7/21/2019 Basic Kata of Kwanmudo http://slidepdf.com/reader/full/basic-kata-of-kwanmudo-56dbaab538291 1/76 Table of Contents KWANMUKAN LECTURE ...............................................................................iINTRODUCTION ...............................................................................................iii Chapter I ..........................................................................................................1 Kata of Kwanmudo ..........................................................................1 The Purpose of Kata ..................................................................1 Important Aspects of Kata Practice .........................................1 Basic Level Considerations .......................................................3 Practice Considerations .............................................................4 Basic Kata of Kwanmudo..........................................................5 Chapter II ........................................................................................................7 Taikyoku Kata ...................................................................................7 Taikyoku .....................................................................................7 Basic Principles of the Taikyoku Kata.....................................7 Chapter III ......................................................................................................10 Heian Kata -- I, II, III ......................................................................10 Heian Kata ..................................................................................10 Heian Shodan .................................................................10 Heian Nidan ....................................................................11 Heian Sandan .................................................................13 Chapter IV.......................................................................................................15 Heian IV & V......................................................................................15 Heian Yodan ...............................................................................15 Heian Godan ...............................................................................18 Chapter V ........................................................................................................21 Characteristics of the Taikyoku & Heian Kata .....................21Taikyoku .....................................................................................21 Heian Shodan .............................................................................22 Heian Nidan ................................................................................22 Heian Sandan .............................................................................23 Heian Godan ...............................................................................25 Chapter VI .........................................................................................................26 Taikyoku Kata -- Long Hand ...........................................................26 Chapter VII .......................................................................................................29 Heian Shodan -- Long Hand .............................................................29 Chapter VIII......................................................................................................32 Heian Nidan -- Long Hand ...............................................................32 Chapter IX.........................................................................................................36 Heian Sandan -- Long Hand .............................................................36 Chapter X ..........................................................................................................39 Heian Yodan -- Long Hand ..............................................................39 Chapter XI .........................................................................................................44 Heian Godan -- Long Hand ..............................................................44 APPENDIX I ..................................................................................................48 Kata Movements in Common Japanese Terms ..................................48Taikyoku Shodan .......................................................................48
Kwanmukan is a style (Kwanmudo) and ahierarchical structure (Kwanmukan). In karate,there is the assumption of higher knowledge.Seniority is set by the headmaster and is acceptedwithout question. In the Kwanmukan, gyms areopen to all as we are brothers and sisters underone roof. We are united in a common effort. To
go against one is to go against all, and this cannotbe allowed. If a junior attempts to undermine asenior, all seniors are undermined and doubt iscast upon the wisdom of the headmaster. There isno requirement that everyone like each other, butyou must get along and you must respect thepositions of authority whether or not you respectthe person in authority. Kwanmudo requiresrespect for elders and seniors as a basic tenet in itsphilosophy. If you do not follow this, you are notof the Kwanmukai and have no karate.
If you have a good attitude, you have goodkarate; a bad attitude, bad karate. Considertournaments for a moment. Tournaments promotesportsmanship and teamwork. These areAmerican ideals. In the USA Karate structure,traditional karate values are blended in with thecompetitive values of our culture. Tournamentscan be a good channel for aggression and can testthe development of your spirit. Deciding that alltournaments are bad because you do not liketournaments or feel they prejudice karate training,contradicts the belief of world karate-do whichconsiders sport a part of Budo. Tournaments arebad if they are an end in themselves, or if they aremerely for winning (of course, some people dorun poor tournaments and we recognize this).Karate can be good or bad. The real question is,what are your grounds for judgment and are thosegrounds accurate? Let's apply this to kata practice.
Kata is not good or bad. It is correct withina circumstance or wrong. In theory, your kataperformance is right or wrong, depending uponthe accuracy with which you perform to yourinterpretation. However, at basic skill levels --first or second dan and below -- shifts in practicefrom the prescribed method are not acceptable fortesting performances. This insures that the youngblack belt know at least one interpretationcorrectly and not fifty incorrectly! Once you getbeyond the shodan level (that is, once the basic
requirements of kyu level are absorbed and no just learned or memorized), a kata for yourindividual practice is assigned. This does notmean you ignore the basic kata; this is just thekata for your rank. This form is practiced for aperiod of one to three years, until yourperformance is acceptable. Only after the
prescribed method of performance becomesstructured into your karate will shifts in the katabe introduced to fit your individual make-up. Donot be disgusted if no one helps you in thebeginning. You must get the kata in as good ashape as you can so you can learn from it. Thenthe kata can be refined and the performancepoints tailored to your practice. Kata at this levelbecomes an expression of yourself and the worthof your practice.
In kata, a technique need not be pretty, but
it must be correct. Basic kata are taught in acertain way to introduce specific values intraining. Often, adjustments in kata practice bythe seniors confuse junior black belts who are notyet privy to advanced black belt practice. Kata isan open book, and when the gym shifts itspractice, the kata interpretations often shift with ito reinforce the direction of practice. The seniorblack belts practice these shifts in kata toreinforce their training. In doing this, they do notundermine the basic values of the kata. These
shifts are not grave, and are reflective of thekarate practice. However, when the reason forthese shifts is not understood, all hell can breakloose. Understand that Kwanmudo is change influctuation.
Kwanmukan is the house, Kwanmudo theway, Kwanmukai the members, andKwanmuzendokai those that follow the way ofKwanmu. We must live as such together underone roof.
Love your country -- You have to know whatyour country is.
Obey your father and mother -- If you do notobey, leave.
Respect elders and seniors -- You respectsnakes.
Do not kill anything without a reason -- If youhave a reason, kill it.
In the United States today, karate is fastbecoming integrated into our culture and our wayof thought. The understanding of karate by thestudent is influenced by the traditions and mythspresented by the karate sensei or instructor.Because there are many instructors who do not
understand the reality of karate -- they teach whatthe were taught, believing that is what it is allabout.-- there is much misunderstanding as towhat karate-do is about. This is especially sobecause these instructors were not trained to besensei and assume on their own that they knowwhat karate-do is. There is a desire in the martialarts world for true karate-do. That is what thisvolume is all about. In essence, this book providesa true method of the kata basic to karate inAmerica as Gichen Funakoshi did for Japan manyyears ago.
Karate was introduced to America in anera when the press of physical confrontation wasrare or could be defended by other than personalviolence. In Japan, the method of Okinawa-te wasintroduced by the characters meaning Chinesehands. The idea of a foreign system that couldabsorb the Japanese cultural phenomenon of bu-do intrigued the Japanese in much the same waythat karate has intrigued the Americans. Thepresent concept of do or way was instituted in thepractice of karate in Japan. This do is expressedthrough the practice and performance of kata.Bu-do -- the way of the warrior -- arose from bu-
jitsu -- the act of war and violent subjugation. Inthe late 1800s and early 1900s, the Japanesedefinition of the samurai was redefined. Theconcept of bu-do developed at the end of thefeudal system as the embodiment of the virtuesattributed to the bushi -- warrior class that theJapanese respected. Karate was not part of theoriginal bu-jitsu practiced, but readily fit theconcept of bu-do, allowing a rationale for the
continued practice of the martial way. Funakoshi'sintroduction of karate into Japan allowed karate todevelop from a fighting method employed by asubjugated and peasant class to a respectablemartial art.
On a historical note, karate was introducedinto Japan by Gichen Funakoshi in 1922. In 1931,the Nippon Butoku-kai formally adopted karate
as a martial art in Japan. The Butoku-kai was anorganization formed to structure the martial artsof Japan including the determination of whichmartial arts were truly Japanese. It was not untilthe mid- 1930s, probably 1936, that the meaningof kara-te would be defined as an empty-handedself-defense method or weaponless art of self-
defense. Philosophical reasons played animportant role. For that matter, te -- Okinawanself-defense -- and to-te -- Chinese self-defense --did not combine until the late 17th and early 18thcenturies. They did this by integrating the Chinesekata with Okinawan te. Karate came to theUnited States in 1946. If thirty years defines ageneration, then karate in Japan has less than aone generation headstart over the United States.
At the time of its adoption in Japankarate-do was expressed in the Japanese culture
as the method for man to attain those virtueswhich were found in the exceptional person. Bu-do is an expression of all those virtues man couldhope to attain as expressed by the Japaneseculture through a long period of feudalistic ruleThe bushi or warrior had simple ideals to followexcellence, personal loyalty to immediate rulersand the readiness to fight and die withouthesitation. The austere simplicity of zenconceived as thought in direct action, contributedto the concept of the pragmatic warrior. Both
budo and zen led to an inner peace. As the non-acceptance of violent means arose in Japan, kara-te, originally meaning Chinese hands, becameJapanese in its nature, fulfilling a need in theirsociety, karate came to be known as emptyhands.
Today in America, and throughout theworld, karate as a sport is expressed as a part ofBu-do. Influence of the American sports systemby design and implication, is fast making Karatein the United States American in its character and
definition within our society. There are those ofus who do not desire to lose the benefits of themind/body/spirit found in what is now calledtraditional Japanese Karate. The expression ofAmericans who are true masters of the art and itsteachings needs to be heard. This traditionatreatise of the basic karate kata deals with both thetraditional concept of the kata and itsinterpretations, but it expresses them in American
thought patterns and American exploration intothe meanings of the kata.
In past times, kata had a positional impacton martial training, reflecting not only pastmartial beliefs, but also the needs and demands ofthe culture in which the particular practice method
(kata) was found. Kata has thus been modified tomeet the particular demands of the culture inwhich it has been practiced, and it has also beenadapted to the physical and psychological attitudeor make-up of the practitioner. Training in katadid underscore the relationship to personalcombat, and it was the major training method thatthe old masters, who were the fighters of theirday, used to formulate their thoughts and handdown their concepts to their successors. Katabecame the textbook of combat training by thekarate masters -- not a sports system.
In the performance of kata, a clearunderstanding of what kata is and of what the katais attempting to induce is primary. Kata can bedefined as a limitless study of a master'stechnique, training, and plan of attack; a statementof flexibility; and an exercise of mind/body/spiritin concentration and awareness. Kata differs fromdance in its philosophical and physio-psychological values, which is to say its intent.Dance developed from man's desire to expressimpulses, emotions and desires. Kata attempts toimprint a deep ethical base -- the ability to endureharsh physical punishment until victory or death.This cannot be achieved by mere practice andfighting. It must be the product of an inculcatedand cultured mind. In the practice of kata, thesame feelings and reactions found in actualfighting must be induced so that the appropriatephysio-psychological responses necessary toengage in combat (breath, kime, etc.) occur,allowing the performer to attain, without anopponent, whenever and as often as desired the
same mental and physical accomplishment neededin actual fighting. Kata induces the ethical baseand develops the appropriate responses forcombat. This is the essence of the katacompetition. Karate-do is thus the translation ofthis lesson into modern life. The utilization ofkarate insight in our battle with ourselves carriesover into our whole life, allowing us tounderstand ourselves and how we fit into the
world around us.
Both kata and dance utilize movement(space, time, and force) as the means to expresstheir particular intricate physical andpsychological value. Inherent in both are bodyposition, dimension, and direction of movement
(whether to or from the gaze) and floor pattern.Agility, rhythm, flexibility, and endurancedemonstrate body awareness. Tempo, accent, andbeat reflect time; and force is expressed bydynamics (light and heavy). There is quality(staccato and legato) and range of the movement.The strength and agility of the performer expandthe energies that can then be used to enhance theperformance. Understanding these cardinal rulesof kata allow the form, content, and means of thekata to become apparent, taking on a specialsignificance not found in dance.
A kata can be divided into two types ofmovement -- basic and intermediate. Basicmovements include the postures, stances, blocks,attacks, and kicks found in the kata. These are thefundamental defensive and offensive movementswhich are often paired in sets or sequences.Intermediate movements are those that connectthe basic movements. They are fighting postureslinking the paired sequences of defensive andoffensive movements responsible for positionalcoincidence -- that is, beginning and ending thekata at the same place. These movements arelogical and philosophically sound, and areworkable and effective in addition to beingimportant for the body's development. Finally,intermediate movements provide a break in thebeat of a kata similar to a rest in music. By thusaffecting the rhythm of a kata, these movementshelp to lead the practitioner to the expression ofzanshin. This is a concept that will be discussedlater.
Kata is the foundation for the practice ofkumite. It is the practice method, sometimes withphilosophical overtones, that the masters, whowere fighters in their own day, thought valuableto the proper training of the fighter. Much of whatis practiced in kata is the same as that needed inactual combat -- kime, vigor, good form,breathing, zanshin, etc. Kata, by eliminating thepressing moment of combat, allows for correct
training of the physiological and psychologicalresponses necessary for combat that are difficultto practice in jiju-kumite (free fighting).
Essential to kumite training are thepositions of the upper body (kamae), stance(tachi), as well as the proper fixing of the eyes
(mesen), and zanshin -- all of which can bestudied from the various kata strategies. Theunderstanding of the physiological movement,timing, and distancing are needed in kumite. Katabased ippon kumite facilitates the expansion andinterpretation of the kata. Thus combining thetraining of kata with the forms of kumite (kihonwaza) allows the correct performance oftechnique, and the development of the attitudenecessary to combine the ability to mount vitalstrike capacity with the ability to overcome acountermeasure.
Showing an understanding of kata meansthe special characteristic movements and posturesare adequately performed, and that the importantlessons of the kata are properly demonstrated --lessons that should be evolved and carriedforward in karate practice.
Each kata has its own particular value andcharacter. Some kata are merely drill kata, whileothers are philosophical statements. Certain kata -- especially those of the Shorei or Naha-te
variety exhibit strength and dignity whenperformed and are appropriate for thestrengthening of bone, sinew, and muscle. Shorin or Shuri-te kata are quick and flowing. Theirmovements require great agility due to their light,swift, and rapid motion often described as a birdin flight.
The above two schools vary in their basicmovement and method of breathing. Shuri-te utilizes natural patterns of movement, especiallyin the foot patterns by virtue of a natural walking
motion. Speed and proper timing are essential andbreathing natural. Naha-te is characteristicallysteady-rooted movement with the feet stepping ina crescent-shaped pattern. Both systems breathewith the movement, but in Naha-te breath, whilerhythmical, is forced (exaggerated) in accordancewith each of the movements.
A Shuri-te kata like Bassai Dai
represents the use of opposites -- composure andagility, strength and change, fast and slowmovements in techniques and light and heavyapplication of strength. Direction changes areswift expressing the feeling of turningdisadvantage into advantage. Hangetsu(Seishan), on the other hand, has characteristic
circular movement of the hands and feet forgetting in close and off-balancing the enemyTechniques are fast and slow, but hands move incoordination with breathing and the sliding of thefeet. Neither system of kata is necessarily superiorto the other, and Funakoshi included both in hissystem, as we do in the Kwanmukan.
Competent performance of kata demandsenthusiasm always bold and powerful, sometimesswift, sometimes slow. Hand-foot-eye-breathcoordination, awareness of the opponent, and the
expression of the meaning of each movementmust be clearly shown. Are intermediatemovements -- those responsible for positionalcoincidence (beginning and ending the kata at thecorrect place) performed correctly? Is the breathadequately controlled, and the maximum physicalresponse during the intermediate movementsgiven? Is the rendition balanced both in the designand in the movement? These are all importantconsiderations in the practice of kata. Thestability of the center of gravity, breathadjustment, gaze and proper focusing of the eyesdistribution of strength within the movementinternal consistency, as well as balance in theperformance are also important. The start of thekata should be relaxed with no tension in the body-- particularly in the knees and shoulders. Thecenter of the gravity is in the tandem (hara)During the performance there is perfeccoordination of breath, stance and movementcontinuity of rhythm; and exemplary attitude andspirit. Zanshin -- being relaxed and alert at theend of the kata -- brings the kata to a perfect
finish. Finally, during the performance there is theexpression of the psycho-physical responsesnecessary to remove the kata from a purely roteperformance into an artistic fighting mode.
In this treatise, we consider the lessonsthat are learned in the basic karate kata. This bookis also designed to provide a background forAmericans interested in taking part in the world
karate-do movement. That is, this book is forthose who desire to retain the traditional value ofkarate-do, training for combat as well as sport.The solid foundation found here assists thepractitioner, not only in training for world classkarate-do competition, but also improves thekarate-ka 's (practitioner's) own daily life.
Need a picture of a large group praticing katalso a picture of hangetsu stance and thebassai dai kata
Kata in the Kwanmukan has as its goal theforging of a strong mind, an indomitable will, anda healthy body. In kata practice, the student isexpected to advance as soon as he/she has a goodgrasp of the kata required for his/her rank. Ateach kyu level, a new kata is learned and theprevious kata reinforced. At the dan or black beltlevel, a kata fitting to the karate-ka is assigned.This kata will be reviewed over a period of one to
three years until performance is satisfactory. It isnot enough to just perform the movementswithout error. The kata must be repeatedlypracticed until it is inculcated -- that is, throughpersistent and earnest practice the kata becomespart of the expression of the black belt's karateand can be used automatically in a vital situation.During this period of time, the basic forms shouldnot be overlooked as they provide insight andpreparation for the performance of the moreadvanced kata. Other kata can also be studied, but
these should not be practiced to the disadvantageof the assigned kata. Additionally, and especiallywith the Kwan Mu Kata, the kata are often usedas reference and to reinforce particular aspects ofkarate practice in the dojo. In the Kwanmukan, wesay you have ten years: ten years from today, tenyears from tomorrow, ten years from next week.What is important is not that you can performmany kata, but that you can perform the basickata and your assigned kata correctly. Unless youcan do this, your karate practice will indeed be
shallow.
{Picture of intense kata practics
Important Aspects of Kata Practice
In the practice of kata there are manyimportant considerations. The most importantconsiderations are noted below and must be
studied in relation to each kata as the particularkata is learned.
1. Each kata must begin and end on theembussen -- the line of the kata movement. Todo this, all movements must be completed andperformed correctly. It is said whatever goes mustcome back. The kata must begin and end in thesame place. Some styles of karate have kata thatdo not end at the same place as the beginningThis is not so of the basic Kwanmukan katatreated in this book.
Stability of the hips/ hara is veryimportant for proper karate technique. Not endingat the same place where the kata began indicates avariation in length of stride or stance whichunbalances the hara, disturbing the inner rhythmof the kata and therefore yourself as theperformer.
2. Each kata movement, as well as theentire kata, has its own meaning and
characteristics. In performing a technique, thenature of the technique -- offensive or defensive,straight or hooking, etc., -- must be fullyunderstood and expressed. To avoid confusion,only one interpretation is allowed in the beginningkata. The interpretation of a movement mustclearly be shown in the execution as well as theoverall character of the kata and both mustcoincide. Too often a beginner or intermediatestudent is asked the meaning of a movement andthe reply is -- it could be this or this or this. Thisanswer is incorrect. The movement is what it is inthe context of the kata as it is performed. In thislight, awareness of application and target is ofvital importance. Without knowing where theopponent is attacking or how, you cannot be sureof the target and how best to strike back or defendand thus express the meaning in the kata. If youvisualize the attacker, as you are supposed to doin the performance of your kata, only onemeaning of a kata can follow -- the meaning thatrefutes the attack of your opponent. The properstructured interpretation of the Kwanmukan
designates this exactly for the practitioner so thatone interpretation is correctly learned by thestudent.
3. Breathing is another very importantaspect of kata practice. Breath changes withchanging circumstances, and control of breathingwithin the basic sequences of the kata must bedeveloped naturally over time. At the basic level,
inhale at the beginning of each movement andexhale at the completion. Through controlledbreathing, heart rate can be controlled andtherefore the speed of the blood throughout thebody. This exerts control over adrenal secretionsand other body defense mechanisms.
Kiai is also part of the breathing in thekata. Kiai is a very sharp exhale from the pit ofthe stomach tensing the abdomen and giving extrastrength to a technique. In each basic kata, twokiai points are designated -- at either the strongestor weakest points of the kata. These kiai pointsare designed to elicit the maximum psychologicalresponse of the performer and are usually found atthe end of a major sequence or statement. Kiai canbe used to alarm, protect, or kill, depending on itsneed.
4. Once the movements of a kata areappropriately learned, the next step is to beginstudy of the rhythm of the kata. Each basic katahas its own internal rhythm. The rhythm is part ofthe requirement for the kata and variations are notpermitted. Rhythm must be internally consistentwithin the kata. Variation destroys the expressionof the kata and the direction that themind/body/spirit is being led.
