Lawrence Kane Goju KarateNotes

Goju Ryu Karate / Matayoshi Kobudo Notes

L. A. Kane Page 1 of 107 Karate Notes.doc

Introduction This document is revised and/or updated frequently as I learn new things or get a better understanding of materials that I have already been taught. Although I have done quite a bit of research, I am most certainly not an expert on any of the data contained herein. With Sensei Wilders permission this information may be shared with fellow students without charge or compensation beyond reimbursement for the cost of photocopies. These notes were compiled from a variety of different sources, including: Kris Wilder Senseis Karate classes Kris Wilder Senseis West Seattle Dojo Handbook Scott Schweizer Senseis Karate and Kobudo instruction Devin Rider Senseis Karate instruction Franco Sanguinetti Senseis web site (www.bushikan.com) The Goju Ryu Karate Do web site (www.gojuryu.net) The Kenshinkan web site (www.kenshinkan.cl) In the Gravest Extreme by Massad Ayoob, Police Bookshelf, 1980 Okinawan Goju Ryu by Seikichi Toguchi, Black Belt Communications, 1979 Okinawan Goju Ryu II by Seikichi Toguchi, Ohara Publications, 2001 Pressure Point Fighting by Professor Rick Clark, Tuttle Publishing, 2001 The Judo Textbook by Dr. Hayward Nishioka, Ohara Publications, 1979 The Truth About Self-Protection by Massad Ayoob, Bantom Books, 1983 Legal research from Bruce Ritzen, Attorney at Law My own understanding and interpretation based on all of the above Disclaimer This document covers topics that I do not fully understand and includes some Kata (pulled from the Internet) that I have not yet learned. Consequently there may be errors and/or omissions of which I remain unaware. I continually strive to ensure that all information is complete and accurate, and welcome feedback where it is not. Nothing in this document constitutes a legal opinion nor should any of its contents be treated as such. My liability for this information is strictly limited to what you paid me to receive it. Organization These notes are organized into four main sections: (1) Karate history and technique, (2) Kobudo history and technique, (3) Supplemental Information (primarily discussing legal issues of self-defense, medical triage, and the aftermath of violence), and (4) Rank/Grading Information. A complete table of contents follows on pages 2 through 5. Version These notes were most recently updated on April 16th, 2003.

Lawrence



Table of Contents Section 1 Goju Ryu Karate ..............................................................................................................6 1.0 History/Background...................................................................................................................6

1.1 Origin ...................................................................................................................................6 1.2 Chinese Kung-Fu ..................................................................................................................6 1.3 History of Okinawan Martial Arts.............................................................................................6 1.4 Kanryo Higaonna Sensei (Naha-Te) .......................................................................................7 1.5 Chojun Miyagi Sensei (Goju Ryu) ...........................................................................................8 1.6 Bubishi Poem Eight Precepts of Kempo ...............................................................................9

2.0 Fundamental Themes of Goju Ryu Karate................................................................................10 2.1 Strategy ..............................................................................................................................10

2.1.1 Rules ........................................................................................................................10 2.2 Tactics................................................................................................................................10

2.2.1 Forms of Fighting ......................................................................................................10 2.2.2 Forms of Compliance.................................................................................................10

3.0 West Seattle Karate Academy - Dojo Rules ..............................................................................11 4.0 Reishiki (Etiquette)..................................................................................................................12

4.1 Introduction .........................................................................................................................12 4.2 Respect the Traditions of the Art...........................................................................................12 4.3 Respect the Dojo (school) ....................................................................................................12 4.4 Respect the Instructor(s)......................................................................................................12 4.5 Respect the Other Students .................................................................................................12 4.6 Respect Yourself.................................................................................................................13

5.0 Opening / Closing Ceremonies ................................................................................................14 5.1 Opening Ceremony .............................................................................................................14 5.2 Closing Ceremony ...............................................................................................................14

6.0 Dojo Kun (precepts or virtues) .................................................................................................15 6.1 Introduction .........................................................................................................................15 6.2 West Seattle Karate Academy Dojo Kun ...............................................................................15

7.0 Daruma (warm-up exercises)...................................................................................................16 7.1 Warm-up.............................................................................................................................16 7.2 Stretch Joints ......................................................................................................................16 7.3 Stretch Tendons ..................................................................................................................16 7.4 Build Muscles ......................................................................................................................16

8.0 Karate Terminology.................................................................................................................17 8.1 General Terminology ...........................................................................................................17 8.2 Counting .............................................................................................................................18 8.3 Supplementary Exercises Equipment (Hojo Undo) ..............................................................18 8.4 Moving / Shifting Techniques (Tae Sabaki Waza) ..................................................................18 8.5 Stances (Tachi Waza)..........................................................................................................19 8.6 Blocking / Receiving Techniques (Uke Waza)........................................................................21 8.7 Hand Techniques (Te Waza)................................................................................................22

8.7.1 Te Waza Dai Ichi .......................................................................................................23 8.8 Foot Techniques (Ashi Waza) ..............................................................................................24

8.8.1 Ashi Waza Dai Ichi ....................................................................................................24 8.8.2 Sensei Schweizers Ground Fighting Exercise.............................................................24

8.9 Sparring Terminology (Kumite).............................................................................................25 9.0 Break-Fall Techniques (Ukemi Waza) ......................................................................................26

9.1 Front Falls...........................................................................................................................26 9.2 Back Falls...........................................................................................................................26 9.3 Side Falls............................................................................................................................26 9.4 Rolling Falls ........................................................................................................................26

10.0 Strangling / Choking Techniques (Shime Waza) ....................................................................28 10.1 Introduction .....................................................................................................................28 10.2 Techniques ......................................................................................................................28

11.0 Joint Locking Techniques (Kansetsu Waza) ..........................................................................30



11.1 Introduction .....................................................................................................................30 11.2 Techniques ......................................................................................................................30

12.0 Kihan Ido (First Basics)........................................................................................................32 12.1 Introduction .....................................................................................................................32 12.2 Movement Drills ...............................................................................................................32

13.0 Kata Centered Practice........................................................................................................33 13.1 Introduction .....................................................................................................................33 13.2 Analyzing Kata for Application...........................................................................................33

13.2.1 Kaisai No Genri .........................................................................................................33 13.2.2 Do Not Be Deceived by The Enbusen Rule .................................................................34 13.2.3 Techniques Executed while Advancing Imply Attack; Those Executed while Retreating Imply Defense ........................................................................................................................34 13.2.4 There is Only One Enemy and He/She is In Front of You .............................................34 13.2.5 The Method of Kaisai No Genri...................................................................................34

13.3 Hikite (Push/Pull) .............................................................................................................34 13.4 About Kata (By Morio Higaonna Sensei)............................................................................35 13.5 Beginning and Ending a Kata............................................................................................36

14.0 Taikyoku (First Course) Katas ..............................................................................................37 14.1 Taikyoku Gedan...............................................................................................................37 14.2 Taikyoku Chudan.............................................................................................................37 14.3 Taikyoku Jodan................................................................................................................38 14.4 Taikyoku Mawashi Uke.....................................................................................................38 14.5 Taikyoku Kake Uke ..........................................................................................................38

15.0 Hookiyu Kata.......................................................................................................................39 15.1 Hookiyu Kata Bunkai ........................................................................................................39

16.0 Gekisai Kata .......................................................................................................................40 16.1 Gekisai Kata Dai Ichi ........................................................................................................40 16.2 Gekisai Kata Dai Ichi Bunkai .............................................................................................40 16.3 Gekisai Kata Dai Ni ..........................................................................................................41 16.4 Gekisai Kata Dai Ni Bunkai ...............................................................................................41

17.0 Gekiha Kata ........................................................................................................................43 17.1 Gekiha Kata Dai Ichi ........................................................................................................43 17.2 Gekiha Kata Dai Ni...........................................................................................................43

18.0 Saifa Kata...........................................................................................................................45 18.1 Saifa Kata Bunkai ............................................................................................................45

19.0 Seiyunchin Kata ..................................................................................................................47 19.1 Seiyunchin Kata Bunkai....................................................................................................48

20.0 Seisan Kata ........................................................................................................................50 20.1 Seisan Kata Bunkai ..........................................................................................................51

21.0 Kakuha Kata .......................................................................................................................53 22.0 Shisochin Kata ....................................................................................................................54

