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Table of Contents
Developing My Own Karate Style Pages 2 - 5
Jitsu-Do Karate Stripe By Stripe Pages 6 - 12
Jitsu-Do Karate Stripe By Stripe Explained Pages 13 - 28
Jitsu-Do Karate Kihon/Kata Step By Step Pages 29 - 38
Items Removed From The Chito-Ryu
Curriculum And Why Pages 39 - 43
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Developing My Own
Karate Style
Michael Ginn
July 1st, 2016
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Karate is an art based in tradition, culture and respect. In the spirit of continuing tradition, karate practice cautions its
participants to never question their instructor and that Sensei is always right. As much as I do respect the art of karate
and love it so dearly as to make it my life’s work, I still see it as a thing in need of a tune up.
The Japanese culture is amazing for the benefits that it bestows on its adherents and the things that are produced by its
principles. Technology, automotive and martial arts have all been improved drastically by Japanese influence and have
seen greater heights today than they would have had otherwise. But there is still room for improvement. Any tradition
that is followed and not questioned runs the risk of growing stale in the presence of new information. I believe that is
what is happening to a large proportion of karate today.
It seems far too common that dojos focus on competition instead of self-defence, flashy routines instead of strong
basics and giving out belts rather than earning them, all in an effort to make more money or not lose students that think
karate is “too hard”. In these dojos, karate has lost much of the value that it originally had, namely: achievement
through hard work, improved physical fitness through hard work, and self-defence skills learned through hard work. If
you see a pattern emerging, that’s good, because the difficulty of karate is one of its best attributes. After all, if it were
easy, we would all be good at it. However, only the aspects of karate that are difficult to overcome AND NECESSARY,
should be present. Obstacles that can be removed without taking benefits with them, should be.
Techniques/practices/concepts that are impractical should be eliminated. Only the strong ideas should survive. That is
where Jitsu-Do Karate comes in.
Jitsu (meaning: truth, honesty, real, bearing fruit, practical, achievement) is the guiding philosophy of this system. I am
not interested in keeping techniques just because they’re old, or restraining emerging knowledge because it might
offend some people. My primary allegiance is to what the art stands for, not a particular group of people or governing
body (which is ever-changing anyway). There is a famous saying to this effect: “Do not do what you master has done,
seek what he sought.” I believe that our time is short and it should be spent as wisely as possible for the most benefit
possible. I believe that practising irrelevant material is bad on two fronts: Firstly, it is an expenditure of time on things
that don’t work. Secondly, it is robbing time away from practising techniques that DO work. In Jitsu-Do Karate, I am
resolute that we will ALWAYS spend our time the best way we know how and will adapt as new information comes to
light. I want the curriculum to be the best it can be, not just what is traditional. I want the curriculum to cover all stages
of fighting, not just striking. I want to borrow great ideas from all styles of karate and other martial arts so we become
well-rounded martial artists, not just people who are really good at hook kicks and katas.
I know these statements have the potential to rub people the wrong way, and prompt them to say “who does this guy
think he is?”, or “so HE’S got it all figured out?” As a matter of fact, I’m SURE that I do NOT have it all figured out. That’s
why I am suggesting we employ a system that changes as information changes. If mainstream science had always
looked at things traditionally we would not have planes, the internet, life-saving medical procedures or solar power. We
would still think the earth was flat and that getting sick was the work of evil spirits. I am suggesting that we use the
methods that have served us so well in science and apply them to martial arts.
It is my intention for these statements to spark some controversy but not for the purpose of making people angry.
Rather, I hope that this controversy might lead to a discussion that will get more people examining their martial arts as
closely as I have over these last years.
The process of refining my martial art has been an eye opening one for me. If forced me to state out loud my principles
and beliefs and see what logical conclusions draw from them. It does not allow me to permit contradictions without
knowing that I have left them there purposefully and that I, personally, am responsible for their dissemination to my
students. The hours and hours that I have poured into this project have made me a better martial artist, a better
teacher and a better thinker. The dojo can be a refuge from the chaotic outside world. It can be a place that always
makes sense, rewards virtues and stamps out vices, and that gives people a place to do their best. I argue that it
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CANNOT be the best version of that place unless the correct attitude starts at the head of the class, and that starts with
rules and curriculum.
If rules do not apply to everyone, they should be done away with. If everyone is held to a standard except for a select
few, the standard stands for nothing. If a teacher is not held to the same burden of proof that a student would be, they
are not to be trusted. If a style promotes people not based on merit, but on time served, the ranks have lost their value.
It is only with the utmost consistency, transparency, and vigilance that the ideals I speak of can be maintained. The
burden lies mostly on the dojo heads to keep this standard but students must be watchful that people do not stray from
the path as well. It is only as a collective that we can maintain or improve our behaviour on the whole and help martial
arts evolve over time.
Goals
My goals with Jitsu-Do Karate are three fold: Promote physical well-being (strength, flexibility, speed, control,
conditioning, mobility, balance, agility, durability), character improvement (respect, honesty, courtesy, hard work,
perseverance, courage), and self-defence skills (striking/karate, wrestling/judo, grappling/jiu-jitsu, strategy, non-
violence, tactics). I think that a martial art that states these goals outright can then be held to them as a standard. I
think that a martial art can be judged good or bad to the degree that it achieves the goals it has set out for itself. If a
martial art claims that it strives for physical well-being but makes its students do stances that are harmful, exercises that
break the body down rather than build it up, techniques that are un-ergonomic and practices that leave broken older
practitioners in its wake, it has failed in that goal. If a martial art stresses character improvement but allows cocky
behaviour, rudeness, quitting, half-truths, and submitting to childish whims, it has failed in that goal. If a martial art
strives for self-defence skills but has huge holes in its curriculum, practises techniques that don’t work, won’t change to
techniques that do work, and holds on to moves that are explicitly useless, it has failed in that goal. I hope to persevere
in this endeavour where others may have not.
Methods
Always strive to learn more. No matter how good your information, it is never complete. Search relentlessly for
refinements to strategies and techniques and be willing to throw a bad idea away once it has been revealed as such. Go
forth humbly but with confidence knowing that what we don’t yet know, we may someday learn if we never stop
looking. With the internet we have access to a world of information at our fingertips. Look for new ideas and
methodologies from people who have specialized, vet them based on the knowledge you have gathered and incorporate
them into the system when they are proven worthy. A Sensei does not need to be a master at every move and
discipline, but he should recognize mastery when he sees it, and try to learn from the example.
Ranks
I believe that belts, stripes and certificates are only useful in showing the outside world what you are and what you
know. We should seek not to GET or HAVE a rank, but to BE what it represents. In this way, there are no shortcuts, no
bargains to be struck, just challenges and the tenacity to overcome them. The commonly used belt system in many
styles of karate (white, yellow, orange, green, blue, brown, black) will be maintained in Jitsu-Do Karate but the ranks
higher than Shodan (1st degree black) will see some changes.
After obtaining Shodan, a student must seek better understanding of their basics by getting their first teaching title, Jun
Shidoin (Assistant Instructor). To earn this rank, a student must know, demonstrate and explain all content from the
white to orange belt levels (inclusively) and have taught for a pre-determined number of supervised hours in-class. They
must also produce a written work on a topic determined by the grading panel. The desired effect of training for this rank
is that the student will gain more appreciation for the earlier material and strive to improve their skills in this subset of
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the curriculum. They will also be a better resource for more junior students because they have more experience and
have thought more about the material.
No less than two years later, the student is allowed to attempt their Nidan (2nd degree black) test. At this test another
written work will be required. A conditioning (exercise) component will be in place to ensure that physical fitness has
been maintained or improved to this point. The next rank will be Shidoin (Instructor) which requires knowledge,
demonstration and explanation of all techniques from white to brown belt (inclusively) with another written work and
double the hours spent teaching that were required for Jun Shidoin.
No less than three years later, the student may attempt their Sandan test, which requires a written work, and
conditioning superior to that seen at their Nidan test. A minimum of five years later, the student may grade for Shihan,
and must produce a written work, be able to know, demonstrate and explain all techniques in the Jitsu-Do Karate
curriculum, and have contributed original thinking that will be adopted to the Jitsu-Do Karate style from that day until/if
a better option is found.
Not all students have interest in being teachers and that is acceptable, however, they will never move beyond the
Shodan level because such a significant component of learning in Karate is in delivering that information to others. Also,
in the spirit of giving back to the dojo/community, if a person is unwilling to share what they know, they do not deserve
higher ranks.
Conclusion
For years I have tried to be the best karate student and teacher that I could. I followed my Sensei’s directions and tried
to emulate him whenever/however I could. After starting my own dojo though, and learning the struggles of running a
school without the peers and assistance I was used to, I realized that I had to stop trying to be someone else and focus
on being me. At the time of this writing, it has been seven years since I opened my dojo but I feel that in the last two or
three years I have actually been doing the work the way I want to. No longer emulating, no longer trying to please, just
doing what I thought was right the best way I knew how. The problem was, I was doing it within the limitations of a style
of karate that I did not completely agree with. I had become older and experienced enough to know that it wasn’t just
immaturity or lack of knowledge causing these disagreements, so I started thinking, “what if I could construct a system
from a variety of disciplines using only the subject matter that I truly believe in?” Using Chito-Ryu Karate (as overseen by
Hanshi Shane Higashi) as a template to begin from, I spent years going over the purpose of each form, the practicality of
each technique, and the size of the hole in my knowledge that I needed to fill with other disciplines. Jitsu-Do Karate is
the product of my labours. I embark on this exciting new path with high hopes, much trepidation and the knowledge
that whatever the outcome, I will have spent my life doing something I truly believe in.
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Jitsu-Do Karate
Stripe By Stripe
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White Stripe #1
STANCES/TRANSITIONS: Musubi-dachi, soto-hachiji-dachi, uchi-hachiji-dachi, shiko-ashi-dachi, seisan-dachi,
walk in seisan-dachi and shiko-ashi-dachi, seiza.
PROTOCOL: Respect, rules of the dojo.
PUNCHES: Choku-zuki, shiko-zuki.
BLOCKS: Shuto-uke.
KIHON: Kihon-dosa-ichi (revised).
CONCEPTS: Kiai, hikite.
White Stripe #2
PUNCHES: Oi-zuki.
BLOCKS: Jodan-uke, uchi-uke, gedan-barai.
KIHON: Kihon-dosa-ni (revised).
CONCEPTS: Linear power, chika-ma/ma/to-ma (revised), sen timing.
White Stripe #3
STANCES/TRANSITIONS: Turn in seisan-dachi (kaishi and to the side), sagi-ashi-dachi.
KICKS: Mae-geri, yoko-geri, mae-ashi-geri.
KIHON: Zenshin-kotai (revised).
Yellow Belt
PROTOCOL: Tie your own belt.
CONCEPTS: Sabaki/tsukuri.
GOSHIN-JITSU:
Attack a partner with all known attacks to appropriate target areas.
Block all known attacks by a partner using appropriate techniques.
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Yellow Stripe # 1
STANCES/TRANSITIONS: Kosa-dachi.