Funakoshi's three cardinal rules of karateare the three rules of rhythm that lead the kata to
correct zanshin. Mr. Funakoshi expressed histhree cardinal rules of karate in his book theKarate-do Kyohan. They are:
a. Light and heavy application ofstrength -- correct application of powerat the proper moment;
b. Expansion and contraction of thebody;
c. Fast and slow fluent movements intechnique.
Once you fully understand the features of
a kata and the exact meaning of each movement,the degree of strength, speed of the motions, andbody flex can be correctly synchronized into thekata, thus perfecting the internal rhythm of thekata. This internal rhythm is expressed as part ofyour mind/body/spirit and exuded duringzanshin. If karate is moving zen, then this is ademonstration of your zen.
5. Zanshin at the end of a kata is directlyrelated, as described above, to the correct rhythmpattern of the kata. Kata performed with correctunderstanding and rhythm creates the conditionfor the mind to forever express watchfulremaining everness -- zanshin. This is sometimes
referred to as the undisturbed flow of ki throughout the body. Incorrect performance of thekata disturbs the flow of ki and zanshin will notbe accurate as the hara is disturbed and the minduncentered and confused. Zanshin literally meansremaining mind. It is the attitude or state ofwatchful waiting expressed at the end of a kataperformance. It is the feeling of extending themind/body/spirit, dominating the opponent, andextending internal power forward, utterly cuttingthe opponent down. In taking zanshin at the end
of the kata, do not rush to yame,1
but maintainreserve at all times, remaining in control ofyourself.
Basic Level Considerations
In beginning levels of kata practice, thereare a number of skills which are developed andwhich the instructor guides the student inlearning. The proficiency level of the beginningstudent is composed of the beginning skills andmastery of timing, posture, balance, control,technique, body control, and coordination.
1. Timing is the ability to coordinatetechniques properly to nullify an opposingtechnique and to strike back effectively.Consideration must be given to principles of bodyshifting, deflection and conservation ofmomentum.
1Yame means stop or end in the sense of finishingwhat you are doing.
Proper posturein akarate stance
2. Posture relates to the manner in whichthe body is aligned to keep the center of gravity(mass) over the base. Proper posture affords thebest position for the execution of karatetechniques.
3. Balance is the ability to maintainequilibrium against opposing forces either staticor dynamic in nature. That is, either with orwithout making movement or contact with theopponent.
4. Control is the ability to govern ordirect karate technique with proper speed, power
and degree of extension.
5. Technique (kihon) is the method ofexecuting the mechanical details and manner ofperformance of a karate technique.
6. Body control and coordination is theability to regulate and combine muscularmovement into harmonious and smooth actionthrough the exercise of karate technique. That isto control karate technique using timing, postureand balance.
During practice, eye level should bemaintained without the head bobbing up anddown, and weaving while stepping is to beavoided. The alignment and stroke of thetechnique should be smooth along the proper pathto the target. Reaction force, the pulling of theopposing muscles to balance muscular action, isextremely important. The head and eyes shouldalways gaze in the direction of the attack or
defense. Speed and power are not stressed asmuch in the beginning, but should increase as theunderstanding of the kata becomes apparent. Theability to assume each stance properly and theability to move smoothly from stance to stancewith proper execution of technique is the primarygoal.
Practice Considerations
In the beginning, the study of karaterequires patience and the ability to concentrateand to accept discipline. Karate exercise providesfor stretching, strengthening, and endurancetraining. In early training, karate deals with largemuscle strength and movements. At thefoundation level of practice, it is important earlyon to be aware of what is required for good karatetechnique, and how to avoid unnecessary
weakness in your body caused by incorrectattention to training. By learning the basicscorrectly, the necessary skills for the moredifficult movements become part of thefoundation of your technique. As your practiceprogresses, you will become more knowledgeableand aware about your body and its various partsand muscle groups, how the body works, andwhat your body can and cannot do. This increasedawareness improves your muscle control andreduce the risk of injury by strengthening themuscles and avoiding unnecessary stress on thebody.
There are a few things that you must beaware of at the start of your training andthroughout the basic levels that can reduce therisk of injury at later levels of training.
First, correct posture and stances areextremely important. Incorrect posture can giverise to weak stomachs, flat feet, poor anklestrength, and knock knees. It can cause adangerous condition to the lower back, increasing
the chance of injury. Good posture requires thatthe relationship of the lines in the body to thecenter of mass be understood. The weight shouldbe lifted up through the legs, while at the sametime, there should be a feeling of the weightdropping from the upper head and torso. Whenpracticing your stances, the inside and outsidemuscles of the legs are used to help strengthen thebody's posture and to support the body in the
stances. The body should also be centered in astraight line running down from the crown of thehead through the center of the body. There is acentral axis and lines or planes of movement inkarate that run vertically and horizontally aroundand through the body. This axis must be felt andunderstood. The center point of all of this is the
hara. You must learn to find this physical center.
Shoulder and pelvic alignment isimportant. If the pelvis is tipped incorrectlyforward, the weight of the body will be on thefront of the legs and will not be correctlycentered, causing undue stress. Similarly, if thepelvis is rocked too far back, the body will againbe out of alignment. Do not slump the shouldersor pull them back too far. Shoulders should becentralized and relaxed so that the neck is withouttension. If you over-train one side of your body,
the body will not be symmetrical. This canespecially be seen in the shoulders where oneshoulder is higher than the other, indicating acurved central axis of the body.
It is important that you strengthen muscleswithout unnecessarily stressing the joints. Hyper-extension, or extending the joint beyond beingstraight or locked, must be avoided. This isdangerous when landing from a jump or when anyof the karate techniques are over-extended. In thebeginning, the joints may feel slightly bent whencorrectly aligned, but this feeling goes away as itbecomes the normal state. The important thing isto not injure yourself by over-extension of the joints.
A special area of stress can occur in theknee joint. This comes from bending the kneeincorrectly when it is supporting weight. The kneemust extend usually over the small toe side of thefoot when it is bent and supporting weight. This iswhy some practitioners say the forward foot in afront stance must be turned inward. While this isso, the reason is so the knee can bend forwardcorrectly without stressing that joint.Unfortunately, some karate-ka turn the foot toofar inward and end up supporting their weightincorrectly, leaving their body improperlyaligned. Finally, if the leg bends incorrectly overthe foot, the knee joint becomes weak andvulnerable and poorly supported by the muscles.
Karate training increases body awarenessand develops a sense of balance. Training focuseson the individual parts of the body and thesupporting muscle groups and how they worktogether in unison as a complete entity.
Basic Kata of KwanmudoThis manual provides for the Taikyoku
and Heian (Pinan) Kata as practiced by theKwanmukai. The Kwanmukan is the synthesis ofKarate-do into the American way. Therefore asyou practice these kata, the performance and theinterpretation of the Kwanmukan must befollowed by all Kwanmukai dojos providing for aconsistent and stylized method of practice. It isimportant to note that advanced training in theKwanmukan utilizes and explores various kata
interpretations to more fully understand theteachings of a particular kata and therefore toenhance the value of karate training. Thesevariances are not to be misunderstood by thebeginning student as the required performance. Itis the responsibility of the senior students tounderstand and teach the kata as mandated and tonot confuse the lower ranks by practicing atvariance to the prescribed method. If this isunderstood by both high and low ranks, thewrong practice of the seniors will not lead toconfusion. This is the reason for the requiredstandardization of the basic kata in Kwanmudo.
In this manual, each of the kata isexpressed in pictures, and the movements of eachare given using the Japanese terminology. Thereare performance and interpretation notes, as wellas a performance narrative. Each of these katamust be understood by the student at the requiredrank level.
These basic kata are designed for groupinstruction. As such, the count for the
performance must be understood for the class tokeep together. One count corresponds to eachstance. In the beginning there is an inhale and anexhale with each count. This is important. In theearly stages of learning a form, the instructoroften uses more counts to help the student learnthe kata.
At the start and at the end of each kata,
three calming breaths should be taken to centerthe hara and to relax the mind. This allows forconcentration and correct performance and isoften described as centering the mind in the hara.
It is important to breathe and not hold thebreath while moving. Basic in karate was to
inhale on the block and exhale on the attackSome styles now inhale just prior to eachtechnique and exhale during the technique itself --whether it be a block or an attack. We inhale aswe start the movement completing the inhalenaturally just before passing through the balancedposition ,and exhale with the application of thetechnique. Please bear in mind that the basicbreathing pattern of the kata does change withadvanced practice, and the above describesmethods of teaching correct breathing at the
beginning level.As the student progresses with practice
the kata movements become sequential andbreathing is accomplished in sets withcombinations of movements. For example, whileexecuting the low defend and three consecutivelunge punches of Heian Shodan, only one breathcycle need be used. This, however, assumesproper control in breathing and an advancedunderstanding of karate technique. What isimportant to the beginning student is that
breathing be learned correctly through the properinstruction of the basic kata.
In more advanced kata practice, individuaexpression is allowed, and the breath and rhythmpattern adjusts slightly to each one's tempermentBreath naturally inhales at the relaxation of kimeas between movements. This cannot be correctlyaccomplished unless under the direct supervisionof a master Kwanmukan instructor.
Hand, foot, breathe, and eye movementare all coordinated when doing kata. The eyes,
feet, and hands (arms) move simultaneously andin that order. The breathing should comenaturally. In some sense, the mind is floating freeand should precede the movement, but not befocused on any one thing. You will probably findyour technique is more correct if you think ofmoving with the hips. The hands and feet canmove naturally in unison.
When pivoting, the action is that ofpivoting on the foot where the weight sets. Insome movements, pivoting is accomplished on the
heel and the hara moves forward to the directionof the strike. In some instances like the side thrustkick, the pivoting is on the ball of the foot. Thenormal method of pivoting is to pivot on the axisof the foot. As the stance becomes fixed, the feetgrip the floor as the force applied. This firms upthe stance allowing proper kime. Remember astrong building cannot stand with a poorfoundation.
A correct lowstance.
Correct and low stances must bemaintained at all levels of practice. Low stances
correct body displacement and allow for theproper development of strength and stabilizationof the hara. Improper stances can cause injury bystressing the body incorrectly and destroys karatetechnique. Correct low stances will not do this.Low stances also allow for the ability to makeagile movements in every conceivable direction.Students who feel low stances are inappropriateare not in a proper state of mind for karatepractice. They are like a cup already overflowing.The cup cannot hold any more.
Finally, no stance is fixed in reality; all arefleeting at best. In Japan, the immovable stancewas an innovation to provide a more suitablestance than the forward stance. It addressed theinappropriateness of the forward stance forcombat, providing a more mobile stance. Today,the forward stance is more widely used because ofits ability to train the legs and ankles.
In the Kwanmukan, we are not out to bepretty, but to be correct. We are not out to take iteasy, but to express fully -- point to point with
nothing wasted, nothing withheld. Kata is anexpression of your spirit. Let your spirit ofKwanmudo be thusly expressed.
Taikyoku Kata is translated as firstcause and refers to the maxim of GichenFunakoshi, “In karate, there is no advantage in thefirst attack.” As a philosophical term, Taikyokurefers to the universe before it was separated intothe duality of heaven and earth. This is youroriginal face before you were born.
The concept of the meaning of Taikyoku comes from the Chinese T'ai Chi Ch'üan which is
translated as Taikyokuken. This was a fist artdeveloped about the time of the Ming dynasty. Itwas the result of the combination of variousschools of unarmed fist arts at that time.Combining aspects of Chinese medicine,Taikyokuken incorporated elements for healthand physical fitness. Taikyokuken today ismostly a system to provide for health and physicalfitness education.
The Taikyoku Kata were designed byFunakoshi for use in education and number
Shodan, Nidan, and Sandan2
(I, II, and III) inthe Kwanmukan. They are excellent drill kata forbeginners and intermediate karate-ka, and for theadvanced practitioner they provide an importantreview of hara movement and can correct errorsthat cause incorrect kime.
The Taikyoku Kata simplify and developthe basic hip, leg, and ankle actions needed toproperly move the hara so that strength andpower (kime) can be applied to the technique. Inour style, all Taikyoku Kata follow the same foot
pattern except Taikyoku Sandan which uses aback stance when going to the left and right sides.Otherwise the foot pattern is the same asTaikyoku Shodan and Nidan. Funakoshi hadsaid that the advanced performer should attemptto perform this kata in 5 or 6 seconds!
2Some styles may have as many as 8 or 10different Taikyoku kata.
In the performance of the kata seriesTaikyoku Shodan uses a low defend andTaikyoku Nidan a rising block when going to theleft and right. Taikyoku Sandan uses the mid-section inside outside block when going to the leftand right, and the second set of three continuous
lunge punches are at face (chin) level. A frequenterror is to direct these three attacks so high theywould be over the head of the opponent -- anobviously erroneous target.
In the Taikyoku Kata, the first set of 8movements and the second set of 8 movementsare exactly identical except the orientation of thekata is turned 180°. Other sets of movements inthe kata are identical in the same manner andrepeat in opposite directions.
The embussen (line of the kata
performance) is I-shaped, and the kata begins andends on the same point called the shihatsutenThis kata has the primary importance of teachingthe hara to move properly, and to train the majormuscle groups to act in unison with properbreathing, thus producing a synergetic result andcorrect, accurate, and strong kime. In the sensethat this kata utilizes basic movement anduncomplicated actions, the study of techniqueessential and basic to all karate can beaccomplished. Do not look at this form as only a
beginners form as the essence of all advancedtechnique is found here.
Basic Principles of the Taikyoku Kata
When you first learn these kata, theinstructor counts slowly allowing about 2 secondsper count. The student will move lightly andquickly through each individual step, but will norush the steps together. Over time, tremendousstrength will be brought to the kata, and themovements will begin to be unconsciouslyexecuted without error. This kata, like all others
is divided into sequences of block/attack sets withintermediate tie-in movements to allow the katapositional coincidence. (That is, the intermediatemovements allow the kata to begin and end at thecorrect spot.) Once the kata is developed, the setsor sequences are performed in a single movementof body, breath, and spirit.
1. When performing Taikyoku Kata, thestances must be correct, with the weight properly
forward or back as the stance requires. In the frontstance, if the forward foot is not correctly alignedwith weight forward, you cannot move withoutrepositioning that foot. The error is to turn theforward foot too far inward to try to offsetincorrect momentum to the forward side inblocking or attacking. This momentum can becaused by making a front stance too narrow or toowide, or by putting all motion into the hips andshoulders as they twist, without transferringweight forward properly into the stance. Whenstepping ahead out of a forward stance, theforward foot need only be used to drive the bodyforward as a runner or football player does off theline. There is no need to transfer weight to thefront foot in the forward stance in order to stepahead, as the weight should already be there if thestance is correct. This concept can be practiced byrunning up stairs two at a time.
2. Many so-called advanced practitionersactually do two different forward stances! One iswith the foot turned too far inward to stabilize
against incorrect momentum in an individualmovement, the other while moving forward inrapid succession when the forward foot cannot beturned inward because of the nature of the quickstepping action. Do not make this mistake! Makesure your front stance is consistent and correct.
3. Another cause of error in the frontstance is lazy training and avoidance of the deepstances which force proper foot placement and
body alignment and which build strength in theankles and legs. Leaning weight backwardsagainst the rear leg using it as a prop to hold upthe body is another result of lazy training. Thisrepositions the weight on the rear foot andobviously requires the weight to be transferredforward in order to step forward. Some
practitioners are lazy and set the weight 50-50 inthe forward3 and back stance. This takes the stressoff the corresponding front or rear leg, but doesnot allow training of the ankle and thigh. It alsomeans leaning forward to create enoughmomentum to step forward. There are stanceswhich involve 50-50 weight displacement, but thefront stance is not one of them.
4. Turning is another important aspect ofthis kata. Make sure when turning in this kata thatthe feet in the forward stance end shoulder's width
apart when facing along the embussen. Whenpivoting to a new direction, it is important that thecorrect width between the feet (front to back andside to side) be maintained, especially in the 180°and 270° turns. All too often the student does notstep far enough and the hips (hara) cannot fullycome around. Should the student step too fararound, the stance will be too wide and the weightwill not transfer forward in the direction of thetechnique. For example, in the first movement ofTaikyoku Shodan and Nidan the foot must step
out to the left side and slightly behind the originalposition to end up in a proper front stance. In theback stance of Taikyoku Sandan, the forwardfoot slides directly out along the line designatingthe starting direction and the heels of both feetwill be on that line. Consistent with this is theflexing of the knee and ankle with movement. Theknee must bend forward over the foot, and thisrequires that the leg be able to bend forward at theankles. Correct low stances stretch the Achillestendon, permitting proper movement and higherlevel technique.
5. The position of the hips must also beunderstood. In blocking, the hips are turned inhanmi -- half front facing -- and are fully forwardwhen attacking. This leaves a smaller target whenblocking and allows the hips to rotate strongly,
3Some Styles use 50-50 weight displacement in thefront stance, but the Kwanmukan is not one of them.
6. Finally, important to the practice ofany kata is a strong base. Ankles and knees mustbe strong and bent with the legs properly stressed.The support muscles used in the stance mustbecome strong. Without a strong, sound base,your kata will be weak. Sturdy stances will notonly enhance the practice of your kata, but allowthe correct learning of karate.
Consider this kata in a state of absolutepassiveness. When performing its actions, nothingcan get in the way. If a car rams a thick tree, thecar will disintegrate. In this sense, the blocks andattacks are like the tree. Peaceful in nature withviolence in and of itself only the passing moment.
were developed by Yasutsune Itosu for use insecondary education in Okinawa around 1905.These kata are believed to be derived from theBassai and Kanku Kata. The old name for thekata was the Pinan Kata, but they are now calledthe Heian Kata, referring to the peace andcalmness found in the Heian Period of Japanesehistory. Each kata begins and ends with a defendas an expression of humility, from which peace
and calmness arise. This is the traditionalmeaning and value of the Heian Kata which mustbe carried forward in your practice.
Prior to the introduction of the HeianKata by Itosu, the concept of kata practice was toprovide a clandestine means of teaching fightingtechniques. Itosu, through the Heian Kata,provided a basic training series for group practiceinstead of secret training. The Heian Kata arenow considered to teach peaceful self defense.Techniques such as nukite to the eyes and groin
kicks were avoided in the design of the kata forphilosophical reasons, but they can be readilyinferred in practice.
A solid foundation in the lessons of theHeian Kata is necessary before attempting theadvanced kata in our system.
Heian Shodan
Heian Shodan was originally numbertwo in the series, but the order was changed.Heian Shodan is easier to perform because it has
no kicks and all techniques, except for the lastfour, are all performed with the armcorresponding to the forward foot, the other armbeing pulled to the opposite hip to stabilize thebody. Some styles actually perform HeianShodan and Heian Nidan together as a variationof Kushanku. Specific considerations arediscussed below.
Back Fist strikehorizontal and onevertical.
1. Heian Shodan contains the basicblocks, strikes, and stances found in karate. In
Heian Shodan we study basic hand-foot-eye-breath coordination which carries over into allaspects of training. Large muscle groupdevelopment occurs and the body learns bilateralbalance -- the left to the right, the top to thebottom, and the front to the back. Equal andopposite development occurs in these threedirections throughout the kata. In the developmentof bilateral balance, the hara learns to be centeredand to move properly (not leaning to the left orright, staying on the same level without bobbingup and down, etc.). In training the hara, properlow stances correct displacement of the body,develop the support muscles -- especially thosefor the knees and the ankles, and teach properbody stress.
2. The movement of the legs, especiallyin changing direction, are important in stabilizingthe hara. Without stability, kime cannot becorrect. When changing directions, the hips arequickly pulled back over the pivot leg and rotatedwhile the foot of the other leg quickly slides over
the floor in an arc-shaped movement. The heightof the hips should not change, so it is important tobend the knee and ankle of the pivot leg to allowthe weight to transfer without loss of balance.Correct weight displacement is also of primaryimportance in developing strong kime. Finally,the heel of the back foot should not rise off theground while stepping forward.
following punch (movements # 4 & 5) arecounted as two separate actions. Once these arelearned, the two actions are combined into onecount. Originally, the front foot was pulled backwith the arm motion, and then thrust forward witha bottom fist or hammer fist strike to the top of
the head. We pull the forward foot back to a catstance without rising up, transfer our weight tothat foot, and then use that foot/leg to thrust thebody ahead in a lunge punch with the left hand.The backfist is delivered as the forward foot ispulled back. The interpretation used is a backfistwith the elbow blocking the inside of theopponent's attacking arm. This has beenperformed two different ways, one with asidewards backfist strike, and the more recentinterpretation, with a downward backfist strike.
4. The rising knife-hand block after thelow defend is actually part of the following risingblock in the next stance. This is a block/grasp ofthe opponent's arm and then a rising block againstthe elbow, rib cage or chin.