22.1 Shisochin Kata Bunkai......................................................................................................55 23.0 Sanseiru Kata .....................................................................................................................56

23.1 Sanseiru Kata Bunkai .......................................................................................................56 24.0 Saipai Kata .........................................................................................................................57

24.1 Saipai Kata Bunkai...........................................................................................................58 25.0 Kurunfa Kata.......................................................................................................................60

25.1 Kurunfa Kata Bunkai ........................................................................................................61 26.0 Suparinpei Kata...................................................................................................................63

26.1 Suparinpei Kata Bunkai ....................................................................................................63 27.0 Hakutsuru Kata ...................................................................................................................64 28.0 Tensho Kata .......................................................................................................................65

28.1 Tensho Kata Bunkai .........................................................................................................65 29.0 Sanchin Kata.......................................................................................................................66

29.1 Zen and Sanchin (by Seikichi Toguchi) ..............................................................................66 29.2 Sanchin Breathing............................................................................................................66 29.3 Sanchin Kata (Long Version) ............................................................................................67



29.4 Sanchin and Kiko Training (by Ryan Parker) ......................................................................69 29.4.1 Shoshyuten (Primary Meridians).................................................................................69 29.4.2 Inhalation..................................................................................................................69 29.4.3 Exhalation .................................................................................................................69 29.4.4 Daishyuten (Entire Body) ...........................................................................................70 29.4.5 Dynamic Tension.......................................................................................................70

30.0 Kiso Kumite (Prearranged Sparring) .....................................................................................71 30.1 Introduction .....................................................................................................................71 30.2 Kiso Kumite Shodan (#1) ..................................................................................................71 30.3 Kiso Kumite Nidan (#2).....................................................................................................71 30.4 Kiso Kumite Sandan (#3) ..................................................................................................71 30.5 Kiso Kumite Yodan (#4)....................................................................................................72 30.6 Kiso Kumite Godan (#5) ...................................................................................................72 30.7 Kiso Kumite Rokudan (#6)................................................................................................72 30.8 Kiso Kumite Nandan (#7)..................................................................................................73 30.9 Kiso Kumite Hachidan (#8) ...............................................................................................73 30.10 Kiso Kumite Kudan (#9)....................................................................................................74 30.11 Kiso Kumite Judan (#10) ..................................................................................................74

31.0 Self-Defense Techniques (Bogiyo Waza or Goshin Do)..........................................................75 31.1 Introduction .....................................................................................................................75 31.2 Eighteen Commandments of Street Combat (by Willie Johnson) .........................................75 31.3 The Fearlessness of No Fear............................................................................................77

31.3.1 The Tea Master and The Ronin ..................................................................................77 31.4 Selected Self-Defense Techniques from Kata Applications .................................................77 31.5 Hookiyu Kata Self-Defense Techniques .............................................................................78 31.6 Gekisai Kata Self-Defense Techniques ..............................................................................78 31.7 Gekiha Kata Self-Defense Techniques ..............................................................................78 31.8 Saifa Kata Self-Defense Techniques .................................................................................79 31.9 Seyunchin Kata Self-Defense Techniques .........................................................................80

32.0 Self-Defense from Knife Attacks...........................................................................................81 32.1 Introduction .....................................................................................................................81

32.1.1 Nikkyo technique.......................................................................................................81 32.2 Rules of Engagement .......................................................................................................81 32.3 Augmented Exercises ......................................................................................................82 32.4 Open Hand Exercises ......................................................................................................82

33.0 Vital Areas (Kyushu)............................................................................................................83 33.1 Introduction .....................................................................................................................83 33.2 Vital Area Descriptions .....................................................................................................83

34.0 Pressure Point Techniques (Atemi Waza) .............................................................................85 34.1 Introduction .....................................................................................................................85 34.2 Diagram ..........................................................................................................................85 34.3 Lung Points .....................................................................................................................86 34.4 Large Intestine Points.......................................................................................................86 34.5 Stomach Points................................................................................................................86 34.6 Spleen Points ..................................................................................................................87 34.7 Heart Points.....................................................................................................................87 34.8 Small Intestine Points.......................................................................................................87 34.9 Bladder Points .................................................................................................................87 34.10 Kidney Points ..................................................................................................................88 34.11 Pericardium Points...........................................................................................................88 34.12 Triple Warmer Points........................................................................................................88 34.13 Gallbladder Points............................................................................................................88 34.14 Liver Points .....................................................................................................................89 34.15 Conception Vessel Points.................................................................................................89

Section 2 Matayoshi Kobudo .........................................................................................................90 1.0 Matayoshi Kobudo General History ..........................................................................................90

1.1 Kobudo Gi and Logo ............................................................................................................90



1.2 Matayoshi Shinko Sensei .....................................................................................................90 1.3 Matayoshi Shinpo Sensei.....................................................................................................91 1.4 Matayoshi Yasushi Soke......................................................................................................92 1.5 Gakiya Yoshiaki Sensei .......................................................................................................92

2.0 Kobudo Weapons ...................................................................................................................93 2.1 Bo-Jutsu (staff) ....................................................................................................................93 2.2 Sai-Jutsu (Sai).....................................................................................................................94 2.3 Tonkua-Jutsu (Tonfa) ..........................................................................................................94 2.4 Nunchaku-Jutsu (Nunchaku) ................................................................................................94 2.5 Sansetsu Kon-Jutsu (three-sectional staff) ............................................................................94 2.6 Suruchin-Jutsu (weighted chain or rope) ...............................................................................94 2.7 Nunti-Jutsu (spear) ..............................................................................................................95 2.8 Kama-Jutsu (sickle) .............................................................................................................95 2.9 Kuwa-Jutsu (hoe) ................................................................................................................95 2.10 Ueku-Jutsu (oar) ..............................................................................................................95 2.11 Timbe-Jutsu (hatchet and shield) ......................................................................................96 2.12 Kurumanbo-Jutsu.............................................................................................................96

Section 3 Supplemental Information ...............................................................................................97 1.0 Self-Defense and The Law ......................................................................................................97

1.1 Washington State Laws .......................................................................................................98 1.1.1 RCW 9A.16.010 Definitions. ....................................................................................98 1.1.2 RCW 9A.16.020 Use of force When lawful. ............................................................98 1.1.3 RCW 9A.16.030 Homicide When excusable. .........................................................98 1.1.4 RCW 9A.16.040 Justifiable homicide or use of deadly force by public officer, peace officer, person aiding. ..............................................................................................................98 1.1.5 RCW 9A.16.050 Homicide By other person When justifiable. ...............................99 1.1.6 RCW 9A.16.110 Defending against violent crime Reimbursement...........................99 1.1.7 RCW 9A.32.010 Homicide defined. ........................................................................ 100 1.1.8 RCW 9A.36.011 Assault in the first degree. ............................................................ 100 1.1.9 RCW 9A.36.021 Assault in the second degree. ....................................................... 100 1.1.10 RCW 9A.36.031 Assault in the third degree. ........................................................... 100 1.1.11 RCW 9A.36.041 Assault in the fourth degree. ......................................................... 101

1.2 Selected Case Law............................................................................................................ 101 1.2.1 Reasonable Force and Self-Defense ........................................................................ 101 1.2.2 Assault ................................................................................................................... 102

2.0 The Aftermath of Violence ..................................................................................................... 103 2.1 Medical Assistance............................................................................................................ 103 2.2 Interfacing with Your Lawyer .............................................................................................. 104 2.3 Your One Phone Call ......................................................................................................... 104

Section 4 Rank/Grading Information ............................................................................................. 105 1.0 Introduction .......................................................................................................................... 105

1.1 Rank Tables ...................................................................................................................... 106 1.1.1 Ranks & Belts Table ................................................................................................ 106 1.1.2 High-Level Requirements Table ............................................................................... 106 1.1.3 Detailed Requirements Table ................................................................................... 107



