TECHNICAL MANUALFOR THE INSTRUCTOR

THE JAPAN KARATE ASSOCIATION

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TECHNICAL DIVISION

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The discipline of KARATE-DO
KARATE-DO – General Ideas

1. What is KARATE-DO ······················································································································ 1
2. Knowledge of the Discipline of KARATE-DO ································································· 2
3. Expectations from the Instructor ···················································································· 3
4. Elements to Pay Attention when Instructing ····························································· 4
5. A Note Regarding Basics (KIHON) ······················································································ 4
6. Fundamental Principles of Basics (KIHON) ···································································· 5
7. Key Elements to Evaluate KIHON during Examination ············································ 5
8. A Note Regarding the Instruction of Stances ·························································· 6
9. Elements to Generate Focus (KIME) through Stances & Postures ················ 7
10. Feet Movements (UNSOKU) ···································································································· 8
11. Changes of Direction (HOKOTENKAN) ··············································································· 8
12. A Note Regarding KUMITE ····································································································· 9
13. Key Elements to Evaluate KIHON-IPPON & JIYU-IPPON KUMITE
during Examination ···················································································································· 11
14. A Note Regarding KATA ·········································································································· 11
15. Key Elements to Evaluate KATA during Examination ············································ 12
Addendum – Expectations of Practice ··················································································· 14
Elements to Consider & Movements of KATA ······································· 15

Basics (KIHON) of KARATE-DO
How to Use Hands and Feet
1. How to Use the Hands ············································································································· 17
2. How to Use the Feet ················································································································ 19
Stances ····················································································································································· 21
Punches (TSUKI) ··································································································································· 22
Front Kick (MAE-GERI) ····················································································································· 24
Front Stance (ZENKUTSU-DACHI) ······························································································ 26
Reverse Punch (GYAKU-ZUKI) ······································································································· 27
Lunge Punch (JUN-ZUKI/OI-ZUKI) ····························································································· 28
Downward Block (GEDAN-BARAI) ································································································ 29
Back Fist Strike (URAKEN-UCHI) ······························································································· 31
Side Kick (YOKO-GERI) ····················································································································· 31

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Elbow Strike (ENPI) ··························································································································· 33
Rising Face Block (JODAN-AGE-UKE) ······················································································· 34
Outside Forearm Chest Block (CHUDAN-UDE-UKE/SOTO-UKE) ································ 35
Back Stance (KOKUTSU-DACHI) ·································································································· 36
Knife Hand Chest Block (CHUDAN-SHUTO-UKE) ································································ 37
Punching Board (MAKIWARA) ········································································································ 38

Overview of The Vital Points of The Body ··················································· 40

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THE DISCIPLINE OF KARATE-DO
KARATE-DO – GENERAL IDEAS
1.

What is KARATE-DO

Winning is not the prime objective of the study of KARATE-DO. Intensity ofexertion in practice serves to mould perfection in character. This
represents the traditional Martial Art (BUDO) philosophy.
The Way of Life (DO) – To seek the ultimate techniques
In ancient times, techniques existed as self-defense and practices in theform of KATA. This has been perpetuated until now.
These modern times are also seeing additional benefits such as physicalfitness, integrated in sports as an activity, educational as well as research,thus enticing a popularity world-wide. However it is of importance to spend
profound research time with each technique. The essence of KARATE-DO
resides in its art form, using the body as a whole to reach a perfect heightin the ability to focus in the performance of techniques, as well as forming
weapons that have paramount accuracy, thus will lead to creating a practical
opportunity for total effectiveness. In this can be observed a techniquethat is victorious, IPPON, as in a tournament.
Daily, realistic practice of focused techniques will be a determinant of theinitiation, completion and alert state of mind and body. This process
requires the utmost self-control and frame of mind that is filled with asubstantial quantifying content that is the foundation on which rests the
tradition of Martial Art (BUDO). Its spirit is a symbiosis between mind andbody. A fist is a sword, a reality that sets such profound attention,
fostering the development of character that now can aim for a victorious
technique for each technique that is practiced.
The repeated technique over a time continuum is a creation of quality andsubstance paralleled in technique and practitioner, a must for improvement.
The pursuit of mind, body and spirit is a learned initiative that creates a
profound understanding of one’s self. The strict view of ancient Martial Art
that takes its cue from a life and death moment is still the foundation of areality that governs its study. Therefore Martial Art remains a holistic
discipline for the mind, the body and the spirit.

－－テクニカルマニュアル.indd00/0/::This is the principle from which emerged the concept of Victorious
Techniques or IPPON SHOBU, in a tournament.
The fundamental idea of modern Sport Karate resides in how many points
are scored within a certain time. This results in determining a winner,
making it easy for the spectator to understand this process.
This presents an interesting dilemma : the pursuit of the Art of cultural
tradition or the practice of Sport Karate. Whereas the goals, objectives
and structural frame for instruction and practice is quite different. Thus
the pursuit of one excludes the pursuit of the other.
The apotheosis of a Victorious Technique of IPPON in the Art of KARATE, liesin the strength within a continuous practice of basics (KIHON), routines offighting (KATA) and fighting (KUMITE).
Intense practice, creation of new ideas, research and introspection are thetools of the Art of KARATE. Mind, body and spirit in perfect harmony, in
unison with the finality of one technique.
The practice of the tradition of Martial Art (BUDO), is a lifetime ofachievement. There is a saying that it starts with a bow and ends with abow. One must reflect the ideals applied in the Dojo to the every day life.
That is the Way.
Mastering this Way of Life is a long journey that transcends all nations.
Japanese values and principles deriving from the diligent pursuit of this Way
of Life wish to present an invaluable contribution to all populations.

2.

Knowledge of the Discipline of KARATE-DO
The practice of KARATE-DO should always be continuous as a lifetime Art,
over 10-20 years and beyond.
There are many basic techniques in KARATE-DO. As in punches, there are 10
different types. KATA – as many as 25. Trying to memorize all is setting too
high an expectation. Interesting to note that one may have a limited
proficiency in basics and yet accessing to Fighting (KUMITE) and competitions
is similar to chasing after one’s shadow. Proficiency in basics (KIHON) cannot
be overly emphasized. Eventually this leads to being ahead of whom seemed
to be ahead in the beginning. The practice of the fundamental basics cannot－－テクニカルマニュアル.indd00/0/::be overshadowed by the idea of winning as in competition and accessing
Fighting or KUMITE.
If so, then the characteristics of KARATE-DO become elusive. Punching andkicking with strength and sharpness, agility and power – basic training has
now become adapted to competition, an unlikely compromise of instruction to
produce competitors in an unbecoming short period of time.
The techniques of KARATE-DO and its finality resides in the ability togenerate focus (KIME). To reach the target in the shortest time is a
powerful ally – punching, striking and kicking must reflect this focus but aswell blocking. Rapid techniques are useless without focus. SUNDOME or thebreathtaking moment when the attack reaches its target but stopping a few
cm before the target. The ability to do this requires daily training,
discipline and self-control that results in self-victory rather than being
victorious against someone.
Progression in learning comes from fulfilling one technique at a time thenmoving to the next. It is the key to depth of knowledge in KARATE-DO. The
student of KARATE-DO should always exert temperance in all extreme ofemotions.
The practice of KARATE-DO has been historically reserved for the nobility.
There is a saying that it starts with a bow and ends with a bow,
distinguishing the Art as reflecting always good manners and courtesy.
Techniques and KATA always do start with a defensive technique. Therefore
there is no first attack in KARATE-DO, a literal translation of the immortal
words of “KARATE NI SENTE NASHI” – in actuality this means that KARATE
always starts with a defensive technique. It is simply prohibited to exhibit
any violent behavior. Patience and humbleness are the ultimate virtues of
KARATE-DO.