5. Originally in our style, aninside/outside block was used in a back stanceinstead of the low defend in the forward stanceafter the first kiai (movements #9 & 11).
Show middle defendin a back stance.
6. For the high-section strikes(movements # 14, 15, & 16), make sure you donot punch higher than the target area (chin height)of the opponent.
7. Our style uses a knife-hand defend forthe last four techniques of the kata. Previously,
we used a double circular knife-hand defend witha pulling back action of both hands in unisonbefore swinging them forward in a circularmotion to the common double knife-hand postureThe former and current method identifies withhand attacks, the latter is a study of kick defends
The Kwan Mu Second Effort studies kickingdefends more closely. For the 2nd and 4th knife-hand blocks, some styles use a reverse hip actionThat is the hips turn opposite the direction of theknife-hand block. Other styles twist their hips inthe direction of the defend on each of the fourtechniques. The preparatory position of the bodyis different for each method. Our old method usedthe latter movement, which is consistent with apulling action against a foot attack. Now we stepout and pivot at the last instant with the block, thehips and rear foot/knee pivot into the back stancein the opposite direction of the technique.
8. Finally, there is a difference between aknife-hand and a sword-arm technique. Somestyles use a knife-hand block using the hand as ifit is a knife to block. The sword-arm block usesthe whole arm as the weapon (sword). Applicationis different. Originally we used the knife-handbut lately, practice has been with the sword-arm.
Heian Nidan
Heian Nidan has a very distinctive flavorand can be quite enjoyable to perform at theadvanced level. This kata introduces the front andside kicks, has more versatile usage of the backstance (some schools use the immovable stanceinstead), and combines hand and hand/footechniques. Specialization of the muscle groupsbegins, and the body learns to flex and twist at thewaist. When performing, it is important that eachtechnique be clear, sharp, and well-defined -- notsmall and tight. This allows the distinguishingcharacteristics of the kata to appear. Some
1. In the first two sequences of the kata,the back, shoulder, and chest muscles expand andcontract harmoniously, keeping the spine straight.In the first technique of each sequence, the armsare in the same plane, but we do not require thatthey form a rectangle as some styles do.
2. When performing the side kick, thehead, hips, and supporting foot (leg) are alignedover each other as the kicking foot is drawnupward and inward heel, touching the leg justabove the standing knee. After the side kick, thekicking foot must be completely withdrawn andthe body must remain aligned and in balance overthe support foot (leg). As the foot retracts, the lefthand is quickly positioned at the side of the rightcheek with the palm inward, and the right handperforms a hooking block as it comes forwardunder the left elbow. Descending into the backstance after the kick, the kicking foot remains incontact with the standing leg until the last instant,demonstrating full control of the action. In the oldmethod, the right hand blocked over the kick andremained there while the foot was retracted. Asyou turned to look the other direction the left handwas positioned over the right hip and a doublecircular knife-hand defend was executed as you
stepped back with the kicking foot into a backstance. A side thrust kick is the preferred action;however, side snap kicks and even front kicks canbe performed.
3. The spear-hand thrust in the kata isclassically directed to the solar plexus. Weinterpret this in practice as a strike to the throat asmost karate-ka today do not hone (train) their
hands to support a solar plexus finger thrust.
4. The four middle-level knife-handdefends are also found in Heian Shodan. In ourstyle, we independently interpret these techniquesas part of the release systems taught in theKwanmukan. This is a different interpretation
than that which we use in Heian Shodan. 5. Mastery of reversing and changing
directions is continued in this kata. Taking thereverse half-facing posture when blocking is alsostudied. In taking this reverse posture, do not stepout with the foot but pivot on the back leg and,while blocking inward-outward, thrust the hipsforward as the hips turn with the block. Theforward foot will automatically place itself. Somestyles automatically let the forward foot retractbackwards with the block so the hips can twist
into the reverse posture. We do not do this. It isalso important here to watch the length of yourstride to make sure you end the kata at the startingpoint. A common error is to end too far backbehind the starting point.
6. The morote uke is usually called anaugmented block. However, the historicalinterpretation comes from the first movement ofthe Matsumura Bassai Kata. That is, thesupporting hand is really the block and the otherhand the strike. In the more modern interpretation,
both hands are analyzed as both blocking andstriking either at the same time or one before theother.
7. Take special note of the rhythm of thekata. The first two sequences use this rhythm --one, slight pause, two-three. That same rhythm isused for the reverse block, kick and punchsequence, but without a pause between the end ofthe first sequence and the start of the next one.That is, the count -- one, pause, two-three, one,pause, two-three, one, pause. The pauses are at the
end of the reverse blocks, but only momentarily.Between the punch and the next two movements(kick and following block) there is no pause. Thissame rhythm is also repeated with the low defend,reach, high defend movements at the end of thekata. The middle-level double-handed block, canbe fast or slow, but it must be strong, stately, andpowerful. Finally, the timing of the othersequences, with pauses, equals the interval of the
8. As in Heian Shodan, the rising knife-hand block is part of the rising block in the nextaction, not part of the movement with the lowdefend.
9. In the beginning, there are more countsby the instructor than those shown so that alltechniques are properly learned by the beginningstudent.
Heian Sandan
Heian Sandan involves a different seriesof actions than those found in Heian Shodan,and Nidan brings its own set of problems to beresolved. These problems will return in the moreadvanced kata and early resolution now makes theadvanced forms easier to perform. The Heian
Sandan kata does start and end in the sameplace. However, if stances are improper, the katawill not end on the embussen. A major mistakeis to spread the feet too far apart in the straddle-leg stance causing the kata to end behind thestarting point. Discussed below are some of themore important points of this kata:
Middle defens 1stmovement of HeianSandan or 2nd movementwhatever.
1. In the opening sequences, the bodygoes up and down directly into the stance. Do notstep out to the back stance but sit 70% of bodyweight directly downwards on the rear leg. Thisavoids the impression of falling forward into theback stance or of rocking forward to the closed-feet stance. When stepping forward to the closed-feet stance, the hips turn forward as you passthrough a half-facing forward stance. Once the
weight is on the forward foot, stand directly up bystraightening the forward (supporting) leg. Alsobe careful to avoid a toy soldier or jerky actionby trying to square off the movement. The actionis direct, but rounded movements are necessary tocorrectly move the body. Kata must not be static
or machine-like and must show the fluidity of life.2. For the cross blocks in the closed-fee
stance, it is important that the feet grip the floorand that the buttocks tense for kime. Strengthradiates from the hara. The muscles runningthrough the lower abdomen provide theconnection between the top and bottom part of thebody. These muscles provide the connections inthe body between the top and bottom muscles toprovide a synergistic effect.
3. When doing the cross block, it is
important that the elbows touch, protecting thesolar plexus. The fists in both blocks areequidistant from the body at completion and donot extend sidewards beyond the body’s defensivezone. Also, while performing the cross block, donot exaggerate the upper body actions or overlytwist the shoulders before or after the block. Thisis unnecessary. Some karate-ka feel this looksbetter and that it makes the technique strong, butit is incorrect. The technique relies on point-to-point movement and earth power -- that is, the
rooted kime of the body by gripping the earth(floor), drawing strength from the earth into thetechnique. Not every movement in karate requiresmaximum strength and effort. Karate is efficientaction in movement and the use of this efficienaction in the best possible way. The metaphysicaldescription of earth power in this technique isdesigned to elicit the correct physical responsefrom the body by reinforcing the action ofgripping the floor. This adds strength and takesthe mind off extraneous upper body actions thadestroy the efficiency of this karate technique.
4. Heian Sandan uses the elbowsextensively, especially in conjunction with thetwisting of the waist. The stances must be rootedstrongly so that the waist-twisting does not causethe stance to collapse. The chest, shoulder, andback muscles must stabilize the upper part of thebody, keeping the spine straight and strongNowhere in this kata should the upper body lean
5. In escaping the grasp of the spear-hand, make sure to keep the body low. Keepingthe body low makes the technique more effectiveand enables you to retain balance (stability). The
hips do not rise as you spin on the forward (right)foot and again, the upper body must not lean. Theleft hand remains in contact with the right arm inbreaking the opponent's grip and then the bottomfist strike comes with the hips in a horizontalcircular action.
6. The three kicks in Heian Sandan aretraditionally stomp kicks, not crescent kicks. Thestomp kick targets the joints, causing the attackerto fold and fall off balance. Sometimes thesekicks are demonstrated as blocks against hand
strikes or kicks. When doing the stomp kick, thesupporting foot faces forward and only pivotswith the hips during the stomping action. Thisincreases the strength of the kick. Do not pivot onthe support foot to swing the leg high into the air.Although you may feel a higher leg action looksgood, height is not important -- proper hara movement is. The hip action in synchronizationwith the pivot of the supporting foot adds strengthto the elbow technique, which also takesadvantage of the momentum developed from thehip twist in the stomping action. As in othertechniques of three sets, the second is not asstrong as the first and the third set is very strong.Finally, we sometimes simply swing the leg uphigh as a front leg lift or stretching exercise.Understanding the real meaning of an action isimportant.
Crescent Kickand leg raise.
or yori ashiwith arrows.
7. The backfist after the elbow strike isdone as a sideways horizontal (some do adownward vertical) strike. It is delivered as thewaist twists back from the elbow block and thefist is immediately brought to the hip upon
completion of the strike.
8. Yori-ashi, side-shifting with the feet,is done by tensing the foot of one side of the bodyand then quickly pushing off the floor with thatfoot, propelling the body to the other side. Thismovement helps the balance of the kata, allowingit to begin and end at the same place. Left andright side mirror techniques, such as those foundhere, help to equalize bilateral development of thebody in karate. These bilateral movements do notsimply balance both the body and the kata
properly. For these movements to be completelycorrect, spontaneity must be retained.
Heian Yodan includes a great variety oftechniques, but students who feel they side kickpoorly tend to ignore this kata. Those who feelthey can side kick well tend to spend a lot of timeon this kata. Neither are really good reasons forpractice. There are a great many lessons of timingand movement coordination in this kata anddifficulty with one or two movements should notprevent its practice. Actually, if a kata is difficultfor you, then more attention should be paid to its
practice. Heian Yodan is also a study of slowand fast movements. This interplay produces avery interesting effect when the kata is performedcorrectly. Remember that the contrast betweenslow and fast movements must be demonstrated toavoid a monotone effect. In practicing this kata,the below performance notes are considered.
Mirror image thefirst movement of
Heian iv
1. This kata, like the others, begins with adefend to the left and a mirror-image movementto the right. For the opening sequence, the handsbegin near the groin and radiate outward andupward like the drawing of a bow. The finalposition of the hands and arms is inconsistentwith the actual drawing of a bow, but the feeling
should be there. What we really mean is the chestmuscles expand and the back and shoulder bladescontract, like the drawing of a bow. Uponcompletion, the feeling should be as if the palmsare pressing outward. This outward expression ofthe kata appears in all techniques.
Some styles begin this kata with the rearhand behind the body and the forward hand nearthe rear hip. The palms for both methods faceinward toward the body. When assuming the backstance, the hands move quickly to the startingposition of the technique and then rise slowlyThe gaze does not waver. For the secondmovement, the body and head rotate quickly tothe right with piercing intent as the hands comequickly in front of the groin. While the stanceshifts from the left to the right leg, the (hips) headdo not rise. The ankles and knees bend to absorb
the weight shift. In the old method, when wepivoted from left to right, the hara remained in thesame place. This has been changed because theform of the back stance was changed. Now itsposition is permitted to change and the legs muststabilize the movement.
2. For the x-block, the left hand blockswhile the right hand attacks the opponent's ankleor shin. Tremendous force can be exerted by theright fist as the hands start from the right side ofthe body slightly above the hips with the bodyturned and feet together. The force comes fromthe hip twisting with the block as the right (rear)leg drives the body to the forward stance. Takecare to insure that the x-block catches theopponent’s leg at the begining of the attempt tokick, as the block loses effectiveness the furtherthe attacking leg is extended. Finally, the hipsmust come fully forward (drop under) and thestance and technique must be low enough to makethe movement effective. Another interpretationfor this action is to trap the kick with an x-block
(net block). Then stepping in behind theopponent's leg with the next technique of the katathe left arm traps the leg and the opponent isthrown as the right hand strikes. One differencebetween some of the Kwanmukan interpretationsand the classical interpretations is that we tend toexplore more interpretations in sequence, whilethe classical interpretations tend to be truncated
keeping to the individual technique or movement.The former is an American character of Karate-do.
Kekomi kick
and a
keage kick. side kick
3. The side kicks in Heian IV can beeither thrust (Kekomi) or snapped (Keage).Originally, we tended toward the thrust kick, withthe upper torso twisted in the direction of thekick, but now the snap kick is common. If thethrust kick is used, there is a different timing andthe knee is brought up pointing straight ahead. Asthe body pivots, the shank of the leg points to thetarget with the knee in front of the solar plexus.The shank of the foot is then driven straight to thetarget as the standing foot is pivoted to point 180°away from the direction of the kick. The hips rollover and angle towards the ground and the upperbody twists at the waist so that the chest areafaces the direction of the kick in a half-facingposture. The muscle along the side of the backcontracts strongly, allowing this type ofmovement. If the snap kick is used, the kneepoints off to the side about 45°
as it is drawn up
and the hips roll to a position parallel to theground with the kick.
In the snap kick, the knife-edge of the footis the weapon. For the thrust kick it is the heel.The thrust kick is held out a few moments, whilethe snap kick is quickly withdrawn. There is adifference in distancing with each kick. The handopposite the kicking foot for the advanced studentcan be held in front of the solar plexus with thethrust kick, whereas the beginning student mustpull the hand to above the hip. This allows a
forward punch immediately after the kick. Whentaking the side posture with the thrust kick, it iscommon to start slowly. With the snap kick, theposture is taken smoothly and quickly. Both kicksreturn the foot of the kicking leg to above thestanding knee.
In the snap kick, the leg is retracted to thestarting position. Since it already points to theside, there is no need for the body to pivot aroundas the kick is retracted. Simply step out passingthrough the sochin stance and elbow strike. Withthe thrust kick, the body turns in the direction ofthe kick as the foot is retracted. In the beginning,it is customary to withdraw the kicking leg to itsstart position with the ending posture (except forthe blocking hand) the same as before the kickand then stepping out and performing the elbowstrike. After the kata is learned, the more
advanced method is practiced. In either event, theelbow strike completes as the kicking foot touchesthe floor and the following stance isinstantaneously formed. As in other katatechniques, these kicks are designed to bebilateral and mirror-image movements.
Originally, it was said a front kick to theside was used. The front kick did not pose thesame distancing problems in interpretation createdby the use of the side kicks and thus there is lessdisagreement on the correct way to perform thetechnique and the correct interpretation. Today westudy the ability to follow with a strong reversetechnique after the kick. Finally, please note thatin the elbow strike, the elbow points forward likethe prow of a boat. This is the Kwanmukanmethod.
4. In the next sequence, the knife-handblock and strike must be coordinated with astrong hip action. The striking arm swings in awide circle and slightly downward. The block is
actually a palm block and the wrist can be bent.Originally, we treated this as a rising knife-handblock pulling to the side of the forehead. Thewrist must be straight. The palm block is moreconsistent with the common interpretation ofdefending the opponent’s downward strike.Traditionally, a natural stance was used with thistechnique and the left hand did not perform thelower level block prior to the knife-hand strike.Today the placement of the feet on the floor doesnot change as you pivot to the strike which meansthat the forward stance and hips actually point to
the left of the direction of the strike.
5. As we perform the first front kick inthis kata, we use a springing action of the hipswith the head kept over the supporting foot andthe hips extended forward. The kick is fullyretracted. The hips are not withdrawn, but aredriven forward as the body is propelled by thesupporting leg to the cross stance.
6. The cross or x-stance is commonlyperformed two different ways and each way has a
slightly different interpretation. In either method,the backfist strike completes as the left footstabilizes the stance and the momentum restsforward without loss of balance. The first andmost common x-stance involves keeping the linesof the hips and shoulders perpendicular to thedirection of the movement. The front foot turnsslightly outward to the right, allowing the anklesto bend forward naturally and the bodymomentum to rest forward. In this movement, theleft hand is commonly drawn to under the rightelbow. In the second x-stance, the forward foot isplaced straight ahead, the body settling at about a22 1/2° angle to the left, allowing the movementto rest forward. The left hand pulls to the left hip.In both instances, the left hand is grasping andpulling, but there are two different interpretationsthat arise.
7. The objective of thegrasp/pull/backfist technique after the kick is to
swing the left hand, then the right hand in a widecircle like a windmill, ending with a vertical ordownward backfist strike to the face. The target isthe bridge of the nose or the philatrum. Otherareas of the face are not good targets for thistechnique. As in many kata techniques, the target
is given as the face, but in the performance of thekata the strike ends as if targeting the middle ofthe chest. The reason for this is to allowmaximum body contraction for training purposes.
Two views of theback fist strike.
8. The wedge blocks are mirror-imagetechniques and are performed slowly with thebody fully tensing at the completion of the action
then relaxing for the front kick. The elbows arekept in tight for leverage and for strong muscularcontraction, protecting the body's inner organsThese blocks are performed in the back stanceDuring the kick, the hands do not moveprotecting against a counterattack. The first punchcomes right out of the wedge block withoutwithdrawing the hand to the hip before punchingand strikes with the lowering of the kicking footThe second punch follows immediately. InJapanese this is called ren-zuki -- alternate
punching. Finally, the kicking foot is not just seton the floor, but is actually thrust downward tothe stance to continue the strong forward actioninto the punch.
9. The three augmented middle blocksare performed quickly, one after the other, andcannot be sloppy. A strong twisting or wringingaction of the forearms is necessary for sharp kimeand proper timing of the blocks with body
10. Just before the knee strike, the handsare thrust forward, the thumbs eye-distance apart.Pull in the hands as if pulling the opponent's head-- thumbs in the eyes -- down to the knee. This isa knee strike to the head, not a strike to the upper
body, which would change the placement of theopponent after the strike and cause a differentstepping pattern for the knife-hand blocks. Thehips turn with the hands thrusting forward and theknee is brought up all in one sequence. Make surethe knees do not rise too high when kneesmashing. You must retain control of theopponent’s head so you can direct the opponent’sbody out of the way. Thus, you cannot pull yourhands below the smashing knee as you losecontrol of the opponent and may not be able tostep in that direction since the opponent may be in
the way.
11. After the knee smash, turn 180° to theleft preparing an augmented knife-hand block.Then the striking leg steps backward to a rightback stance. A step forward is taken for the nextmovement. Finally, the forward right leg isbrought backwards to the ending position.
Heian Godan
Heian Godan is a versatile andinteresting kata. It is one of Mr. Anderson's
favorites. Many different types of stances andtechniques found in this kata add to the enjoymentof the performance. Note especially theconcentration on expanding and contracting thebody in this kata. This is found, not just in theindividual techniques, but within the sequencesand intermediate tie-in movements. Importantitems of note are as follows:
Water Flow Posture
1. The middle-level block in the openingsequences must be fully completed with
appropriate kime before the punch. Do not try toblock and punch so fast you cut the block short.The block ends when the fist is opposite its ownshoulder. For beginners, there is a hesitationbefore the block and attack as the chest and backmuscles tense. At the advanced black belt level,the interval of tension is so small that it is barelyperceptible to the practiced eye. Practice of theforty hands develops this ability.
When punching, only the waist andshoulders twist. The hips do not change position
and the knees should not collapse. This flexibilityof the waist is important and will have manypractical uses. Remember, the weight mustremain over the rear leg in the back stance.4
2. The water-flow posture restates thetheme of the Heian Kata as an expression of peaceand calmness. This is a movement of repose thatexemplifies ‘thought in action’ without concernover death. This is the code of the Budo-ka (warrior). Water-flowing is not of itself peacefulin nature, but is peaceful in its countenance.
Water-flows in time, but does not recognize time'spassage. In this movement you must discern foryourself whether you are flowing inside or outsidethe opponent's sphere of movement. Either can be
4Some styles will convert to an immovable stancewith the punch, allowing the weight to transfer forwardinstead of solely depending on the twisting motion of thewaist for power. We deal with this in the Kwan Mu Kata.
used to advantage, but in different ways.Remember when taking this posture, the hands,feet, arms, shoulders, eyes and head movetogether naturally in unison as the body completesits rotation. The breath is natural and withoutmannerism or exaggeration.
3. When moving out of the second water-flow posture, the feeling is that of being pushed orshoved forward from behind and then recovering.Twist slightly to the left after you begin to falland slide the right foot forward at the last instant.