Section 1 Goju Ryu Karate 1.0 History/Background 1.1 Origin Based on mans instinct of self-defense, different fighting arts were developed in most cultures, especially in central Asia, Egypt and Turkey. The principles of Asian martial arts are believed to have spread from Turkey to India, where they were further developed into sophisticated arts. 1.2 Chinese Kung-Fu Kung Fu means hard work in Chinese. According to legend, the Zen Buddhist monk Bodhidharma traveled to the Hunan province in China around 500 AD. He spent nine years in the Shaolin temple, where he started to teach different breathing techniques and physical exercises to the monks of Shaolin. He also explained to the monks how to develop their mental and spiritual strength, in order to endure the demanding meditation exercises. Bodhiharmas teaching is considered the birth of Chinese Kung Fu. When Kung Fu was spread throughout China, it divi ded into two main styles the Northern style and the Southern style. The Northern style was characterized by straight and hard techniques, while the Southern had circular and softer techniques. The Kung Fu techniques were often inherited within a family and kept as well preserved secrets. 1.3 History of Okinawan Martial Arts Kung Fu was introduced into Okinawa during the 14th century. It won popularity and was trained as an art of self-defense under the name Tote, which means Chinese Hand. In Okinawa the native fighting art of Te was practiced long before the introduction of Kung Fu. It is believed that Te was combined with Kung Fu to form the martial art karate. When Japan invaded Okinawa in 1609, the ban of carrying weapons (first pronounced by King Sho Shin in 1477) continued, but the Japanese also banned the practice of martial arts. Consequently, the Okinawans had to continue their martial arts in secrecy. During the next three centuries, the martial art developed into its own character and was named Okinawa-Te. It is divided into three main styles: Shuri-Te influenced by the hard techniques of Northern Kung Fu and characterized by offensive

attitude Naha-Te influenced by the softer techniques of Southern Kung Fu and characterized with

grappling, throws, and locking techniques and a more defensive attitude Tomari-Te influenced by both the hard and soft techniques of Kung Fu With the end of the 19th century, Shuri-Te and Tomari-Te were subsumed under the name Shoren-Ryu, which has developed into several slightly different styles. Naha-Te became known as Goju Ryu, which means hard and soft style (or more precisely, hard gentle way of the infinite fist). Goju Ryu has remained basically unified.



1.4 Kanryo Higaonna Sensei (Naha-Te)

Kanryo Higaonna Sensei, the founder of Naha Te was born on March 10, 1853 in the district of Nishimura in the city of Naha, Okinawa. His father, Kanryo, was a merchant who traded food and clothing throughout the Ryukyu Islands. At the age of 10, he started to work with his father, since his younger brothers had died very young and his elder brother was physically unable to do so. At the age of 14, in 1867, his father died suddenly as the result of a fight. Shortly thereafter, he decided to travel to China to learn the deadly Martial Arts so that he could avenge his father's death. In those days traveling to China was restricted only to merchants, students or government officials, and permission to travel was only

granted by the King of Okinawa, and the only port of departure was the port of Naha. With the help of the official Udon Yoshimura, he was able to get the permit to travel to Fuchow, China, as a student; departing from the port of Naha in the year 1868. At his arrival to the city of Fuchow, Kanryo Higaonna was accepted in the Ryukyu Kan or lodge where all the students from Okinawa lived. Once in Fuchow, Kanryo Higaonna was introduced to the renowned sensei Ryu Ryu Ko who had learned the martial arts in the southern Shaolin temple in the mountains of the Fujian Province. Ryu Ryu Ko Sensei's family was part of the Novel Court of China before they lost their status as result of the politic turmoil in the country. Ryu Ryu Ko Sensei owned a bamboo shop and kept his house on the second floor of the same building. Here he also taught martial arts to a select group of students. Ryu Ryu Ko Sensei tested Kanryo Higaonna, having him perform menial duties in the yard or shop before agreeing to teach him the martial arts. Kanryo Higaonna learned Sanchin Kata first. He was greatly motivated and showed swift progress. He soon moved out of the Ryukyu Kan and started to live and work full-time at Ryu Ryu Ko Sensei's bamboo shop. There he was introduced to various traditional training aids such as Chiishi (weighted stick), Nigiri Game (gripping jars), Tan (log), and Makiwara (striking post). Although the training was very severe, he excelled at it, learning not only open hand techniques, but weapons such Daito (long sword), Shuto (small sword), Sai, and Bo (staff) as well. He also learned herbal medicine. In few years Kanryo Higaonna became Ryu Ryu Ko Sensei's top student. He studied 14 years in China before Ryu Ryu Ko Sensei told him that was time for him to go back to Okinawa, and in 1881. On his return to Okinawa, he then started to teach a select group of students at his own house. As he had learned from Ryu Ryu Ko Sensei, his instruction was very severe. As his fame spread, the King of Okinawa invited Kanryo Higaonna to teach him the martial arts. In 1905 he was invited to teach his Naha-Te or Te from Naha (as it was called then) in the Naha Commercial School. The Principal wanted to teach the students the spiritual and moral aspects of the martial arts. This was an important step in the Naha-Te, not only for the recognition of the benefits of the practice but also because until then Te was taught as a martial art with the skill to kill. After his research, Kanryo Higaonna decided to make an important change in the Sanchin Kata. Until then, Sanchin Kata was practiced with open hands, so he started to teach it with close hands and slower breathing with the purpose of promoting the health benefits, rather than promoting lethal techniques at the school. He introduced the closed fist to emphasize the physical strength more than the ability to kill. Tradition also play an important roll for this change because he noticed that a lot of young Okinawans, without acknowledgement of martial arts, naturally stood with closed fists when they were going to fight. He continued to teach the original way that he learned in China to his few students at his Dojo.



After 1905 karate became a little bit more accessible to the general population because until then Te was practice for just a selected group of people. Kanryo Higaonna Sensei passed away in October 1915 at the age of 62. 1.5 Chojun Miyagi Sensei (Goju Ryu)

Chojun Miyagi Sensei, the founder of Goju Ryu, was born on April 25, 1888 in the city of Naha, Okinawa. He began his practice at the age of 12 with Aragaki Ryuko Sensei. Aragaki Ryuko's approach was only to teach the fighting itself and not too much emphasis was placed on the martial art. After seeing the dedication of Chojun Miyagi, Aragaki Ryuko decided to introduce him to Kanryo Higaonna. In 1902, at the age of 14, Chojun Miyagi Sensei started to practice with Kanryo Higaonna Sensei. At the age of 20, Chojun Miyagi became Kanryo Higaonnas top student.

At the age of 22 he traveled to the main island of Kyushu for his military service. After 2 years of service he returned to Okinawa. For the next 3 years Kanryo Higaonna taught him privately until Higaonna Sensei died in 1915. After the death of his instructor, Chojun Miyagi decided to follow the steps of his Sensei and travel to Fuchow, China, where he learned the martial arts. In his first trip in 1915 he went to Fuchow and trained for two months with a student of Ryu Ryu Ko Sensei. The old man was very impressed with the skill of Chojun Miyagi. Chojun Miyagi went to visit the grave of Ryu Ryu Ko Sensei as well as the temple where he trained. It was easy to see the footmarks on the patio from the training. Between 1920 and 1930 Chojun Miyagi traveled to China for the second time. This was not a productive trip because the relations between China and Japan were not good around those days. In his third trip to China, in 1936, he was able to contact the Shanghai Martial Arts Federation. This was instrumental in helping him do his research in the martial arts. In the earlier 20's Chojun Miyagi developed the characteristic Goju Ryu warming up exercises or Yunbi Undo with the help of a friend of his whom was a doctor. This series of exercises were based in not only in martial arts fundaments but also on medical research. Is also around this time that Chojun Miyagi also developed the Kata Tensho, and began to teach in high school in Okinawa. In 1930 Chojun Miyagi sent his top student, Jihan Shinzato, to perform a demonstration of Te at the Meiji Shrine in Tokyo. Upon his return to Okinawa, he asked his Sensei about the name of the style of karate that they practiced. A Kobudo Sensei present at the demonstration inquired the same of Shinzato Sensei who could not answer because until then they only referred to karate as Te (hand), To (China) or Bu (martial art). Chojun Miyagi Sensei decided to call his style Goju Ryu. The meaning was extracted from the Bubishi, or book of the poems, where there are references to different subjects including the martial arts and includes a poem entitled the Eight Precepts of Kempo. The name Goju Ryu identifies the style as the style of the hardness and softness. In this way Goju Ryu became the first style of karate to be named for something other than the city in which it was practiced. It was in 1933 when Goju Ryu was officially recorded and recognized in the Butotu Kai (the institution that groups all the martial arts in Japan) in Kyoto. The official name was recorded as Goju Ryu Karate-Do, where the meaning of the character (kanji) Karate was To (China) in recognition of the origin of this martial art, and not the meaning "empty" as it is in the present day. In 1934 Chojun Miyagi was appointed as the representative of the Butotu Kai in Okinawa. Also in this year, Chojun Miyagi was invited to travel to Hawaii to teach karate to the Okinawans living on the island. He remained in Hawaii for 6 months.