KIHON: Seiken-no-migi-hidari (revised).
KICKS: Mawashi-geri.
PUNCHES: Gyaku-zuki.
CONCEPTS: Rotational power.
Yellow Stripe # 2
KIHON: Kihon-kata-ichi (revised).
CONCEPTS: Hyoshi.
Yellow Stripe # 3
STANCES/TRANSITIONS: Suri-ashi.
KIHON: Kihon-dosa-san (revised).
PUNCHES: Kizami-zuki.
CONCEPTS: Nagashi/atemi, shime/shibori (stance), go-no-sen timing.
Orange Belt
CONCEPTS: Zanshin, kyo/jutsu, kuzushi.
STRIKES: Tate-empi, teisho-uchi.
GOSHIN-JITSU:
“Z” lock (Ura-kote-mawashi) Wrist lock (Kote-mawashi) Arm bar (Ude-osae)
Te-hedoki-no-waza 1. Tate-empi. 2. Te-shibori, teisho-uchi. 3. Ura-kote-mawashi. 4. Kote-mawashi. 5. O-ura-ude-osae. 6. Ko-ura-ude-osae.
Attack with suri-ashi + kizami-zuki, followed by gyaku-zuki (with go-no-sen timing). Use small movement off-line to make more realistic.
Slide-in with all three kicks (mae-geri, yoko-geri, mawashi-geri) to hit from to-ma followed by gyaku-zuki.
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Orange Stripe # 1
STANCES/TRANSITIONS: Sanchin-dachi.
KIHON: Shime-no-dosa (revised), shi-ho-wari (revised).
STRIKES: Kentsui-uchi, teisho-uchi/ryote-teisho-uchi.
BLOCKS: Teisho-uke (downwards), kote-uke/ryote-kote-uke, mawashi-uke/ryote-mawashi-uke.
CONCEPTS: Shime/shibori (whole body), fukushiki + kyoshiki-kokyu-ho, descending power.
Orange Stripe # 2
KICKS: Ushiro-geri, mawari-yoko-geri.
KIHON: Kihon-kata-ni (revised).
STRIKES: Shuto-uchi (gedan + jodan), yoko-empi, uraken-uchi.
BLOCKS: Shuto-uke (gedan).
CONCEPTS: Embusen, tokushu.
GOSHIN-JITSU: Basic ukemi (zenpo-kaiten, koho-kaiten, yoko-ukemi, ushiro-ukemi)
Orange Stripe # 3
STANCES/TRANSITIONS: Neko-ashi-dachi.
KATA: Seisan (revised).
STRIKES: Otoshi-empi.
BLOCKS: Tsukami-uke, sukui-uke, hiki-otoshi-uke.
CONCEPTS: Seichusen, kime.
Green Belt
CONCEPTS: Metsuke.
BUNKAI/GOSHIN-JITSU:
Seisan-bunkai. (Will be asked to explain certain sections of the kata with a partner)
Te-hedoki-no-waza 7. Irimi-nage. 8. Shi-ho-nage. 9. Ushiro-otoshi-nage. 10. Kote-hineri + ude-osae + nage. 11. Kote-gaeshi. 12. Hanmi-handachi-kote-gaeshi.
Double lapel grab escape (ryote-kote-uke, saru-te-uchi (monkey claw), irimi-nage).
Entering throw (irimi-nage). Outward-turning wrist throw (kote-gaeshi). “4 direction throw” (shi-ho-nage)
Single leg takedown (ippon-ashi-gari). Chicken wing (kote-hineri). Downwards pushing throw (ushiro-otoshi-nage)
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Green Stripe # 1
KATA: Niseishi (revised).
STRIKES: Ushiro-empi.
BLOCKS: Kosa-uke, tekubi-kake-uke.
Green Stripe # 2
KICKS: Ashi-barai, ura-mawashi-geri (revised).
KIHON: Kihon-dosa-yon (revised).
CONCEPTS: Kensei (kumite).
BUNKAI: Niseishi (revised).
Green Stripe #3
STANCES/TRANSITIONS: Hiza-tate-ashi-dachi, kyusei-kamae.
KATA: Rohai-sho (revised).
BLOCKS: Sukui-uke (Rohai-version).
CONCEPTS: Hari.
Blue Belt
STANCES/TRANSITIONS: Hanten.
STRIKES: Mawashi-empi.
CONCEPTS: Tai-no-sen (revised).
KICKS: Fumi-komi, hiza-geri.
BUNKAI/GOSHIN-JITSU:
Yoko-sabaki + shuto-uke, gyaku-zuki, o-soto-gari. (Hidari and migi) Kakudo-sabaki + teisho-uke, mawashi-empi, kubi-shime-nage. (Hidari and migi) Ushiro-sabaki + sukui-uke, o-uchi-gari, choku-zuki. (Hidari and migi) Yoko-sabaki + shuto-uke, fumi-komi, ushiro-kubi-shime. (Hidari and migi) Kakudo-sabaki + teisho-uke, hiza-geri, mae-kubi-shime. (Hidari and migi) Yoko-sabaki + sukui-uke, gedan-kentsui-uchi + nage. (Hidari and migi)
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Blue Stripe # 1
KIHON: Empi-kihon-dosa (revised).
STRIKES: Jodan-ushiro-empi, kakudo-otoshi-empi.
CONCEPTS: Mokuso, intro to vibration.
BUNKAI: Rohai-sho bunkai
Blue Stripe # 2
KIHON: Kihon-kata-san (revised).
BLOCKS: Uchi-mikazuki-geri-uke.
STANCES/TRANSITIONS: Rinten.
Blue Stripe # 3
KATA: Bassai (revised).
STANCES/TRANSITIONS: Sasoi-kamae, okutsu-dachi.
BLOCKS: Sukui-uke (bassai version), morote-uke, haishu-uke.
PUNCHES: Kagi-zuki (revised).
STRIKES: Koko-uchi.
Brown Belt
BUNKAI: Bassai bunkai.
CONCEPTS: Shisei.
GOSHIN-JITSU:
Tai-atemi-nage (juniko #9). Kata-atemi-nage (henshuho #24). Yoko-men-uchi-nage (henshuho #27).
Muay thai clinch. Take the back (duck under). Arm drag.
Otoshi-mawari-yoko-geri (henshuho #28). Mawashi-tobi-geri (junishi #3).
Sabaki, mawari-kote-gaeshi (juniko #6). Choke defense.
Morote-gari (double leg takedown) Elbow counters.
Pensador defense (cover head/neck with arms, elbows out toward attacker).
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Black Belt
KICKS: Ni-dan-geri, otoshi-geri.
STRIKES: Kakuto-uchi, hiraken-uchi.
PUNCHES: Tate-zuki, ura-zuki.
KATA: Chinto.
KOBUDO: Introduction to the bo, introduction to the hanbo.
GOSHIN-JITSU: Advanced ukemi (mae-ukemi 1+2, mae-tobi-ukemi, ushiro-tobi-ukemi).
Uchi-mata (henshuho #16). Kaiten-otoshi-nage (henshuho #15). Strikes to small vitals (kyusho).
Ko-uchi-gari. Ushiro-ura-kote-mawashi (juniko #14). Unconventional striking surfaces.
Small joint manipulation. Kaiten-hiji-nage (hanten #2). Tai-otoshi (henshuho #17).
O-goshi (hip toss) Koshi-guruma (hip wheel) Harai-goshi(sweeping hip throw)
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Jitsu-Do Karate
Stripe By Stripe
Explained
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White Belt 1st Stripe
Musubi-dachi, soto-hachiji-dachi, uchi-hachiji-dachi, shiko-ashi-dachi, seisan-dachi, walking in seisan-dachi and shiko-
ashi-dachi, seiza
- These techniques are presented at this rank because they are prerequisites to all other ranks and skills. The
stances are presented first so the students are standing correctly while performing all other techniques. Sagi-
ashi-dachi is introduced later because it does not appear until Zenshin-kotai (3rd stripe) and heisoku-dachi and
heiko-dachi are omitted because they are never used in our curriculum.
Choku-zuki, shiko-zuki
- These are the two most basic punches and, so, are introduced first. Mae-te-zuki has been omitted because it is
fundamentally the same punch as choku-zuki and this way we are eliminating some confusion. Oi-zuki and
gyaku-zuki are introduced at the stripes where they become relevant due to their presence in a kihon.
Shuto-uke
- This block represents an improvement over soto-uke as it is more ergonomic and uses the triceps muscles more
effectively to block with additional power. It is at the chudan level (middle) which also makes it the safest to
practice.
Kihon-dosa-ichi
- This is the most basic form that students will need to learn and utilizes the fundamental beginning skills that are
present at this rank (choku-zuki, shiko-zuki, shuto-uke, seisan-dachi, shiko-ashi-dachi). It has been modified to
reduce complexity for younger practitioners and focus on the techniques the students need to learn, the basic
reason that kihon exists.
Kiai, hikite
- These concepts/techniques are vital to the correct performance of Kihon-dosa-ichi and all karate proceeding
from this stripe.
Respect, rules of the dojo
- These are the pillars on which karate is built and should be introduced immediately when training commences.
White Belt 2nd Stripe
Oi-zuki
- This punch is introduced at this level because it utilizes linear movement for power development, which is also
introduced at this rank.
Jodan-uke, uchi-uke, gedan-barai
- These blocks make their appearance here due to their inclusion in Kihon-dosa-ni and due to the introduction of
different levels of attack.
Kihon-dosa-ni
- This kihon has been modified to reduce complexity for younger practitioners and to allow all karateka to focus on
the techniques and power generation rather than counting.
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Linear power
- This is the source of power used by oi-zuki, which is found in Kihon-dosa-ni. It is the most basic to learn (after
hikite) and, so, should be the first one introduced.
Chika-ma/ma-ai/to-ma
- These are the main ways of describing distance as it pertains to a given technique. It is brought up at this level
because the students are performing techniques that utilize power and timing, so their distance should be
scrutinized as well. The use of the “ma” terms has been modified slightly so that they describe distance in the
context of a given technique, rather than a particular distance that never changes (i.e. for oi-zuki/mae-kekomi
only).
Sen timing
- This is the basic timing used for both the punches and blocks in Kihon-dosa-ni. It represents complete
commitment to one technique without taking into account any further techniques (i.e. go-no-sen)
White Belt 3rd Stripe
Turn in seisan-dachi (kaishi)
- This is the skill of turning one’s attention and stance both 90 degrees, as in Zenshin-kotai, and 180 degrees,
which represents a proper kaishi. It is introduced at this time because of its inclusion in Zenshin-kotai which is
also learned at this rank.
Sagi-ashi-dachi
- This stance is necessary for all kicks and is present in Zenshin-kotai so it is included at this rank.
Mae-geri
- The naming convention of all kicks has been changed to geri from kekomi and keage because of the lack of
notable differences between the two and, when considering a proper understanding of distance, all kicks are just
hitting a person properly at whatever distance they may be standing. This kick is introduced at this rank because
yoko-geri is a part of Zenshin-kotai, and, as mae-geri is a less complicated skill, it is included also.