4. The lower level x-block comes fromthe right side of the body, arms crossing as thehips are thrust forward. The left hand blocks andthe right hand traps or strikes the opponent's leg.The right hand starts palm side toward theshoulder, similar to the position it just ended in
during the previous movement, except the fist ispulled closer to the shoulder. The fist then twistsas it is thrust downward, but above the leftblocking arm. The stance must be deep to catchthe lower level kick of the opponent.
5. The high-section x-block is performedimmediately after the low-section x-block. Thefists are first brought to the solar plexus and thenthrust, still crossed but opening into knife-handposition, blocking upward with the back of thehands. The inside right wrist presses against theoutside left wrist as they rotate counterclockwise.The wrists press together and are pulled to aposition above the right hip, right hand palm upand left hand palm down. Our style originallypulled the hands crossed to the solar plexus, nottwisting at the wrists, but still pressing together.
6. The punch following the movement in#5 above drives with the left hand from the righthip and sometimes is performed as the bodybegins to move forward to the next stance. In thisinstance it becomes like a sweeping block/strike.Clench the fists as the strike begins.
7. The stomp kick and low defend mustcomplete at the same time. The supporting footdoes not pivot until the hips twist strongly into thestance.
8. The back-of-the-hand hooking block isextended slowly, like the drawing of a bow, with
full tension at the completion. The crescent-moonkick is like an arrow springing forward, with thefoot striking the hand, which does not move. Theright elbow must not flop from the body and theleft hand should be shoulder height. At this pointthe supporting foot points straight ahead in the
direction of the kick. The right foot thenimmediately strikes the floor after hitting thehand. The support foot pivots as the hips twiststrongly into a straddle-leg stance.
9. The elbow is forward to the side in thedirection of the crescent kick. The waist, not thehips, are slightly twisted. The elbow strike istimed to the foot hitting the floor with the stompkick. The hips and supporting foot do not pivotuntil the last instant, adding power to the strike.
10. The left foot and block/strike motions
of the arms are timed together when taking thecrossed-feet stance. Note that the right leg mustbend slightly at the knees and ankles to preventthe head from rising.
11. We jump (spring) up from thecrossed-feet stance landing in a back stance, withthe right fist thrusting upward. We do not rise upinto an L-stance as some styles do.
12. In the jump before the low-level x-block, the knees are pulled up high, with the feet
tucked up under the body. The hands are broughtto their respective hips and then thrust forward tothe x-block during the landing. The stance mustbe firm and not wobble. There is a slight pausebefore the next movement. Don't fall out of the x-stance to the next move. A kiai before the jumpchanges the psychology of the movement, ratherthan a shout with the jump or while landingRemember to jump up and not out or away. Thisis not a distance jump.
13. The augmented block after the x-
block is in a front stance. Previously we hadperformed a back stance or immovable stancehere.
14. At the start of the closing sequencesthe back foot is adjusted to pivot the body to aforward stance as the direction is changed. As thefoot adjusts, the respective arm is slowly extendedlike a lower level knife-hand block over the leg
the other arm brought up near the ear. Then thehips are quickly thrust to a deep forward stance,the arm near the ear thrust deeply forward and theother arm passing in a sweeping action to aposition near the opposite cheek, palm facing thecheek. Originally this was done in a back stanceusing a strong twist of the waist. (Some styles use
the immovable stance.) The hands/arms then twiststrongly, like the ripping apart or wringing of atowel as the weight is transferred into a backstance. The front foot changes its position slightlyand the hands clench strongly. The forward armparallels the line of the forward upper part of theleg, and the lower part of the rear arm isperpendicular to the floor, while the upper portionof the rear arm is parallel to the floor. Previouslythe lower part of the rear arm was also parallel tothe forward upper leg.
15. The closed-foot stance is amenacing posture between the two ending
The Taikyoku Kata are the easiest of the kata to learn enabling the
student to more easily understand the foot patterns of the Heian Kata. Theblocks and attacks used in Taikyoku are very basic to karate and include thelow, middle, and high defends, the lunge punch, and the natural, forward,and back stances. Primary in the Taikyoku Kata is the condition of themovement of the hara. Learning how to move the legs correctly, by flexingat the knees and ankles, keeps the hara from bobbing up and down. This istaught both in stepping to or from the stance and in reversing or changingdirections. The embussen in this kata is “I” shaped, and the ready postureis used at the beginning and end of the kata.
The Heian Kata contain a good variety of technique and applicationswith surprisingly very little repetition of the movements among the five
kata. Mastery of the vital skills and principles of the Heian Kata gives theconfidence of being able to defend yourself in most situations. This is thecontext of the meaning of the kata. Below is an outline of thecharacteristics5 and techniques found in each of the Kata.
Characteristics: low stances, proper movement of hara -- especiallywhen pivoting or stepping, driving action of forward leg when stepping,concentration of energy, basic breathing rhythm, hips under techniques,unbroken connections, proper body posture, timing of hands and feet, pointto point movement, stability of the stance after movement
5Characteristics are defined as those techniques that only appear in theparticular Kata, or which appear for the first time in either the particular TaikyokuKata or Heian Kata. Note that not all interpretations are annotated -- just the basicone.
Foot Pattern: basic “I” shape with 45° extensions from the crossesof the “I” shape
Postures: natural, attack arm high to the side, both fists on samehip, reverse half-facing
Characteristics: more knife-hand defends and back stances, kicks, twohand simultaneous block-attacks, coordination of the expansion andcontraction of shoulder, chest and back muscles in the first two sequences --spine straight and blocking arms remain in same plane, proper posture andbalance on side kick, turning and blocking when stepping backward,particular and repeated sequential rhythm, waist twists on reverse blocks,kick-punch-block sequences, augmented technique
Foot Pattern: modified “I” shape like an upside-down “T”
Postures: ready, fists on each hip
Characteristics: up and down movements directly to stances,simultaneous two-hand actions while changing blocks -- low to high,
twisting and turning to escape the grasp of the arm or hand, pivot and hipaction on the stomp kick, kicking into the stance, double kicking, waist flexon elbow techniques, reaction striking on bottom fist, knife-hand hookingblock, grasping, pulling and punching, rear elbow and fist strikes, sliding thefeet
Blocks: back-of-hand blocks -- high-section rising and sidefacing, downward X, mid-section augmented forearm, low-section blockwith kick, pulling in, low-section knife-hand, high-section rising palm,pulling in block followed by a close strike, reverse wedge, mid-sectionaugmented block, both hand press (grab and press then pull in), palm
hooking, mid-section knife-hand
Attacks: low-section punch, augmented strike, side kick withhammer fist, horizontal elbow strike, high-section knife-hand strike, high-section front kick, downward backfist strike, mid-section front kick, mid-section double punch -- one after the other, thumbs to eyes, knee strike
Foot Pattern: basic “I” shape with modification to the sides
Postures: ready, side palm guard, both hands on same hip
Characteristics: more kicking, slow and coordinated openingmovements with an expansive feeling, breath coordination in slow and fastmovements, kiai points, X block with right (top) hand strike, mirror imageside kicks, proper timing on elbow strikes (hips must turn smoothly andfully) with point of elbow imitating the prow of a boat, strong hip twist withknife-hand strike offside to the stance, high front kick (directly under knife-hand) with diving (springing) forward, swinging motion of the hands in thegrasp, pull and backfist with the correct timing of the feet into the crossedstance, tension and opening of the wedge blocks, timing in the frontkick/double punches, seizing opponent's face with both hands and pulling it
down, striking the face with the knee, knife-hand blocking with a change ofdirection.
Chapter V -- Characteristics of the Taikyoku & Heian Kata
25
Heian Godan
Blocks: mid-section, water-flow, augmented middle, low-section X, high-section X with trap, mid-section pressing, low-sectiondownward to the side, backhand hooking, augmented mid-section forearmto rear in X stance with sweeping motion, X-block while landing from
jump, augmented block, sweeping block, simultaneous low and high-sectionblocks with a pulling action of the arms and a twisting action of the wrists
Attacks: reverse punch in back stance, water-flow, augmentedstrike, low-section punch in x-block, forward hand thrust or sweepinghammer fist, lunge punch, crescent kick, stomp kick, forward elbow strike,uppercut to the rear (augmented sweeping punch to the rear), low-sectionspear-hand thrust, backwards backfist
Foot Pattern: modified “I” shape like a narrow upside-down “T”
Postures: ready, water-flow
Characteristics: use of all basic stances, block and strike in samestance without loss of kime or cutting the defend short between the defendand the strike, more complicated hand-foot-eye-breath coordination --especially in assuming the water-flow posture, in jumping, and in moving tothe rear, taking of the water-flow posture -- presence of mind and attitudeexpressed in water-flow posture, recovering from a push, pulling pressingblock by rotating the wrists together, coordination of stomp kick and low
defend, crescent kicking a stationary hand, blocking and striking by movingbackwards, springing up from a crossed stance and striking to the rear whilefacing forward, jumping with a controlled landing, strong in/out hip actionwith the pulling of the arms and the twisting of the wrists as if wringing outa towel
0.A. Bow. Each Taikyoku Kata beginsand ends with a correct bow. As this is anexpression of your self, your practice, and yourteacher, a correct bow with the right amount ofpoliteness, humility and strength is of utmostimportance. The bow is performed with the heelstogether and toes out to the sides. Bendingforward from the hips, the eyes do not look at thefloor, but look ahead keeping in contact with theopponent and retaining peripheral vision. Duringthe bow, the hands are kept open at the sides of
the thighs and the back is kept straight. Do notcrook the neck downward. Bow slowly, but with afeeling of control over the situation whilemaintaining dignity and demeanor.
0.B. Ready Posture. Following the bow, theyoi or ready posture is assumed by moving theright foot off to the side so the feet are aboutshoulder's width apart. Stepping out with the feet,the hands in fists are crossed in front of the bodyand then pulled with a controlled exhale to thefront of the thighs, palm side in and arms slightly
bent. The action of the hands, feet and breath allcomplete in unison. In this stance, the shouldersare down naturally and eyes fixed to the frontwithout the loss of peripheral vision -- that is, themind is not focused on any one thing, but isrelaxed and alert to perceive the full input fromthe senses. The knees are also relaxed, not locked,but the legs are straight and the abdomen lightlytensed. Hips are tucked up. The back is naturallystraight and the upper body is in perfect naturalposture.6
1. Quickly looking to the left, begin topivot on the right foot. As the body naturallyturns, the left hand is brought up in a fist, palm
6This stance is a very serious beginning stepbecause it must express confidence and exude the attitudeyou bring to your practice. Three calming breaths are takenbefore the kata explodes into action.
side inward, to the right cheek7. The right arm,still extended downward, squeezes over, palmside in so the two arms touch at the elbows.Stepping out 90° to the left (and slightly back)into a forward stance, the left arm, almost at thelast second sweeps downward like a pendulumacross the front of the body to just above the left
knee, stopping at the natural body defensive zone.At the same time as the block, the right hand in afist is quickly withdrawn and twisted to a palmside up position to just above the right hip withthe elbow tucked close to the side. The hips areslightly turned half-facing in a forward stance.The rear leg presses strongly forward, straight, butwithout locking the knee.
The meaning of this movement is a lowdefend against a kick or other low-levelattack. Other meanings are a strike to the
groin or a downward hair pull against anopponent grabbing from the side.
2. Step forward with a lunge punch to aright forward stance. Beginning the step, the lefthand remains stationary as if still in contact withthe blocking target. It then is quickly withdrawnpalm up to the left hip as the other arm thrustsforward. The right punching fist rotates from apalm up position on the hip to a palm down foreknuckle strike position. The arm does not begin torotate the fist until the elbow clears the side of the
body (elbows are kept in close against the bodywhen punching) and the punch is not releasedfrom the hip until just before the stepping foottouches the ground. The withdrawing arm rotatesthe fist over, palm up, before the elbow reachesthe body is in time with the extending arm.Rotating the thrusting arm at the correct momenthelps keep the elbows close to the body. A strongtwisting action of the wrists must occur.
The meaning of this movement is a mid-section forward lunge attack.8
7Some bring the hand to the biceps.8Movements #1 and #2 are often interpreted
together as a low defend against a kick and a following stepforward and attack to the mid-section. This is a commoninterpretation to allow the beginning student to visualize themovement he is learning. Actually, the movements areinterpreted separately and not in unison. Under strictcombat analysis, with the longer stances as taught today, theattacker would have to kick and then step backwards to
and low defend. Make sure the stepping footpasses close to the pivoting foot for proper controlof balance, and that the knee and ankle of thepivoting foot bend to keep the hara (hips/head)from bobbing up and down. Draw a line from the
right foot through the left foot before the step. It ison the extension of this line that the right foot willbe placed after the turn.
4. Step forward and lunge punch to themid-section. In all these movements, the back footshould not turn out more that 45° from thedirection of the stance to insure correct hipplacement. The feet and heels must remain flat onthe floor.
5. Turn 90° to the left by stepping with theleft foot and low defend. Do not pivot on the ball
of the right foot, but make sure the momentumgoes forward, not off to the side or backwards andthat the feet are properly spaced for a front stance.
6. Step forward with the right foot andmiddle-level lunge punch. Remember to stressboth legs equally and forward.
7. Step forward with the left foot andmiddle-level lunge punch.
8. Step forward with the right foot andmiddle-level lunge punch -- Kiai sharply! This
allow the distancing necessary for this technique. Mostlikely the kicker would continue moving forward in hisattack and the defender could not step forward! Because ofthis, many alternate interpretations have been explored.Complicated interpretations at the low level are unnecessaryand wrong as they confuse the beginner and make it moredifficult to learn clearly what he is suppose to learn. Sufficeit to say that the low defend is a low defend and that thelunge punch is a lunge punch. There is no requirement thatthey be consecutively interpreted. A good consecutiveinterpretation for the student can be given as a quick turn tothe left with a block followed by a step forward with a
strong countermeasure keeping the hara moving level anddirectly to the target. Other Kwanmukan interpretations area hair pull take-down twisting the neck (low defend), and atthe advanced level, the pulling action of the hand to the hipas the other hand punches is explored as a grasping/pullingblock usually against a kick with the stepping foot possiblysweeping the opponents standing leg or otherwise steppingin to off-balance the opponent. These techniques are basictraining moves and the basic interpretation is to help thebeginner get a feel for what he is doing. Hence the reasonfor the explanation or interpretation of the technique.
technique should be stronger and more spiritedthan #6 and #7. The base of the stance should alsobe slightly wider and longer. A pause longer thanusual is required here.
9. Pivot 270° to the left on the right footturning the head toward the back left and low
defend into a left forward stance. Make sure theleft foot passes close to the right foot so as not tolose balance and that the right knee and anklebend to keep the hips/hara from bobbing.
10. Step forward with the right foot andlunge punch to the mid-section.
11. Pivot 180° to the right, stepping with
the right foot, and low defend as in movement #3.
12. Step forward with the left foot andlunge punch to the mid-section.
13. Turn 90° to the left as in movement #5and low defend.
14. Step forward with the right foot andlunge punch to the mid-section.
15. Step forward with the left foot andlunge punch to the mid-section.
16. Step forward with the right foot andlunge punch to the mid-section -- Kiai sharply!
17. Pivot 270° to the left as in movement
#9 and low defend.
18. Step forward with the right foot andlunge punch to the mid-section.
19. Pivot 180° to the right with the righfoot and low defend as in movements # 3 and #11
20. Step forward with the left foot andlunge punch to the mid-section.
21. The right foot should be at its originalstarting point at the beginning of the kata butpointing in the direction of the last stance. Bring
the left foot back, taking care to not rise up, andput it in the same place where it was at the start ofthe kata. As this is done, the hands in fists crossright hand over the left, and then slowly pull themapart with a controlled exhale. As this is donestand up in unison with the breath and the pullingof the hands to the front of the thighs as inmovement 0.B. During this entire action thepalms face inward. End in the natural posture
relaxed but alert with no loss of breath orcomposure, complete with calmness ofmind/body/spirit. There is no reason to hastenhere. Keep zanshin (remaining mind).
22. Bring the right foot to the left foot stillkeeping composure and control of breathing.
When doing so, the hands are opened and pulledto the side. Hesitate and then bow. Take one stepback, hesitate again, and then back out of theperformance area. Bow again at the edge of thearea and return to the designated place.
1. Step slightly back and to the left 90° byturning the hips and sliding the left foot and lowdefend as in the first movement of TaikyokuShodan.9
2. Step forward with the right foot lungepunching to the mid-section. When steppingforward make sure the stepping foot is flat to thefloor and slides in a natural crescent shaped
movement. Remember to keep the rear heel fromrising off the floor when stepping into the forwardstance.
3. Turn 180° to the right by pivoting onthe left foot and low defend with the right hand.When reversing direction, the right foot should bepulled quickly back to the supporting leg as thehead turns. Then the supporting leg drives thebody forward to the new direction as the hipsrotate with the block. In this instance, thesupporting leg is the left rear leg.
4. Turn the back of the right hand inwardpulling the fist back in a wide arc and thenbackfist strike10 with the elbow preceding the fist.The back of the right hand quickly rotates 180°outward with the strike adding strength to theattack. As the strike is executed, the forward footpulls back into a cat stance, with the knees bent sothe hips do not rise during the action. The handand foot move together.
9Note: All stances are forward stances except the
last four movements which use a back stance. Alltechniques are defined as straight techniques, meaning thatthey are done with the arm respective to the lead or forwardleg. That is, if the left leg is forward, the technique is donewith the left hand.
10Both a horizontal and a vertical backfist strikecan be performed. Originally we performed a horizontalbackfist strike, but a vertical backfist strike is commontoday.
The interpretation of this movement is tofree the wrist from a grab and to attack theface with the backfist while the elbowsimultaneously blocks the inner forearm ofthe opponent's second attack if necessaryThe punch in movement #5 is a further follow
through on this tactic.5. Transferring the weight to the right
foot, quickly step forward with the left foot andpunch to the mid-section with a left lunge punch.
6. Turn 90° to the left, step out with theleft foot in an arc-shaped motion and low defendwith the left hand. Remember to drive the hipsforward and around with the back leg.
7.A. Raise the left arm as ifblocking/grasping a face attack with the hand in
the knife-hand position. This is the beginning ofthe next action.
7.B. Quickly step forward with the right footinto a forward stance and execute a high-sectionrising block.
After blocking and grabbing theopponent’s arm, the left hand twists itoutward. The rising block strikes the elbowdislocating it The blocking action can also beused to strike the rib cage. The next twoactions are the same. After each rising block
the hand opens to a knife-hand position, withthe feeling of grasping, and then twisting theopponent’s arm as the hand rotates palm up.
8. Step forward with the left foot into aforward stance and execute a high-section risingblock.
9. Step forward with the right foot into aright forward stance and execute a right arm high-section rising block and Kiai!11
10. As in movement #9 of Taikyoku
Shodan, turn 270° to the left, pivoting on theright foot, and low defend into a left forwardstance. It is important to quickly rotate the hips
11When performing any three same techniques in arow, they should vary in strength. The first is stronger thanthe second, the second is strong and the last is the strongesand uses a firmer stance with a slightly broader base. It iscustomary to quickly pass through the second technique tothe third technique.
over the stationary leg and at the same time toquickly slide the left foot in towards the supportleg and then out to the forward stance in an arc-shaped movement. The hips do not rise.
11. Step forward with the right foot into aright forward stance and lunge punch to the mid-
section.12. Turn 180° to the right as in movement
#11 of Taikyoku Shodan and low defend withthe right arm into a right front stance.
13. Step forward into a left forward stanceand lunge punch to the mid-section with the leftfist.
14, Turn 90° to the left as in movement #5of this kata and low defend with the left arm intoa left forward stance.
15. Step forward into a right forward stanceand lunge punch with the right fist to the high-section.
16. Step forward into a left forward stanceand lunge punch with the left fist to the high-section.
17. Step forward with the right foot into afirmer and broader forward stance lunge punchingwith the right fist to the high-section and Kiai! 12
18. Turn 270° by pivoting backwards to the
left on the right foot, but this time to a right backstance. Make sure the back knee and ankle bendto keep the hips at the same height. Perform amiddle-level knife-hand forearm block with theelbow of the blocking hand ending a fist'sdistance from the side. The tips of the fingersshould be at the height of the shoulder. The otherhand is held in a horizontal position at the solarplexus, protecting the trunk. Remember to keepthe thumbs bent and against the hand whilekeeping the fingers together. When performing
this block, the blocking arm is first pulled palminward to the opposite cheek as the other handpresses palm outward in a hooking block in frontof and below the blocking arm's elbow. Theblocking arm quickly travels forward with the
12Use the same concept as previously explained forthe degree of strength in each of the three high sectionpunches.
palm rotating outward at the last moment. Theretracting arm quickly pulls to the solar plexusrotating palm up. There is a tendency here to slapthe body. This is incorrect. When pivoting to theback stance in this technique, make sure theweight is properly supported on the rear leg andthe knees stressed. There is a slight tension as if
the forward foot is lightly pulled back ready foraction.