In 1937 Chojun Miyagi was honored to receive the title Kyoshigo (master instructor) from the Butotu Kai. This was the first time in the history that somebody in karate received this honor, bringing with it the same status as Judo and Kendo. During World War II Chojun Miyagi lost his top student Jihan Shinzato as well as two of his daughters. After the war, he began to teach karate at the Police Academy in Okinawa and also in his home. Among his students were Miyagi Anichi Sensei, Aragaki, Shuichi Sensei (whose grandfather had introduced him to Higaonna Sensei), Toguchi Seikichi Sensei, and Iha Sensei among others. Students who had trained before the war such as Yagi Meitoku and Miyazato Eiichi would come to pay respects. Chojun Miyagi Senseis life was devoted to karate. He structured the system of Naha-Te, adapted it to the demands of modern society, and made it available to the public. Chojun Miyagi Sensei passed away on October 8, 1953 at the age of 65. 1.6 Bubishi Poem Eight Precepts of Kempo This is a Chinese Kempo poem found in the Bubishi (book of poems) of which Goju Ryu was named from the third line. The Haiku is sometimes translated as Eight Poems of the Fist. { JinShin wa tenChi Ni onaji

(The mind is one with Heaven and Earth)

{ Ketsumyaku wa NIchigetsu Ni Nitari

(The circulatory rhythm of the body is similar to the cycle of the Sun and the Moon)

{ Ho wa Goju Ryu wo tondo su

(The way of inhaling and exhaling is hardness and softness)

{ Mi wa toki Ni Shitagai hen Ni ozu

(Act in accordance with time and change)

{ Te wa ku Ni ai sunawa Chi hairu

(Techniques will occur in the absence of conscious thought)

{ Shintai wa ha Karite riho su

(The feet must advance and retreat, separate and meet)

{ Me wa Shiho wo miru wo yosu

(The eyes do not miss even the slightest change)

{ Mimi wa Yoku Happo wo kiku

(The ears listen well in all directions)



2.0 Fundamental Themes of Goju Ryu Karate The Goju-Ryu strategy is to stay close to an opponent, keep the opponent off balance, and use physiological incapacitation to defeat him/her. If you can incapacitate their vision, breathing, or movement, you are in an excellent position to defeat an enemy. Any two out of three will guarantee success. 2.1 Strategy

1. Close distance 2. Imbalance using Happo no Kuzushi, the eight directions of imbalance (imbalance can also apply to any

of the five senses and Goju-Ryu imbalances from the outside as well as the inside of the attacker) 3. Control using strikes to set-up imbalance and imbalance to set-up strikes. Use physiological damage to

incapacitate 2.1.1 Rules

1. Never retreat 2. Fight the whole body 3. Always move at an angle avoid force to force 4. Do not use two steps 5. See everything 6. A lock or hold is not a primary fighting technique 7. Avoid going to the ground 8. Do not kick above your waist

2.2 Tactics 2.2.1 Forms of Fighting Types of combat used in Goju Ryu Karate and their order of preference (in order of frequency used in forms):

1. Standing (Atemi Waza) a) Hands 70% b) Feet 20%

2. Throwing (Tachi Waza) 5%

3. Groundwork (Nae Waza) 5%

Throws5%

Feet20%

Hands70%

GroundWork5%

2.2.2 Forms of Compliance (In order of frequency used in forms):

1. Striking anatomical weak areas -Temple, Throat, Solar Plexus, Knees, Groin, Eyes, and others 2. Attacking the joints:

a) Hyperextension to move a joint in a direction past its normal range of motion b) Dislocation to displace a bone from its normal connection to another bone c) Lock to make fast by interlocking parts of your body and your opponents body d) Separation - the act of pulling apart or twisting apart

3. Throws to cause injury to your opponent by throwing them into the ground with impetus 4. Nerve attacks are not stand alone techniques, they are used in conjunction with other techniques 5. Chokes

a) Air b) Blood Flow



3.0 West Seattle Karate Academy - Dojo Rules The following rules have been promulgated for the West Seattle Karate Academy: { Always bow toward the dojo before stepping on or off the training floor. { Don't be late. If you are late to class, bow and ask the instructor for permission to join class. { Remember to get a drink, go to the bathroom, etc. before class begins. { If you become ill or are injured during class, bow and ask your instructor for permission to sit out. { Never wear shoes on the dojo floor. { All shoes must be lined up on the edge of the floor, coats and clothing hung-up. { Swearing and foul language have no place in the Dojo. { Always bow before speaking to an instructor or higher rank. { Never wear watches or jewelry during class. { Always face away from higher ranks when adjusting your uniform or tying/untying your belt. { While traveling to and from the Dojo, you may wear your uniform but you may not wear your belt in public. { You may not wear your belt to class if you are not wearing your proper uniform. You must wear you Gi

top or one of the approved T-shirts. { Testing and tournament are formal events. Your uniform should clean. { No gum, food or candy on the dojo floor. { Please do your part to help keep the Dojo clean.



4.0 Reishiki (Etiquette) 4.1 Introduction Reishiki comes from two Japanese words. The first is Rei, which is defined as: bow, salutation, salute, courtesy, propriety, ceremony, thanks and appreciation. The second part of the term is Shiki, which is defined as: ceremony, rite or function. Combined the term Reishiki can translate as: etiquette or manners. Etiquette is an integral part of Budo and without it we would be practicing nothing more than violence. As we begin our training, the concepts of Reishiki are taught to us as much of the art is, through observing those who have come before us. Watching our seniors in training and in their general actions and interactions in the dojo is an outstanding way to learn, provided that the seniors have been observant over the years. The more training a person receives the calmer, more dignified, and humble that Karateka should become. The beginner must practice etiquette in order to make him/herself a better person. In addition to the Dojo rules above, the following is my interpretation based on Kris Wilder Sensei and Scott Schweizer Senseis instruction and recurring themes from other schools. 4.2 Respect the Traditions of the Art { There is no first strike in Karate use it is for physical conditioning, mental discipline, and defensive purposes

only { Learn the history of Goju Ry u Karate (and Matayoshi Kobudo) { Understand the terminology of Karate (and Kobudo) { Although bowing is foreign to American culture, it is required in the Dojo as a sign of respect toward the Dojo,

instructors, other students, and training equipment such as the Makiwara (striking post) { Follow the Dojo Kun (precepts or virtues) { Wear the traditional Gi (uniform) in class { Do not wear your Obi (belt) outside of the Dojo { Place left hand over right in Yoi (ready) position { Fold your Gi left over right 4.3 Respect the Dojo (school) { Bow upon entering and leaving the Dojo { Leave your shoes and mundane clothing neatly by the door { Keep the Dojo neat and clean { Put away equipment at the end of each class session or when you are done using it as appropriate { Face away from the Shomen (front or place of honor) or senior students/teachers when adjusting your Gi { Do not eat, drink, or chew gum in class { Do not swear or use inappropriate language in class 4.4 Respect the Instructor(s) { Bow before and after receiving instruction { Arrive at class on-time { Be attentive { Try to follow along even when you do not understand (i.e. if in doubt, fake it) { Determine when and how it is appropriate to ask questions by emulating senior students { Always be polite { If you arrive after the class has already started, warm up and wait for instructors invitation to join in { Volunteer to help set-up and tear-down the room and do other administrative tasks as needed 4.5 Respect the Other Students { Bow before and after practicing together { Line up according to rank { When students are lined-up formally go around the rows, do not walk between them { If you arrive late, line up in the back both at the beginning and end of class { Respect your elders and defer to those of higher rank { In the Dojo, we are all Karateka treat both males and females the same (as warriors) { Help those who know less than you



{ Learn from those who know more than you { Be polite { Never intentionally hurt anyone in class { Remove jewelry and keep your finger and toenails short to avoid accidentally injuring others 4.6 Respect Yourself { Be sure that your Gi (uniform) is clean and neat { Always warm-up before practicing { Know your physical condition and practice accordingly { Never lose your temper { Work hard to improve your health, physical conditioning, and skill at Karate (and Kobudo) { Try to learn something new, no matter how small, from every person in every class { Ensure proper balance and harmony between home life, work life, and martial arts practice Dozo One Gaishimasu means, please teach me. Arigato Gozaimashita means, thank you very much for teaching me. These phrases are said when bowing to instructors and other students before and after practicing together.



