~

25
26
 1. Jodan-Age-Uke High Rising Block

2. Chudan-Uke Middle

3. Gedan-Uke Low

4. Tekubi-Uke Wrist Block

5. Mae-Ude Forearm Block

6. Shotei-Uke Palm of Hand Block

7. Ketuchi or Kakuta Bend Wrist Block

8. Hai-shu Back Hand Block

9. Tet-tsue-Uke Edge of Frist Block

10. Nagashi Punch Away Block

11. Kagi-Uke Hook Block

12. Keito-Uke Chicken Head Block

13. Kaki-Wake Wedge Block. hands in front face

14. Juji-Uke X Block 1-2-3

15. Tsu-Kami-Uke Graping Block

16. Geri-Uke Mikazuke Kick Blocking

17. Empi-Uke Elbow Block

18. Shuto-Uke Chop Block

19. Seiken-Uke Fist Block

. 27
 BLOCKS • (+) (lliJ!)¢l;!tl Oi) • UKE

IODAN-AGE-UKE
(high rising block)

CHUDAN-UKE
(middle block)

GEDAN-UKE
(low block)

MAE-UDE TEKUBI-UKE
(forearm block) (wrist block)

KEUTCHI OR KAKUTO
(bend wrist block)
SHOTEI-UKE
(palm of hand block) HAl-SHU
(back hand block)

NAGASHI
TET-TSUE-UKE
. (punch away block) KAGI-UKE
(edge of fist block)
Ih,.,,,~ hl"r~\
BLOCKS • (+) ~ (;I;ft). • UKE

KEITO-UKE
(chicken head block)
KAKI-WAKE
(wedge block hands in front face)

/UJI-UKE T5U-KAMI-UKE
(X block 1-2-3) (graping block)

GERI-UKE MIKAZUKE SHUTO-UKE

(kick blocking) (chop block)

29 -
Te-Waza Hand Technique Seiken-Zuki Corkscrew Fist Punch

Ya Yubi Thumb Punch Gyaku-Zuki Reverse Punch

Urs- Shuto Thumb Edge Oi-Zuki Lunge Punch

Empi Elbow Mawasi-Zuki Round House Punch

Nukite Finger Thrust Kagi-Zuki Hook Punch

Ippon Nukite 1 Finger Ura-Zuki Upper Cut Punch

NihonNukite 2 Fingers Mae-Naru-Ke Snap. Front Punch

Nishi-Ken Split Finger Morote-Zuki Double Punch

KaKuto-Keutchi Bent Wrist Yama-Zuki U-Punch

Keito-Ken Chicken Head Tate-Zuki Vertical Punch

Mae Ude Ken Forearm Punch Riken-Zuki Back Fist Punch

Okinawa-Te Okinawa Hand She-Tei-Zuki Palm Heel Punch

Ha-Nutchi-Ken-Zuki Extended Knuckles Haishu Back Hand

Oni-Ken-Zuki Extended Middle Knuckle Tetisue Hammer Fist

Hu Chao Tiger Claw Ippon-Ken-Zuki One Knuckle Fist

Kumade-Uchi

Seriyuto-Uchi

Koko-Shuto
Bear Hand

Ox Jaw Strike

Tiger Mouth
...
Shuto Knife Hand Chop

:I
....
.30
...-.
 -·"Z';"

RIKEN-ZUKI
(back fISt punch)

i~~
HAN-UTCHI-KEN-ZUKI .
(extended knuckles)
SHO-TEI-ZUKI
(palm heel punch)

ONi-KEN-ZUKI
(extended middle knuckle)

IPPON-KEN-ZUKI
(one knuckle fist) KUMADE-UCHI
(bear hand)

SERlYUTO-UCHI
(ox jaw strike)
/
7 SHUTO (knife hand chopl
 \,
",-----

MAKINGA FIST

SEIKEN-ZUKI
(back fist punch) GYAKU-ZUKI Ol-ZUKI
(back fist punch) (lunge punch)

MAWASHI-ZUKI KAGI-ZUKI URA-ZUKI

(round house punch) (hook punch) (upper cut punch)

YAMA-ZUKI
(U punch) TATE-ZUKI
MOROTO-ZUKI (vertical punch)
32
(double Dunchl
 STRIKES • ~ ilID fA~ ttl ~ffi~) • ZUKI

EMPI NIHON NUKITE

(elbo~w) _ _ (2 fingers)

NUKITE
(finger thrust)

~
./"-
/ I \
,I )_. :\ \

J J ~~

KA-KUTO-KEUTCHI .
(bent wrist) KEITO-KEN HAISHU
(chicken head) (back hand)

TET-TSUE
(hammer fist)
33 H_ .
Geri-Waza Kick-Technique . Foot

1. Mae-Geri Forward Snap Kick Ball

2. Mae-Kekomi Straight-Thrust Heel

3. Mae-Shokuto Foot Edge Snap Edge

4. Mae-Ken-Geri Instep-Groin Instep

5. Mae-Fumi-Komi Stomping Kick Heel

6. Yoko-Kaege Side Snap Kick Edge

7. Yoko-Geri Side Snap Kick Ball

8. Yoko-Kekomi Side Thrust Heel

9. Ushiro-Geri Back Snap Kick Heel

10. Ushiro-Kekomi Back Thrust Heel

11. Hiza-Geri Knee-Kick Knee

12. Mawashi-Geri Round House Ball or Instep

13. Kagi-Geri Hook Kick Ball or Instep

14. Mikazuke-Geri Crescent Kick Sole

15. Haku-Geri Sweep Away SOle _ _

16. Kangetsu-Geri

17. Kagato-Geri
Joint Kick

Heel Kick
Edge

Heel
III
18. Mae-Tobi-Geri ForwardFlying ~I_.
19. YoKo-Tobi-Geri Side Flying Edge

20. Mawashi-Tobi-Geri RoundHouse Flying Ball

34
 - - - - - - - . _ - _.. _--~.