Yoko-geri
- As stated above, this kick is included in Zenshin-kotai and, so, must be included at this rank. This kick will be
learned from three different starting positions (1. Standing foot crossed in front, 2. Standing foot crossed behind,
3. Standing foot beside and touching the kicking foot).
Mae-ashi-geri
- This kick is introduced at this rank because of its similarity to the previous two kicks as well as its inclusion in the
bunkai for this rank and the revised Zenshin-kotai kihon. Emphasis is placed on understanding that this kick is
performed for strategic and distance reasons rather than for power, which it lacks versus the same style of kick
off the back leg.
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Zenshin-kotai
- This kihon has been modified to more completely encapsulate the idea of moving the body towards and away
from an attacker while doing the three fundamental kinds of techniques in karate: striking with the hands,
striking with the feet, blocking. The new version of Zenshin-kotai also uses the vast majority of techniques
learned in the white belt rank, and thus is a good kihon to be learned last in this rank as it acts as a bookend to
the bulk of the white belt skills.
Yellow Belt
Tie your own belt
- It is important for students to take an active role in their own training and some responsibility for themselves.
That is why it is insisted that upon their first promotion, they tie their own belt.
Sabaki/tsukuri
- The students must understand the concepts of sabaki (evading) and tsukuri (challenging/moving closer) because
they need to execute them in both Zenshin-kotai as well as in their goshin-jitsu.
Goshin-jitsu
- The students must use all blocks against incoming attacks while moving forwards and backwards (followed by a
counter attack) and must perform all attacks while moving forwards. This helps them perform basic sen timing
against an opponent and use their blocks and strikes in a “real” situation as opposed to just kihon.
Yellow Belt 1st Stripe
Kosa-dachi
- This stance is necessary for performing correct rotation and, as that is needed in Seiken-no-migi/hidari, it is
included at this rank. As is presently taught in Chito-Ryu, the legs will cross at the thighs and the front foot will be
at a 45 degree angle.
Seiken-no-migi/hidari
- This kihon has been modified from its original form to also include two rotational punches off the back hand
(gyaku-zuki). This is because rotational power is more often used from the rear side of the body and it is good to
introduce students to both aspects of this power generation.
Gyaku-zuki
- This punch is first introduced in Seiken-no-migi/hidari and, so, is required at this level also. It should be practised
stationary as well as lunging (i.e. similar to choku-zuki and oi-zuki).
Mawashi-geri
- The nomenclature has changed for this kick so that the distinction between “o” and “ko” has been removed. This
is principally because the ko-uchi-mawashi-geri lacks real power and does not justify its existence outside of
competitive kumite.
Rotational power
- This concept is taught at this rank because it is utilized in Seiken-no-migi/hidari and by mawashi-geri. This whole
stripe level focuses on this concept as its central theme.
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Yellow Belt 2nd Stripe
Kihon-kata-ichi
- This kihon has been revised to-make the blocks moving backward match the punching set moving forward
(jodan, chudan, chudan, gedan) and emphasizes the different stepping techniques with respect to yoko-geri as
was first brought up in 3rd stripe white belt with Zenshin-kotai. This mirroring of earlier techniques is a hallmark
of Jitsu-Do karate.
Hyoshi
- The simple definition of “rhythm” has been revised to include information sourced from Sword and Brush, a book
that gives supplementary meaning to some of the terms that are commonly used in Japanese martial arts. In this
book, hyoshi is described as the organic and changing tempo of sounds that originates from a forest on a windy
day. This definition helps to describe the many-changing timings (sen, go-no-sen, etc.) that one finds in a kihon
or kata as well as the different uses of speed and pauses which make kihons/katas less monotonous and more
interesting.
Yellow Belt 3rd Stripe
Suri-ashi
- This shifting step is very important for changing distance quickly without changing the forward side of the body
and is introduced at this level because other skills which translate to effective fighting techniques (go-no-sen,
nagashi-uke, etc.) are learned at this time as well. Also, in the goshin-jitsu section of this rank (learned for full
orange belt) these techniques are used extensively and should have been learned by that time.
Kihon-dosa-san
- This kihon has been modified to include half as many of each technique and to change the order of the blocks to
mirror what has been done earlier in the white belt rank (they are now ordered jodan-uke, shuto-uke, uchi-uke,
gedan-barai). The reduction of the number of repetitions was done to focus on good quality techniques rather
than increased repetition of them as students have been consistently observed with good technique for the first
half of the kihon but increasingly sloppy technique towards the end as they tire. If the argument was ever posed
that the students should “toughen up” or “work through it”, I would respond that they are doing physical
conditioning in other ways that more closely match the nature of a real confrontation.
Kizami-zuki
- This punch is introduced at this level to be paired with suri-ashi. When used together, these techniques can hit at
a variety of distances and very quickly, using the linear power of the body shift to provide the power rather than
winding up.
Go-no-sen timing
- The explanations of “a timing of one followed by one half” or “re-taking the initiative” are somewhat confusing
so, instead, students are taught that go-no-sen timing is any two techniques done back to back sufficiently
quickly to confuse the opponent and lessen the chance that they will be able to respond to the second technique
effectively.
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Nagashi/atemi
- These concepts have been changed from the source uses to now be styles of blocking more synonymous with
hard and soft rather than as discrete techniques. Nagashi blocks are soft and redirect the attack without the
defender/tori using much energy, whereas atemi blocks use the block as an attack i.e. to cause damage to the
incoming appendage. “Atemi” is used in this concept rather than “Ate” because it more precisely refers to
smashing/striking the body as opposed to just smashing/striking in general.
Shime/shibori
- These concepts are used at this level to reinforce good stances in Kihon-dosa-san which can, when students are
trying to produce maximum power in their techniques, become weak. Students are expected to use these
concepts for stance alone at this stage but will later have to incorporate the technique for the whole body.
Orange Belt
Te-hedoki-no-waza 1-6
- These techniques were not included in the goshin-jitsu general section because they all have a topography in
common and are very specific to countering the same attack. 1-6 are learned together because they do not
include falls on the part of the uke, which they have not been expected to learn yet at this level. Also, in place of
simply learning techniques at #1, #2, and so on, students will be expected to know the correct Japanese names
for each of the movements that they are performing. Two new techniques have been added to this set which are
taken from Henshuho #21 and #22 from the Chito-Ryu curriculum and are learned at the 5th and 6th positions in
this set. They have been modified so that they begin from a wrist grab instead of a punch.
Zanshin
- “Remaining mind”, this concept teaches students to remain focused on an opponent after they have been struck
or thrown.
Kuzushi
- “Off-balance”, kuzushi is the concept that an opponent can be put mentally, emotionally or physically off-balance
by putting careful pressure in the right places.
Goshin-jitsu
- Suri-ashi paired with kizami-zuki and the blocks while moving forward and backward are learned here to let the
students experience the small changes in distance that one can use to be successful in a real fight. They also
perform small segments of Kihon-dosa-san with a slight movement off-line to make the movements more useful
for a real scenario. Lastly, students incorporate sliding (suri-ashi) paired with kicking techniques to be able to
reach opponents who are at a to-ma distance.
Orange Belt 1st Stripe
Sanchin-dachi
- Sanchin-dachi is introduced at this rank because of its use in Shime-no-dosa which is learned concurrently. The
decision was made to use sanchin-dachi instead of seisan-dachi in this kihon because it is a better representation
of the concept shime and gives the students more practice to master this difficult stance.
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Shime-no-dosa
- Shime-no-dosa has been revised to incorporate sanchin-dachi (as explained above) as well as to introduce two-
handed movements. This kihon will provide students an opportunity to practice the movements and techniques
of Sanchin kata earlier in their training allowing them to reap the benefits earlier and be more prepared for the
serious shime training later.
Shi-ho-wari
- Shi-ho-wari has been modified to replace the uraken-uke with a gedan-barai. This is done because gedan-barai is
a stronger and more useful block and more worthy of training time. The emphasis on descending force in this
kihon is still present but is used to solidify the stance as well as provide power to technique.
Kentsui-uchi
- Kentsui-uchi is a technique found in Shi-ho-wari and is learned at the same rank. Doing this technique properly
requires grounding the stance using descending power, which is also learned at this stage.
Teisho-uchi / ryote-teisho-uchi
- Teisho-uchi is introduced at this level because it is used in Shime-no-dosa. Ryote-teisho-uchi (using both hands) is
also introduced so students can learn to use both hands concurrently. Once students have learned vibrational
power, they will be expected to use it in this kihon, but beginners will not as it is too complicated for them at that
time.
Teisho-uke
- Teisho-uke is learned at this rank, performed in both a sideways and downwards fashion at this stage because
the students are already familiar with the concept of nagashi-uke (for which this is a perfect technique to use
because of the increased sensitivity in the palm versus the forearm) and because they are concurrently working
on descending power. Teisho-uke travelling downwards will replace osae-uke for simplicity as well as consistency
in the naming convention of techniques using the part of the body that is active as the name.
Kote-uke / ryote-kote-uke
- These techniques are added at this stage because of their inclusion in the revised version of Shime-no-dosa.
Kote-uke is a named technique in this kihon in place of it being a hidden technique being disguised as just raising
the hand to perform teisho-uchi. The two-handed version is included also for the same reasons as stated above
for ryote-teisho-uchi.
Mawashi-uke / ryote-mawashi-uke
- Mawashi-uke is introduced at this stripe because it is found in Shime-no-dosa. It will only be performed one way
in the kihon as opposed to the large and small versions currently found in the Chito-Ryu curriculum.
Shime / shibori (whole body)
- Shime and shibori are now required for the whole body due to the use of primarily shime in Shime-no-dosa. The
students are expected to create and manipulate the tension in the whole body as opposed to just the stance as
they were in yellow belt 3rd stripe.
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Kokyu-ho
- These breathing techniques (specifically fukushiki) are present in Shime-no-dosa and, so, are present at this rank
as well. The use of breath in all its forms will be taught as opposed to just hard and soft as well as where and
when they are appropriate.
Descending power
- Descending power is present at this rank because of its use in Shi-ho-wari. The emphasis on this kind of power
generation is not only limited to generating power because of travelling downward but also that the sinking of
the body gives better connection to the floor which allows better power generation using other techniques as
well (rotational power, linear power, etc.)
Orange Belt 2nd Stripe
Ushiro-geri
- Ushiro-geri is learned at this rank as it is a more simplistic skill to the mawari-yoko-geri which is learned for
Kihon-kata-ni at this level also. Body mechanics show that ushiro-geri possesses a great deal of strength when
kicking straight behind but is probably not well suited to being done while moving/turning. In the place of
mawari-ushiro-geri, mawari-yoko-geri will be done instead because it gains a reach advantage as well as taking
better advantage of the rotational power.
Uraken-uchi
- Uraken-uchi is included in Kihon-kata-ni and is learned at the same time. It has been modified to strike in a
horizontal arc instead of a vertical one for better ergonomics and the improved ability to use rotational power.