19. Step out 45° to the right with the rightfoot and do a middle-level knife-hand defend.When stepping, transfer the weight to the forwardfoot and slide the other foot in and then out alongthe embussen. In this movement, the hips arerotated opposite or reverse of the blocking action.
20. Turn 135° to the left by sliding the rightfoot in and then out and block with a middle-level
knife-hand defend.21. Step out 45° to the left with the left foot
and block with a middle-level knife-hand defend.Again, as in movement #19, the arms block as thehips are rotated in the reverse direction of thetechnique.
These last four movements are a blockwith the wrist or forearm against an attack,then a grasp of the opponent's arm and astrike (usually a nukite or finger stab with theother hand). Some view the knife-hand as
being able to sweep across the eyes. Due tothe peaceful philosophy of the kata, thestriking techniques are not performed as partof the kata, but are understood. The attacktargets are the eyes, throat, solar plexus, andgroin.13
22. Bring the left foot back into the naturalstance. Take care to not rise up until the left footis in the correct position. Beginning the rise up,the right wrist crosses over the top of the leftwrist. When rising up to the natural posture, the
hands close as the breath exhales and they pull tothe beginning posture in front of the thighs.
13The Kwanmukan bunkai is slightly different insequential interpretation. The first knife hand is a strike tothe neck in reaction to a grab from behind; the second knifehand is a look-see movement. The third and fourth areinterpreted in the same manner as the first and second,respectively.
1. Quickly looking to the left, bend theright leg and slide the left foot out 90° to the sideinto a right back stance, blocking with the leftforearm inside-outward. The left upper armshould be parallel, the left lower armperpendicular to the floor. The right armsimultaneously moves up the right side of thebody in a rising block action. Prior to blocking,
and when stepping out, the hands form fists andcross at the wrists, right hand over the left. Theright wrist ends at the temple, and the left fist iseye level. The palm side of both hands is outwardto the right and the arms are all in the same plane.
2. Remaining in the right back stance, theleft arm sweeps across the body such that the leftfist, palm side in, is positioned near the rightcheek and the point of the elbow is close to thebody near the solar plexus. The right hand, palmup and in a fist, simultaneously close-punches
(some perform a hammer strike). The forearm ofthe left arm rests against the inside of the rightarm near the crotch of the elbow. The hips andfeet do not shift, but the waist twists strongly inthe direction of the strike.
3. Immediately after movement #2 above,the waist twists back to its original back stanceposition. The right fist pulls to above the hip,palm side up, and the left arm is thrust forwardfrom the right cheek in a mid-section straightpunch palm side down. The shoulders and back
muscles are equally tensed and the left arm anglesslightly down from the shoulder. Pause slightly.
Movement #1 is a block with the left armagainst an opponent's attack to the face. Theright arm protects the head and the right fistis ready to attack. Movement #2 continuesthe sequence with a left arm outside-insidesweeping block with the feeling of pulling in
the opponent as the right fist close punches.The right hand attack is sometimes describedas a hammer fist strike to the rib cage orelbow joint of the opponent. Finally,movement #3 is an immediate fist attack tothe opponent's upper body. Movements #4,5, and 6 have the same meaning to the other
side of the body.
4. Quickly looking to the right, turn 180°to the right, shifting the feet and weight into a leftback stance performing the mirror imagetechnique of movement #1 as the stancecompletes. Block with the right forearm inside-outward. The right upper arm should be parallel,the right lower arm perpendicular, to the floor.The left arm simultaneously moves up the leftside of the body in a rising block action. Prior toblocking, and when stepping out, the hands, still
in fists, cross at the wrists, left hand over right.The left wrist ends at the temple, and the right fistis eye level. The palm side of both hands isoutward to the right and the arms are both in thesame plane.
5. Remaining in the left back stance, theright arm sweeps across the body such that theright fist, palm side in, is positioned near the leftcheek and the point of the elbow is close to thebody near the solar plexus. The left hand, palm upand in a fist, simultaneously close-punches (some
perform a hammer strike). The forearm of theright arm rests against the inside of the left armnear the crotch of the elbow. The hips and feet donot shift, but the waist twists strongly in thedirection of the punch.
6. Immediately after movement #5 above,the waist twists back to its original back stanceposition. The left fist pulls to above the hip, palmside up, and the right arm is thrust forward fromthe left cheek in a mid-section straight punchpalm side down. The shoulders and back musclesare equally tensed and the right arm anglesslightly down from the shoulder. Pause slightly.
7. Look over the right shoulder and bringthe left foot slightly forward to the direction of thestance. Then lift the right foot in knife-edgeposition so that the instep presses against thestanding left leg above the knee. This is donequickly in coordination with the pivoting of the
body to face to the right of the starting position.The head, however looks over the right shouldertowards the rear of the kata line. Hands arebrought to above the left hip, the palm of the rightfist facing the body and the left fist palm up. Themovement of the hands, feet, and head end at thesame instance.
8. Immediately side kick to the right withthe right foot. The right arm/fist simultaneouslycircles to the side for a bottom fist block orhammer fist strike. Quickly withdraw the rightfoot to its position at the start of the kick. At thesame time look over the left shoulder. Also, as thekick retracts, the left hand comes palm-in to theright cheek, while the right hand hooks under theleft elbow. Both hands are in preparatory positionfor a knife-hand block/strike.
9. After a very slight pause, the hips beginto drift backwards, accelerating to a right backstance. At the last instant, the right foot leaves theleft leg and strongly braces the new stance whilethe waist and hips twist strongly into the stance.At the same time, the left arm arcs inside-outwardand forward to a knife-hand block. The elbow iskept in and the palm of the right hand lines upwith the left rear shoulder. The wrist of the leftarm is straight, not bent. The left knife-handremains palm side inward until the last instant,when it rotates strongly outward to the point ofimpact of the block. At the same time as theblock, the right hand, in knife-hand position, ispulled back to a position in front of the solarplexus and parallel to the floor. The joint of thewrist is in the crook of the solar plexus. The rightarm will not be parallel to the floor as the elbowrests naturally below the solar plexus.
The meaning of this movement is asimultaneous kick and block/strike to anopponent attacking from the rear. The targetof the kick is the groin, hip joint, floating ribsor solar plexus. The arm either knocks awayan attack or strikes to a target higher on thebody than that which the kick attacks. As thekick begins, there is the sense of feeling anopponent from the front. On the retraction ofthe kick, the body prepares to meet thisforward attacker. The position of the armsbefore the knife-hand block can be seen to
protect the body from attack, the right handparrying away a punch. The whole position ofthe arms can also be viewed as net-blockingwhich protects or defends a wide section ofthe body as opposed to a technique thatprotects a single point of attack.
10. Step forward into a left back stance anddo a right mid-section double knife-hand blockThe right foot steps forward and the strike andshift of the hips happens exactly at the time thetoes of the right foot touch the ground. The armprepares as in #8 above. The left foot does notshift outward into the stance until the last instant -- with the block.
After the knife-hand block, it is common toconsider a following attack, usually a reversepunch.
11. Step forward into a right back stanceand do a left mid-section double knife-handblock. The left foot steps forward and the strikeand shift of the hips happens exactly as the toes ofthe left foot touch the ground. The arm preparesas in #8 above. The right foot does not shiftoutward into the stance until the last instant --with the block.
12. Step forward with the right foot into aright forward stance and do a four-finger spear-hand thrust to the mid-section (solar plexus), the
left arm pulling to a position under the rightelbow, left palm pressing downward. The lefthand is drawn downward directly from theposition completed in movement #9 above. Keepthe shoulders down and Kiai!
The left hand provides protection and canparry an attack while the right hand thrustsinto a soft target area. Today, we customarilyconsider a throat attack, instead of a solarplexus attack.
13. As in movement #18 of HeianShodan, pivot to the left on the right foot 270°but to the right of the performance line, and slidethe left foot out into a right back stance andperform a left middle-level knife-hand forearmblock.14
14When turning into the back stance, the weight isalready on the leg that will form the stance, so the body just
14. As in movement #19 of HeianShodan, step out 45°
to the right into a left back
stance and perform a right middle-level knife-hand forearm block. Beginning the step out, thetoes of the left foot pivot and face the direction ofthe next stance. The left foot pivots out to the left
as the right foot touches the floor simultaneouslywith the knife-hand strike and a reverse pivot ofthe hips.
15. As in movement #20 of Heian Shodanturn 135°
to the right, pivoting on the left foot into
a left back stance and performing a right middle-level knife-hand forearm block.
16. As in movement #21 of HeianShodan, step out 45° to the left with the left footinto a right back stance and perform a left middle-level knife-hand forearm block.
These movements are not interpreted thesame way as the four augmented mid-sectionknife-hand blocks in Heian Shodan. In theKwanmukan, they are interpreted as a seriesof release or escape maneuvers.
17. Step out 45° to the left with the left footinto a left forward stance and block inside-outsidewith the right arm as the left fist pulls palm sideup to above the left hip. The right arm, hand in afist, is extended downward. Then the arm and fist
are brought across the front of the body to the leftand quickly up in a circular motion as an inside-outside block going past the left shoulder to theright shoulder with the waist twisting opposite thedirection of the arm. The upper body ends in areverse half-facing posture, the right shoulderforward and the left shoulder drawn back with thewaist fully twisted, hips forward. The feet mustremain flat on the floor.
This technique can block a punch or akick ‘snagging’ it with the wrist.
18. Without moving the right arm or leftfoot (of which the toes point forward), front snapkick with the right foot directly under the rightarm. Make sure the knee is quickly picked up highand that the kicking foot is raised above thestanding knee with the sole of the kicking foot flat
turns 270° and the foot just slides out into the stance. Thereis no step.
to the floor, toes curled up and back, before thefoot is snapped forward15. The instep locks out asthe kick is made.
If the block in #17 snags an arm, thearm can be grabbed, twisted if necessary,and the kick directed at the elbow or the mid-
section of the body. If the defend is against akick, the opponent’s groin is vulnerable.
19. After returning the kicking foot to thesame knee-high position as before the kick, thrustit strongly forward and down into a right forwardstance, simultaneously performing a mid-sectionreverse punch with the left fist, the right fistpulling palm up to the right hip.
20. From the position of the punch, extendthe left fist downward across to the right hip andthen upward in an inside-outside block to a
position in front of the left shoulder. The leftshoulder is forward as the body twists at the waistwith the block. The right shoulder is back and thebody is in a reverse half-facing posture, in themirror image of movement #17.
21. Without moving the left arm or rightfoot (of which the toes point forward), front snapkick with the left foot directly under the left arm.Make sure the knee is quickly picked up high andthat the kicking foot is raised above the standingknee with the sole of the kicking foot flat to the
floor, toes curled up and back, before the foot issnapped forward.16 The instep locks out as thekick is made.
22. After returning the kicking foot to thesame knee-high position as before the kick, thrustit strongly forward and down into a left forwardstance, simultaneously performing a mid-sectionreverse punch with the right fist, the left fistpulling palm up to the left hip.
23. Step forward with the right foot into a
right forward stance (slightly deeper and broaderthan the last two stances) and execute anaugmented middle-level inside-outside block withthe hands in a fist position. The left fist, palm sideup, touches the right arm on the inside near the
15The knee of the kicking leg can actually come upright under the elbow of the attacking arm.
right elbow, the right fist is shoulder level high.Begining to step forward, the right arm extendsdownward and sweep across to the left side of thebody. The left hand remains in a fist, palm side upabove the left hip until the right arm blocksoutward and forward. While stepping, both handsare brought forward in fist position, the right hand
performing an inside-outside block, and the lefthand thrusting palm side upward to a positionprotecting the upper body from attack. Whiledoing this, the right forearm is twisted stronglyoutward adding strength to the technique. Thestance here is also permitted to be an immovablestance or a back stance.
The augmenting left arm is the block whilethe right forward arm is the simultaneousstrike. Other interpretations are:
a. Blocking and grasping with the
forward arm and then following with a left(spear-hand) attack.
b. Blocking first with the left hand andthen striking with the right hand.
c. Blocking with the forward hand, thengrabbing the opponent’s attacking arm on theother side with the left hand and striking withthe lead right arm.
d. Blocking first with the left hand, thenthe right hand, then attacking with the lefthand.
24. Pivot 270° to the left on the right footas in movement #17 of Taikyoku Shodan andlow defend with the left arm, the right fist pullingpalm side up above the right hip.
25.A. Keeping the left foot in place, raise theleft hand in a knife-hand position to the forehead.The body and head turn sideways with the hips tothe right about 30°.
25.B. Step out 45° to the right into a rightforward stance and high defend with the right arm
hand in fist position. The arms cross at the elbowswhen performing the block.
After blocking a kick or low-level attack, itis common to bring the hand up to defend ahigh-section attack. Many punchers lead witha low-level kick attack to cause the opponentto drop their guard and then attack to thehigh-section. The defender then steps in after
the block and attacks with the elbow to aface, chest, or elbow target.
26. Pivot 135° on the left foot and step outwith the right foot into a right forward stance andlow defend with the right arm, pulling the lefthand with the palm side up above the left hip.
27.A. Keeping the right foot in place, raisethe right hand in a knife-hand position to theforehead. The body and head turn sideways withthe hips about 30° to the left.
27.B. Step out 45° to the left into a leftforward stance and high defend with the left armhand in fist position. The arms cross at the elbowswhen performing the block. Kiai!
28. Draw the left foot inward and back asthe body rotates to face the original starting
direction of the kata, ending in a natural stance.29. Assume attention stance, pause, and
1. Look to the left, bend the right knee andslide the left foot out 90°
to the left into a right
back stance. When looking to the left, the armscross with the right arm over the left arm, handsin fists and palms facing inward. As the bodyturns into a back stance, the arms, still crossed,will be near the right hip. Block inside-outward
with the left arm, strongly twisting the forearm.The fist of the left arm is on a line with the leftshoulder. The right fist is drawn palm-side up toslightly above the right hip. Shoulder and backmuscles on both sides must be equally tensed.
This is a block against a mid-sectionpunch.
2. Pivot the hips directly to the lefttransferring the weight onto the left foot andswinging the right arm downward and forward tothe left, palm-side in. As the feet come together
(both heels and toes), stand up and cross the arms,right arm in front of the left. The right arm thenperforms an inside-outward block and the left armsweeps downward, each arm ending on itsrespective side of the body. During this action, thearms cross in front of the solar plexus, touching atthe elbows and protecting the upper body, Theforearms twist strongly as the fists rotate 180°.The blocks end as the body completes standingup. The fists are equidistant from the body --about 45°.Do not block beyond the edge of the
body defensive zone.This is a block against a simultaneous
middle section and low-section attack --usually a mid-section punch and a low-section front kick.
3. Immediately reverse the position of thearms with the left arm traveling on the outside ofthe right arm. The right arm low defends, while
the left arm defends inside-outward. The positionof the feet do not change with this action. Upperbody action is minimal, but a strong gripping ofthe floor with the feet and a tensing of the body atthe last instant, especially the buttocks, isextremely important.
This is a similar interpretation tomovement #2 above.
4. When turning 180° to the right, the left
leg bends as the right foot slides out into a leftback stance. With the right arm, block inside-outward in the mirror image of movement #1.
5. Step forward into a closed-foot stancein the mirror image of movement #2. Low defendwith the right arm and block inside-outward withthe left arm.
6. As in movement #3, immediatelyreverse the position of the arms.
7. Looking 90° to the left, bend the rightleg at the knee and ankle and slide the left foot outto the left and into a right back stance. At thesame time, block to the left with a left armaugmented inside-outward block, the right handending in a fist palm-up position near the leftelbow. As the turn begins, the fists are broughtnear the right (rear) hip, palms facing inward.Then the left forearm rotates quickly inside-
outward to a palm-up position across from the leftshoulder. The right forearm also rotates palm-upto a position near the solar plexus, with the fisttouching the left arm near the elbow. No gapshould be perceived between the right fist andelbow, which could give an opening to an attack.
This augmented block is usuallydescribed as a block against a middle-levelpunch, with the right arm adding strength tothe block.
8. Step directly forward with the right foot
into a right forward stance, opening the right fistinto a four-finger spear-hand and thrusting it froma palm-up position to vertical position with thetarget being the opponent's solar plexus.Simultaneously, the left hand opens into a knife-hand and pulls/presses to a position under theright elbow, arm parallel to the chest and floor.Note that this movement is performed directly
Deflecting and pulling in an attack with theleft hand, the right hand strikes the solarplexus. Today, we either attack the throatwith the spear-hand or use another fistposition for the solar plexus strike.
9.A Pivot on the right leg to the left, pullingthe left foot in then out around to the front of theright foot into a straddle stance. The head looksforward over the left shoulder in the direction ofthe kata.
9.B. As the left toes touch the floor, the hipstwist strongly with a bottom fist strike into astraddle-leg stance. The eyes look over the leftshoulder. The strike is greatly influenced with thetwisting of the hips. As the pivot begins, the righthand turns thumb down 180°, palm side away
from the body. The right arm extends downwarduntil the thumb side faces the floor. As the pivotcontinues, the right arm bends, and the back of theright hand is pressed against the small of the back.As the left foot touches the floor, the chest hasrotated approximately 202 1/2° to the left. Upuntil this time, the left hand has remained incontact with the right arm near the elbow joint.The left hand then releases and swings quicklyand strongly in a wide arc, with the motion of thehips, into the straddle-leg stance. The right fist is
pulled to the right hip with the elbow tucked. Theleft fist ends slightly downward from theshoulder.
10. Immediately upon completion of thebottom fist in movement 9.B., continue the pivotstepping forward in the direction of theperformance into a right forward stance. Lungepunch to the mid-section -- Kiai!
A strong opponent has grasped the spear-hand and tries to twist the arm into an lockbehind the back. As the arm is twisted, turn,
breaking the grip, and strike the opponent'supper body with the elbow or bottom fist andcontinue with a punching attack.
11. Slowly pivot the body 180° on the rightfoot backwards to the left. The left foot is brought(toes in) to the right foot. As the body rises into aclosed-feet stance, the fists are brought to theirrespective hips just above the hips, fore-knuckles
pressing against the body. The elbows extendoutward to each side of the body. The movementof the hands, feet, and head must be concluded atthe same time.
12. Without moving the fists from the hipsor changing the position of the left foot which
points straight ahead, bring the right foot up andforward away from the body and then in, to justabove the knee, like a cat's paw striking. Continuemoving forward and stomp out into a straddle-legstance, chest facing to the left of the direction ofmovement, head facing the direction of movemenwith the eyes gazing over the right shoulder.
13. At the same time the foot strikes thefloor, the waist twists to the left as much aspossible without breaking the stance (not lettingthe knees collapse), and the right elbow, fist still
on the hip, comes across with the twist of thewaist as it elbow blocks/strikes.
14. Quickly twisting the waist back to theright into a correct straddle-leg stance, the rightfist travels in an upward and then downwardcircular motion as a fast backfist downwardstrike. The strike ends as the waist stops twistingThe fist quickly returns to the hip.
The foot can parry an attack and thenstomp the hip, knee, or ankle joint of theattacker. The elbow comes across in a strike
to the opponent's chest and then a backfist isdone to the bridge of the nose. In actualitythe block would probably be a grasping blockwith the forward hand (not shown). Then therear foot would stomp the opponents foot atthe same time as the elbow strikes, or theelbow would block the next attack with thefinishing off being a downward backfist strike.
15. The feet pivot 90° to the right as the leffoot is brought up in the mirror image ofmovement #12, except that the head does not rise
Stomp kick with the left foot into a straddle-legstance, the chest facing to the right of themovement and the head looking to the left side.
16. Continue with the waist twist to theelbow strike as in movement #13. In performingmovements #15 & 16 the head does not rise, thechest faces right of the direction of movementand the head is turned to the left.
17. The left fist is the mirror image of themovement #14 backfist strike.
18. Pivot the feet 90° to the left as inmovement #12, except that the head does not rise.Stomp kick with the right foot into a straddle-legstance, the chest facing to the left of the
movement and the eyes looking to the right side.
19. Elbow strike as the waist continues itstwisting motion after the foot hits the floor, as inmovement #14.
20. As in movement #14, a right downwardbackfist strike is performed.
21.A. Without shifting the stance, extend theright hand in a knife-hand and block with thepalm edge in a grasping action, hooking outwardand then inward.