5.0 Opening / Closing Ceremonies Always bow when entering or leaving the Dojo. Each training session will usually begin and end with a short ceremony to show respect for the head instructor, guest instructors, the Dojo, and the fellow students. Our ceremony usually goes as follows: 5.1 Opening Ceremony Instructor: Claps twice Line up (Shugo) Head student: Ki o Tsuke Attention Head student: Seiza Kneel Head student: Mokuso Hajime Close eyes/meditate Instructor: Mokuso Yame Open eyes/end meditation Head student: Shomen Ni Face forward (towards Shomen) Head student: Rei Bow (right hand forward first followed by left, then bow) Head student: Sensei Ni Face towards instructor. Head student: Rei Bow Everybody: Dozo One Gaishimasu Please teach me. Said to the instructor as you bow to start class and to fellow students before you begin working together. Head student: Yudansha Ni Face towards black belts or guest instructor(s), if any Head student: Rei Bow Everybody: Dozo One Gaishimasu Please teach me Head student: Shomen Ni Face front Instructor: Tatsue Straighten or stand up 5.2 Closing Ceremony Instructor: Claps twice Line up (Shugo) Head student: Ki o Tsuke Attention Head student: Seiza Kneel Head student: Mokuso Hajime Close eyes/meditate Instructor: Mokuso Yame Open eyes/end meditation Head student: Dojo Kun Shout the Dojo Kun responsively (whole class) Head student: Shomen Ni Face forward (towards Shomen) Head student: Rei Bow Head student: Sensei Ni Face towards instructor Head student: Rei Bow Everybody: Arigato Gozaimashita Thank you very much for teaching me. Said as you bow to the instructor at the end of class and to fellow students when you end working together. Head student: Yudansha Ni Face towards black belts or guest instructor(s), if any Head student: Rei Bow Everybody: Arigato Gozaimashita Thank you for teaching me Head student: Otogai Ni Face towards other student(s) Head student: Rei Bow Everybody: Arigato Gozaimashita Thank you for teaching me Head student: Shomen Ni Face front Instructor: Tatsue Straighten or stand up Instructor: Kurasant Jantov Good Night (honored guests) All Clap several times Applause



6.0 Dojo Kun (precepts or virtues) 6.1 Introduction The Dojo Kun are usually posted at the front of a Dojo. They are recited either at the opening or the closing of class (or both) depending on the Dojo. The Dojo recites its Kun, or virtues, in hopes of making all those attending or listening better people in general, both physically and mentally. While each person may not have the same exact belief or definition for each virtue, this ritual is meant to instill a positive ideal in each person hearing it. Typically the most senior student in the class recites one line, which is then repeated by the entire class until the progression is ended. Through the practice of Karate, the discipline of the body and mind, and the reciting of virtue we become better people, of higher nature, and better in contact with ourselves. Although Dojo Kun tends to be similar within most Goju Ryu schools, the exact wording varies somewhat by instructor and system. The Dojo Kun are not numbered as each item is equally important. We sometimes say Itos (meaning first or most important) before each virtue. The following is used at the West Seattle Dojo 6.2 West Seattle Karate Academy Dojo Kun We Karateka: { Respect good manners { Practice a sense of harmony { Learn to persevere { Give our minds to application { Make every effort to agree among heart and technique { As students, and later teachers, will follow the Dojo rules



7.0 Daruma (warm-up exercises) It is essential to always warm-up before practicing and to know your physical condition and practice accordingly. Proper hydration and breathing are also of paramount importance. Exercises begin with jumping jacks or other aerobic activity to warm and loosen the muscles so that stretching will not cause injury. Once warm, proceed to stretch the joints, then stretch the tendons and finally to build muscles, in that order. When stretching joints or tendons, work from the ground up. When building muscles be sure to work opposing groups (e.g. when doing sit-ups also do back lifts, when building biceps also work triceps, etc.). A typical routine might go something like this (this is representative, not an all inclusive list): 7.1 Warm-up

1. Jumping Jacks (and/or light jogging) 7.2 Stretch Joints

2. Stretch Toes (curls and cross-foot stretch) 3. Stretch Whole Foot (curls) 4. Stretch Ankle (circular motion) 5. Stretch Knees (hands on knees, rotate in circular motion) 6. Stretch Hips (hands on hips, rotate in circular motion) 7. Stretch Torso (hands on hips, rotate in circular motion and arms extended windmill stretch) 8. Stretch Shoulders (arms extended circles) 9. Stretch Neck (circular motion)

7.3 Stretch Tendons

10. Stretch Knees (drop to Shiko Dachi with hands on knees and rock back-and-forth) 11. Stretch Legs (feet together and touch toes, then cross feet and touch toes) 12. Stretch Groin (sit butterfly style with feet touching, pull-in while pressing down on knees) 13. Stretch Torso (drop to Shiko with hands supporting at knees, lift up while turtling neck and inhaling,

then drop down with exhale and repeat) 14. Stretch Shoulders (elbow raised above head, grip back and pull back and hands behind then lift up) 15. Stretch Wrists (make a wall with support hand then bent wrist stretch, and capture fingers pulling

downward, and twist toward thumb stretch) 7.4 Build Muscles

16. Crunch sit-ups and/or Back lifts 17. Push ups and/or mountain push-ups (two person) 18. Scoop ups (front arms together, legs spread wide, move down and forward then back) 19. Finger Grips 20. Hojo Undo exercises (e.g. Chiishi, Makiwara, or Nigiri Game) 21. Basic technique (punches, kicks, blocks, etc.) or Kata (e.g. Taikyoku or Hookiyu) practice



8.0 Karate Terminology 8.1 General Terminology Ashi Leg Bunkai Techniques and applications of a Kata Chudan Middle area Dojo Classroom Daruma Warm-up exercises Gedan Lower area Fah Jing Explosive power (loose flowing movement, then tense entire body with strike,

kind of like a sneeze) Go Hard Goshin Do Self-defense techniques Hajime Begin Happo no Kuzushi Eight directions of imbalance Hantai When used as a command, this means to switch to a position or posture opposite

to the one previously in. Hidari Left Hikite Push/pull Jodan Upper area Ju Soft Kamae Combative posture (generally one hand in chamber and the other in Uke or

receiving position) Kansetsu Joint Karate-do Way or path of karate (from the Chinese Tao) Karateka Karate practitioner Kata Sequence of pre-arranged movements and techniques Ki Spirit and energy Kiai Shout given as technique is delivered to focus energy Kime Focus Kumite Sparring Ma-Ai Correct distancing or timing with respect to one's partner Mokuso Meditation Migi Right Muchimi Emphasis/power Mudansha Kyu belts (colored belts white through brown) Nigiri Fingers Obi Belt or sash Otogai Fellow students Rei Bow Seiken Normal karate fist (striking 70/30 with front two knuckles) Seiza Kneel Shime Choke or strangle Shomen Front (place of honor or shrine) Tai Sabaki Moving/shifting Tanden Lower abdomen (or Hara) Te Hand Tori Attacker (such as in Bunkai practice) Tsuki Thrust Uchi Strike Uke Receive or block (also refers to the defender in Bunkai practice) Ukeme Break falls Waza Technique Yame Stop Yoi Ready Yudansha Black belts (or guest instructors)



8.2 Counting One Ichi Two Ni Three San Four Shi (or Yon) Five Go Six Roku Seven Shichi Eight Hachi Nine Ku Ten Ju Twenty Niju Thirty Sanju Forty Yonju Fifty Goju Sixty Rokuju Seventy Nanaju Eighty Hachiju Ninety Kuju One Hundred Hyaku 8.3 Supplementary Exercises Equipment (Hojo Undo) Chiishi Concrete or stone weight mounted on a wood handle used for strength conditioning of upper

body Makige Kigu Wooden handle with suspended weight rolled to strengthen wrists Makiwara Padded striking post for practicing Tsuki, Uchi, and Ashi Waza Nigiri Game Gripping jars used to strengthen fingers Tan Heavy wooden log used for strength and conditioning exercises Tau Bundle of bamboo sticks used for Nukite practice and finger conditioning Tetsuarei Free weights 8.4 Moving / Shifting Techniques (Tae Sabaki Waza) Ayumi Ashi Natural stepping Chakuchi Replacing De Ashi Forward Hiri Ashi Backward Keri Ashi Kicking foot Mawari Ashi Circular Suri Ashi Sliding step or shift Tenshin Moving, shifting Tsugi Ashi Shuffling step Tubi Ashi Jumping Yoko Ashi Lateral step Yori Ashi Dragging step



8.5 Stances (Tachi Waza)

Hansa

Heiko Dachi

Heisoku Dachi

Kokutsu Dachi

Masubi Dachi

Neko Ashi Dachi

Renoji Dachi

Sanchin Dachi

Seiza

Shiko Dachi

Tsuruashi Dachi

Zenkutsu Dachi

It has been said that nature kills a horse from the ground up. A horse that cannot walk or run properly is unable to search for food or escape from predators.