Mawari-yoko-geri
- As stated above, this kick is replacing mawari-ushiro-geri in Kihon-kata-ni because of better power generation
and reach. Also, to a lesser degree, this appears to be the kick that all students intuitively try to perform when
learning mawari-ushiro-geri so we are removing an artificial obstacle by letting them do what comes more
naturally to them.
Kihon-kata-ni
- This kihon has been modified to eliminate unnecessary repetition and introduce tokushu-seisan-dachi (which
replaces chokusen-seisan-dachi). The large kamae (with one arm out in front and another fist at the temple) has
been removed because it is better strategy to perform movements from where you are rather than telegraphing
them needlessly. Tokushu-seisan-dachi is used whenever a rotation is going to be performed to keep all mass as
close to the centre line as possible and facilitate smoother rotation. Emphasis will be placed on two go-no-sen
combinations during the sideways portions rather than trying to string them all together for improved realism.
As stated above, mawari-yoko-geri will replace mawari-ushiro-geri.
Shuto-uke (gedan)
- This technique is included in Kihon-kata-ni and is learned at the same stage. Students must learn to perform the
block at multiple levels rather than just at chudan.
Shuto-uchi (gedan + jodan)
- This technique is included in Kihon-kata-ni and is learned at the same stage. Students must learn to perform the
strike at multiple levels rather than just at jodan.
21
Yoko-empi
- This strike is present in Kihon-kata-ni and is included at the same rank. It is emphasised that students should use
as many sources of power as possible when performing this technique (i.e. linear power, rotational power,
descending power) but to not wind up first, thus giving away their intention to the opponent.
Embusen
- This concept has been expanded to include the “performance line” of techniques as well as kihons and katas. In
this way, it is more useful as it describes the correct path taken by any technique, kata, kihon, etc. when done
properly.
Basic ukemi
- All of the ukemi techniques have been split into two sections, basic and advanced. The basic set includes zenpo-
kaiten, koho-kaiten, yoko-ukemi, and ushiro-ukemi. This way a student has all of the basics down for partner
work and general safety from falling whereas the more complicated movements that require increased
athleticism and risk are saved for later, when the students have become more comfortable with the basics.
Tokushu
- This concept refers to a modified or “special” version of a technique. If a technique differs from the prescribed
“normal” version, it is considered tokushu unless another name exists that better describes it. As a nomenclature
rule, the technique will be referred to as “tokushu ______” so the students understand which technique we are
referring to. It would also be helpful in these conversations to refer to the source (kihon, kata, goshin-jitsu) that
the modified form is found in so as to remove unnecessary confusion.
Orange Belt 3rd Stripe
Neko-ashi-dachi
- This stance is found in Seisan kata and is learned concurrently. Any deviation of this stance found in future
kihons/katas will be referred to as tokushu-neko-ashi-dachi.
Seisan
- This kata has been revised to remove some of the more unrealistic techniques and replace them with techniques
that are more practical. Timings and interpretations of the kata will be up to personal interpretation but will
need to be defended logically if they deviate from the standard. Oshi-age-uke will be renamed to a simple jodan-
uke. The uraken-uchis will now be performed to the temple as opposed to the front of the face for better
ergonomics. Ura-kentsui-uchi will be replaced with a yoko-empi for more power, practicality and effectiveness.
Tekubi-kake-uke will be replaced with a shuto-uke for the same reasons.
Otoshi-empi
- This technique is used in Seisan so it must be learned concurrently. More emphasis will be placed on this
technique in that kata because the prior technique has been changed to one that moves the arm to a slightly
further position away from the body, so the otoshi-empi will not be subtle.
Tsukami-uke
- This grasping block is used after the kote-uke in Seisan and is learned at this stage as well.
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Sukui-uke
- This scooping block is in Seisan and is learned at this stage as well.
Hiki-otoshi-uke
- This pulling down block is found in Seisan and follows a kote-uke in the kata. It is used by pulling the opponent
off their center of gravity after they have been overextended by attempting a punch that misses.
Seichusen
- The centre line of the body. This concept refers to both the ideal places to strike a person, the places you must
most vehemently defend, and the imaginary line that you must maintain vertical to have the best posture.
Kime
- This is the point of focus at the end of a technique where the body firms up and power is transferred from the
karateka to their opponent. It is quintessential of hard movements rather than soft ones (though they can have
kime as well, just not as pronounced).
Green Belt
Seisan Bunkai
- The bunkai to all kata will be left up to the interpretation of the student but they must defend their answers with
explanation and demonstration. Certain aspects of a kata will be explained by the Sensei beforehand mostly to
let the students know how they would approach the problem of deciphering a kata.
Te-hedoki-no-waza 7-12
- These techniques are bundled together because they all require falling techniques on the part of the uke and
those karateka should now have them as they learned them in a prior stripe. Once students are able to perform
the advanced ukemi, they will be expected to perform any and all of them during previously learned goshin-jitsu,
such as this one.
Goshin-jitsu
- Instead of having goshin-jitsu techniques separated into sets, which then are memorized by their order in that
set, all techniques will be known by their individual names. The first such techniques are basic throw (irimi-
nage), chicken wing (kote-hineri), and single-leg-takedown (ippon-ashi-nage). Other situation specific techniques
are also learned including lapel grab, double lapel grab, bear hug and headlock escapes.
Metsuke
- “Where the eyes look”, metsuke teaches students to follow the opponent wherever they are including after a
throw.
Green Belt 1st Stripe
Niseishi
- This kata has been revised to remove kakiwake-uke and replace it with ryote-kote-uke and to replace heiko-zuki
with ryote-teisho-uchi. Heito-uchi and uraken-uchi will be replaced with shuto-uchi.
23
Ushiro-empi
- This technique appears in Niseishi and, so, is learned at the same level.
Kosa-uke
- This technique appears in Niseishi and, so, is learned at the same level.
Tekubi-kake-uke
- This technique appears in Niseishi and, so, is learned at the same level.
Green Belt 2nd Stripe
Ashi-barai
- This is a foot sweep that can be performed a number of ways but is differentiated from a reaping throw because
it first makes subtle contact with the foot or ankle and then throws the opponent as contrasted with a reaping
throw which kicks the foot/leg right out from under the opponent. It is introduced at this stage because the
performance of Kihon-dosa-yon (learned at this rank also) is similar to the movements in kumite and these
techniques are useful in that application.
Ura-mawashi-geri
- The use of this kick has been modified to remove the contemporary “sport kumite” application which lacks real
power and opens the practitioner up to being thrown too easily. Instead, this kick is always to be performed with
a spin of the body to provide power from the ensuing rotation and give the kick more chance of delivering serious
damage to the opponent. To further this point, the heel is used as the primary striking surface with the sole of
the foot as a secondary surface which provides less damage but more reach. Also, by continuing the rotation
after the kick has found its mark (and even if it misses), the kicker returns back to where they began with no
extra footwork which keeps them at a safer distance. Like ashi-barai, this movement is useful in real fighting
(provided that the kicker has the power and flexibility to perform it to the head) and is introduced at the same
time as Kihon-dosa-yon, which shares elements with the performance of these moves.
Kihon-dosa-yon
- This kihon remains mostly unchanged but the soto-uke has been replaced by shuto-uke. The emphasis is placed
on the nagashi execution of the blocks with lots of power on the counter punches.
Kensei
- In keeping with the kumite tone of this stripe, the concept of kensei (fake movement) is introduced as a strategy
to put an opponent mentally off balance before delivering a powerful strike. In order to be done correctly, the
fake move must be done as realistically as possible so the opponent reacts to it genuinely as a fake-looking fake
attack does not work.
Niseishi bunkai
- This bunkai will now be treated similar to Seisan bunkai in that the student must describe and demonstrate the
application of different moves in the kata rather than having to memorize different sets of prescribed
movements. Some examples will be provided in class by the instructor but other interpretations are welcome.
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Green Belt 3rd Stripe
Hiza-tate-ashi-dachi
- This stance is used in Rohai-sho and, so, is learned at the same rank.
Kyusei-kamae
- This posture is used in Rohai-sho and, so, is learned at the same rank.
Rohai-Sho
- Very few changes have been made to this kata, however the sayu-zuki is now a shiko-zuki, the oshi-zuki has been
changed to two oi-zukis and, when turning, the students are encouraged to use tokushu-seisan-dachi (previously
chokusen-seisan-dachi). It is learned at this level because expansion and contraction become increasingly
important moving forward and the quick turning motions will help in blue belt with Kihon-kata-san etc.
Sukui-uke
- This sukui-uke is a slight variation of the one learned in Seisan. When asked to perform this technique, it will be
specified which version we are looking for.
Hari
- Hari, meaning “to stretch” introduces the concept of expansion at this rank to coincide with Rohai-sho. This is
contrasted with shime (contraction) and used in Rohai-sho to oscillate between making the body small during
turns or transitions and then expanding rapidly to attack.
Blue Belt
Hanten
- “Half turn” or more accurately, a 90 degree turn, this technique is used in Tai-sabaki and the goshin-jitsu at this
level. There are two ways to perform this technique, a tsukuri and sabaki version, both of which practitioners
should be familiar with.
Mawashi-empi
- This technique is found in Tai-sabaki and is learned at the same rank. Though possible to throw from the front
hand, this technique is usually performed from the rear hand because of the power advantage afforded it and
the better balance you achieve even if the strike misses its mark.
Tai-no-sen
- This kind of timing is present in Tai-sabaki and is learned simultaneously. The revised explanation for this timing
is that it is half way between go-no-sen and sen-no-sen, which is to say that you are performing a block followed
by a counter-punch but you are advancing and evading as you do it to stifle the incoming attack and throw an
attack of your own before it becomes a real threat. Another way to think about the different timings is as a
relation of distance. Sen happens right in front of where the defender is standing, go-no-sen happens halfway
between the attacker and defender, tai-no-sen happens 75% of the way towards the attacker and sen-no-sen
happens right where the attacker is (all timings listed above refer to a defensive timing i.e. block then punch,
rather than offensive use of go-no-sen i.e. two punches in quick succession).
25
Fumi-komi
- In the revised Tai-sabaki, this kick is present so it is introduced here. The main version of the kick to be taught is
using the blade of the foot with the ball of the foot being a tokushu version of the technique.
Hiza-geri
- The knee strike is also present in Tai-sabaki and is learned at the same time. Students are taught to point the
toes down during this technique to avoid injury and are instructed to pull the opponent into them to increase the
total energy being delivered when the knee and the opponent meet.
Tai-sabaki
- Tai-sabaki or “evasive body shifting” is a set of techniques all connected with the common thread of using sabaki
first and then counter-attacking. This set has been revised to focus on techniques that do a more complete job of
finishing the opponent as well as featuring techniques that students are more likely to use in a real encounter.
New techniques used in this revised set include the rear naked choke (ushiro-kubi-shime), triangle choke throw
(kubi-shime-nage), guillotine (mae-kubi-shime), large outer reap (o-soto-gari), and large inner reap (o-uchi-gari).
Goshin-jitsu
- The goshin-jitsu at this level focuses on combinations of techniques that cause kuzushi in different parts of the
opponent. Some of the kuzushi techniques focus on fakes (kensei), others on bringing their attention to one
target area and the quickly switching to another, and finally on attacking the stance directly with ashi-barai
(learned earlier in this rank).