3.

Expectations from the Instructora) awareness and pride as a JKA Instructorb) all actions reflect KARATE-DOc) rather that becoming an expert in techniques, strive to attain thediscipline of this Way of Lifed) one must become an excellent role model to otherse) depth in research, creativity and constructive mind is a mustf) self-abnegation, cooperative interactions with others, dedication andcommitment to the advancement of KARATE-DO are a must－－テクニカルマニュアル.indd00/0/::g) the philosophy of the Founder and Masters – “there is no first attackin KARATE-DO” – should always be kept close at heart

4.

Elements to Pay Attention when Instructinga) good manners, courtesy and sincerity, restraint, true to one’s selfb) patience, not giving up, caution and attention to detailsc) avoiding favoritism or preference of certain individualsd) age, character and body condition of members, environment, variationin the way of teachinge) teaching the elite versus the general athlete – the approach must be
differentf) not only to point out the mistakes but as well how to correct themg) technical instruction and conditioning are two different issuesh) do not teach your favorite techniques only, but the best way to dotechniques and not one’s individual techniquesi) basics (KIHON) – KATA – KUMITE, there should be balance of these 3
elementsj) there could be a self-defense portion (GOSHINGI) on occasion

5.

A Note Regarding Basics (KIHON)a) the level of depth increases according to one’s abilityb) basic techniques must be explained in terms of why they are
executed; proper explanation of execution of techniques at times
scientifically explainedc) proper posture and stances must be reinforced with feet movementsthat are smoothly and quietly executedd) hip rotation and body shifting from initiation to execution, must be
kept parallel to the floor and executed with quicknesse) each technique must include the following: course followed bytechnique, creating speed, focusing power; all must be done properlyf) when completing blocking techniques, the elbow must be correctly
positioned; taking attention that blocking is done at the opponent’s
wrists and anklesg) ensure that proper distance is determined – taking care to not
overreach and loose form－－テクニカルマニュアル.indd00/0/::h) target of attack must be clearly defined – either face (JODAN), chest(CHUDAN), lower abdomen (GEDAN)i) specific rules of basics (KIHON), apply to all, nevertheless certain
individual characteristics represent a situation where a compromisemust be considered

6.

Fundamental Principles of Basics (KIHON)a) Diligent training is very important to attain maximum speed and power.
Impeccable control and maximum efficiency of power are a must inorder to handle the stronger opponent. Practice with the aide of the
Punching Board (MAKIWARA) or sandbag is helpful to develop hands andfeet, as well as daily training to master all techniques.
b) Proper balance, concentration of power, proper course in delivery,
speed, rotation of hips, shifting the hips forward are the elements toapply in daily practice. Punching, striking, kicking and blocking must be
executed with the hips as being the center, and power generated fromthe whole body to course through the hands and feet.
c) When techniques are used, all unnecessary power must be eliminatedin order to create a strong source of power. Generating a bolus of
power is done as follow: 0-10-0 where there is a sudden burst of
power followed by total relaxation of the body but with an attentive,
poised mind, ready for the next action to repeat this whole process.

7. Key Elements to Evaluate KIHON During Examinationa) sole of foot of supporting leg is flat on the floorb) heel of the foot is not raised during execution of movementsc) for Front Stance (ZENKUTSU-DACHI), Back Stance (KOKUTSU-DACHI),
Horse-Straddling Stance (KIBA-DACHI), and any other stances, proper
position of the center of gravity, proper bent in knee position, sole offeet are flat of the floord) hips are kept parallel to the floor and the upper body kept straighte) fists or knife-hand “weapons” are formed properly with wrists kept tightf) ball of the foot and side of the foot “weapons” are formed properly withthe bent ankle kept tight－－テクニカルマニュアル.indd00/0/::g) pulling back of arm towards the body, and rotation of hips kept leveled;blocking, punching and striking with forearm is in synchrony with pullingback motionh) proper elbow and wrist position during blockingi) during a kicking sequence, the foot of the supporting leg is flat on the floor
and the knee is in proper alignmentj) the sequence of the kicking leg must be proper: lifting the knee up highand tucking the foot in, extension and pulling back of the legk) proper distinction between Side Snap Kick (YOKO-KEAGE) and Side Thrush Kick
(YOKO-KEKOMI)l) simultaneous hands and feet motion especially during a blocking sequencem) using the whole body to generate power and focus in performance

8.

A Note Regarding the Instruction of Stancesa) When using attacking and defensive techniques, the body has to be ina state of balance or equilibrium in order to be effective. Good form,
proper stance are the foundation of strong and efficient techniques.
The upper body must be kept straight, the hips parallel to the floor,
and balance must be kept to be able to use maximum speed and power.
Strong and effective techniques come from a strong stance. After
execution, there should be a resilience in moving into another form or
stance which will depend on direction of techniques that one used andthe type of technique that is used. Stances were historically createdfrom diligent research of Pioneer Masters and resulted in being thefoundation of modern KARATE-DO.
b) There are 2 types of stances – one that has the dynamic feeling ofpushing the knees outward and the other that has the dynamic feelingof pushing the knees inward. Regarding the first, both knees
dynamically “push” outwards while the inner thighs are tensed.
c) Types of Stances – Natural Stance (SHIZENTAI),
Heels Together Natural Stance (MUSUBI-DACHI),
Feet Together Natural Stance (HEISOKU-DACHI),
Feet Outward Hip Width Natural Stance (HACHIJI-DACHI),
Angled Back Foot Straight Front Foot Natural Stance (RENOJI-DACHI),
Feet Parallel Shoulder Width Natural Stance (HEIKO-DACHI)
there is also - Front Stance (ZENKUTSU-DACHI),－－

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Back Stance (KOKUTSU-DACHI),
Straddling Horse Stance (KIBA-DACHI),
Half-Facing Back Leg Bent Front Stance (FUDO-DACHI),
Cat Stance (NEKO-ASHI-DACHI),
Half-Moon Stance (HANGETSU-DACHI),
Foot Ahead Stance (SANCHIN-DACHI),
Feet Outward Straddling Horse Stance (SHIKO-DACHI),
Feet Crossed Stance (KOSA-DACHI)
The ratio of weight distribution between the front leg and the backleg is as follow – for Front Stance (ZENKUTSU-DACHI) 6:4 – for Back
Stance (KOKUTSU-DACHI) 3:7 – for Half-Facing Back Leg Bent Front
Stance (FUDO-DACHI) and Straddling Horse Stance (KIBA-DACHI) 5:5 –for Cat Stance (NEKO-ASHI-DACHI) 2:8d) The rotation of half-facing front (HANMI) position to front positionand vice-versa, has to be done properly and with smoothness, withsharpness and with the hips parallel to the floor.
e) Reversed half-facing front (GYAKU-HANMI) – the hips rotate fully tothe other side with a feeling of both legs tensing inwards.
f) Feet Crossed Stance (KOSA-DACHI) – after a jump or a leaping step
forward, land with one leg forward immediately followed by the other,placing the back foot behind the front foot to maintain balance. If
the weight is on both feet when landing there could be a loss ofbalance.