MAE-GERJ MAE-KEKOMI
(forward snap kick) (straight thrust)
MAE-FUM/-KOMI
(stomping kick)

MAE-KEN-GERJ YOKO-KAEGE YOKO-KEKOMI

(instep groin) (side snap kick. edge) (side thrust)

USHIRO-KEKOMI MAWASHI-GERJ
(back thrust) HIZA-GERJ (round house)
(knee kick)

MIKA-ZUKE-GERI KAN-GET-SU-GERI KAGATO-GERI

(crescent kick) (joi nt kick) (heel kick)

- -35 _...._--
 1. Hei-suki-dachi Feet together or formal attention

2. Fudo-dachi Feet apart, heels together or formal attention

3. Hachyi-dachi Spread out or get ready

4. Zen-kutsu-dachi Lunge or forward fighting

5. Ko kutsu-dachi Layout or wide back stance

6. Ko-neko-dachi Layout cat or narrow back stance

7. Neko-dachi Formal cat or get ready to kick

8. Tsuru-dachi Crane stance

9. San-chin-dachi Hour glass narrow

10. Han-getsu-dachi Hour glass wide

11. Sochin-dachi Diagonal stance

12. Kiba-dachi Straddle leg or side fighting

13. Shiko-dachi Standup squat or duck feet

14. Mae-chero-kyu Cross step

- 36
 STANCES • ~ (±) IS) t*ro • DACHI

I
I I
I

D
I
I
, ,- I
I

, I
I
I
I

I
HEI-SUKI-DACHI FUDO-DACHI HACHYI-DACHI
(feet together) (feet apart. heels together) (get ready)

center of gravi~

plumb line
•
ZEN-KUTSU-DACHI from center
(forward fighting)

37
 STANCES • m)(±)(8)Ctltl • DACHI .

plumb line from

center of knee

center of gravio/

KO-KUTSU-DACHI
(wide back stance)

i\ heel is raised
I
I
I,)

KO-NEKO-DACHI
(narrow back stance)

TSURU-DACHI (crane stance)

 STANCES • «mttl(8)~fO • DACHI

center of graviry

plumb line from /}

center of knee U
plumb line from
center of knee

SAN-CH IN-DACHI
(narrow hour glass)

cl ~ ,~t:OfJ- q.. __ce_n~ i~ :~_·9'

for front stance advance foot to this point SHIKO-DACH I
__ .j\)
HAN-GET-SU-DACHI (standup sQuat)
(wide hour glass)

plumb line from

center of left knee
center of
gravi9'

p,"",b t;~ from £

center of right knee
K1BA-DACHI
(riding stance)
- 39 - _.-" ---~~,~....--"
 1. Left pigh-rise block - right and left punches

2. Middle block - right and left punches

3. Low block - right and left punches

4. Left high rise block - right foot kick, right vertical fist to ribs

5. Middle block - right foot kick hook, punch to chin

6. Straight power kick to stomach

7. Spin halfface, rear mule kick

8. Drop on right knee - two punches to groin

9. Leap to side, right snap kick to ribs, two punches to face

10. Same as #9 only attack with right hand

11. Collar grab - elbow to solar plexis

12. Collar grab - right punch to face or upper cut

13. Collar grab - right power kick to stomach

14. Collar grab - both hands open to ears

15. Collar grab - knee to groin

16. Back grab - power stomp to instep and shin

17. Back grab - grab to groin

18. Back grab - back of head to attackers head

19. Back grab - elbow to stomach

20. Back grab - both knuckles to temples u

It
21. Throat grab - right hand break and shuto to neck

22. Inside wedge block - knee to groin, both fists to head

--
23. Throat grab - both elbows to arms, fist to face

24. Throat grab - prayer hands straight up

25. Throat grab - outside blocks to aflJ1s, double palm heel to face
.:to
 ~~~~
- - - - -........- Upper Block to Front Kick (relatively far apart)

r
Upper Block to Front Kick (relatively far apart)

Wrist-book Block to Palm-heel Strike

----_r_ (slightly closer than ordinary distance)

----_r_ Wrist-book Block to Palm-heel Strike with blocking arm (close range)

41
 --.........
Block from inside outward Downward block to Block from outside inward with
to Punch (ordinary distance) Kick (slightly apart) bottom of wrist to Back-fist Strike
(slightly closer than ordinary distance.)
- - - - - - . Circular Sole Block to Side Thrust Kick (apart than ordinary distance)

X-block against head

attack to Front Kick
(relatively far apart)
 Ne:t4:
This book belongs to: _

Dale Started: I_ _~/ _ Current Age: _

Date of Promotions:
 N~:

Name & Date of Tournaments Entered:

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