21.B. Twist the body 90° to the right, with thehips, and strongly step out with the left foot bydriving with the right leg into a left forwardstance. At the same time, lunge punch with theleft hand. The right hand clenches and is pulled toa palm-up position above the right hip.
Block the opponent's punch with the rightknife-hand, grasp it, and step in with a punchto the mid-section.
22. The right foot is brought up even with
the left foot, shoulder’s width apart, with the armsnot moving from their positions. Pivot 180° to theleft on the right foot, stepping the left foot backaround to the left into a straddle-leg stance, thechest facing the original direction of the kata. Asthe body completes the pivot, the left elbowdrives back, hand in a fist, palm-side upward, andthe right fist swings around over the left shoulderpalm-side down attacking to the rear. The waist istwisted to the left to add strength, but the legsremain strong in the stance.
Being are grasped from behind, drop thebody and rotate the hips. At the same timestrike backward with the elbow and then thefist or strike simultaneously with both. As thehips drop, spreading the elbows to the sidehelps to escape the opponent’s bear hug.This is often interpreted outside the katasequence. There are many ways to modifythis interpretation.
23. Tensing the left foot, slide the wholestance to the right and strike backwards with theright elbow and left fist in the mirror image of theend of movement #22 -- Kiai!
1. Looking to the left, bend the right ankleand knee and slide the left foot out 90°
to the left
into a right back stance. When moving, the handsare positioned right hand over the left, palmsinward, in knife-hand position with the armsextended downward in front of the groin. Thehands, with the arms straight at the wrist, areslowly brought up together. The arms begin to
bend at the elbows, and the palms begin to turnoutward. As the hands reach the height of thenavel, they begin to pull apart and the palmscontinue to rotate outward and upward. The righthand stops with the right wrist near the righttemple palm-out, while the left hand ends at thesame instant with the palm outward to the right ina backhand block, the thumb about eye level. Thistechnique is performed slowly. Pause.
Blocking the opponent’s attack with theleft hand, grasp and then pull the opponent
in, attacking the opponent with a right knife-hand strike.
2. Quickly shifting to the right into a leftback stance, the weight (without rising) istransferred over the left (back) leg, and the handsare positioned, left hand over the right, palmsinward, still in knife-hand position. The armsagain extend downward in front of the groin. Thehands, with the arms straight at the wrists, areslowly brought up together as the arms begin tobend at the elbows and the palms begin to turn
outward. As the hands reach the height of thenavel, they begin to pull apart and the palmscontinue to rotate outward and upward. The lefthand ends with the left wrist near the templepalm-out, while the right hand ends at the sameinstant with the palm outward to the left in abackhand block, the thumb about eye level. Thisis the mirror image of movement #1. Pause.
3. Transfer the weight to the right foot asthe left foot is pulled in to the right foot. Makesure that the knees and ankles bend so that thehara does not rise. When moving, the head looksto the left and the shoulders are turned into a lefthalf-facing posture. During this action, the hands
are clenched into a fist and are brought to theright side of the body slightly above the hip withthe right fist above the left fist, back-of-handsfacing outward and arms crossed at the unbentwrists. The right rear leg drives the hips forwardand the left foot outward into a left forwardstance. At the same time, the left fist sweepsdownward and across the lower section of thebody as the right fist thrusts downward, as in apunch, into a lowlevel crossedarms block witharms fully extended. The thumb side of both fistsis upward and the hips are fully forward having
twisted along with the block. This stance must notbe high.
This technique stops an opponent's low-level kick by blocking with the left hand andstriking the leg (shin) with the right hand, orby acting as a trap.
4. Step forward with the right foot into aleft back stance performing a mid-sectionaugmented block, hands in fists. As the right footsteps forward through the balanced position, the
arms remain crossed at the wrists, right arm overleft as they are pulled into position over the lefthip in a right half-facing stance the mirror imageof movement #3. The wrists twist stronglyoutward as the hips move in the reverse directionof the technique and into a right back stance. Atthe completion of the block the left fist pressesfirmly against the right elbow.17
5. Looking to the left, begin rotating thehips forward as the weight is shifted onto the rightforward leg which stays bend so that the head and
hips do not rise. The left knee is lifted and the leftfoot in knife-edge position is brought to above theright knee and against the inside of the right legAt the time the left leg is brought forward and upthe hands, in fists, are brought to above the righthip -- right fist palm-side up and the left fist palm-
17Note: Some styles rotate the hips forward to thedirection of the block instead of reverse.
side in. Both arms are close to the body and theleft arm is parallel to the floor. The left kneepoints about 45° to the left for a side snap kick (orforward for a side thrust kick).18
6. The left foot is quickly snapped directlyout to the left side as the left fist simultaneously
backfist strikes over the kick. The hip does notroll over more than parallel to the ground, thesupporting leg remains bent during the kick, andthe head does not rise. After the kick, the left footquickly retracts to its starting point above andinside the right knee, but the left arm remainsextended19 the hand opening into a knife-handwith the retraction of the foot. The right handremains above the right hip and the elbowremains tight against the body. (It does not flop ormove during the kick.)
7. Step out with the left foot slightlybackward of the direction of the kick. As the leftfoot touches the floor, the hips are in a half frontfacing posture, almost like a fixed stance. Themoment the foot touches the floor, the hips arequickly twisted in the direction of the kick and ahorizontal elbow strike is performed with the rightarm, the body ending in a left forward stance. Theright elbow strikes against the extended left handwith the tip of the elbow aligned with the centerof the body. The right fist has rotated from apalm-up to a palm-down position, with the fistending in the notch of the left elbow. The twoarms touch each other along their length.20
8. Look to the right. As the hips begin torotate forward, the weight is shifted onto the leftforward leg which stays bend so that the head andhips do not rise. The right knee is lifted and theright foot in knife-edge position is brought toabove the left knee and against the inside of theleft leg. At the time the right leg is broughtforward and up, the hands, in fists, are brought toabove the left hip -- left fist, palm-side up, and theright fist, palm-side in. Both arms are close to the
18It is also correct to use the side thrust kick,although that method is not described here.
19Some instructors require that the backfist beretracted.
20When doing this, the fist of the striking arm restsnaturally against the biceps of the other arm as that armfolds naturally over the striking elbows.
body and the right arm is parallel to the floor. Theright knee points about 45° to the left for a sidesnap kick (or forward for a side thrust kick).
9. The right foot is quickly snappeddirectly out to the right side, as the right fistsimultaneously backfist strikes over the kick. The
hip does not roll over more than parallel to theground, the supporting leg remains bent duringthe kick, and the head does not rise. After thekick, the right foot after the kick quickly retractsto its starting point above and inside the left knee,but the right arm remains extended, the handopening into a knife-hand with the retraction ofthe foot. The left hand remains above the right hipand the elbow remains tight against the body. (Itdoes not flop or move during the kick.)
10. Step out with the right foot slightly
backward of the direction of the kick. As the rightfoot touches the floor, the hips are in a half frontfacing posture almost like a fixed stance. Themoment the foot touches the floor, the hips arequickly twisted in the direction of the kick and ahorizontal elbow strike is performed with the leftarm, the body ending in a right forward stance.The left elbow strikes against the extended righthand with the tip of the elbow aligned with thecenter of the body. The left fist has rotated from aposition palm-up to a palm-down position, withthe fist ending in the notch of the right elbow. Thetwo arms touch each other along their length.21
Sensing an immediate attack from theopponent, attack first with a kick and a strikeas explained in Heian Nidan. It is possible tograsp the opponent’s arm, pulling theopponent in, and striking the opponent withthe elbow if the response is a reaction to thealready begun attack. Consider also that thismove trains the ability to extend a reversetechnique in the direction of a side kick.
11.A. Without changing the stance, look tothe left and extend the left arm downward, hand inknife-hand position, palm-side inward, across thefront of the groin. The right hand is raised at the
21Please note that different timing and bodymovement going from the side kick to the elbow strike arestudied in the Kwanmukan by advanced students. Thesevariances depend on the intent of practice and type of sidekick being studied.
same time to a position near the right temple,hand open and palm-side facing outward.
11.B. Quickly and strongly pivot the hipsnaturally to the left into a left forward stanceapproximately 30° off the original direction of thekata. The left hand pulls up in a rising side-of-
palm block to the side of the forehead, wrist bent,while the right hand swings in an arc and slightlydownward in a knife-hand strike to the originaldirection of the kata. The arm of the striking handis fully extended. All action of this movement isdirected to the original direction of the kata,except that the stance is on an angle as described.
This is an example of low/high blocking.Blocking the opponent's low-level attack(kick), the left hand is brought up to block andgrasp the high-level attack. The right arm
attacks with a high-section knife-hand strike.12). Without moving the arms, immediately
front kick under the right hand with the rear rightfoot. As the kick begins, the left foot and hip turnforward to the direction of the knife-hand attack.The left leg remains bent. As the right leg kicks,the hara comes forward of the supporting leg, butthe head remains over the supporting foot. Thiscreates a triangle between the head, foot and hara,allowing the hara to extend forward in balance.This also allows the standing leg to straighten
without the head rising, adding strength to thekick. As the kicking foot is withdrawn, it pullsback to above the inside of the left knee.22
13. Using the driving action of the supportleg to spring the body forward, the right foottouches the ground, toes slightly turned out to theright side. The left foot follows quickly afterward,lightly touching the floor with the lower legscrossing and touching, left leg behind the right legand the left foot slightly to the right, but notforward, of the right foot. As the left foot touches
the floor, the stance is formed but the weight is onthe right leg which is bent at the knee and ankle.With the right foot turned out slightly to the sideand the knee of the right leg extending over thelittle toe of the right foot, the weight rests forwardand the hips face fully forward. At the time the
22Characteristically, the knee of the kicking legrises up and forward just under the right elbow.
kick begins to retract, the right hand turns palm-down but still extended. As the body springsforward, the left hand reaches out as if to grabsweeping and extending over the right handAbout the time they are both at the same heighover the floor, the hands begin to clench into fiststhe left hand as if grabbing and pulling. The righ
hand prepares to strike. The left fist continuespulling to a palm-side down position under theright elbow. The right fist swings up and thendownward, striking in a backfist to the center ofthe body as the chest and shoulder musclesstrongly contract. The arms move continuously insynchronization throughout this movement. Thehands and the left foot complete at the sameinstant and there is a strong -- Kiai!
After striking the opponent with the knife-hand strike, kick the elbow or other available
target. After the kick, leap after the opponentgrabbing and pulling in and then strike theopponent with a backfist to the faceSeparately interpreted out of sequence, blockthe opponent's strike downward with the onehand, jump in and strike the opponent withthe backfist strike.23
14. Looking to the left, pivot on the rightleg 225° to the left and step out with the left footinto a right back stance. When turning, cross thearms at the wrists, right arm in and above the lef
arm, wrists straight. The hands which are in fistsare about eye level. The wrists twist strongly andslowly, as if pulling or stretching something apartuntil the palm-side of the hands face outward. Thearms may bend at the wrist and the elbows arekept in tight protecting the side of the body. Theyare pulled downward while the wrists are twistingThe movement ends when the fists are shoulderheight. This technique is performed slowly withthe body fully tensing at the completion.
15. Relaxing, the weight is immediatelytransferred forward to the left foot, taking care notto straighten the left leg, raise the level of thehead or change the position of the left foot. Theright leg then front kicks about solar plexusheight. The leg is quickly withdrawn and thrust to
23Target the chest because that allows formaximum contraction of the muscles of the body. Theactual target in bunkai most probably would be the face.
the floor into a right forward stance. The hands donot change position during the kick.
16. & 17. At the same time the right foot hitsthe floor, the right fist and then the left fist thrustforward with a punch. The right fist is a straightpunch and drives directly out from the wedge
block, the left fist pulling palm-up to above theleft hip. The left fist thrusts forward in a reversepunch immediately afterward, and the right fist,palm-up, pulls to above the right hip. The firstpunch strikes immediately as the kicking leg hitsthe floor and the second punch follows withouthesitation. This second punch remains extendeduntil the next movement of the kata.24
Pulling apart the simultaneous attack ofboth of the opponent's arms, which haveeither struck at you or grabbed you, kick the
groin or solar plexus following immediatelywith two consecutive punches.
18. Looking to the right, pivot on the leftleg 90° to the right and step out with the right footinto a left back stance. When turning, the arms arecrossed at the wrists, right arm in and above theleft arm and wrists straight. The hands, which arein fists, are about eye level. The wrists twistslowly as if pulling or stretching something apartuntil the palm-side of the hands face outward. Thearms may bend at the wrist. The elbows are kept
in tight protecting the side of the body. They arepulled downward while the wrists are twisting.The movement ends when the fists are shoulderheight. This technique is performed slowly withthe body fully tensing at its completion.
19. Relaxing, the weight is immediatelytransferred forward to the right foot, taking carenot to straighten the right leg, raise the level of thehead or change the position of the right foot. Theleft leg then front kicks about solar plexus heightIt is quickly withdrawn and thrust to the floor into
the left forward stance. The hands do not changeposition during the kick.
20. & 21. At the same time the left foot hitsthe floor, the left fist and then the right fist thrustforward with a punch. The left fist is a straightpunch and drives directly out from the wedge
24This is called renzuki.
block, the right fist pulling, palm-up, to above theright hip. The right fist thrusts forward in areverse punch immediately afterward and the leftfist pulls, palm-up, to above the left hip. The firstpunch strikes immediately as the kicking leg hitsthe floor and the second punch follows withouthesitation.. This second punch remains extended
until the next movement of the kata.
22. Looking to the left in the directionopposite the original direction of the kata,withdraw the left foot, transferring the weight tothe right leg. Slide out into a right back stance 45°from the direction of the last movement. Performan augmented mid-section block with the left fistabout shoulder height and the right fist pressingagainst the left elbow.
23. Step directly forward with the right foot
into a left back stance. Remember that the leftrear foot does not pivot outward until the toes ofthe right foot touch the floor. Perform a right armaugmented mid-section block, the mirror image ofmovement #22.
24. Step directly forward with the left footinto a right back stance. Remember that the rightrear foot does not pivot outward until the toes ofthe left foot touch the floor. Perform a left armaugmented mid-section block, the mirror image ofmovement #23.25
25.A. Without changing stances the handsopen and extend forward and up, right arm overthe left. Then quickly pull apart the hands pullingthem back to hips with the wrists bent backward,as if hooking over the arms of the opponent.Pressing off the rear leg, the body shifts stronglyinto a forward stance. At the same time, the handsquickly thrust upward, arms straight out, to aposition slightly above the head with palms facingeach other and the thumbs about eye-distanceapart.
25.B. As the hips complete shifting forward,the right knee is immediately drawn up in a kneestrike position. The hands clench and are pulleddownward to either side of the knee. Take care tonot straighten the left leg, raise the level of the
25Refer to movement #23 of Heian Nidan for a fullexplanation of the performance of these augmented middleblocks.
Pulling the opponent's arms apart andthen down causing the opponent to fallforward off-balance, reach up and grasp thehead, thumbs in the eyes, or grab the neck(some strike the neck at this point), and pull
the head down, smashing it against the knee.26. Look over the left shoulder keeping the
right foot close to and above the inside of the leftknee. Pivot the body to the left as the hands openinto knife-hand position and prepare to do a mid-section augmented knife-hand block. Bring theleft hand in a knife-hand position, palm-side in tothe side of the right cheek. The right hand, also ina knife-hand position, hooks around the left elbowpalm-side facing outward. Begin to fall backwardwhile turning and look forward to the starting
direction of the kata. As soon as the right foottouches the floor, finish pivoting the bodystrongly to the left into a right back stance andcomplete the mid-section augmented knife-handblock with the left arm, the right hand pullingpalm-up to a position in front of and protectingthe solar plexus. Do not change the direction inwhich the left foot points until the right foot hitsthe floor.
27. Step forward with the right foot into aleft back stance, taking care not to pivot the left
foot to the side until the right foot touches thefloor. Do a mid-section knife-hand block with theright arm, the left hand pulling palm-up to aposition in front of and protecting the solarplexus. The preparatory position for thistechnique is the same as has been described inmovement #19 of Heian Shodan.
28. Bring the right foot back into the readystance as the hands, in fists, slowly circle up andthen cross at the wrists in front of and above theforehead. They continue slowly circling and then
lowering to a position in front of the thighs. Themovement of the hands and the feet are insynchronization with the breath.
1. As in the first movement of HeianSandan, slide the left foot 90° to the left into aright back stance. With the hands in fists, performa left mid-section inside/outside forearm defend.Make sure the wrist is straight and the bonestructure from the lower arm to the fore-knucklesremains in line. The right hand pulls to a positionabove the right hip. When the foot begins to slide
out, the arms cross at the elbows.2. Twist the waist (not the hips) strongly
to the direction of the stance and reverse punchwith the right fist to the mid-section while the leftfist pulls to the hip. Only the upper body twists;the base of the stance is not altered. The upperbody is now facing directly to the left of theoriginal direction of the kata.26
Block a middle-level attack and punch tothe opponent's mid-section. You can graspthe wrist as you punch, pulling the opponent
into you.
3. Slowly turn the body to face fully to theright (the original direction of the kata) into awater-flow block posture. In doing this, the rightfist is pulled to above the right hip, palm-side up.The right foot is drawn closed-feet to the left foot,with the toes of both feet facing forward. The leftforearm with the hand in a fist, palm-side down,pulls across the front of the body angling slightlydownward and forward of the body about sixinches. The left foot rotates forward as the weight
is transferred from the right foot to rest on bothfeet. The body then straightens up into the water-flow posture. Head, arms, legs, hands, and stanceall finish their actions at the same time with thecompletion of the exhale.
26Some styles allow the elbow of the punching armto be slightly bent outwards while reverse punching in thismovement.
4. As in the mirror image of the firstmovement of Heian Godan, slide the right foot90° to the right into a left back stance. With handsin fists perform a right mid-section inside/outsideforearm defend. Make sure the wrist is straightand the bone structure from the lower arm to the
fore-knuckles remains in line. The left hand pullsto a position above the left hip. The arms cross atthe elbows when the foot slides out.
5. Twist the waist (not the hips) stronglyto the direction of the stance and reverse punchwith the left fist to the mid-section while the rightfist pulls to the hip. Only the upper body twists;the base of the stance is not altered. The upperbody is now facing directly to the left of theoriginal direction of the kata.
6. Slowly turn the body to face fully to the
left (the original direction of the kata) into awater-flow block posture. In doing this, the leftfist is pulled to above the left hip, palm-side up.The left foot is drawn closed-feet to the right footwith the toes of both feet facing forward. Theright forearm, with the hand in a fist and palm-side down, pulls across the front of the body,angling slightly downward and forward of thebody about six inches. The right foot rotatesforward as the weight is transferred from the leftfoot to rest on both feet., The body then
straightens up into the water-flow posture. Head,arms, legs, hands, and stance all finish theiractions at the same time with the completion ofthe exhale.
7. With the hands remaining in the water-flow posture, the body is kept straight. The anklesbend as you begin to fall forward with the feelingof being pushed. At the last instant, the right legsteps out and the left leg bends as the left footrotates 90° out to the left, ending in a left backstance. The right fist twists strongly as it is
propelled in an arc from its position in the water-flow posture. The right arm moves outward into amid-section inside/outside forearm block. The leftfist thrusts strongly straight forward to a positionunder the right elbow. Both the hand, in theaugmented mid-section inside/outside defendposition, and the foot, in a left back stance, end atthe same time.
Being pushed from behind, regainbalance, blocking and striking an opponent’sattack from the front.
8. Step forward with the left foot into aleft forward stance. When stepping, the arms arebrought to the right side, right arm over the left,
right fist palm-side up, left fist palm-side down.The body is half-facing to the right. As the stancecompletes, the left fist sweeps downward twistingat the wrist so that the block is with the back ofthe forearm. At the same time, the right wristrotates 90° as the right fist strikes downward in apunch During this action, the right arm remainsover the left arm, the hands continue to presstogether at the wrists, and the hips rotate forward.
9. Without changing the stance, pull thearms (still crossed at the wrists and pressing
together) to the solar plexus, . Open the hands intoa knife-hand position. Then thrust them up andout to a high-section crossed-hands block,defending with the back of the hands.
10. With the arms pressing together justbelow the wrists, rotate the arms at the wrists sothat the left wrist is palm down on top of the rightwrist and the right wrist palm up under the leftwrist.27 At the same time, pull the right elbowdownward and in until it touches the right side ofthe body. The left wrist should have the feeling of
actually pushing the right wrist downward. Whenthe technique stops, the left arm should be parallelto the floor and about 3 inches in front of the bodyat solar plexus height. During this entire action,the wrists press together.