9. Elements to Generate Focus (KIME) through Stances & Posturesa) keep the sole of the foot flat on the floorb) the knee is bent in the direction of the toes, the patella or kneecap is in linewith the outer aspect of the big toec) the height of the center of gravity in all stances is the samed) the joints of the ankle and knee are bent in their proper respective angle
according to each stance, and maintained firmlye) the length and width in the position of the feet as well as the position of thecenter of gravity are determined according to each stance, subject to variancedepending on distance and techniques usedf) the hips are kept parallel to the floorg) the upper body is kept straight－－テクニカルマニュアル.indd00/0/::

10.

Feet Movements (UNSOKU)a) Feet Movements (UNSOKU) – there must be a clear distinction in theuse of the supporting leg and the leg that is moving. The knee andankle of the supporting leg are fully extended and the sole of the footis kept flat on the floor. The foot of the leg that is moving is gliding
effortlessly on the floor with the feeling of having space for only one
sheet of paper to be gliding over. A typical punch where this is shown
is Lunge Punch (JUN-ZUKI/OI-ZUKI) which has great acceleration andpower.
b) 2 feet simultaneously sliding (YORI-ASHI) – stance and upper bodyremain the same, shift the whole body from forward to backward or
vice-versa, or from side to side, both feet sliding simultaneously. Use
the opposite leg to the direction to initiate the motion and smoothly
slide approximately the distance of one foot without hopping, and hips
should be parallel to the floor.
c) Stepping forward & Stomping (FUMIDASHI & FUMIKOMI) – Stepping
forward is done firmly by the supporting leg, and keeping the hips
parallel to the floor. The foot that moves is effortlessly gliding along
the floor.
Stomping is executed by pulling the knee up high and using the sole ofthe foot, firmly thrusting downward the leg. Sometimes, thistechnique can be used conjunctively with the outer aspect of the foot
(SOKUTO).
There should be a clear differentiation between these 2 techniques.
d) Ricochet (TSUGI-ASHI) – one foot pulling towards the supporting leg
becoming thus the supporting leg while the other leg moves either
forwards or backwards.

11.

Changes of Direction (HOKOTENKAN)a) Moving sideways or backwards – use the supporting leg as the central
point and rotate the hips to change direction. The sole of the foot of
the supporting leg should be kept flat on the floor, especially the heelof the foot.

－－テクニカルマニュアル.indd00/0/::b) Moving backwards – shifting the hips toward the heel of the back footwhich then becomes the supporting leg, keeping the hips parallel tothe floor and the upper body kept straight to pivot, makes turningeasier. To facilitate the turn, the ankle of the pivoting foot must be
kept relaxed and not rigid.
c) Bring one foot toward the center of the body a ½ step to change
direction – keeping the upper body unchanged, bring the back foot ½
step toward the center of the body so that the foot, hips and head
are forming a straight line and execute the pivot, much like therotation done by a turn top. Quickly rotate toward the next direction.

12. A Note Regarding KUMITE
There are different types of KUMITE or fighting, according to different
KUMITE levels. There should be an understanding of the characteristics andelements of each type of KUMITE, as well as capture clearly the objectivesof each practice.
1. 5 Steps Basic Fighting (GOHON KUMITE)
3 Steps Basic Fighting (SANBON KUMITE)a) the objectives of this being the basic blocking and attacking
techniques in a structured set of movements; emphasis is on proper
feet movements as well as mastering proper blocks and attacksb) for the more advanced student, emphasis is on speed and rapid bodyshifting as well as blocking
2. 1 Step Basic Fighting (KIHON-IPPON KUMITE)a) the objective is to block a basic technique and retaliate in a powerfulmannerb) it is necessary to have a proper connection between blocking andcounterattackc) proper understanding of distance required to counterattack - eachcounterattack has a set distance to it, as well as each block has a set
distance to it in order to be followed by a different specificcounterattack－－テクニカルマニュアル.indd00/0/::d) depending on the distance and position of the body to block, a quick
choice is made of the appropriate counterattack to usee) timing in blocking – to see the opponent’s movements and wait until thelast possible moment to initiate the block, in a rapid mannerf) when executing a block to try to apply different stances
3. Semi-Free Fighting (JIYU-IPPON KUMITE)a) used as transition to Free Fighting (JIYU-KUMITE) and a chance to gain
more depth in the practice of KARATEb) there is no fixed distance to attack or defend, thus increasing thereality of fighting (KUMITE); blocking and attacking are done in one
single breath, a symbiosis between block and attackc) there is only one chance to attack or block, care should thus be taken
for best efficiencyd) effective way to counterattack should be executed with maximum
focus, and modifications of techniques, feet movements and bodyshifting should be practiced diligently

4. Free Fighting (JIYU KUMITE)a) practice in using changes in distance, trick the opponent into entering
one’s own space, then retaliate with an attack or let the opponent
attack first and then retaliateb) how to seize the chance and take advantage of itc) changing techniques and using different combinationsd) transforming a block into an attacke) wait for the opponent to initiate, or attack incessantlyf) strategies is dealing with an opponent whether in initiation sequences
or retaliation sequencesg) timing－ 10 －

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13. Key Elements to Evaluate KIHON-IPPON & JIYU-IPPON KUMITE
During ExaminationA) Proper Attitude* courtesy, decorum* spirit* eye contact* poise and alert state of mindB) Proper Distance* when attacking, proper distance and angle to the target* proper timing in blocking; blocks done at the proper aspect of thewrist or ankle; body is out of the punching, kicking extension line
* proper practical use of blocking and body shifting according to the
opponent* appropriate counterattack according to the distance created by theblock, quickly executed in one breath* when initiating a move, the supporting leg has no extra motionC) Concentration of Power* using the whole body to generate power and focus in performance* hips are kept parallel to the floor; rotation of hips kept leveledwhen moving forward or back; direction of techniques and body
movements are practical* when using focus in techniques, maintain proper stance and posture,
as well as forming proper “weapons” that are kept tight* strong vocal release of energy or KIAI with the mind and body insharp focus