Blue Belt 1st Stripe
Empi-kihon-dosa
- This kihon has been revised to incorporate all sources of power and to remove mae-empi which has never been
clearly defined (somewhere between a mawashi-empi and a yoko-empi). It also introduces jodan-ushiro-empi
which has not appeared in any kata or kihon since Ni-ju-hichi-ko, as well as kakudo-otoshi-empi which is new to
the system entirely.
Jodan-ushiro-empi
- This strike has been added into the revised version of Empi-kihon-dosa and is learned at the same level. It is
performed the same way that it was in Chito-Ryu’s Ni-ju-hichi-ko.
Mokuso
- The concepts/techniques of self-analysis, contemplation, meditation etc. are introduced here because senior
students are expected to have a greater understanding of themselves and be more mindful of their behaviour
and actions. We also expect them to be more contemplative of karate as a whole and their part in it.
Introduction to vibrational power
- Vibration as a source of power is introduced at this level because the purpose of Empi-kihon-dosa is to have the
students understand all the sources of power and to drill them. Students are not expected to have mastered this
source of power at this level but they must at least make an effort to use it at appropriate times.
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Kakudo-otoshi-empi
- This is a new technique that is added at this level because of its inclusion in Empi-kihon-dosa. The name derives
from the words “kakudo” meaning angled and “otoshi” meaning dropping or descending. The strike is delivered
at a downwards 45 degree angle.
Rohai-sho bunkai
- This bunkai will now be treated similar to Seisan bunkai in that the student must describe and demonstrate the
application of different moves in the kata rather than having to memorize different sets of prescribed
movements. Some examples will be provided in class by the instructor but other interpretations are welcome.
Blue Belt 2nd Stripe
Kihon-kata-san
- This kihon has been revised to change all uchi-mikazuki-geris to blocks and to have the forward set of uchi-
mikazuki-geris be followed by fumi-komis. This change has been implemented so the kicks will be more functional
and to promote the idea of go-no-sen timing using just the legs. Nukites have also been replaced with a punch in
all cases because of added utility and less risk of injury.
Rinten
- “Full turn” or a 360 degree turn is used in Kihon-kata-san and is learned at the same time. Students are taught to
use the turn to change position and avoid attack but that they must ground themselves after to spinning before
attacking again to ensure good quality techniques. Rinten should also be used to power techniques with
rotational power where appropriate.
Uchi-mikazuki-geri-uke
- This kick is utilized in Kihon-kata-san and is learned at the same time.
Blue Belt 3rd Stripe
Bassai
- This kata has been revised to replace all nukites with koko-uchi strikes. This is because nukite presents too much
danger to the practitioner with not enough reward for success over other techniques available. Koko-uchi has
strength and flexibility (a strike or a grab) and would naturally attack the same target area. The name-ashi-geri-
uke has been removed. The uraken-uchi after the okutsu-dachi zuki will be performed as a kamae and the stomp
has been removed. Heiko-zuki (x3) has also been replaced by ryote-teisho-uchi. The general tone of this kata is
gritty and vicious and the new movements have been added to it emphasize that tone. This kata is learned at
this level because of the difficulty and the complexity of its performance and bunkai. The use of vibrational
power is also found throughout the kata making it a good drilling kata to work on that skill.
Sasoi-kamae
- This posture is found in Bassai kata and is learned concurrently.
Koko-uchi
- The “tiger-mouth” strike uses the portion of the hand between the index finger and thumb with both curled
together slightly. This technique replaced nukite in all instances in Bassai because it is less risky to the
practitioner and is a more versatile strike.
27
Okutsu-dachi
- This stance is found in Bassai and is learned in the same stripe. It is measured by doing shiko-ashi-dachi and
pivoting one heel outwards until both feet are parallel.
Morote-uke
- This block is found in Bassai and uses a reinforcement from one hand to augment a block with the other hand.
Haishu-uke
- Haishu-uke is used in Bassai and is learned at the same time. This block is used as a redirecting block (nagashi)
as it lets a straight punch sail by the head/body with very little force used. Even when more force is used, this
block does not have access to the same power as a shuto-uke because of ergonomic considerations.
Sukui-uke (Bassai version)
- This technique differs from the past-learned versions in that it blocks a punch to the side and is performed in
okutsu-dachi.
Kagi-zuki
- This hook punch is part of Bassai kata and is learned concurrently. It has been modified slightly so that the
thumb and index finger are at the top of the fist instead of the side because of better application on bags,
partners etc. (better ergonomics).
Brown Belt
Bassai Bunkai
- As with the bunkai to the other katas, Bassai bunkai will have some techniques/applications shown to the
students but will ultimately have them make up their own interpretation which will be demonstrated and
explained by them. Because they are attempting to achieve a senior rank, the scrutiny on the
explanation/performance will be very exacting and with little leniency.
Shisei
- “Posture” or “demeanor” will be expected of the students at this rank because of the proximity to shodan and the
necessity that students at this rank be good examples of the ideals of the style and dojo. They are expected to
conduct themselves respectfully, honourably and in the manner prescribed by the Sensei and the dojo. As brown
belts, they are the most senior kyu belts and, as such, are expected to provide the best example.
Goshin-jitsu
- All goshin-jitsu techniques learned at this level are done in close proximity to the opponent and include
complicated timings, techniques and striking areas. A degree of fluidity and softness is required by the tori and
their mental posture (shisei) must not be shaken by the incoming attacks. They must stand confidently while
being attacked and defend themselves calmly despite the difficult nature of the techniques they are performing.
Emphasis is placed on wrestling and judo techniques that involve holding the opponent from a dominant position
or manoeuvring to better positions to increase the chances of a successful outcome. The consequences to the uke
during these interactions would be quite severe due to the targets being hit and the methods used to hit them.
Students at this level are expected to have a degree of control that allows the movements to be practised
without injury to either party.
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Black Belt
No stripes are present during training for shodan because it is more important for the student to focus on the training
as a whole rather than just the new techniques they need to learn. In order to grade to shodan, a student must show
that they have gone back and introduced all of their skills into their previously learned techniques and forms (i.e.
using vibration in Kihon-dosa-ichi) and are now performing the ENTIRE syllabus the way a black belt should.
Minimum training time for this rank is one year and the Sensei must invite the student to grade, not be asked by the
student. Though receiving a shodan is not the end, it does symbolize a huge jumping-off point for the student where
they have a chance to double their efforts and reap all that karate has to offer or take the belt and leave, gaining only
the superficial benefits.
Ni-dan-geri
- This technique is learned at this level because of the complexity it requires as well as its inclusion in Chinto kata.
The strategy utilized in this technique must be stressed in that the first kick is more of a kensei while the second
kick delivers the bulk of the power to the face/chin.
Otoshi-geri
- This is another difficult kick requiring flexibility, balance, and amazing timing but which can deliver a great deal
of damage if it hits. It can be used on a fallen opponent or a standing one but more flexibility is needed if the
opponent is standing.
Kakuto-uchi
- This technique is included at this level because of the use of unorthodox striking surfaces in the goshin-jitsu
section of the rank. This technique can be performed vertically or horizontally but would typically be used in
close to the opponent where they can’t see it coming and vibrational power would have to be used.
Hiraken-uchi
- This technique is devastating and offers advantages that nukite does not but does the same job. As part of the
unorthodox striking surfaces goshin-jitsu, this strike is only used against soft targets or small points that cannot
be reached by larger striking surfaces such as the forefist or instep.
Tate-zuki
- This punch is taught at this level because it is done very close to the opponent and needs vibrational power to
work properly, both things that the student would not have been able to do before now.
Ura-zuki
- Similar to tate-zuki, this technique is done in close proximity and needs vibrational and/or ascending power to
work. This technique is taught to be thrown to an opponent who is bent over or to the underside of the chin
when standing upright and looks similar to an uppercut found in traditional western boxing. When performed,
the palm faces the body of the puncher.
Chinto
- This is the final kata learned before shodan. It has the most flamboyant movements and requires the most
athleticism and grace from the karate. Though some of the techniques are a little far-fetched, students are
expected to use a keen eye to decipher what would work, what wouldn’t and why. This kata more than any
other to date represents the expression of the performer rather than the techniques it is comprised of. There
have been minor revisions to this kata to bring it more in-line with the rest of the Jitsu-Do curriculum.
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Introduction to the bo/hanbo
- Though karate is an empty-handed art, as students progress to advanced levels, they are expected to transcend
that limitation and be able to use/augment their skills in a variety of situations including using weapons. The
focus at this stage is that students understand the advantages and disadvantages of using weapons (and other
force multipliers) and have a basic familiarity with how simple weapons like the bo and hanbo move and can be
used defensively.
Advanced ukemi
- The advanced ukemi include: mae-ukemi 1+2 (formerly #2+3), mae-tobi-ukemi, ushiro-tobi-ukemi. These
techniques are introduced here because the student should have the athleticism as well as sensitivity to use these
techniques effectively to protect themselves from dangerous falls. After this point, students are expected to use
these techniques in retroactive goshin-jitsu.
Goshin-jitsu
- The goshin-jitsu at this level teaches students to use different and unorthodox parts of their bodies to strike an
opponent as well as different ways to throw or pin them that they have not yet had the chance to practise.
Students are also taught to strike parts of the body which can incapacitate an opponent, rendering them less
dangerous including small joint manipulation, eye/throat/groin/ear/neck attacks and breaking techniques.
30
Jitsu-Do Karate
Kihon/Kata
Step By Step
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Kihon-dosa-ichi
Step forward to migi-seisan-dachi, choku-zuki, step forward to hidari-seisan-dachi, choku-zuki+ KIAI.
Step backward to migi-seisan-dachi, migi-shuto-uke, step backward to hidari-seisan-dachi, hidari-shuto-uke.
Step forward to migi-shiko-ashi-dachi, migi-shiko-zuki, step forward to hidari-shiko-ashi-dachi, hidari-shiko-zuki + KIAI.
Step backward to migi-shiko-ashi-dachi, migi-shuto-uke, step backward to hidari-shiko-ashi-dachi, hidari-shuto-uke.
Stand up in musubi-dachi, rei.
Kihon-dosa-ni
Step forward migi-jodan-oi-zuki, step forward hidari-jodan-oi-zuki + KIAI.
Step backward to migi-seisan-dachi + migi-jodan-uke, step backward to hidari-seisan-dachi + hidari-jodan-uke.
Step forward migi-oi-zuki, step forward hidari-oi-zuki + KIAI.
Step backward to migi-seisan-dachi + migi-uchi-uke, step backward to hidari-seisan-dachi + hidari-uchi-uke.
Step forward to migi-gedan-shiko-zuki, step forward hidari-gedan-shiko-zuki + KIAI.
Step backward to migi-shiko-ashi-dachi + migi-gedan-barai, step backward to hidari-shiko-ashi-dachi + hidari-gedan-
barai.
Stand up in musubi-dachi, rei.