11. Clench both fists and strike the lefthand forward from its position over the right handto the mid-section and pull the right arm all theway back to the right side of the body, the fistending above the right hip. As the left fist thrustsforward, the forward knee bends forward
somewhat as the left hip and shoulder extendoutward. The right hip and shoulder pull stronglybackward, the result being a half-facing posture.
12. Step forward with the right foot into a
27The left hand rotates outward and then inward ina clockwise direction and the right hand rotates inward andthen outward in a counter-clockwise direction.
right forward stance, lunge punching to the mid-section -- Kiai!
Blocking a low-level kick immediatelyblock the following high-level attack. Graspthe opponent's arm and twist it clockwise sothat the palm is up. Thrust the left fist into the
neck as the opponent is pulled forward. Stepforward and finish with a thrust. Sometimesthe twisting of the hands is denoted asdeflecting an attack downward, in whichinstance the available targets change.
13. With the left leg as pivot, turn 180° tothe left swinging the right leg up and then stompout with the foot towards the starting point of thekata and into a straddle-leg stance. At the sametime, the right arm circles up and then down to theright side in a low defend. During this movement
the left fist does not leave its position above theleft hip and the left elbow remains tucked tightlyagainst the body. The right leg moves upward andoutward as the body rotates. As the foot peaks, itis retracted to above the right knee in a movementlike a cat's paw before the stomping action. At themoment the right foot is pulled in to the left legthe right hand has reached the peak of its arc. Atthe completion of the movement, the head islooking off to the right over the right shoulderThe hands and feet complete their actions at thesame time. Take care not to pivot on the left foot
or twist the hips past the direction of the startingpoint until the stomping action of the kick. Thisallows a strong hip action in the movement.
Sensing an attack from behind, turn andblock the attack with a downward sweep ofthe arm. At the same time, attack the instepor knee joint with a stomp kick. Alternatelystomp the foot, hooking behind theopponent's forward leg, and attack the neckwith a hammer fist as the opponent losesbalance.
14. Turn the head 180° and cross the armselbows touching, in front of the solar plexus. Theright arm should be over the left as the handsopen. Slowly extend the back of the left hand tothe left side until the arm is extended. The leftarm extends slowly with the feeling of drawing abow. The right arm pulls in unison with the left toits normal position above the right hip and closes
into a fist. Contract the back muscles strongly asthe chest muscles expand. The left hand endsshoulder height.
15. Without moving the left hand, like areleased arrow quickly strike with the right foot ina crescent-like motion hitting the left hand. The
toes of the left foot point in the same direction asthe left hand which remains stationary as it isstruck with the sole of the right foot. Immediatelyafter smacking the hand, pivot the hips to astraddle-leg stance as the right foot stomps into astraddle-leg stance out to the original direction ofthe kata. This is the same the direction to whichthe left hand had pointed.28
16. At the same time as the stomp, the rightelbow strikes the still-extended left hand which ispositioned slightly forward and to the right of the
right shoulder. The right hand, in a fist, is palm-side down, inside the crook of the left elbow.Back muscles expand and chest muscles contractopposite of that in movement #14. At theconclusion of this movement, the head facesdirectly forward in the straddle-leg stance.
Hook an opponent's attack with the wristand strike the opponent with a kick. Pull theopponent in and finish with an elbow strike. Inthis instance, the left hand rotates upwardfrom below the right arm. If the left hand
starts above the right arm, it rotatesdownward. This implies a different method ofhooking an opponent's arm and thus achange in interpretation.
17. Looking to the right, drop the elbowsand quickly rotate the right fist to an inside-outward mid-section forearm block, directly to theright of the straddle-leg stance. The palm-side ofthe left fist presses against and augments the rightarm, with the heel of the left palm near the elbow joint. At the same time as the block, the left leg
crosses behind the right leg. The right leg doesnot move, but bends slightly to keep the head andhips from rising. The timing of the left foot andright hand is simultaneous. The weight isprimarily on the right leg.
28I have been known to strike the left hand withthe right foot without pivoting at all on the left foot. Thisgives a different character to this movement.
18. Quickly spring up into the air, the feetuncrossing, and land in a left back stance. Thehead still looks in the direction of movement #16,the right arm, still augmented by the left palm, jabs upward with the jump (up and down)beginning and ending in the position described in
#16 above. The lower body, contracted in thecross stance, now expands outward into the backstance. The head rotates to look in the direction ofthe back stance (opposite the direction of the jab).
Blocking a middle-level attack from therear, spring upwards and jab the opponentwith the right fist.
19. Jump by transferring the weight to theleft foot, using it to thrust the body upwards. Theright knee is also driven strongly upward. This jump is up and out along the line of the kata. Both
feet tuck up under the body during the jump, theleft leg inside of the right leg, knees pulled uphigh. When jumping, the hands in fists are pulledto each respective hip palm-side up, and the chestrotates 90°. That is, facing 45° to the left of thereverse direction of the beginning of the kata.When landing, first the right and then the left foottouch into a low crossed or x-stance. The handsthrust forward from each hip, crossing in front ofthe body in a low-section crossed or x-block.Pause showing good balance and posture, with the
weight primarily over the right leg. Havingexpanded the body in movement #18, the body isagain in a contracted position. Kiai with the jump!
Jumping over a fallen opponent, blockanother opponent's kick with the left hand,simultaneously striking the leg with the righthand.
20. Thrust the right foot out into a rightforward stance 45° to the right of the crossed-feetstance by pushing strongly with the left foot. The
arms perform a right mid-section outside/insideaugmented forearm block. In performing thisblock, the arms initially remain crossed as inmovement #19, but, as the body turns to faceopposite the original direction of the kata, thehands are pulled to above the left hip. The rightarm is still over the left, touching just above thewrists with the hands in fist position. Both arms
then twist strongly and thrust outward to theaugmented block. This is an expansive movement.
21. Lean the body slightly in the directionof the stance in movement #20 as the head turnsto look to the rear. At the same time, the left footslides across to the other side of the right foot.
The left hand, in a knife-hand position, extendsout and along the left leg, while the right hand,also in knife-hand position, pulls to behind theright ear palm-side out. Quickly pivot 180° to theleft into a narrow left forward or fixed stance,thrusting the right hand directly forward and low,palm up, while the left hand sweeps up and acrossto the right cheek, rotating at the last instant sothat the palm faces the cheek. A very deep stanceis used here and the hips are well forward(dropped under). The elbows should touch ifpossible.
22. Quickly twist the hips to the right into aleft back stance, transferring the weight to the rearleg, the left foot sliding in and over slightly toalign the back stance. At the same time the stancechanges, the left arm low defends and the righthand pulls high behind the body in aninside/outside forearm block. During this actionboth hands clench into fists. At the end of themovement, the upper portion of the right arm isparallel to the floor, the lower portion of the armis perpendicular and the angle of the left armrelates to the angle of the forward leg. The wristsand ankles are all located in the same verticalplane.
Block a low-level attack and then thrust tothe groin. Tt the same time block a high-levelattack. Either grab the groin and upper bodyof the opponent and push/pull upsetting theopponent. Or strike or block backwards withone hand and downward or forward to theopponent's groin or mid-section with theother. Alternately, block a high-level strikeand strike the opponent in the groin or lowerabdomen. Pull the arms apart strongly, aftergrabbing the leg or sciatic nerve, making alow-level strike and throwing the opponent tothe floor.
23. Slowly pull the left foot to the rightfoot, feet together in a closed-feet stance. The feetpoint to the right side of the original direction of
the kata. The hands remain in their relativepositions with respect to the body, and the headcontinues looking to the original direction of thekata. The position of the chest, like that of thehead, is also not altered from that in movement#22.
24. Twist the upper body to the left andstep forward and slightly to the right with theright foot into the mirror image of the initialstance in movement #21. The right hand extendsover the right leg, hand in knife-hand positionand the left hand, also in knife-hand, pulls tobehind the left ear, palm-side out. The upper bodyleans slightly in the direction of the stance, whilethe face is turned to look to the rear over the rightleg. Quickly pivot 180° into a narrow rightforward or fixed stance, thrusting the left handdirectly forward and low, palm-up, while the right
hand sweeps up and across to the left cheekrotating at the last instant so that the palm facesthe cheek. A very deep stance is used here and thehips are well forward. This is the mirror image ofthe end of movement #21. The elbows shouldtouch, if possible.
25. Quickly twist the hips to the left into aleft back stance, transferring the weight to the rearleg, the right foot sliding in and over slightly toalign the back stance. At the same time the stancechanges, the right arm low defends and the lefthand pulls high behind the body in aninside/outside forearm block. During this actionboth hands clench into fists. At the end of themovement, the upper portion of the left arm isparallel to the floor, the lower portion of the armis perpendicular and the angle of the right armrelates to the angle of the forward leg. The wristsand ankles are all be located in the same verticalplane. This is the mirror image of movement #22.
26. Draw the right foot inward and back asthe body rotates to face the original startingdirection of the kata. End in a natural stance. Inthe Kwanmukan, it is customary for the hands tocross above the head and then to be pulled downslowly to the sides of the body. Time the handsfeet, and breath in a coordinated motion.
O.A.) Rei in Musubi-dachi CountO.B.) Yoi in Shizen Tai1.) Hidari Gedan Barai Uke in Zenkutsu-dachi 1
2.) Migi Chudan Oi-tzuki in Zenkutsu-dachi 2
3.) Migi Gedan Barai Uke in Zenkutsu-dachi 34.) Migi Uraken Uchi in Migi Neko-ashi-dachi1 45.) Hidari Chudan Oi-tzuki in Zenkutsu-dachi6.) Hidari Gedan Barai Uke in Zenkutsu-dachi 5
7.A.) Hidari Jodan Age Shuto Uke in Zenkutsu-dachi 67.B.) Migi Jodan Age Uke in Zenkutsu-dachi8.) Hidari Jodan Age Uke in Zenkutsu-dachi 79.) Migi Jodan Age Uke in Zenkutsu-dachi -- Kiai! 8
10.) Hidari Gedan Barai Uke in Zenkutsu-dachi2 9
11.) Migi Chudan Oi-tzuki in Zenkutsu-dachi 10
12.) Migi Gedan Barai Uke in Zenkutsu-dachi2 11
13.) Hidari Chudan Oi-tzuki in Zenkutsu-dachi 1214.) Hidari Gedan Barai Uke in Zenkutsu-dachi 1315.) Migi Jodan Oi-tzuki in Zenkutsu-dachi 14
16.) Hidari Jodan Oi-tzuki in Zenkutsu-dachi 15
17.) Migi Jodan Oi-tzuki in Zenkutsu-dachi -- Kiai! 16
18.) Hidari Chudan Shuto Uke in Kokutsu-dachi3 17
19.) Migi Chudan Shuto Uke in Kokutsu-dachi3 18
20.) Migi Chudan Shuto Uke in Kokutsu-dachi3 19
21.) Hidari Chudan Shuto Uke in Kokutsu-dachi3 2022.) Yame (Zanshin) in Shizen Tai23.) Rei in Musubi-dachi
1 Some styles do a Kentsui (Tettsui) Mawashi Uchi.2 Originally, we performed Chudan Uchi Uke in Kokutsu-dachi.3 See notes on Heian Shodan for discussion of the two interpretations of these movements.
O.A) Rei in Musubi-dachi Count0.B.) Yoi in Shizen Tai1.) Hidari Jodan Haiwan Uke and Migi Jodan Zenwan Uke 1
in Migi Kokutsu-dachi1 2.) Hidari Ude Uke and Migi Urazuki in
Kokutsu-dachi2 3.) Hidari Chudan Tzuki in Kokutsu-dachi3 4 4.) Migi Jodan Haiwan Uke and Hidari Jodan Zenwan Uke 2
in Hidari Kokutsu-dachi1 5.) Migi Ude Uke and Hidari Urazuki in Kokutsu-dachi2 6.) Migi Chudan Tzuki in Kokutsu-dachi3 4 7.) Koshi Kamae in Hidari Kyaku-dachi 3
8.) Migi Sokuto Yoko Geri Keage with Kentsui5 49.) Hidari Chudan Shuto Uke in Migi Kokutsu-dachi6 10.) Migi Chudan Shuto Uke in Hidari Kokutsu-dachi 5
11.) Hidari Chudan Shuto Uke in Migi Kokutsu-dachi 6
12.) Migi Chudan Shihon Nukite with Hidari Sho Osae-uchi in 7Migi Zenkutsu-dachi -- Kiai!
13.) Hidari Chudan Shuto Uke in Kokutsu-dachi 8
14.) Migi Chudan Shuto Uke in Kokutsu-dachi 915.) Migi Chudan Shuto Uke in Kokutsu-dachi 10
16.) Hidari Chudan Shuto Uke in Kokutsu-dachi 11
17.) Migi Uchi Uke in Gyaku Hanmi Hidari Zenkutsu-dachi 12
18.) Migi Mae Geri Keage 1319.) Hidari Chudan Gyaku-tzuki in Zenkutsu-dachi20.) Hidari Uchi Uke in Gyaku Hanmi Migi Zenkutsu-dachi 1421.) Hidari Mae Geri Keage 15
22.) Migi Chudan Gyaku-tzuki in Zenkutsu-dachi23.) Migi Chudan Morote Uke in Zenkutsu-dachi3 7 16
24.) Hidari Gedan Barai Uke in Zenkutsu-dachi 1725.A.) Hidari Jodan Age Shuto Uke in Zenkutsu-dachi 1825.B.) Migi Jodan Age Uke in Zenkutsu-dachi 26.) Migi Gedan Barai Uke in Zenkutsu-dachi 19 27.A.) Migi Jodan Age Shuto Uke in Zenkutsu-dachi 20 27.B.) Hidari Jodan Age Uke in Zenkutsu-dachi -- Kiai!28.) Yame (Zanshin)29.) Rei in Musubi-dachi
1 Movements #1 & 4 sometimes Yoko Gamae instead of Zenwan Uke.2 Movements # 2 & 5 sometimes Kentsui Uchi-komi and Nagashi-uke.3 Movements #3, 6, & 23 may be in a Fudo-dachi.4 Some refer to this technique as a Tzuki-uke.5 The Kentsui of movement #8 is sometimes performed as Uraken. The Yoko Geri may be Keage or
Kekomi, but the position of the knee will change on the kick.6 Immediately after the kick the right hand goes under the left elbow as a Kake-uke or as some call it,
a Kake-te-uke.7 Movement #23 used to be a Kokutsu-dachi.
6.) Kosa Uke (by reversing arms) in Heisoku-dachi7.) Hidari Chudan Morote Uchi in Kokutsu-dachi 5
8.) Hidari Sho Osae Uke and Migi Chudan dachi Nukite in 6Zenkutsu-dachi1
9.A.) Begin turning to left rotating Shihon Nukite so back-of-hand 7presses against small of back
9.B.) Hidari Kentsui Chudan Yoko Mawashi Uchi in Kiba-dachi2 10.) Migi Chudan Oi-tzuki in Zenkutsu-dachi -- Kiai! 8
11.) Ryoken Ryo Koshi Gamae in Heisoku-dachi 912.) Migi Fumikomi 1013.) Migi Enpi Yoko Uke in Kiba-dachi14.) Migi Sokumen Jodan Uraken Tate Mawashi Uchi in Kiba-dachi15.) Hidari Fumikomi 1116.) Hidari Enpi Yoko Uke in Kiba-dachi17.) Hidari Sokumen Jodan Uraken Tate Mawashi Uchi in Kiba-dachi18.) Migi Fumikomi 1219.) Migi Enpi Yoko Uke in Kiba-dachi
20.) Migi Sokumen Jodan Uraken Tate Mawashi Uchi in Kiba-dachi21.A.) Migi Chudan Tate Shuto Uke in Kiba-dachi 1321.B.) Hidari Chudan Oi-tzuki in Zenkutsu Dachi22.) Migi Tzuki-age and Hidari Ushiro Enpi Ate in Kiba-dachi 1423.) Yori-ashi and Hidari Tzuki-age and Migi Ushiro Enpi Ate 15
in Kiba-dachi -- Kiai!24.) Yame (Zanshin) in Shizen Tai25.) Rei in Musubi-dachi
1 This is sometimes called a Tate-zuki.2 Kentsui is Tettsui.
0.A.) Rei in Musubi-dachi Count0.B.) Yoi in Shizen Tai1.) Kaishu Haiwan Uke in Hidari Kokutsu-dachi1 1
2.) Kaishu Haiwan Uke in Migi Kokutsu-dachi2 2
3.) Gedan Juji Uke in Hidari Zenkutsu-dachi 34.) Migi Chudan Morote Uke in Kokutsu-dachi 4
5.) Ryoken Migi Koshi Gamae in Migi Kyaku-dachi 5
6.) Hidari Yoko Keage Geri and Jodan Uraken Yoko Mawashi Uke 67.) Migi Enpi Gyaku Uchi in Zenkutsu-dachi8.) Ryoken Hidari Koshi Gamae in Hidari 79.) Migi Yoko Keage Geri and Jodan Uraken Yoko Mawashi Uke 810.) Hidari Enpi Gyaku Uchi in Zenkutsu-dachi11.A.) Hidari Shuto Gedan Barai 911.B.) Migi Shuto Jodan Uchi and Hidari Sho Jodan Uke in Zenkutsu-dachi12.) Migi Jodan Mae Geri Keage 10
13.) Migi Chudan Uraken Uchi in Kosa-dachi 14.) Hidari Chudan Kakewake Uke in Kokutsu-dachi 11 15.) Migi Chudan Mae Geri Keage 1216.) Migi Chudan Oi-tzuki in Zenkutsu-dachi3 17.) Hidari Chudan Gyaku-tzuki in Zenkutsu-dachi18.) Migi Chudan Kakewake Uke in Kokutsu-dachi 13
19.) Hidari Chudan Mae Geri Keage 14
20.) Hidari Chudan Oi-tzuki in Zenkutsu-dachi3 21.) Migi Chudan Gyaku-tzuki in Zenkutsu-dachi22.) Hidari Chudan Morote Uke in Kokutsu-dachi 15
23.) Migi Chudan Morote Uke in Kokutsu-dachi 16
24.) Hidari Chudan Morote Uke in Kokutsu-dachi 1725.A.) Morote Kubi Osase in Zenkutsu-dachi 18
25.B.) Migi Hiza Ate -- Kiai!
26.) Hidari Chudan Shuto Uke in Kokutsu-dachi 19
27.) Migi Chudan Shuto Uke in Kokutsu-dachi 2028.) Yame (Zanshin) in Shizen Tai29.) Rei in Musubi-dachi
1 Hidari Haiwan Jodan Yoko Uke and Migi Zenwan Hitai Mae Yoko Gamae.2 Migi Haiwan Jodan Yoko Uke and Hidari Zenwan Hitai Mae Yoko Gamae.3 Movements # 16 & 17 and # 20 & 21 are Renzuki.
0.A) Rei in Musubi-dachi Count0.B.) Yoi in Shizen Tai1.) Hidari Chudan Uchi Uke in Kokutsu-dachi 12.) Migi Chudan Gyaku-tzuki in Kokutsu-dachi
3.) Hidari Mizu Nagare Gamae in Heisoku-dachi 24.) Migi Chudan Uchi Uke in Kokutsu-dachi 35.) Hidari Chudan Gyaku-tzuki in Kokutsu-dachi6.) Migi Mizu Nagare Gamae in Heisoku-dachi 4
7.) Migi Chudan Morote Uchi in Kokutsu-dachi 5
8.) Gedan Juji Uke in Hidari Zenkutsu-dachi 69.) Jodan Haishu Juji Uke in Hidari Zenkutsu-dachi10.) Ryo Sho Chudan Osae Uke in Hidari Zenkutsu-dachi11.) Hidari Chudan Ken Tzuki in Zenkutsu-dachi 7 12.) Migi Chudan Oi-tzuki in Zenkutsu-dachi -- Kiai!