14. A Note Regarding KATA
KATA or routines of fighting, cannot be a simple physical exercise. It is a way

to attain discipline in Martial Art and to cultivate the Art part of it. Without
KATA there is no progress in true KARATE-DO. KATA represents the ideal
model of KARATE techniques: the respect of this essence, the knowledge andthe proficiency of KATA. Bringing forth 3 elements emerge from this, try toemulate respect of this essence, knowledge and proficiency for it. This

－ 11 －

テクニカルマニュアル.indd00/0/::search and constancy in striving to perfection can be applied to daily life as
well.
a) start and end with a bow.
b) KATA is not only made of basic techniques; there must be constant
fluidity in motion, like blood coursing through the veinsc) there is no change of movements or techniques in order toaccommodate one’s selfd) there should not be any exaggeration of movements in order to try tocreate expected contrast in movementse) 3 essential elements consist of: contrasting displays of power,
contraction and expansion of the body, changes in the speed of thetechniquesf) breathing must be synchronized with corresponding movements of thetechniques; combination techniques must be done in one breathg) verify that there is an accurate number of movementsh) proper eye contact that is corresponding to the direction of techniques;attentive attitude and sharp outburst of vocal energy (KIAI)i) changing direction and proper execution of changes in direction must
be demonstrated with the aid of both hip rotation and supporting leg,with smooth feet movementsj) in order to have focus in techniques, the entire body must be focused
especially paying attention to changes in directionk) characteristics and meaning of each movement must be clearly demonstratedl) there should be proper sequencing of techniquesm) avoid unnecessary motions when moving from one technique to the nextn) there must be many repetitions of movements to be able todemonstrate the application of the movementso) one count is equal to one movement; be aware of proper rhythm in countingp) all basic techniques should be strong and accurate

15. Key Elements to Evaluate KATA During ExaminationA) Proper Attitude* courtesy, decorum* spirit* eye contact* poise and alert state of mind

－ 12 －

テクニカルマニュアル.indd00/0/::B) Strength and Accuracy of Technique* sole of foot of supporting leg is flat on the floor* heel of the foot is not raised during execution of movements* stances are clearly defined, with the sole of feet flat on the floor* hips are parallel to the floor, the upper body kept straight* when forming proper “weapons”, wrists and ankles are properly angled
and kept tight* pulling back of arm towards the body, and rotation of hips when moving
forward or back kept leveled; blocking, punching and striking with forearmis in synchrony with pulling back motion* proper elbow and wrist position during blocking* during a kicking sequence, the foot of the supporting leg is flat on the floor
and the knee is in proper alignment* the sequence of the kicking leg must be proper: lifting the knee up highand tucking the foot in, extension and pulling back of the leg* proper aim to the target, whether front, side, face level (JODAN),
chest level (CHUDAN), lower part of the abdomen level (GEDAN)* simultaneous action of hands and feet during blocking, punching and striking* using the whole body to generate power and focus in performanceC) Knowledge of the KATA
* proper order in movements* understanding of the meaning of technique* observing the 3 key elements of KATA: levels of strength, contraction andexpansion of the body and change in the speed of the techniques* accuracy in the line of performance (ENBUSEN); return to the starting point* illustrating the essential characteristics of the chosen KATA
* no extra or exaggerated motions－ 13 －

テクニカルマニュアル.indd00/0/::Addendum – Expectations of Practice
Any martial life or sports is a mental roller-coaster of contradictoryemotions in its pursuit, especially with regards to the practice of KATA.
Therefore, patience and constancy in practice is foremost.
A long time ago in Okinawa, it was said that it took three years to learn one
KATA and it was quite common for Masters to be proficient in three to five
KATA. The superficial knowledge of many KATA was not ideal, but on theother hand, practicing only very few became monotonous.
Each KATA has its own characteristics and elements and it is necessary topractice a variety of KATA for these reasons. Each person has their own
character and body type. Therefore it is not ideal for all to practice thesame KATA. There is always a preferred and least-liked KATA. Care should
be taken to examine a variety in order to study their characteristics,
meaning and application of techniques and find one that is most suited forthe individual. Ideally, a choice of one or two is best to perfect them.
Even the most experienced of students will hit a wall. When this happens it
is wise to do KATA slowly and spend time defining its understanding, and toseek enjoyment in performance. New discoveries can be done this way suchas body shifting. When practicing KATA, always strive to capture the 3 key
elements which are – contrasting displays of power, contraction andexpansion of the body, changes in the speed of the techniques.
Proper posture and utmost spirit, eye contact and imaginary imaging of
opponent are essential as well as comprehension of the meaning of eachtechnique.

－ 14 －

テクニカルマニュアル.indd00/0/::Elements to Consider & Movements of KATA
KATA NAME & MOVES #CHARACTERISTIC POINTSHEIAN SHODANHEIAN NIDANHEIAN SANDAN
HEIAN YONDANHEIAN GODAN

21
26
20
27
23

Were originally called PINAN
Mastering the HEIAN KATA results in proficiency in self-defense &fostering a sense of being safe, derived from an understanding of
HEIAN KATA ( KARATE-DO KYOHAN )Bridge to understanding the next 15 KATATEKKI SHODANTEKKI NIDANTEKKI SANDAN

29
24
36

Were originally called NAIHANCHI
Horse-straddling stance (KIBA-DACHI) – tensing the inner aspect of
the thighs, the outer aspect of the sole of both feet tensing inward(KARATE-DO KYOHAN )BASSAI DAI42KANKU DAI

65

JITTE

24

Defense against stick (BO)Very powerful, power derives from hips, blocks against stick (BO)HANGETSU

41

Hand and feet motions synchronized with breathing
Foot draws a half-moon while advancing

ENPI

37

GANKAKU

42

JION

47

Penetrating the fortress of an enemy
Spirit, power and momentum in execution
Disadvantaged positions become advantage positions in double blocking
situations
Defense in eight directions – many changes in direction, jumps anddrops, turns
Contrast in speed, slow and quick motions, contrast in power,
and contraction /expansion of body

Movements suggestive of the flight of a swallow
Light & quick changes of direction and heightLightness and agility
Rising punches (AGE-ZUKI), punches with leap forward, changes in
direction
Crane standing on top of a rock trying to attack leader of opponents
below
Balance while standing on one leg
Side kick & back fist
Similar to Buddha’s principles of inner strength and outward poise andtranquility
Changes in direction
Sliding both feet together in a direction－ 15 －

テクニカルマニュアル.indd00/0/::BASSAI SHO

27

KANKU-SHO

48

SOCHIN

41

NIJUSHIHO

34

UNSU

48

WANKAN24

GOJUSHIHO DAI67

GOJUSHIHO SHO

65

Intricate open-hand blocks and Spear-Hand (NUKITE) attacks
Defense against stick (BO)

MEIKYO

33

Mirror image of the proper course of direction (ENBUSEN)
Triangular jump

CHINTE32

Defense against face level (JODAN) stick (BO) attack, countersweep
with block and attack