Similarly, a martial artist whose body is out of position will surely be defeated.

Strength of technique and ability to move to attack or defend rely on proper footwork and good balance.

Pictures to the left represent common stances found in Goju Ryu Karate.

A more complete listing with detailed descriptions follows below.

Bensoku Dachi (crossed-leg stance) One leg crossed over the other with both knees bent.

Front foot flat on ground. Rear leg supported on ball of foot. Front foot facing to outside at 45.

Fudo Dachi (free stance) Feet shoulder-width apart with toes pointing inward. Gyaku-Zenkutsu Dachi (rear defense stance) Zenkutsu Dachi reversed so that straight leg points

forward. Head and torso turned to face forward, leaning to the rear.

Hachiji Dachi (natural stance) Feet shoulder-width apart, toes pointing slightly outwards.

Hakusura Dachi (crane stance) Front leg raised with thigh straight perpendicular to body and knee bent 45. Toes point down. Back leg slightly bent with body erect.

Hansa (sitting) Sitting with legs crossed in front of body (Indian style). Heiko Dachi (natural stance) Feet parallel, shoulder-width apart. Heisoku Dachi (closed foot stance) Feet and heels together, legs straight and relaxed. Kiba Dachi (side facing horse stance) Feet roughly two shoulder-widths apart, parallel, toes

pointed forwards, facing sideways. Kokutsu Dachi (back stance) Rear knee bent, with foot facing to the outside. Forward

leg approximately two shoulder-widths in front of and perpendicular to rear foot (i.e. facing forwards). 70% of weight on rear leg, 30% on forward leg.

Migi Heiko Dachi (natural stance right forward) Right foot forward Heiko Dachi. Masubi Dachi (formal attention stance) Heels together, foot pointing outward 45. Naihanchi Dachi (toe-in horse stance) Kiba Dachi with the heels out and toes in Naname Shiko Dachi (diagonal straddle stance) Diagonal Shiko Dachi. Neko-Ashi Dachi (cat stance) Rear knee bent, with foot flat on ground, and toes facing

to the outside. Resting lightly (10%) on the front leg, approximately one shoulder-width from the rear leg.



Toes of front foot facing forwards, flat on ground with heel of foot raised. Crouching slightly, with front leg in center of body, bent a little at the knee. Torso erect.

Nissin Dachi (side defense stance) Legs parallel with front leg straight, back leg bent. 30% of weight on front leg, 70% on back leg. Head faces sideways.

Renoji Dachi (L stance) Feet one shoulder width apart, front leg just off center of body pointing directly forwards. Rear leg pointing outward 45. Weight distributed 50/50.

Sagiashi Dachi (one-leg heron stance) Leg raised and tucked behind knee of supporting leg. Supporting leg bent at knee and foot turned outward, weight shifted back above supporting leg.

Sanchin Dachi (hourglass stance) Feet shoulder-width apart, weight distributed 60/40. Knees tensed and pulled inwards. Forward foot slightly ahead of rear foot. Toes pointed slightly inward. Back straight and hips tensed with pelvis pulled forwards and upwards.

Seiza (kneeling) Sitting in kneeling position on heels. Sesan Dachi (side facing straddle stance) Shiko Dachi, but looking directly to the side. Shiko Dachi (straddle stance) Feet spread approximately two shoulder-widths apart;

toes pointed outward at 45. Weight distributed evenly over both legs. Knees bent deeply and pulled back as far as possible with torso erect. Lower legs/shins approximately vertical.

Shozenkutsu Dachi (half-front stance) Same as Zenkutsu Dachi, but feet only one shoulder-width behind lead foot.

Tsuruashi Dachi (one-foot stance) Back (supporting) leg slightly bent, front leg elevated with knee horizontal and lower leg angling downward toward knee of supporting leg (Seisan Kata).

Uchi-Hachiji Dachi (toe-in natural stance) Hachiji Dachi with feet pointing slightly inwards. Zenkutsu Dachi (front stance) Forward leg bent at the knee, rear leg locked and

extended approximately two shoulder-widths behind lead foot, torso erect. If you drop to a kneeling position, back knee aligns with front heel. Weight distributed 70/30.



8.6 Blocking / Receiving Techniques (Uke Waza)

Gedan Uke

Jodan Uke

Juji Uke

Kakai Uke

Koken Uke

Nagashi Uke

Uchi Uke

These pictures represent a variety of blocks found in Goju Ryu Karate. A more complete listing follows below. Note that the range is usually much closer than shown here.

Uke actually means to receive rather than simply block. A strong block looks and feels much like an attack to your opponent.

Blocks to the outside of an opponents arm should be above the elbow to jam/disrupt while protecting against an elbow strike.

Blocks to the inside of an opponents arm should be below the elbow so that they cannot strike around your block.

Age Uke Rising block Ashi Uke Leg block Chudan Uke Middle inside circular (chest level) block Gedan Barai Uke Downward circular block Gedan Uchi Barai Outside downward block (open hand) Gedan Uke Downward (waist level) block Heisoku Barai Instep block Hara Uke Archer block (from Seiyunchin) Harai Uke Sweep block (deflects a kick, like in Gekisai Kata Bunkai) Hiji Uke Elbow block Hiki Uke Pulling/grasping open hand chest block Hiza Uke Knee block Jodan Uke Upward (head) block Joge Uke Double block Juji Uke X block Kakai Uke Hooking block (Gekiha, Seisan) Koken Uke Wrist block Kosa Uke Cross block Mawashi Uke Round house or wheel block Marote Uke Double hand (augmented) block Nagashi Uke Sweeping block Osai Uke Pressing block Shotei Otoshi Uke Open hand dropping block Shotei Uke Palm heel block Shuto Uke Knife hand block Sokutei Harai Uke Sole of the foot block Sokutei Osai Uke Pressing block with the sole of the foot Soto Uke Outside forearm block Sukui Uke Scooping block Tomoe Uke Circular block (same as Mawashi Uke) Uchi Uke Inside forearm block Ude Uke Forearm block (wing block) Ura Uke Back hand block Yama Uke Mountain block (open hands start up like Seiyunchin, drop like Sanchin) Yoko Uke Circular block



8.7 Hand Techniques (Te Waza)

Age Tsuki

Gyaku Tsuki

Mawashe Tsuki

Marote Tsuki

Oi Tsuki

Yama Tsuki

These pictures represent a variety of hand techniques found in Goju Ryu Karate. A more complete listing with descriptions follows below.

Ippon Ken

Nukite Tsuki

Seiken Tsuki Tetsui Uchi

Strikes work against your opponents force, while throws work with it.

In order to deliver blows with maximum force aim attacks through your opponent, rather than at him/her, aligning the angle of attack and striking surface to your opponents body.

Utilize pressure point and vital area attacks whenever possible to enhance your chances of success.