Zenshin-kotai
Step forward migi-oi-zuki, step forward hidari-oi-zuki.
Step backward to migi-seisan-dachi, choku-zuki, step backward to hidari-seisan-dachi, choku-zuki.
Look to the right, step to the right 90 degrees to migi-seisan-dachi + migi-shuto-uke, hidari-mae-geri, migi-yoko-geri +
KIAI.
Look to the left, step to the left 180 degrees to hidari-seisan-dachi + hidari-shuto-uke, migi-mae-geri, hidari-yoko-geri +
KIAI.
Look to the right, turn to the right 90 degrees and step backward to migi-seisan-dachi + migi-gedan-barai, migi-mae-ashi-
geri, step backward to hidari-seisan-dachi + hidari-gedan-barai, hidari-mae-ashi-geri.
Stand up in musubi-dachi, rei.
Seiken-no-migi-hidari
Look to the right + step back to hidari-kosa-dachi, turn to right 90 degrees to hidari-seisan-dachi + choku-zuki + KIAI,
gyaku-zuki, choku-zuki.
Look to left, turn left 90 degrees + step up to uchi-hachiji-dachi + hikite.
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Look to the left + step back to migi-kosa-dachi, turn to left 90 degrees to migi-seisan-dachi + choku-zuki + KIAI, gyaku-
zuki, choku-zuki.
Look to right, turn right 90 degrees + step up to uchi-hachiji-dachi + hikite.
Look to the right, step to the right 90 degrees to migi-seisan-dachi + gyaku-zuki + KIAI, choku-zuki, gyaku-zuki.
Look to left, turn left 90 degrees + step up to uchi-hachiji-dachi + hikite.
Look to the left, step to the left 90 degrees to hidari-seisan-dachi + gyaku-zuki + KIAI, choku-zuki, gyaku-zuki.
Look to right, turn right 90 degrees + step up to uchi-hachiji-dachi + hikite.
Stand up in musubi-dachi, rei.
Kihon-kata-ichi
Step forward migi-jodan-oi-zuki, step forward hidari-oi-zuki, step forward migi-oi-zuki, step forward hidari-gedan-shiko-
zuki + KIAI.
Step backward to migi-seisan-dachi, migi-jodan-uke (yukkuri), step backward to hidari-seisan-dachi, hidari-shuto-uke
(yukkuri), step backward to migi-seisan-dachi, migi-shuto-uke (yukkuri), step backward to hidari-shiko-ashi-dachi, hidari-
gedan-barai (yukkuri).
Pivot to hidari-seisan-dachi + chudan-kamae, migi-mae-geri, hidari-mae-geri, migi-mae-geri, hidari-mae-geri.
Look to the right, step to right 90 degrees to hidari-kosa-dachi, migi-yoko-geri, step behind to migi-ura-kosa-dachi, migi-
yoko-geri.
Look to the left, step to left 180 degrees to migi-kosa-dachi, hidari-yoko-geri, step behind to hidari-ura-kosa-dachi,
hidari-yoko-geri.
Look to the right, step to the right 90 degrees to migi-oi-zuki, kaeshi, choku-zuki.
Step forward migi-jodan-oi-zuki, hidari-oi-zuki, migi-oi-zuki, hidari-gedan-shiko-zuki + KIAI.
Turn in shiko-ashi-dachi 180 degrees to the right, migi-shiko-zuki.
Stand up in musubi-dachi, rei.
Kihon-dosa-san
Step forward to hidari-seisan-dachi, hidari-jodan-uke, gyaku-zuki, step forward to migi-seisan-dachi, migi-jodan-uke,
gyaku-zuki + KIAI.
Step backward to hidari-seisan-dachi, hidari-jodan-uke, gyaku-zuki, step backward to migi-seisan-dachi, migi-jodan-uke,
gyaku-zuki + KIAI.
Step forward to hidari-seisan-dachi, hidari-shuto-uke, gyaku-zuki, step forward to migi-seisan-dachi, migi-shuto-uke,
gyaku-zuki + KIAI.
Step backward to hidari-seisan-dachi, hidari-shuto-uke, gyaku-zuki, step backward to migi-seisan-dachi, migi-shuto-uke,
gyaku-zuki + KIAI.
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Step forward to hidari-seisan-dachi, hidari-uchi-uke, gyaku-zuki, step forward to migi-seisan-dachi, migi-uchi-uke, gyaku-
zuki + KIAI.
Step backward to hidari-seisan-dachi, hidari-uchi-uke, gyaku-zuki, step backward to migi-seisan-dachi, migi-uchi-uke,
gyaku-zuki + KIAI.
Step forward to hidari-seisan-dachi, hidari-gedan-barai, gyaku-zuki, step forward to migi-seisan-dachi, migi-gedan-barai,
gyaku-zuki + KIAI.
Step backward to hidari-seisan-dachi, hidari-gedan-barai, gyaku-zuki, step backward to migi-seisan-dachi, migi-gedan-
barai, gyaku-zuki + KIAI.
Stand up in musubi-dachi, rei.
Shi-ho-wari
Step backward to hidari-kosa-dachi, migi-gedan-barai, right hand to chudan-kamae, migi-mae-geri, slide to migi-shiko-
zuki + KIAI.
Turn left 180 degrees to migi-kosa-dachi, hidari-gedan-barai, left hand to chudan-kamae, hidari-mae-geri, slide to hidari-
shiko-zuki + KIAI.
Turn right 90 degrees to hidari-kosa-dachi, migi-gedan-barai, right hand to chudan-kamae, migi-mae-geri, slide to migi-
shiko-zuki + KIAI.
Turn left 180 degrees to migi-kosa-dachi, hidari-gedan-barai, left hand to chudan-kamae, hidari-mae-geri, slide to hidari-
shiko-zuki + KIAI.
Look over right shoulder, step behind to migi-kosa-dachi, turn left 180 degrees to hidari-seisan-dachi + hidari-ketsui-
uchi, gyaku-zuki, choku-zuki.
Look over right shoulder, step backward to migi-kosa-dachi, turn left 180 degrees to hidari-seisan-dachi + hidari-ketsui-
uchi, gyaku-zuki, choku-zuki.
Look over left shoulder, turn left 90 degrees to hidari-seisan-dachi + hidari-ketsui-uchi + KIAI, gyaku-zuki, choku-zuki.
Stand up in musubi-dachi, rei.
Shime-no-dosa
(All moves are done yukkuri + shime)
Migi-teisho-uchi, hidari-teisho-uchi, migi-teisho-uchi, hidari-teisho-uchi.
Migi-mawashi-uke, hidari-mawashi-uke, migi-mawashi-uke, hidari-mawashi-uke.
Step forward to migi-sanchin-dachi + migi-teisho-uchi, step forward to hidari-sanchin-dachi + hidari-teisho-uchi, step
forward to migi-sanchin-dachi + migi-teisho-uchi, step forward to hidari-sanchin-dachi + hidari-teisho-uchi. Step
backward to migi-sanchin-dachi + migi-mawashi-uke, step backward to hidari-sanchin-dachi + hidari-mawashi-uke, step
backward to migi-sanchin-dachi + migi-mawashi-uke, step backward to hidari-sanchin-dachi + hidari-mawashi-uke.
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Step forward to migi-sanchin-dachi + ryote-kote-uke + ryote-teisho-uchi, step forward to hidari-sanchin-dachi + ryote-
kote-uke + ryote-teisho-uchi, step forward to migi-sanchin-dachi + ryote-kote-uke + ryote-teisho-uchi, step forward to
hidari-sanchin-dachi + ryote-kote-uke + ryote-teisho-uchi. Step backward to migi-sanchin-dachi + ryote-mawashi-uke,
step backward to hidari-sanchin-dachi + ryote-mawashi-uke, step backward to migi-sanchin-dachi + ryote-mawashi-uke,
step backward to hidari-sanchin-dachi + ryote-mawashi-uke.
Stand up in musubi-dachi, rei.
Kihon-kata-ni
Step forward to migi-shiko-ashi-dachi, migi-gedan-shuto-uchi (yukkuri), step forward to hidari-shiko-ashi-dachi, hidari-
gedan-shuto-uchi (yukkuri).
Step backward to migi-shiko-ashi-dachi + migi-gedan-shuto-uke (hyaku), step backward to hidari-shiko-ashi-dachi +
hidari-gedan-shuto-uke (hyaku).
Pivot forward to hidari-seisan-dachi + chudan-kamae, migi-mae-geri, hidari-yoko-geri, migi-mawashi-geri, hidari-mawari-
yoko-geri.
Look to the right, step to the right 90 degrees to migi-tokushu-seisan-dachi + migi-uchi-uke, slide to migi-shiko-ashi-
dachi + migi-yoko-empi, migi-uraken-uchi, migi-shiko-zuki.
Look to the left, shift to the left 180 degrees to hidari-tokushu-seisan-dachi + hidari-uchi-uke, slide to hidari-shiko-ashi-
dachi + hidari-yoko-empi, hidari-uraken-uchi, hidari-shiko-zuki.
Turn to the right 90 degrees and step to hidari-shiko-zuki, turn to the right 180 degrees, migi-shiko-zuki.
Pivot to migi-seisan-dachi + chudan-kamae, hidari-mae-geri, migi-yoko-geri, hidari-mawashi-geri, migi-mawari-yoko-geri.
Kaeshi, hidari-seisan-dachi + choku-zuki, gyaku-zuki, choku-zuki + KIAI.
Stand up in musubi-dachi, rei.
Seisan
Step forward hidari-seisan-dachi + chudan-kamae, gyaku-zuki, migi-shuto-uke (yukkuri).
Step forward migi-seisan-dachi, gyaku-zuki, hidari-shuto-uke (yukkuri).
Step forward hidari-seisan-dachi, gyaku-zuki, migi-shuto-uke (yukkuri).
Slide forward to hidari-shiko-ashi-dachi (off-line), hidari-jodan-uke + gyaku-zuki-kensei + KIAI.
Step forward and turn 180 degrees to the left to hidari-seisan-dachi + ryote-otoshi-teisho-uke.
Step forward to migi-seisan-dachi, migi-kote-uke, migi-hiki-otoshi-uke (yukkuri).
Step forward to hidari-seisan-dachi, hidari-kote-uke, hidari-hiki-otoshi-uke (yukkuri).
Step forward to migi-seisan-dachi, migi-kote-uke, migi-hiki-otoshi-uke (yukkuri).
Turn to left 90 degrees to hidari-seisan-dachi + chudan-kamae, jodan-gyaku-zuki, pivot to hidari-tokushu-shiko-ashi-
dachi + hidari-shiko-zuki, migi-mae-geri, pause, gyaku-zuki.
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Turn to right 180 degrees to migi-seisan-dachi + chudan-kamae, jodan-gyaku-zuki, pivot to migi-tokushu-shiko-ashi-dachi
+ migi-shiko-zuki, hidari-mae-geri, pause, gyaku-zuki.
Turn to left 90 degrees to hidari-seisan-dachi + chudan-kamae, jodan-gyaku-zuki, pivot to hidari-tokushu-shiko-ashi-
dachi + hidari-shiko-zuki, migi-mae-geri, pause, gyaku-zuki.