Mainly chest level (CHUDAN) blocks, and chest level (CHUDAN) kicks
KANKU DAI has face level (JODAN) blocks and kicks
Very strong FUDO-DACHI, emphasis on very powerful bold motions
Displays of strength and firmness
Display of fluidity and flexibility in movements
Side Thrust Kick (YOKO-KEKOMI) while in Horse-Straddling Stance(KIBA-DACHI)
Attacking from Straight Back Knife Hand block position (HAISHU-UKE)

Intricate hand and feet agility with techniques
Very fleeting, sliding motion with the feet (SURI-ASHI)

Intricate open-hand blocks, shifting and pivoting in Cat Stance(NEKO-ASHI-DACHI)
Spear Hand (NUKITE) attacks resembling a woodpecker at work
Defense against stick (BO)

Changing from one stance to anotherVertical Punch (TATE-ZUKI)
Trying to re-establish a holistic equilibrium when well-being has been
compromised, is another variable of the Japanese Kanji Character ofthe word CHINTE－ 16 －

テクニカルマニュアル.indd00/0/::BASICS (KIHON) OF KARATE-DO
HOW TO USE HANDS AND FEETKARATE uses the whole body and all its parts thus can be used practically forboth defense or attack. Training hard every day and with proper use, thesebody parts can become as effective as any weapon.

1. How to Use the Hands
Hands can be used, closed as in a fist or opened. Forming a fist is done byflexing the tips of the fingers inward tightly until pressing against the upper
part of the palm, at the base of the fingers. Then squeezing tightly inwards,
until the fist is made. See the upcoming diagrams.
Using the side of the thumb, press tightly against the side of the flexedindex. This is followed by sliding the thumb until it rests tightly against thetwo first flexed fingers. As the little finger tends to eventually relax, it isimportant to keep it tight at all times.
Here are the main weapons that can be formed by a hand into a fist:a) 2 First Knuckles of Fist (SEIKEN) Most of the time this attack is used.
The two knuckles as well as the tip of the flexed fingers form 4 points thatserve to hit a target. When the target is hit, the force of the impact isdirected from the forearm straight into the fist. One must be careful tokeep the wrist straight otherwise the power cannot be focused in the fist.
There could also be damage to the wrist. Because this weapon is used mostof the time, it is important to take time for the development of the fist.
b) Back Fist (URAKEN) The two first knuckles but at the back of the handlevel serve to hit the target. Generally the attack is directed to the facelevel, side of the body, or used for blocking. The springing motion of theelbow is essential to the execution of this attack, performed vertically or
sideways.
c) Hammer (KENTSUI) also called (TETSUI) The outer aspect of the fist is
used and the outer aspect of the little finger. Same application as in b).
d) Knuckle Finger Fist (IPPON-KEN) All fingers are forming the same as ina) except for the index finger that is bent at its second joint and pressedtightly against the inner aspect of the thumb. Used for striking the area
just above the upper lip (JINCHU), the temple or chest area. Same

－ 17 －

テクニカルマニュアル.indd00/0/::

application and form is used for the middle finger or Middle Knuckle Finger
Fist (NAKADAKA-IPPON-KEN).
An open hand is formed by four fingers tightly pressed together with the
thumb bent towards the inner aspect of the hand pressing tightly against
the inner aspect of the palm of the hand, taking care to keep the wrist tightand rigid.
e) Knife Hand (SHUTO) The outer aspect of the hand, from the palm tothe tip of the little finger is used as a “knife” to strike in a sweeping motion
to stop an attack. The springing motion of the elbow is essential to the
execution of this attack, performed to the temple, side of the neck or
stomach as well as the arms.
f) Inner-Side Hand (HAITO) The inner aspect or side of the index finger
serve to hit the target. Applications of motions are similar to e).
g) Back of the Hand (HAISHU) For execution of blocking, however if used
for the side of the abdomen, can be very effective.
h) Spear Hand (NUKITE) It is formed by four fingers tightly pressed
together and the tip of the fingers slightly bent. Thrust is done with a burstof power. This strike is executed to the chest area, the eyes, solar plexus,
and can be performed horizontally or vertically. Along the lines of this strikeis another one where all fingers are bent except for the middle finger andindex finger. This is called 2 Finger Spear Strike (NIHON-NUKITE).
i) Palm (TEISHO) The heel of the palm, with the wrist bent firmly serve tohit the target. Against a punch or kick, it is executed in a side or downward
motion. Also performed to the chin and jaw line, this strike can be very
effective.
j) Elbow (ENPI) Execution is to the chin, chest area, solar plexus, side of
the body, or to block against a punch. There are many uses for thistechnique - especially effective in close range fighting (KUMITE) - for womenand children. Performed upwards or downwards, laterally, forward or
backward. Depending on the direction, this technique has different names
such as:vertically - Rising Elbow Strike (TATE-ENPI)
laterally- Side Elbow Strike (YOKO-ENPI)
backward - Back Elbow Strike (USHIRO-ENPI)
downward Down Elbow Strike (OTOSHI-ENPI)
circular Crescent Elbow Strike (MAWASHI-ENPI)－ 18 －

テクニカルマニュアル.indd00/0/::k) Forearm (WANSHU) Sometimes called Stick (BO), mainly used forblocking or sweeping, especially when the wrist area is developed. When
executed it can damage and discourage the opponent. There are different
names depending on the different aspects of the forearm as follow:
inner aspect(URAWAN/NAIWAN)
outer aspect(OMOTEWAN/GAIWAN)
upper aspect or top(HAIWAN)lower aspect or under (SHUWAN)

2. How to Use the Feet
The feet like the hands, and depending on their use, can inflict more damage
than one can think.
a) Ball of the Foot (KOSHI) Usually used for kicking. Toes should becurled backwards and the base of the toes where there is the beginning of
the ball of the foot serve to hit the target. This attack is executed to thechin area, the chest and abdomen area, and the groin.
b) Outer Aspect of the Foot (SOKUTO) Used for techniques such as Side
Kick (YOKO-GERI), Side Thrust Kick (KEKOMI), or Stomping (FUMIKOMI). Thisis a typical KARATE weapon. There are many different applications for thisweapon and the results are more than anticipated.
c) Heel (ENSHO) Used for Back Kick (USHIRO-GERI) when against being
grabbed from behind or against a limb being twisted.
d) Top of the Foot (HAISOKU) Bend the toes downwards and use the areaat the base of the toes to execute this technique which can be performed to
the groin.
e) Knee (HIZAZUCHI) There are many uses for this attack - same as theelbow and especially effective – in close range Fighting (KUMITE) - for womenand children - for self-defense. Execution it to the groin or thigh area, or
after grabbing the opponent’s head – bring it downwards while simultaneously
performing the attack.
Besides the use of the feet and the hands as weapons, the head, theforehead and the shoulders, as well as any other part of the body can very
well serve to hit the target. Pursuant to study and research, any body partcan be used for attack or defense.