13.) Migi Fumikomi into Kiba-dachi with Migi Sokumen 8
Gedan Barai Uke14.) Hidari Haishu Kake Uke in Kiba-dachi15.) Migi Mikazuki Geri 916.) Migi Mae Enpi Uchi in Kiba-dachi17.) Migi Chudan Morote Uke in Kosa-dachi 10
18.) Migi Morote Ushiro Tzuki Age in Kokutsu-dachi1 1119.) Gedan Juji Uke in Migi Kosa-dachi -- Kiai! 12
20.) Migi Chudan Morote Uke in Zenkutsu-dachi 13
21) Hidari Sho Nagashi Uke and Migi Uchi-komi in Zenkutsu-dachi2 1422.) Migi Jodan Uchi Uke and Hidari Gedan Barai Uke in Kokutsu-dachi23.) Heisoku-dachi (same Gamae as in #22) 15
24.) Migi Sho Nagashi Uke and Hidari Uchi-komi in Zenkutsu-dachi2
1625.) Hidari Jodan Uchi Uke and Migi Gedan Barai Uke in Kokutsu-dachi26.) Yame (Zanshin) in Shizen Tai27.) Rei in Musubi-dachi
1 Hidari Shizen Tai is also acceptable.2 Some use Shuto Uke instead of Uchi-komi.
Age -- rising Age-tzuki -- rising strike Age-uke -- rising block Aikido -- way of the harmonious use of inner or intrinsic
energy Ai-uchi -- simultaneous cutting down Aka -- red Ashi -- foot, leg Ashi-waza -- kicking techniques Ate -- smash, strike Ate-waza -- smashing techniques Atemi -- vital strike Atenai Yoni -- private warning Ateru -- to press Atoshi baraku -- a little more time left (30 seconds) Awase -- two things together, double
Barai -- block, sweeping blockBo -- staff of hard woodBojitsu -- wooden staff techniquesBokken -- wooden exercise sword
Bu -- martialBudo -- way of the warBujitsu -- act of warBushi -- man of war, warriorBushido -- way of the warrior, code of honor of warrior
Hachiji-dachi -- open-leg stanceHachinoji-dachi -- open leg stanceHagime -- beginHai -- yes, OK, let's goHai -- backHaishu -- back handHaisoku -- instepHaito -- ridge hand, index finger (thumb side)Haiwan -- back arm, upper side of forearm, outer side of
forearmHakama -- pleated skirt like trousersHangetsu -- half moon, wide hourglass stanceHanshi -- master instructorHansoku -- foul, loss of matchHansoku Chui -- one point penalty
Hantei -- decision, judgmentHara -- center, bellyHarai-gi -- centralization of energy, coordinated extension of
inner energyHeian -- Period in Japan's history for which the Heian Kata
are namedHeisoku-dachi -- closed-feet stanceHidari -- LeftHiji -- elbowHajime -- beginHiji ni soeru -- grasp elbowHiji ue-zoe -- grasp top of elbowHiki-te -- drawing hand, pulling handHikiwake -- draw, tie
Iaido -- the art of drawing and cutting the swordIbuki -- exhalation with vigor, quiet exhalation from pit of
stomachIkken hisatsu -- to kill with one blowIppon -- one pointIppon-ken -- one knuckle fistIrimi -- lunging
Jigotai -- defensive postureJiju kumite -- free fightingJikan -- timeJissen -- actual fightingJitsu (Jutsu) -- technique, art, methodJitte -- iron weapon with crook to catch a sword, forked dirkJo -- staff about the length of the long swordJodo -- art of the staff
Kachi -- winnerKagi-tzuki -- hook punchKakaekome -- Raising knee as high as possibleKaishu -- open handKakato -- heelKake -- hook, hooking, execution of a throw, also -- attackKakete -- hooking handKakete-uke -- hooking hand blockKakiwake-uke -- wedge block, separating apart blockKakushi-tzuki -- hidden fist punch
Kakuto -- bent wristKama -- hand sickleKamae (Gamae) -- postureKamaekata -- posturesKame -- top or upper partKan -- house, building, placeKansetsu-waza -- joint-locking techniquesKarate -- Empty handKarate-do -- way of karate, pathKarate-gi -- karate uniformKarate-ka -- User or practitioner of KarateKata -- form in karate practice, shoulderKatame-waza -- grappling techniquesKatana -- long swordKata ue -- Above shoulderKawashi-waza -- defensive evasionsKeage -- snapKebanashi -- side kickKeiko -- practice, training of the spiritKeikoku -- warning, half point penaltyKeikoken -- four-finger knuckleKeirei -- salutation, bowKekomi -- thrustKen -- fist, swordKendo -- the art of the long swordKentsui -- hammer fistKeri (geri) -- kick, kicking
Kerikata -- kicking techniquesKesa -- scarfKi -- vital energy, intrinsic energy, mental or spiritual energyKiai -- spirit convergence, energy concentration, loud and
deep cry from the pit of the stomach, Ibuki with soundKiba-dachi -- straddle-leg or horse-riding stanceKihon -- basic techniques, basic formsKiken -- renunciation of the matchKime -- synchronization of body action, finish
Kime-waza -- winning techniques
Kinteki -- groin Kizami-uchi -- jabKo -- small or minor, backwardKobudo -- combat techniques of the public as opposed to the
warrior class ancient style weaponsKodokan -- Tokyo Institute of JudoKoho tenkan -- reversing direction
Kokutsu -- back leg bent stance, back stancekokyu -- breathingKosa -- cross, crossedKoshi -- hip, waist, loinKoshi-biki -- pull back to sideKoshi no kaiten -- hip rotationKoshi o ireiu -- putting in the hips, twisting the waistKubi -- neckKumite -- SparringKusushi -- crushing the enemyKuzushi -- position of broken balance, to disturb balanceKwanmu -- Realization of the essentialKwanmudo -- Way of KwanmuKwanmukai -- those who follow the way of Kwanmu
Kwanmukan -- Place where Kwanmu is practicedKwanmuzendokai -- association of those who follow the
way of KwanmuKyaku (gyaku) -- reverseKyo -- hollow state of mindKyoku -- breathing, respiratory controlKyoshi -- teacherKyu -- rank below black belt, classKyudo -- art of the bow and arrow
Mae -- frontMa -- timeMaai -- distancing, proper and advantageous distance for
offense and defenseMageru -- bendMakiwari -- Striking post, punching boardManotoriki -- distancingMate -- waitMawarikomi -- circlingMawashi -- round, circular, round house, swing aroundMawashi-geri -- round house kickMesen -- eye vectorMienai -- did not seeMigi -- rightMikazuki-geri -- cresent-moon kickMizu-nagare -- flowing water, water-flowing, water-flow
arm position
Mokuso -- command for meditation, close eyesMorote -- both handsMorote-uke -- augmented block, both hands blockMu -- no, not, nothingnessMune -- chestMusubi-dachi -- feet turned out stance, informal stance toes
Randori -- free practiceRei -- bowReigi -- Courtesy, etiquette, politenessRen -- alternateRen-zuki -- two consecutive punchesRe-no-ji-dachi -- L-stance, T-stanceRenshi -- qualified instructor of karateRenshu -- training of the bodyRi-ken -- back of fist strikeRitsurei -- standing bowRyo -- bothRyoken -- two fists, both fistsRyu -- school which teaches a particular style of the martial
arts, school, style, martial tradition
Sai -- ancient sword blocking iron weaponSai-jitsu -- Iron weapon techniques, artSai Shiai -- extra matchSanbon -- three pointsSanchin -- Three levels, three minds
Sanchin-dachi -- hourglass stanceSankaku tobi -- Triangular jumpSarai-uke -- supported blockSei -- tranquility, inactivity, passivitySeika no itten -- central point below navelSeika tanden -- central point below navelSeiken -- Foreknuckle fistSeiken ude uke -- forearm blockSeiza -- seated, sit, formal sitting posture
Semiwaza -- attacking techniques of the handsSen -- combative initiativeSen no sen -- seizing the initiative earlier, sensing earlier
(mental) movementSen sen no sen -- suppressing desire to attackSensei -- teacher, instructorShihatsuten -- Starting and ending point of the kataShihon-nukite -- four-finger nukite
Shikkaku -- disqualificationShiko-dachi -- square stanceShime -- strangle, chokeShime-waza -- strangle techniquesShin -- mindShiro -- whiteShizen tai -- natural bodySho -- palmShobu -- matchShomen -- frontShomen-geri -- front kickShorei -- place in OkinawaShorin -- Pine ForestShotei -- palm heel
Shotokan -- House of Pine WavesShu -- handShugo -- judge calledShuri-te -- style of karate practiced in Shuri, OkinawaShuto -- sword hand, knife-handSochin -- diagonal straddle-leg stance, wide hourglass stanceSoeru -- graspSokumen -- sideSokuto -- sword foot, foot edgeSoto -- outward, outsideSoto-uchi -- outside inside blockSuigetsu -- solar plexusSuihei -- horizontalSuihei -- spread horizontalSun-dome -- arresting a technique, skin touch kime,
stopping force of blow before an opponent's bodySune -- shinSutemi -- sacrifice, falling
Tachi-kata -- stancesTachi-waza -- standing techniquesTai -- bodyTai Sabaki -- body shifting, displacement, movement controlTaikyoku -- first cause, basic kata developed by Gichin
FunakoshiTameshi-wari -- breaking techniques, test of powerTanden -- center of gravity of the body, area behind the
navel, navelTanto -- knifeTate -- upward, vertical, lengthwiseTate-mawashi-uchi -- downward curving strikeTateru -- raiseTe -- hand, Okinawan as opposed to Chinese Martial ArtsTeisho -- palm heel, bottom of handTekubi -- wristTe-waza -- hand techniques
Tettsui -- strike with the bottom of the fistTobi -- jumpTomari-te -- style of karate practiced in Tomari, OkinawaTonfa -- wood boards with handles used as a weaponTorimasen -- unacceptableTorite-uke -- grasping hand block
To-te -- Chinese hands, Chinese self-defense, OkinawanKarate
Tsukami-uke -- grabbing blockTsuzukete -- continue, fight onTsukuri -- fitting oneself to the opponent, preparation for an
attackTsumasahi-geri -- toe-tip kickTuifa -- see tonfaTzuki -- punch, strike, hand thrust, jab, direct strikeTzuki-age -- rising punch, upper punch
Uchi -- strike, striking, inner, insideUchikomi -- deep strike, practice to point of throwing (in
Judo)Uchi-uke -- inside to outside blockUde -- arm
Uke -- blockUke-gae -- changing blocksUke-kime -- blocking and finishingUkemi -- break fallingUke-te -- hand blocksUkewaza -- blocking techniquesUraken -- back of fistUra-tzuki -- close punchUshiro -- rear, back, backward
Wa -- accordWaki Zashi -- short swordWan -- armWaza -- technique(s), body actionsWaza-ari -- half point
Yakusoku -- prearrangedYahusoku ippon kumite -- Single-point matchYama -- mountainYame -- stopYari-Jitsu -- spear techniquesYawari -- small hand-held stick used as a weaponYoi -- ready, preparationYoko -- sideYori -ashi -- sliding the feetYubi -- finger
Zanshin -- state of relaxed alertness, (lit.remaining mind),perfect finish, completion of formal training in whichawareness of opponent and surroundings are maintained,poise and complete control after executing a technique.
Zarei -- low bowZazen -- sitting meditationZen -- Japanese school of Buddhism, life philosophy,zen -- forward
Zenkutsu-dachi -- front leg bent stance, forward stance
above shoulder -- kata ueaccord -- waact of war -- bujitsuactual fighting -- jissenalternate -- renarm -- udeart of drawing and cutting the sword -- iaidoart of the bow and arrow -- kyudoart of the long sword -- kendoart of the staff -- jodoattack -- kakeaugmented block -- morote-uke
back -- hai, ushiroback hand -- haishuback of fist -- urakenback stance -- kokutsubackfist strike -- ri-kenbackward -- ushirobasic forms -- kihonbasic techniques -- kihon
elbow -- enpi (empi), hijiempty hand -- karateenergy concentration -- kiaiexecution of a throw -- kakeextended match -- encho-senextra match -- sai shiaieye vector -- mesen
informal stance -- musubi-dachiinner -- uchiinside forearm block -- uchi-ukeinside to outside block -- uchi-ukeinside -- uchiinstep -- haisokuinstructor -- senseiintrinsic energy -- ki
jab -- kizami-uchi
jab -- tzuki jacket -- gi joint-locking techniques -- kansetsu-waza judgment -- hantei judo player -- judoka jump -- tobi
karate practioner -- karate-ka
karate uniform -- gi, karate-gikick -- keri (geri)kicking -- keri (geri)kicking techniques -- ashi-waza, keri-katakill with one blow -- ikken hisatsuknee bend -- hiza-kutsuknee -- hizaknife -- tantoknife-hand -- shuto
l-stance -- re-no-ji-dachilapel -- erileft -- hidarileg -- ashi
lengthwise -- tatelet's go -- hailine of the kata performance -- embussenloin -- koshilong sword -- katanaloss of match -- hansokuloud and deep shout- kiai low block -- gedan barailow bow -- zareilower area of body -- gedanlower swing -- gedan-furisutelunge punch -- oi-tzukilunging -- irimi
major -- Oman of war -- bushimartial -- bumartial way -- budomaster instructor -- hanshimatch -- shobumental energy -- kimiddle (center) finger knuckle fist -- nakadaka ippon kenmiddle-level -- chudanmind -- shinminor -- komountain -- yama
natural body -- shizen taineck -- kubinot -- munothingness -- mu
ok -- haione knuckle fist -- ippon-kenone point -- ipponone point penalty -- hansoku chui
preparation -- yoipress -- aterupressing block -- osae-ukeprivate warning -- atenai yonipull back to side -- koshi-bikipulling hand -- hiki-tepunch -- tzukipunch -- zuki (tzuki)punching board -- makiwaripursuing punch -- oi-tzukipushing block -- oshi-ukeputting in the hips -- koshi o ireiu
raise -- tateruraising knee as high as possible -- kakaekomerank below black belt -- kyuready -- yoirealization of the essential -- kwanmurear -- ushirored -- akaremaining mind -- zanshinrenunciation of the match -- kikenrespiratory control -- kyokureverse -- gyaku (kyaku)reversing direction -- koho tenkanrhythm -- choshiridge hand -- haito
right -- migirising -- agerising block -- age-ukerising punch -- tzuki-agerising strike -- age-tzukirooted stance -- fudo-dachiround house kick -- mawashi-geriround -- mawashiround house -- mawashi
sacrifice, falling -- sutemisalutation -- keireiscarf -- kesaschool of the martial arts -- ryuseizing the initiative earlier -- sen no senself defense -- goshinsensing earlier -- sen no sen
sensing physical movement -- go no senseparating apart block -- kakiwake-ukeshin -- suneshort sword -- waki zashishoulder -- katasickle, hand -- kamaside kick -- kebanashi, yoko-geriside snap kick -- yoko keage geriside -- sokumen, yokoside thrust kick -- yoko kekami gerisimultaneous cutting down -- ai-uchisingle point match -- yahusoku ippon kumitesitting meditation -- zazensliding the feet -- yori ashi
small -- kosmash -- atesmashing techniques -- ate-wazasnap -- keagesolar plexus -- suigetsusparring -- kumitespear -- nukispear techniques -- yari-jitsuspear with curved sword blade -- naginataspearhand -- nukitespirit convergence -- kiaispiritual energy -- kispread horizontal -- suiheisquare stance -- shiko-dachistaff about the length of the long sword -- jostaff of hard wood -- bostance -- dachistances -- tachi-katastanding bow -- ritsureistanding techniques -- tachi-wazastarting and ending point of the kata -- shihatsutenstarting -- okoristate of relaxed alertness -- zanshinstick, small hand-held -- yawaristomp kick -- fumikomistop -- yamestraddle-leg -- naihanshi
straddle-leg stance -- kiba-dachistraight punch -- choku-tzuki, jun-tzukistrangle -- shimestrangle techniques -- shime-wazastrike -- ate, tzuki, uchi, zukistriking post -- makiwaristriking -- uchistyle of the martial arts -- ryusupple -- ju
supported block -- sarai-ukesuppression of opponent at moment of attack -- deiasuppressing attack -- deia osaesuppressing desire to attack -- sen sen no sensweeping block -- barai, oshi-ukesweeping -- nagashiswing around -- mawashiswing -- furi, furisute
sword foot -- sokutosword -- kensword hand -- shutosynchronization of body action -- kime
t-stance -- re-no-ji-dachitaking the initiative later -- go no senteacher of teachers -- kyoshiteacher -- senseitechnique(s) -- wazatechniques of immobilization -- osae-wazathirty seconds -- atoshi barakuthree levels -- sanchinthree minds -- sanchin
three points -- sanbonthrow -- nagethrowing techniques -- nage-wazathrust -- kekomi, tzuki, zukitie -- hikiwaketime -- jikan, matiming -- hyoshitoe tip kick -- tsumasahi-geritop part -- kametraining hall -- dojotraining of the body -- renshutraining of the spirit -- keikotranquility -- seitriangular jump -- sankaku tobitwisting the waist -- koshi o ireiutwo consecutive punches -- ren-zukitwo fists -- ryokentwo pieces of wood connected together -- nunchakutwo things together -- awase
unacceptable -- torimasenupper body -- jotaiupper part -- kameupper punch -- tzuki-ageupper section -- jodanupward -- tate
vertical -- tatevital energy -- kivital strike -- atemi
JuniKyu orange belt 12th kyuJuichiKyu orange belt 11th kyuJukyu yellow belt 10th kyuKuKyu yellow belt 9th kyuHachi-kyu blue belt, 8th kyu
Shichi-kyu blue belt, 7th kyuRokyu green belt, 6th kyuGokyu green belt, 5th kyuYonkyu purple belt 4th kyuSankyu purple belt, 3rd kyuNikyu brown belt, 2nd kyuIkkyu brown belt, 1st kyuShodan black belt 1st danNidan black belt 2nd dan
Sandan black belt 3rd danYodan black belt 4th danGodan black belt 5th danRokudan black belt 6th danShichidan black belt 7th danHachidan black belt 8th danKudan black belt 9th dan
Judan black belt 10th dan
Note: Some styles use a red belt for 3rd kyubrown belt. Others use white, purple, yellow,orange, blue, green, brown and black belt system.Still others use additional modifications such as an8 or 10 kyu rank system. Above is the commonlyaccepted method of belt ranking.
Basic Counting in Japanese
Nihon Kazu
ichi ju-ichi niju-ichi sanju-ichi
yonju-ichi
goju-ichi
rokuju-ichi
nanaju-ichi
hachiju-ichi
kuju-ichi
ni ju-ni niju-ni Sanju-ni yonju-ni
goju-ni rokuju-ni
nanaju-ni hachiju-ni kuju-ni
san ju-san niju-san sanju-san yonju-san
goju-san
rokuju-san
nanaju-san
hachiju-san
kuju-san
shi/yon ju-shi niju-shi sanju-shi yonju-shi
goju-shi
rokuju-shi
nanaju-shi
hachiju-shi
kuju-shi
go ju-go niju-go sanju-go yonju-go
goju-go rokuju-go
nanaju-go
hachiju-go
kuju-go
roku ju-roku niju-roku sanju-roku
yonju-roku
goju-roku
rokuju-roku
nanaju-roku
hachiju-roku
kuju-roku
shichi/nana
ju-shichi niju-shichi
sanju-shichi
yonju-shichi
goju-shichi
rokuju-shichi
nanaju-shichi
hachiju-shichi
kuju-shichi
hachi ju-hachi niju-hachi
sanju-hachi
yonju-hachi
goju-hachi
rokuju-hachi
nanaju-hachi
hachiju-hachi
kuju-hachi
ku ju-ku niju-ku sanju-ku yonju-ku
goju-ku rokuju-ku
nanaju-ku
hachiju-ku
kuju-ku
ju niju sanju yonju goju rokuju nanaju hachiju kuju hyaku
Hundreds Thousands
hyaku rokuhyaku sen rokusennihyaku nanahyaku nisen nanasensanhyaku hachihyaku sansen hachisenyonhyaku kuhyaku yonsen kusengohyaku sen gosen ichiman
GodanHotaku (Gojushiho Sho, Dai, Useshi)Hito (Wankan, Shiofu)HookikuIshimine BassaiItosu BassaiJiin (Shokyo)JionJutteKankuKanku Dai (Kosokun Dai, Kusanku)Kanku Sho (Ko So Kun Sho)KokanKoshokun
Ko So Kun Dai (Kusanku , Kanku Dai)Ko So Kun Sho (Kanku Sho)KururunfaKusanku (Kosokun Dai, Kanku Dai)KushankuKwankuKwan Mu Shodan, Nidan, SandanMatsumura BassaiMeikyo (Rohai)
Nishiyama, Hidetaka, and Brown, Richard C. Karate: The Art of Empty Hand Fighting. Tokyo: CharlesE. Tuttle Co., 1959
Ratti, Oscar, and Westbrook, Adele. Secrets of the Samurai. Tokyo: Charles E. Tuttle Co., 1973Sugiyama S. and his students. [1] Karate: Synchronization of Body and Mind. Chicago: Shojiro