Age Tsuki Rising punch (uppercut) Awase Tsuki U punch Boshiken Tsuki Thumb fist Choku Tsuki Straight thrust punch Chudan Tsuki Chest punch Chukoken Tsuki Knuckle punch (second knuckle of middle finger) Furi Tsuki Circular punch Furi Uchi Swing strike (back fist) Gyaku Tsuki Reverse punch (rear fist) Haito Uchi Ridge hand strike Hasami Tsuki Scissors punch (double knuckle strike point inward) Heiko Tsuki Parallel punch Heiko Hiji Ate Horizontal elbow strike Hiji Ate Elbow strike Hiraken Tsuki Knuckle punch (second knuckle of all four fingers) Hiza Ate Knee strike Ippon-Ken Standing fist with knuckle of index or middle finger extended Kagi Tsuki Hook punch Kaikoken Tsuki Crab shell fist punch (second knuckle of index finger) Kama-De Uchi Bear hand (claw) strike Keikoken Tsuki One knuckle fist Kizami Tsuki Leading punch, or jab (front fist) Koken Uchi Bent wrist strike Kote Uchi Forearm strike Mawashi Tsuki Round hook punch Marote Tsuki Double punch Nagashi Tsuki Flowing punch Nai Wan Uchi Dead arm strike Nakadaka Ken Middle finger knuckle fist Nakanishuto Inside sword hand Nihon Tsuki Double punch Nukite Tsuki Finger thrust



Oi Tsuki Lunge punch Sanbon Tsuki Triple punch Seiken Tsuki Fore fist (standard) punch Shita Tsuki Palm up center (uppercut) punch Shotei Tsuki Palm heel thrust Shotei Uchi Palm heel strike Shuto Uchi Knife hand strike Sotoshuto Outside sword hand Tate Tsuki Vertical (standing fist) punch Tetsui Uchi Hammer fist strike Ura Tsuki Short uppercut punch (palm side up) Uraken Uchi Whipping back fist strike Washi-De Uchi Eagle hand (fi ngers together like beak) strike Yama Tsuki Mountain (U) punch 8.7.1 Te Waza Dai Ichi This is the first combination hand technique. Sequence is Jodan Uke (head block), Chudan Uchi Uke (inside forearm block), Uraken Uchi (back fist), Gedan Uke (down block), Gedan Gyaku Tsuki (downward reverse punch). Switch sides and repeat. Optionally, this sequence can be done using both hands simultaneously or one movement out of synch. Another option is to complete the original sequence then reverse the order (forward and back).



8.8 Foot Techniques (Ashi Waza)

Hiza Geri

Kakato Geri

Mae Geri

Mawashe Geri

Mikazuki Geri

Ushiro Geri

Yoko Geri

These pictures represent a variety of foot techniques found in Goju Ryu Karate. A more complete listing follows below.

In Goju Ryu we generally do not kick above the waist unless an opponent is bent over in such a way as to make the upper body a ready target.

Strikes work against your opponents force, while sweeps work with it.

All kicks begin by raising the knee (Hiza Geri). Range is often close enough that your upraised knee strikes first, and then you strike again with the kick that follows.

Ashi Barai Foot sweep Fumikomi Geri Stamping kick Gyaku Mawashi Geri Reverse round house kick Heisoku Geri Kicking with the instep Hiza Geri Knee kick Kakato Geri Stomping Heel kick Kansetsu Geri Joint kick Mae Geri Keage Front snap kick Mae Geri Kekomi Front thrust kick Mae Geri Front kick Mae Tobi Geri Jumping front kick Mawashi Geri Round house kick Nakanimikazuki Geri Inside hook kick Nidan Geri Double front snap kick (back leg first) Ren Geri Double front snap kick (front leg first) Sokuto Geri Kicking with the foot edge (foot sword) Sotomikazuki Outside hook kick Tobi Nidan Geri Jumping double kick Tsumasaki Geri Kicking with the tips of the toes Ushiro Geri Back thrust kick Ushiro Mawashi Geri Round house to the rear kick Yoko Geri Keage Side snap kick Yoko Geri Kekomi Side thrust kick Yoko Geri Side kick Yoko Tobi Geri Jumping side thrust kick 8.8.1 Ashi Waza Dai Ichi This is the first combination foot technique. Sequence is Mae Geri (front kick), Mikazuki Geri (hook kick), Mikazuki Geri (hook kick), Ushiro Geri (back kick), Yoko Geri (side kick). Switch sides and repeat. 8.8.2 Sensei Schweizers Ground Fighting Exercise 1. Begin in Heiko Dachi (natural stance) 2. Move hands up into Yoi position, then execute a standing Ukemi Waza (backward breakfall). 3. Immediately roll to left-side Ukemi (breakfall) position and execute a Yoko Geri (side kick) with the right foot. 4. Roll to the right side Ukemi (breakfall) position and execute a Yoko Geri (side kick) with the left foot.



5. Roll back to the left side Ukemi (breakfall) position and execute a Mikazuki Geri (hook kick) with the right foot while pulling the left leg back and in (similar to leg scissors takedown in Judo).

6. Roll back to the right side Ukemi (breakfall) position and execute a Mikazuki Geri (hook kick) with the left foot while pulling the right leg back and in (similar to leg scissors takedown in Judo).

7. Roll to center position, slide hands back and lift your body so that you balance on hands and feet. 8. Immediately execute an upward Kakato Geri (heel kick) with the right leg, thrusting toward opponents

stomach. 9. Without changing position, follow with an upward Kakato Geri (heel kick) with the left leg, thrusting toward

opponents stomach. 10. Shift your weight to the left and execute a Fumikomi Geri (stamping kick with bottom of foot) with the left leg

aiming at the opponents ankle. 11. Shoot your left leg back past your left arm, rising into Shiko Dachi (straddle stance) while executing a right

hand Chudan Uke (middle block). 12. Shift back into Heiko Dachi (natural stance) 8.9 Sparring Terminology (Kumite) Fuku Shiki Kumite Free style sparring with emphasis on Kata application Go Kumite Full-contact sparring Go no Sen Receive and respond Goshin Do Ippon Kumite Prearranged sparring for self-defense application Ippon Kumite One step sparring (block and counter) Jiyu Ippon Kumite Free one step sparring, emphasis on technique Jiyu Kumite Hard and fast controlled continuous free fighting Kiso Kumite Prearranged sparring Randori Kumite Slow and soft free style sparring with emphasis on technique San Dan Gi Basic three step/three level sparring Sanbon Kumite Three step sparring Sanbon Shobu Kumite Three point competition (tournament Karate) Sen no Sen Meet before the attack is complete (intercept) Sen Sen no Sen Move as opponents intent is formed (to an outsider this may look as if you

attacked) Yakusoku Kumite Prearranged sparring



9.0 Break-Fall Techniques (Ukemi Waza) There are four basic types of falls: front, back, side, and rolling. Properly executed Ukemi cushions vital areas, absorbs shock, and allows you to be thrown to the ground without injury. 9.1 Front Falls Kneeling Kneel with your heels raised. Let yourself fall forward. Just before your body hits the

ground, slap down with both hands. Your forearms should slant outward at a 45-degree angle. Support yourself on your hands and toes in a similar position to that of doing push-ups.

Squatting Squat with your hands on your thighs. Fall forward. Just before your body hits the

ground, slap down with both hands. Your forearms should slant outward at a 45-degree angle. Support yourself on your hands and toes in a similar position to that of doing push-ups.

Standing From a natural standing position with your feet close together and your arms at your

sides, lean forward and let yourself fall. Just before your body hits the ground, slap down with both hands. Your forearms should slant outward at a 45-degree angle. Support yourself on your hands and toes in a similar position to that of doing push-ups.

9.2 Back Falls Seated From a seated position, roll back and let your feet ride up. Slap the ground as the small

of your back hits. Let the momentum carry your buttocks up. Your upper body should remain in contact with the ground. Be sure your hand slaps close to your body (6 to 10 away). Tuck your chin to your chest so that your head will not impact the ground.

Standing From a standing position, do the same technique described above, but drop straight

down to a squatting position before rolling back to slap. When the legs have reached their peak and begin to swing back down, use that momentum to bring your body back up into a standing position.

9.3 Side Falls Lying Down Move from side to side. When moving right slap with the palm of the right hand. When

moving left slap with the palm of the left hand. The hand not in use should be placed on your stomach. Be sure your hand slaps close to your body (6 to 10 away). Keep your head up off the mat with your chin tucked-in. Legs should be slightly bent and apart. When rolling from side to side, whip your legs up and back down again. Be sure to end up with your upper body flat against the ground so that you will not roll too much.