－ 19 －

テクニカルマニュアル.indd00/0/::PERSPECTIVES IN APPLICATIONS FOR USE
How to form a fist

1 Finger Knuckle(IPPON-KEN)

Hammer Fist

2 First Knuckle Fist

Back Fist(KENTSUI)(SEIKEN)(URAKEN)

Under Part(SHUWAN)

Inner Aspect(URAUDE/NAIWAN)

Top of Hand

Inner Part ofPalm of Hand
(TEISHO)

Inner
Knife Hand

(HAISHU)(HAITO)

Knife Hand

Elbow Strike(ENPI)

Outer Aspect(SHUTO)(OMOTEUDE/ GAIWAN)

Top Part(HAIWAN)

Ball of Foot
(KOSHI)

Ball of FootSide of Foot

(KOSHI)(SOKUTO)

Heel

Heel

(ENSHO)(ENSHO)Knee(HIZAZUCHI)

Top of Foot(HAISOKU)－ 20 －

テクニカルマニュアル.indd000/0/::

STANCES
1. General Stances
Natural Stances – SHIZENTAIHeels Together – MUSUBI-DACHI
Feet Together – HEISOKU-DACHI
Feet Outward Hip Width – HACHIJI-DACHI
Angle Back Foot Straight Front Foot Natural Stance - RENOJI-DACHI
Feet Parallel Shoulder Width Natural Stance – HEIKO-DACHIStraddling Horse Stance - KIBA-DACHI
Front Stance – ZENKUTSU-DACHIBack Stance – KOKUTSU-DACHICat Stance – NEKO-ASHI-DACHI
Half-Facing Back Leg Bent Front Stance – FUDO-DACHIFoot Ahead Stance - SANCHIN-DACHI
Half-Moon Stance – HANGETSU-DACHI
Feet Outward Straddling Horse Stance – SHIKO-DACHI
Feet Crossed Stance – KOSA-DACHI
2. Natural Stance
There is no intention shown by the body. Standing very naturally, but in astate of alertness, ready for anything, attack of defense from any direction.
Depending on how the feet are positioned, there are names for them,
however there is no difference in their purpose.
a) Feet Outward Hip Width (HACHIJI-DACHI) The right and left heels arein a straight line, at hip width distance, knees pointing outwards. This
resembles the Japanese character used to designate the number 8. This is atypical Natural Stance.
b) Feet Together (HEISOKU-DACHI) The heels and big toes are kept
together.

－ 21 －

テクニカルマニュアル.indd00/0/::

PUNCHES (TSUKI)
The forearm is used as a spear being trusted forward, towards the face orsolar plexus as well as other targets. 2 First Knuckle Fist (SEIKEN) should
be used for execution.
1. Guidelines for Use
Power should be used efficiently rather than swinging the arm and hand around.
3 fundamental elements should be present:a) shortest course to the targetb) maximum speed or velocityc) all power derived from the body should be focused at timing of impact
During delivery, it is crucial to pull firmly back the other fist to create
maximum speed and power. During the execution of this technique, theforearm brushes against the side of the body, rotating as it reaches its
target creating accuracy and shortest distance to the target. At thatmoment when the target is hit with focus, all muscles of the body are tense,
especially the underside of the body and the lower part of the abdomen. If
there is not this focus of power, there will not be the ability to take theimpact. Thus the technique becomes weak.
2. Types of Punch - Straight Punch (CHOKU-ZUKI)
Previously was mentioned a very traditional way to punch. The target area
consists in the area just above the upper lip (JINCHU), thus Straight Punch
to the Face (JODAN-CHOKU-ZUKI). There is also Straight Punch to the Chest(CHUDAN-CHOKU-ZUKI) and the lower part of the abdomen as a target iscalled Low Straight Punch (GEDAN-CHOKU-ZUKI). Other types of Punch(TSUKI) are as follow:
x trajectory is a half-circle upward – Rising Punch (AGE-ZUKI)
x trajectory is a sideways motion – Crescent Punch (MAWASHI-ZUKI)
x trajectory is the same as the beginning of the Straight Punch
but the fist rotates only half way so that when the technique iscompleted, the fist is facing sideways – Vertical Punch
x (TATE-ZUKI)
x trajectory is the same as the beginning of the Straight Punch,then changing direction to the side, the elbow bending at a

－ 22 －

テクニカルマニュアル.indd00/0/::

x
x
x

x

x

right angle, the fist turning inward, with the back of the fist
facing upwards – Hooking Punch (KAGI-ZUKI)
opposite to Straight Punch in that the back of the fist is facing
downwards – Back Downward Straight Punch (URA-ZUKI)
simultaneous fists executing a Straight Punch, both fists
parallel to each other – Double Punch (MOROTE-ZUKI)
execution of Double Punch but both palms of the fist are facing
each other in a horizontal position – Palm Facing Double Punch(AWASE-ZUKI)
a variation of the previous technique, an attack with both fists,
as the body is half facing front with the shoulders angled
downward; this position of fist – head – fist resembles theJapanese Kanji Character used to designate the word
“mountain” - Triangle Punch (YAMA-ZUKI)
attack of both fists, in a simultaneous execution from initial
position of side of the hip, to in a circular motion as in an
entrapping motion – Scissor Punch (HASAMI-ZUKI)

3. Basic Practice for Punches (TSUKI)a) Starting from Feet Outward Hip Width Natural Stance (HACHIJIDACHI, SHIZENTAI)b) Open the left hand, with the palm of the hand facing downward andangled slightly. The left arm is extended but not locked and the handis in front of the solar plexus. The right fist is on the right hip at theside of the body (HIKITE), poised for action (KATTE).
c) Pull the left hand back with a twisting motion and with a feeling ofpulling the opponent towards the body. Simultaneously the right fistwith a maximum velocity and taking the shortest course, with atwisting motion of the forearm, reaches the target with the 2 First
Knuckle Fist (SEIKEN). The back of the right fist is facing upwards
and the back of the left fist is facing downwards.
d) This sequence is repeated for the other side.

－ 23 －

テクニカルマニュアル.indd00/0/::

4. Points of Cautiona) maintain a straight upper bodyb) fist must be made properly and kept tightc) proper aim to the targetd) shoulders should not be generating power, as well as not be raised nor
pushed forward

FRONT KICK (MAE-GERI)
1. Guidelines for Use
Usually use the ball of the foot to execute this kick to an opponent that isface to face. The target areas are the solar plexus, the groin or face level.
As soon as the kick is completed, the leg is pulled back to its original position.
In order to spring back, the knee has to be relaxed otherwise the kick will
not be strong.
* The supporting leg (SASAE-ASHI) supports the entire weight of the body.
The knee is slightly bent and the ankle should be strong and powerful in its
supportive function.
* The kicking leg (KERI-ASHI) ankle is kept tight, knee is relaxed and use
extensive springing motion to execute.
* Retracting The ration between the kicking and the pulling back motion is 3:7
2. Types of Kick (KERI)
The ball of foot, the base of the toes or the top of the foot are areas to be
used for kicking. The ball of the foot (KOSHI) and the base of the toes canbe used for thrust into the solar plexus. The heel is used for thrust to thethigh, and the knee joint. This can be very effective. Generally Front Kick
(MAE-GERI) refers to kicking upwards.
3. Basic Practice For Front Kick (MAE-GERI) - part 1a) Starting from Feet Together Natural Stance (HEISOKU-DACHI,SHIZENTAI)－ 24 －