Look over right shoulder, lift rear foot + turn to the right 180 degrees sliding to musubi-dachi + migi-uraken-uchi + KIAI,
slide back to migi-neko-ashi-dachi + migi-otoshi-empi (yukkuri), stomp right foot, step forward to hidari-kosa-dachi, migi-
mae-geri, step down to migi-shiko-ashi-dachi (off-line) + migi-gedan-barai, pivot to migi-seisan-dachi + gyaku-zuki,
chudan-kamae (yukkuri).
Look over left shoulder, lift rear foot + turn to the left 180 degrees sliding to musubi-dachi + hidari-uraken-uchi + KIAI,
slide back to hidari-neko-ashi-dachi + hidari-otoshi-empi (yukkuri), stomp left foot, step forward to migi-kosa-dachi,
hidari-mae-geri, step down to hidari-shiko-ashi-dachi (off-line) + hidari-gedan-barai, pivot to hidari-seisan-dachi + gyaku-
zuki, chudan-kamae (yukkuri).
Turn to right 180 degrees sliding to migi-shiko-ashi-dachi + migi-yoko-empi + KIAI, slide back to migi-seisan-dachi + migi-
gedan-barai, gyaku-zuki, chudan-kamae (yukkuri).
Step back to hidari-seisan-dachi, hidari-shuto-uke, gyaku-zuki.
Slide back to hidari-seisan-dachi, hidari-sukui-uke, shibori.
Stand up in musubi-dachi, rei.
Niseishi
Ryote-kote-uke (yukkuri)+ kokyu, step forward to migi-sanchin-dachi + kokyu, ryote-teisho-uchi (yukkuri) + kokyu.
Step up to uchi-hachiji-dachi, ryote-kote-uke (yukkuri)+ kokyu, step forward to migi-sanchin-dachi + kokyu, ryote-teisho-
uchi (yukkuri) + kokyu.
Bring left hand back to hikite, step forward hidari-oi-zuki + KIAI, gyaku-zuki, look over right shoulder, turn to right 180
degrees and slide back to migi-tokushu-seisan-dachi + migi-jodan-shuto-uchi + KIAI, look over left shoulder, turn left 180
degrees to hidari-seisan-dachi + choku-zuki, gyaku-zuki, twist into hidari-kosa-dachi + hidari-tekubi-kake-uke + migi-
jodan-shuto-uchi.
Migi-mae-geri, step to ura-migi-kosa-dachi + kosa-uke (hands open + yukkuri), step back to migi-tokushu-seisan-dachi +
migi-jodan-shuto-uchi (palm down), look to the left, turn to the left 180 degrees to hidari-tokushu-seisan-dachi + migi-
jodan-shuto-uchi (palm up), migi-mae-geri, step to ura-migi-kosa-dachi + kosa-uke (hands open + yukkuri), step back to
migi-tokushu-seisan-dachi + migi-jodan-shuto-uchi (palm down), turn to the left 180 degrees to hidari-tokushu-seisan-
dachi + migi-jodan-shuto-uchi (palm up), stand up to musubi-dachi, rei.
Kihon-dosa-yon
Slide back to hidari-seisan-dachi, hidari-jodan-uke, gyaku-zuki.
Turn to right 90 degrees, slide back to migi-seisan-dachi, migi-jodan-uke, gyaku-zuki.
Turn to left 180 degrees, slide back to hidari-seisan-dachi, hidari-jodan-uke, gyaku-zuki.
36
Turn to right 90 degrees, slide back to migi-seisan-dachi, migi-shuto-uke, gyaku-zuki.
Turn to left 90 degrees, slide back to hidari-seisan-dachi, hidari-shuto-uke, gyaku-zuki.
Turn to right 180 degrees, slide back to migi-seisan-dachi, migi-shuto-uke, gyaku-zuki.
Turn to left 90 degrees, slide back to hidari-seisan-dachi, hidari-gedan-barai, gyaku-zuki.
Turn to right 90 degrees, slide back to migi-seisan-dachi, migi-gedan-barai, gyaku-zuki.
Turn to left 180 degrees, slide back to hidari-seisan-dachi, hidari-gedan-barai, gyaku-zuki + KIAI.
Turn to the right 90 degrees, step up to musubi-dachi, rei.
Rohai-sho
Turn to left (45 degrees), step forward to migi-hiza-tate-ashi-dachi, kosa-uke (hands closed + yukkuri).
Turn to the right 180 degrees and step to migi-shiko-zuki + KIAI, turn to left 135 degrees + step to migi-shiko-ashi-dachi +
migi-mawashi-empi (hitting left hand).
Step back to hidari-kosa-dachi + kyusei-kamae, turn to left 180 degrees, step away to migi-kosa-dachi + kyusei-kamae,
twist to migi-shiko-ashi-dachi + migi-uchi-uke, migi-gedan-kentsui-uchi.
Turn to the left 180 degrees to hidari-seisan-dachi + choku-zuki, step forward migi-oi-zuki, step forward hidari-oi-zuki.
Slide back to hidari-neko-ashi-dachi, hidari-sukui-uke + migi-jodan-uke (both hands open).
Twist to hidari-kosa-dachi + migi-jodan-shuto-uchi, mae-geri, step to ura-migi-kosa-dachi + kosa-uke (hands open +
yukkuri).
Slide back to migi-shiko-ashi-dachi + migi-shiko-zuki, turn to left 180 degrees to hidari-tokushu-seisan-dachi + choku-
zuki, step forward to migi-tokushu-seisan-dachi + migi-oi-zuki, kaeshi, choku-zuki, gyaku-zuki, choku-zuki + KIAI.
Stand up in musubi-dachi, rei.
Empi-kihon-dosa
Step forward to migi-shiko-ashi-dachi + migi-kakudo-otoshi-empi, step back to hidari-seisan-dachi + migi-ushiro-empi,
slide to right 90 degrees to migi-shiko-ashi-dachi + migi-yoko-empi, turn to left 180 degrees to hidari-tokushu-seisan-
dachi + migi-jodan-mawashi-empi, turn to the right 90 degrees to migi-seisan-dachi + migi-tate-empi, turn to right 135
degrees and step to uchi-hachiji-dachi + migi-jodan-ushiro-empi, drop to shiko-ashi-dachi + migi-otoshi-empi + KIAI,
return to forward-facing uchi-hachiji-dachi + hikite.
Step forward to hidari-shiko-ashi-dachi + hidari-kakudo-otoshi-empi, step back to migi-seisan-dachi + hidari-ushiro-empi,
slide to left 90 degrees to hidari-shiko-ashi-dachi + hidari-yoko-empi, turn to right 180 degrees to migi-tokushu-seisan-
dachi + hidari-jodan-mawashi-empi, turn to the left 90 degrees to hidari-seisan-dachi + hidari-tate-empi, turn to left 135
degrees and step to uchi-hachiji-dachi + hidari-jodan-ushiro-empi, drop to shiko-ashi-dachi + hidari-otoshi-empi + KIAI,
return to forward-facing uchi-hachiji-dachi + hikite.
Stand up in musubi-dachi, rei.
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Kihon-kata-san
Step forward to migi-tokushu-seisan-dachi with migi-oi-zuki, rinten + rotate punching hand around body, end in hidari-
tokushu-seisan-dachi + choku-zuki, step forward to migi-tokushu-seisan-dachi with migi-oi-zuki, rinten + rotate punching
hand around body, end in hidari-tokushu-seisan-dachi + choku-zuki + KIAI.
Kaishi + choku-zuki, step forward to hidari-tokushu-seisan-dachi with hidari-oi-zuki, rinten + rotate punching hand
around body, end in migi-tokushu-seisan-dachi + choku-zuki, step forward to hidari-tokushu-seisan-dachi with hidari-oi-
zuki, rinten + rotate punching hand around body, end in migi-tokushu-seisan-dachi + choku-zuki + KIAI.
Kaishi + choku-zuki, chudan-kamae, migi-uchi-mikazuki-geri-uke, migi-fumi-komi (from hiki-ashi), hidari-uchi-mikazuki-
geri-uke, hidari-fumi-komi (from hiki-ashi), migi-uchi-mikazuki-geri-uke, migi-fumi-komi (from hiki-ashi), hidari-uchi-
mikazuki-geri-uke, hidari-fumi-komi (from hiki-ashi).
Turn to right 90 degrees stepping to migi-seisan-dachi + shuto-uke-kamae, migi-jodan-shuto-uchi (palm down), step to
hidari-seisan-dachi + hidari-jodan-shuto-uchi (palm up), migi-oi-zuki + KIAI. Turn to left 180 degrees to hidari-seisan-
dachi + shuto-uke-kamae, hidari-jodan-shuto-uchi (palm down), step to migi-seisan-dachi + migi-jodan-shuto-uchi (palm
up), hidari-oi-zuki + KIAI.
Turn to right 90 degrees, step back with hidari-kosa-dachi, turn to hidari seisan-dachi + hidari-shuto-uke-kamae, migi-
hiza-geri + ryote-hikite + KIAI, turn to left 180 degrees to hidari-seisan-dachi + hidari-shuto-uke-kamae.
Migi-uchi-mikazuki-geri-uke, rinten + hidari-mawari-yoko-geri, migi-uchi-mikazuki-geri-uke, rinten + hidari-mawari-yoko-
geri.
Turn to the right 90 degrees to migi-tokushu- seisan-dachi + migi-shuto-uke, step to hidari-tokushu-seisan-dachi + hidari-
jodan-shuto-uchi (palm up), rinten, migi-tokushu-seisan-dachi + migi-jodan-shuto-uchi (palm down) + KIAI, turn to the
left 180 degrees to hidari-tokushu-seisan-dachi + hidari-shuto-uke, step to migi-tokushu-seisan-dachi + migi-jodan-
shuto-uchi (palm up), rinten, hidari-tokushu-seisan-dachi + hidari-shuto-uchi (palm down) + KIAI.
Step to right 90 degrees to migi-shiko-ashi-dachi + migi-gedan-shuto-uchi, turn to left 180 degrees to hidari-tokushu-
seisan-dachi + hidari-shiko-zuki + KIAI.
Stand up in musubi-dachi, rei.
Bassai
Turn upper body to right side bringing in right heel to 45 degrees, turn body back to facing the front and step left foot
into hidari-neko-ashi-dachi, stomp left foot, step forward with right foot and step behind into ura-migi-kosa-dachi +
migi-morote-uke.
Turn to the left 90 degrees and step to uchi-hachiji-dachi + sasoi-kamae, pivot on the balls of the feet 90 degrees to the
left into hidari-tokushu-seisan-dachi + hidari-otoshi-teisho-uke, migi-jodan-shuto-uchi (palm up), migi-otoshi-teisho-uke
+ hidari-koko-uchi, pivot on the balls of the feet 180 degrees to the right into migi-tokushu-seisan-dachi + hidari-jodan-
shuto-uchi (palm up), hidari-otoshi-teisho-uke + migi-koko-uchi, look to the right, step to hidari-kosa-dachi, pivot on the
balls of the feet 180 degrees to the right to migi-tokushu-seisan-dachi + migi-jodan-haishu-uke, pivot on the balls of the
feet 180 degrees to the left + migi-jodan-shuto-uchi (palm up) to the right side (90 degrees), step to the right 90 degrees
to migi-tokushu-seisan-dachi + migi-otoshi-teisho-uke, hidari-jodan-shuto-uchi (palm up), hidari-otoshi-teisho-uke, migi-
koko-uchi.