Standing Stand with the feet shoulder width apart. Kick the left leg across the right side and raise

the left hand to the right side. Squat straight down, continuing to raise the left arm. Continue to descend until the left buttock hits the floor. Roll back and bring the arm forcefully down to the ground. The side of the left leg should make contact with the ground at about the same time as the left hand slaps. The right hand goes to the stomach. This can be done to the reverse side as well. Be sure your hand slaps close to your body (6 to 10 away). Keep your head up off the mat with your chin tucked-in. Legs should be slightly bent and apart. Be sure to keep the knees from crossing or knocking together. The upper leg should land on the ball of your foot for greater impact absorption.

9.4 Rolling Falls Standing Rolling falls are only done from a standing position. Start with feet shoulder width apart.

Step forward with the right foot naturally turned to the left. Bend at the knees and hips



and place the hands between the right and left feet, fingers pointed towards each other. Lean forward so that the toes of the right foot are your only means of support. Look back at the left foot and begin to roll over your right shoulder with your chin tucked-in against your chest. Once contact is made, continue through getting ready to bring the right hand to the mat and the left to the stomach. Continuing through the body should roll to the right side and end up in the same position as a side fall. This Ukemi is usually repeated to the opposite side, alternating as you transverse the Dojo floor. Be sure to point the fingers inward to protect your wrist. Also be sure to roll over the shoulder, not the head (like a somersault).



10.0 Strangling / Choking Techniques (Shime Waza) 10.1 Introduction There are two types of choking technique. By applying pressure to the trachea of an opponent, you can cut off the oxygen supply to his or her lungs. The second method applies pressure to the carotid arteries, denying a blood supply to the brain. While both are effective, the latter is somewhat less painful. 10.2 Techniques Okuri Eri Jime Sliding lapel strangle (assisting arm choke). Done from behind using opponents clothing

to execute the technique. Reach around from behind to grab the lapel with your right hand. With the left hand, come up under the chin and encircle the neck, gripping the lapel with the thumb to the inside of their Gi or clothing. Pull in and down with the right hand and in and around with the left hand. Defense: grab the outside of your opponents right sleeve or arm at the shoulder with both hands, pull down hard, lean backward, and slip your head free.

Kata Ha Jime One-side wing-strangle (single arm trap choke). Done from the front. Opponents

clothing helps, but is not required for this technique. From the regular Okuri-Eri-Jime (sliding lapel strangle), the attackers right arm releases and is brought straight up. This will raise the opponents arm and shoulder. The left hand remains gripping the Gi or clothing under the chin. The right arm of the attacker is directed in the back of the opponents head, trapping their arm high in the air. Pull back with the left arm while pushing forward with the right. Defense: when your opponent is about to put his/her left arm behind your neck, pull it down with your right hand and bend your head backward.

Juji Jime Cross-strangle. Done from the front using opponents clothing to execute the technique.

Can be done from on top or under your opponent. Place your right thumb on the inside of the opponents right lapel. With the left hand, place the fingers to the inside of the opponents left lapel with the palm facing towards your. Simultaneously pull in and down with the left hand while the right hand pulls in and the elbow goes across the opponents neck for the choke. Defense: twist to your right side; get your left arm under your opponents left arm, and place the palm of your left hand at the back of your neck. Push his/her left elbow with your right hand or both elbows at the same time and roll him/her off to your left side.

Hadaka Jime Naked-strangle (bare arm choke). Done from behind. Opponents clothing is not

required to execute the technique. Version 1 Bring the right arm under and across the opponents chin. Clasp both hands together with the right hand palm down. Push forward with the right shoulder and pull back with both clasped arms. Version 2 Reach around the opponents neck with your right arm palm down. Place the right hand on the biceps with the little finger at the bend of the elbow. Next bend the left-arm over the grasping right hand and place it behind the opponents head. Squeeze in and backwards with the right arm while pushing forward with the right hand. Defense: grab the outside of your opponents right sleeve or arm at the shoulder with both hands, pull down hard, lean backward, and slip your head free.

Sode Guruma Jime Sleeve wheel choke. Done from the front. Opponents clothing is not required to execute

the technique. Put your right forearm against your opponents throat and your left forearm against the back of his/her neck. Grasp your right lower sleeve or forearm with your left hand and thrust your right hand into the right side of his/her neck. Apply pressure by making circular movements with both arms.

Sangaku Jime Triangle-strangle. Done from behind. Opponents clothing is not required to execute the

technique. Apply pressure to your opponents neck by wrapping your right leg over his/her left shoulder and your left leg under his/her right armpit. Catch your right foot



under the back of his/her left knee diagonally. Squeeze your legs to put pressure on the left side of the neck.



11.0 Joint Locking Techniques (Kansetsu Waza) 11.1 Introduction Joint locks are directed against the opponents joints, which are twisted, stretched, or bent with the hands, arms or legs. This can cause dislocation or hyperextension of the entangled limb. These techniques are described from only one side but can obviously be done from the reverse side as well. 11.2 Techniques Ude Garami Entangled arm lock. Done on the ground. Taking your opponents wrist in your left hand,

put your right forearm underneath his left upper arm, and grab your own left wrist. Lock his elbow joint by pressing against his upper arm with your right forearm. For this technique to be effective, you must control your opponents left arm and apply efficient leverage. The same lock can be applied while on top or underneath an opponent. Defense: grab your own left wrist with your right hand, turn your body to the left, and stand up. Another defense is to grab your own belt or jacket with your left hand, turn over to your left, then stand up before your opponent can re-apply the technique from behind.

Juji Gatame Cross arm lock. This technique is generally applied on the ground, either when your

opponent is still holding your left sleeve after you have thrown him/her, or when your approach him from his/her right side kneeling on your left knee and he grabs for you with his/her right hand. The same technique can be applied while on ones back. While holding your opponents right wrist with both hands, trap his/her right arm between your thighs and bend it back toward the elbow on the little-finger side. Be sure there is no space between his/her arm and your body. Hook your right leg over your opponents neck/shoulder and press your left leg into his/her left side. Leverage with your whole body against his/her arm strength. Defense: with your left hand, grab your right wrist or lower right sleeve before your opponent can take hold of it and twist and bend to your right. If caught in this lock, turn and bend your right arm until your elbow points to the side. Push your opponents left leg away with your left hand, then roll your body to the left until it is parallel with your opponents, then pull your arm free.

Zempaku Gatame Arm arm lock. This technique can be done standing or lying down. This can be used

against a front grab. Pull your opponents left wrist against your right shoulder, place your hands or right forearm above the elbow of his/her outstretched arm, and press it downward toward your body bringing pressure to bear on his/her left elbow. Be sure that your opponents arm is straight and fully extended. Defense: instead of attempting to pull free, simply push your arm past your opponents shoulder and bend it.

Hiza Gatame Knee arm lock. Hold your opponents right wrist in your left armpit and press down on

his/her elbow from the outside with your left knee. It is very important to coordinate three movements: push against the opponents right side with your left foot, break his/her balance forward, and press his/her right elbow with your left knee. Defense: twist your right wrist clockwise and pull it out of your opponents armpit, push your arm through his/her armpit to relieve pressure on your elbow, and then roll forward over his/her body.

Waki Gatame Armpit arm lock. From the side, grip one of your opponents wrists with both hands and

hold his arm in your armpit. Stretch his/her elbow and lock the straightened arm. Hara Gatame Stomach arm lock. Grip one of our opponents wrists from the side using either left or

right hand. Use your stomach or chest to apply pressure to his/her elbow. Lock the elbow by straightening, twisting, or bending the arm.

Ashi Gatame Leg arm lock. With your opponent face down on the ground and you to one side, catch

his/her forearm with one leg. Straighten to bend the arm and lock the elbow.



Te Gatame Hand arm lock. From your opponents right side, slip your left hand through his/her right armpit and grasp his left front collar. Take hold of his/her right wrist with your right hand, straighten his/her arm, and lock the elbow. It is also possible to grasp his/her wrist with one or both hands and apply a lock to the elbow by twisting his/her arm behind your opponents back.

Sangaku Gatame Triangular arm lock. Wrap one leg over your opponents shoulder and the other under

the opposite side armpit to control the head. This can b

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