テクニカルマニュアル.indd00/0/::b) The left foot remains unmoving and the leg as a supporting leg mustbe firmly planted. Bringing the right knee in a quick motion to thechest, the ball of the right foot is facing the target taking care thatthe tip of the toes are not pointing downwards, the sole of the foot isleveled with the floor.
c) There should be a feeling of transferring power to the ball of thefoot that is poised to kick. Using sharp springing motion to executethe attack, and ensure that the leg is extended.
d) After executing the kick, return to the position as seen in b)e) Then, return to Feet Together Natural Stance (HEISOKU-DACHI,SHIZENTAI)
The left and right side should be practiced. Bringing the knee up high
(KAIKOMI), is a fundamental principle of kicking technique. Usually
beginners tend to make the mistake of kicking far, resulting in the knee
position set to kick becoming detached from the tucked in position andthe springing motion is lost, the kick then becomes weak. Practice shouldemphasize a high kick so that the beginners must lift the knee up highbefore execution of the kick.
4. Points of Cautiona) the upper body and the back should be kept straightb) to kick, the knee is raised high up with the heel pulled close to thebodyc) both feet, knees and toes are pointing toward the targetd) there are no lateral movements of the upper bodye) the hands are not to be used to gather momentum
5. Basic Practice for Front Kick (MAE-GERI) - part 2a) Starting from a Left Front Stance (HIDARI-ZENKUTSU-DACHI), both
fists at each side of the body.
b) Do not move the left foot, the supporting leg is firmly planted,
shifting the hips and moving forward, the weight is placed on the left
supporting leg, simultaneously bring quickly the left knee high, withthe right heel tucked close to the inner thigh.
c) With a quick springing motion, kick upward using the knee as a spring.
d) Pull back the leg that has kicked and go back to the position as seen in b).

－ 25 －

テクニカルマニュアル.indd00/0/::e) Return to original position and repeat the sequence for the other side.
6. Points of Cautiona) shifting of the hips must be done with hips parallel to the floor and do
not change the hip levelb) the hip level should not changec) the hips should be tucked under at all times in the sequence ofexecutiond) the heel of the supporting leg must be kept on the floor

FRONT STANCE (ZENKUTSU-DACHI)
The distance in width between the front and back foot in this stance istwice the width of the hips. The left knee is bent fully while the right leg is
extended. The toes of the front foot are pointing forward and slightly
inward. The toes of the back foot should be pointing in the same direction
as the front ones. The sole of both feet should be flat almost adhering to
the floor. The legs are kept tight by the action of both knees pushing in an
opposing direction. The muscles of the abdomen should be tensed and theupper body kept straight. The center of gravity is slightly forward and theratio of weight distribution between the front and back legs is 6:4.
1. Points of Cautiona) the width between the feet is approximately the width of the hips,
and the length between the feet is approximately twice the width of
the hipsb) the bottom of both feet have to be completely flat on the floor; theback foot is pointing forward; the toes of the front foot are pointing
slightly inwardsc) the front knee is bent fully and the back leg is extended
2. Basic Practice for Front Stance (ZENKUTSU-DACHI)a) Starting from Front Stance (ZENKUTSU-DACHI) with both hands on
the hips. Elbows should be at a natural angle. Hips are facing front.

－ 26 －

テクニカルマニュアル.indd00/0/::b) Rotate the hips 45 degree angle to form half facing front position(HANMI)c) Return to original position of Front Stance (ZENKUTSU-DACHI).
d) Repeat the sequence for the other side.
3. Points of Cautiona) the upper body is kept straight and aligned with the shouldersb) the hips during rotation must be kept leveledc) the hips rotate with the upper body as one unit

REVERSE PUNCH (GYAKU ZUKI)This attack is used to evade an opponent or retaliation after a block.
Execution is from a Front Stance, using the same arm as the back leg,rotating the hips fully and thrusting the arm forward.
1. Basic Practice for Reverse Punch (GYAKU-ZUKI)a) Starting from Feet Outward Hip Width Natural Stance (HACHIJIDACHI, SHIZENTAI), step the left foot forward or step the right footback. The right fist is on the right side of the hip with the back of
the fist facing downward and the left arm is extended but not locked
and the hand is in front of the solar plexus.
b) Form Left Front Stance (HIDARI-ZENKUTSU-DACHI) the upper body ishalf-facing front (HANMI).
c) Pull the left hand back to the left side of the hip, and as the hips
rotate, extend firmly in a thrusting motion the right arm forward.
d) Return to half-facing front (HANMI) position as seen in b).
e) Then, return to Feet Outward Hip Width Natural Stance (HACHIJIDACHI, SHIZENTAI).
f) Repeat the sequence for the other side.
2. Points of Cautiona) when executing the attack, push the back leg with firmness andextend it－ 27 －

テクニカルマニュアル.indd00/0/::b) after execution, the upper body from half-facing front position(HANMI), is now facing frontc) the rotation of the hips always should be done keeping the hips
parallel to the floor; the upper body should not be twisted but kept
straight

LUNGE PUNCH (JUN-ZUKI/OI-ZUKI)This punch is executed while observing an opponent’s movements thenattacking sharply. Starting from Feet Outward Hip Width Natural Stance(HACHIJI-DACHI, SHIZENTAI), step one foot forward forming Front Stance(ZENKUTSU-DACHI), and attacking with the same arm as the foot that has
stepped forward. The attack should be with the 2 First Knuckle Fist(SEIKEN). Targets are the face (JODAN), the chest (CHUDAN). Stepping
forward is important but pushing with the back foot actually creates areaction and the hips move forward. The foot that steps forward must be
fast, otherwise the opponent can easily see the attack and retaliate. The
heel and sole of the foot glides effortlessly on the floor.
1. Basic Practice for Lunge Punch (JUN-ZUKI/OI-ZUKI) - part 1a) Starting from Feet Outward Hip Width Natural Stance (HACHIJIDACHI, SHIZENTAI), the right foot steps forwardb) Form Right Front Stance (MIGI-ZENKUTSU-DACHI)c) Turn the left fist outwards, the left forearm brushing against theleft side of the body, the right fist turning inward and moving in astraight line forward until it reaches its target.
d) Push back the right foot and return to Feet Outward Hip Width
Natural Stance (HACHIJI-DACHI, SHIZENTAI).
e) Repeat the sequence for the other side.
2. Points of Cautiona) the feet movements are done quickly and properlyb) the sole of the foot stepping forward should glide on the floor in a
outward circular motion－ 28 －

テクニカルマニュアル.indd00/0/::c) push from the back leg and simultaneously move the hips forward
firmlyd) the upper body is straight and not leaning forward