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Pull right hand to hip, turn to left 90 degrees to uchi-hachiji-dachi + pull left hand around in front of left hip with
tsukami-uke, step left to hidari-okutsu-dachi + migi-tokushu-choku-zuki, migi-chudan-kamae, step to left 90 degrees to
musubi-dachi + migi-kagi-zuki (yukkuri).
Step to right 90 degrees to migi-shiko-ashi-dachi (off-line) + migi-gedan-barai, step forward to hidari-shiko-ashi-dachi
(off-line) + hidari-gedan-kentsui-uchi + migi-sukui-uke, pivot to hidari-seisan-dachi + ryote-tsukami-uke, ryote-hikite +
migi-hiza-geri + KIAI, turn to left 180 degrees to hidari-seisan-dachi + shuto-uke-kamae.
Step forward to migi-seisan-dachi + shuto-uke-kamae, jodan-ryote-shuto-uke, slide forward to migi-tokushu-seisan-
dachi + ryote-chudan-kentsui-uchi, slide right foot forward migi-chudan-shiko-zuki, look to left 180 degrees + kyusei-
kamae.
Step forward to migi-shiko-ashi-dachi + migi-uchi-uke, migi-gedan-kentsui-uchi, turn to the left 180 degrees to hidari-
tokushu-seisan-dachi + choku-zuki, migi-uchi-mikazuki-geri-uke (hit left hand), step down to migi-shiko-ashi-dachi + migi-
mawashi-empi (hit left hand), pivot to migi-tokushu-seisan-dachi + migi-gedan-kentsui-uchi, step back to musubi-dachi +
hikite, step forward to migi-sanchin-dachi + ryote-teisho-uchi (yukkuri), step back to musubi-dachi + hikite, step forward
to hidari-sanchin-dachi + ryote-teisho-uchi (yukkuri), step back to musubi-dachi + hikite, step forward to migi-sanchin-
dachi + ryote-teisho-uchi (yukkuri), step left foot to right into musubi-dachi + pivot to the left 90 degrees, step back with
left foot (in line), pivot on the balls of the feet 180 degrees to hidari-okutsu-dachi + migi-sukui-uke, pivot on the balls of
the feet 180 degrees to the right in migi-okutsu-dachi + hidari-sukui-uke.
Step left foot to right to hidari-tokushu-neko-ashi-dachi + both hands to hidari-bassai-kamae, move left foot + kamae
around in semi-circle to the left 135 degrees until foot reaches soto-hachi-dachi distance, stomp left foot, step right foot
to left to migi-tokushu-neko-ashi-dachi + both hands to migi-bassai-kamae, move right foot + kamae around in semi-
circle to the right 135 degrees until foot reaches soto-hachi-dachi distance, stomp right foot.
Stand up in musubi-dachi, rei.
Chinto
Turn upper body to right side bringing in right heel 90 degrees, turn body back to facing the front and step left foot to
hidari-tokushu-neko-ashi-dachi, o-hidari-otoshi-shuto-uke, stomp left foot + raise right heel + o-migi-otoshi-shuto-uke,
shift forward to hidari-tokushu-seisan-dachi + choku-zuki, turn to right 180 degrees in migi-shiko-ashi-dachi + kyusei-
kamae, pivot on right foot 360 degrees (metsuke only turns 180 degrees) landing in hidari-shiko-ashi-dachi + hidari-
gedan-barai.
Pivot to the left 90 degrees to hidari-tokushu-seisan-dachi + jodan-kosa-uke (hands open), slide back to hidari-neko-ashi-
dachi + pull hands in to chest, ni-dan-geri, land in hidari-tokushu-seisan-dachi + gedan-kosa-uke (hands closed), turn to
right 180 degrees + step to hidari-tokushu-seisan-dachi + gedan-kosa-uke (hands closed), turn right 180 degrees to migi-
shiko-ashi-dachi + migi-shiko-zuki, step forward hidari-shiko-zuki.
Turn right 90 degrees to uchi-hachiji-dachi + hidari-mae-mawashi-empi (hit right hand), slap thighs, sasoi-kamae, migi-
mae-mawashi-empi (hit left hand), slap thighs, face right 90 degrees and step back to hidari-kosa-dachi + tsuno-kamae,
face left 90 degrees and step forward to uchi-hachiji-dachi + yoku-hei-kamae, hit thighs with fists, twist to the right 90
degrees to migi-kosa-dachi + tsuno-kamae, ryote-hikite, hidari-mae-geri, migi-mae-geri, turn to left 180 degrees to
hidari-seisan-dachi + choku-zuki, migi-oi-zuki, hidari-oi-zuki.
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Migi-uchi-mikazuki-geri-uke, kaiten-tobi + land in asuka-kamae, look forwards, look left, look right, look forwards, step
up to hidari-sanchin-dachi + ryote-teisho-uchi (yukkuri), slide back to hidari-seisan-dachi + hidari-yoko-teisho-uke, migi-
mae-teisho-uke (yukkuri, with left hand beneath, palm up).
Stand up in musubi-dachi, rei.
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Items Removed From
The Chito-Ryu Curriculum
And Why
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Heisoku-dachi
- Heisoku-dachi has been removed because it no longer is used in our curriculum in favour of using musubi-dachi
for things like bowing, standing at attention, and so on.
Heiko-dachi
- Heiko-dachi has been removed because it no longer is used in our curriculum in favour of using soto-hachiji-dachi
for things like listening, standing at ease, and so on.
San-ren-zuki
- San-ren-zuki has been removed because it no longer appears in any kihons or katas and because I would rather
that the students focus on doing the techniques properly one at a time and then speed up gradually, stringing
punches together as their skill improves.
Mae-te-zuki
- Mae-te-zuki has been removed because of its similarity to choku-zuki. In this way, we have less material to
remember but are not losing any actual techniques performed.
Keage vs kekomi distinction
- The distinction between keage and kekomi kicks has been removed because the application of each is the same,
hitting an opponent at whatever distance they are the best you can. Instead, students will be taught to kick at a
variety of distances and to use suri-ashi or more hip involvement to make contact.
Soto-uke
- Soto-uke has been removed because of its poor ergonomics and the lack of power that it has when contrasted
with a very similar move (and its replacement), shuto-uke. Shuto-uke is superior because it involves the triceps
more efficiently and offers more options once the block is completed because the hand is open allowing for
grabs.
Osae-uke
- Osae-uke has been replaced by teisho-uke because they use the same part of the hand an in this way, the
students have less names to remember but do not lose any techniques from their repertoire.
Uraken-uke
- Uraken-uke has been replaced with gedan-barai in all cases because of improved power, resiliency of the
blocking surface and utility when dealing with powerful kicks.
Heiko-zuki
- Heiko-zuki has been removed because of its lack of practicality and, in most instances where it was in a
kihon/kata, has been replaced by ryote-teisho-uchi.
Ko-uchi-mawashi-geri
- Ko-uchi-mawashi-geri has been removed because it lack power and is more useful in sport kumite practice than
in a real encounter.
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Mawari-ushiro-geri
- Mawari-ushiro-geri has been replaced by mawari-yoko-geri because of increased reach, ergonomics and power.
Kakiwake-uke
- Kakiwake-uke has been replaced with ryote-kote-uke because of better ergonomics as well as improved flow
from this technique to a grab, push or other technique.
Sayu-zuki
- Sayu-zuki has been removed because of a lack of power and utility. It has been replaced with shiko-zuki wherever
it appears.
Naiwan-uke
- Naiwan-uke has been removed because it is easily replaced by gedan-barai or teisho-uke in all cases and has very
limited power or utility in real combat.
Kiba-dachi
- Kiba-dachi has been removed because it has poor ergonomics and is a weaker version of shiko-ashi-dachi.
Ippon-ken-zuki
- Ippon-ken-zuki has been removed because it has limited utility and never appears in any kihon, kata, bunkai, or
goshin-jitsu. The idea of using these knuckles to inflict damage is introduced for shodan but under the umbrella
of unusual striking surfaces rather than as a discrete technique.
Nakataka-ippon-ken-zuki
- Nakataka-ippon-ken-zuki has been removed for all the same reasons as ippon-ken-zuki.
Soto-mawashi-geri
- Soto-mawashi-geri has been removed because it is essentially a mae-geri that is moving to the outside (if using
the ball of the foot to strike) or a kick that does not offer enough power to justify its inclusion in this system (if
using the instep).
Mikazuki-geri
- Soto and uchi-mikazuki-geri have been removed as strikes because of the lack of practicality and power
generation. Soto-mikazuki-geri especially presents problems as it leaves the karateka very vulnerable if they do
not make contact in their attempt.
Nami-ashi-geri-uke
- This kick has been removed because it does not work.
Tobi-geri (Mae/yoko/ushiro)
- The tobi-geri has been removed as a technique to be learned as part of the syllabus but may still be included in
practice for agility. The techniques themselves offer very little utility in their own right and are not likely to be
used in real life.
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Age-zuki
- Age-zuki has been removed because it has very limited utility and power.
Yumi-zuki
- Yumi-zuki has been removed as a technique and is, instead, the way that shiko-zuki is performed when turning.
Nukite
- Nukite has been removed because it is too dangerous to the practitioner for the benefits it may return.
Mae-empi
- Mae-empi has been removed because it has never been clearly defined when contrasted with mawashi-empi and
yoko-empi.
Oshi-zuki
- Oshi-zuki has been removed because of its lack of practicality.
Yama-zuki
- Yama-zuki has been removed because of its lack of practicality.
Zuki-uke
- Zuki-uke has been removed because it is nearly impossible to hit with power and stop an incoming punch
concurrently in a real situation.
Oshi-age-uke
- Oshi-age-uke has been replaced as a discrete technique and is taught as a jodan-uke.
Ni-ju-hichi-ko
- Ni-ju-hichi-ko has been removed because the techniques that lie within are introduced at different levels in the
curriculum and the kihon does not have enough benefit for the students otherwise.
Shi-ho-hai
- Shi-ho-hai has been removed because it, and its bunkai, do not offer practical skills to karateka and all potential
benefits it offers are found in other kihon and kata.
Kumite (kihon-ippon/jiyu-ippon)
- These two kumite practices have been removed as actual components of the curriculum and, instead, the format
of kumite matches will constantly be changed so students will have to adapt.
Formalized goshin-jitsu sets (juniko, nageno, henshuho etc.)
- Formalized goshin-jitsu sets have been removed in favour of learning specific techniques discretely at ranks
where they are appropriate. This also offers the advantage of being able to drill the skill in different
circumstances rather than always the same way (always right hand or high or back foot etc.)