3. Basic Practice for Lunge Punch (JUN-ZUKI/OI-ZUKI) - part 2a) Starting from Left Front Stance (HIDARI-ZENKUTSU-DACHI), and Left
Downward Block (HIDARI-GEDAN-BARAI), take a large right step
forward.
b) Form now Right Front Stance (MIGI-ZENKUTSU-DACHI)c) The left fist is pulled back to the left side of the hip in a twisting
motion. Simultaneously, the right forearm with a twisting motion
executes the attack to the front.
d) Push the right foot back and return to the position of Left Front
Stance (HIDARI-ZENKUTSU-DACHI) and Left Downward Block (HIDARIGEDAN-BARAI).
e) Repeat the sequence for the other side.
4. Points of Cautiona) shift the weight to move forward and putting the weight on the left
leg, move the right foot forward and simultaneously push the leg
forwardb) the upper body must not lean forward; there should be a feeling ofpunching with the hips and not with the fistc) the upper body from half-facing front position (HANMI), is now facing
frontd) the hips level should not change while moving

DOWNWARD BLOCK (GEDAN-BARAI)
The outer aspect of the forearm and wrist area is used against a kick or
punch to the lower part of the abdomen (GEDAN-BARAI). The block is
executed downward and on an angle. This particular block represents one of
the ready for action or KAMAE positions of KARATE.

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1. Basic Practice for Downward Block (GEDAN-BARAI)a) Starting from Feet Outward Hip Width Natural Stance (HACHIJIDACHI, SHIZENTAI), set the left fist above the right shoulder, withthe back of the right fist facing outward, on an angle. The left elbow
should be at the left nipple level. The right fist is in front of thelower part of the abdomen with the back of the fist facing upward.
b) Step the left foot forward or step the right foot back and form Left
Front Stance (HIDARI-ZENKUTSU-DACHI)c) Pull back with a twisting motion the right fist toward the right side of
the hip, with the back of the fist facing downward. Simultaneously,
the left forearm is brought downward and on a angle until it reaches
in front of the left knee and at one fist away from the knee, with theback of the fist facing upward. The arm should be fully extended,with the underside of the arm tensed.
d) Return to Feet Outward Hip Width Natural Stance (HACHIJI-DACHI,SHIZENTAI).
e) Repeat the sequence for the other side.
2. Points of Cautiona) the upper body when in half-facing front (HANMI) position, is kept
straight; do not lean forwardb) pull back the fist fully (HIKITE)c) the hand doing the block is positioned at the lower part of the ear andwhen blocking downward on an angle, relax the elbowd) the hand that is blocking, uses a twisting motion to block with the arm
extended fullye) do not pull the hips back during the execution－ 30 －

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BACK FIST STRIKE (URAKEN-UCHI)
Using a springing motion of the elbow, the elbow as a pivoting point, anddrawing a half-circle, execute the strike, with the top of the 2 First Knuckle
Fist (SEIKEN). Can be performed sideways or on a vertical plane.
1. Basic Practice for Back Fist Strike (URAKEN-UCHI)a) Starting from Feet Outward Hip Width Natural Stance, (HACHIJIDACHI, SHIZENTAI)b) Look to the right and simultaneously place the left fist in front of theright hip and the right fist in front of the right nipple level with theback of the fist facing outward.
c) Pull the left fist back firmly to the left hip. Simultaneously, the rightfist in a circular motion striking sideways, with maximum springing
from the elbow. The circular motion is done parallel to the floor.
d) Return to Feet Outward Hip Width Natural Stance (HACHIJI-DACHI,SHIZENTAI)e) Repeat the sequence for the other side.
2. Points of Cautiona) relax the elbowb) the fist should be kept tightc) the elbow is pointing to the targetd) do not swing the forearme) the elbow position do not change much

SIDE KICK (YOKO-GERI)
The lunging of the side of the foot to execute a sideways attack to the
opponent. Sometimes used to attack frontward or backward. Depending on
the nature of the attack or situation, a Snap Kick (KEAGE) or Thrust Kick
(KEKOMI) can be used to kick to the arm, the underside of the arm, the groinor the chin. The solar plexus, side of abdomen or thigh are best for Thrust－ 31 －

テクニカルマニュアル.indd00/0/::Kick (KEKOMI), being a more effective attack. Because of sideways kicking,the upper body tends to lean backward. Thus when kicking, caution should
be taken to resist the urge to lean back, otherwise that reaction could
result in falling backward from the jar of the impact.
1. Basic Practice for Side Snap Kick (YOKO-KEAGE)a) Starting from Feet Together Natural Stance (HEISOKU-DACHI).
b) Using the left leg as a supporting leg, raise the right leg up so thatthe sole of the right foot is resting gently on the inside of the leftknee, the right knee is pointing to the right side.
c) Using a springing action of the right knee, kick sideways and high, inan upward motion.
d) The foot of the leg that is kicking should be brought back to its
original position as seen in b).
e) Return to Feet Together Natural Stance (HEISOKU-DACHI), and repeat
the sequence for the other side.
2. Points of Cautiona) ensure to use the side of the foot (SOKUTO)b) use the knee as a pivoting point and with a springing motion, draw ahalf-circlec) when kicking, do not raise the heel of the supporting legd) the upper body is not twisted or tipped backwarde) the knee of the supporting leg should be solid in its supportf) the foot that is kicking should be brought up high and tucked ing) look in the direction of the kick
3. Basic Practice for Side Thrust Kick (YOKO-KEKOMI)a) Starting from Feet Together Natural Stance (HEISOKU-DACHI,SHIZENTAI)b) Using the left leg as a supporting leg, raise the right knee up high,with the sole of the right foot resting gently on the inside of the leftknee.
c) The right knee and the right side of the foot firmly thrust to the side

－ 32 －

テクニカルマニュアル.indd00/0/::d) Pull back the right foot that has kicked and return to its original position
as seen in b). Then return to Feet Together Natural Stance (HEISOKUDACHI, SHIZENTAI).
e) Repeat the sequence for the other side.
* When thrusting, extend the leg ensuring that the ankle is tensed while bent,
to be able to execute the kick with the side of that foot (SOKUTO). There
should be a feeling of using the heel of the foot without actually doing so.
Raising the knee up high (FUMIKOMI) with the foot tucked in close (KAIKOMI),
using the side of the foot (SOKUTO) and kick downwards with a stomping
motion to the thigh, shin or top of the foot.
4. Points of Cautiona) use the side of the foot to kick in a straight line, sidewaysb) there should be a feeling of the knee thrusting into its targetc) kicking and pulling back the foot should follow the same trajectoryd) the supportive leg should be strong and firmly plantede) do not raise the heel of the foot of the supporting leg

ELBOW STRIKE (ENPI)The forearm should be firmly flexed inwards in order to strike forward,
backward and sideways, as well as downwards to upwards and vice-versa.
Side Elbow Strike (YOKO-ENPI) is one of the Elbow Strike (ENPI) in which theelbow is thrust firmly sideways to reach the target.
1. Basic Practice for Side Elbow Strike (YOKO-ENPI)a) Starting from Feet Outward Hip Width Natural Stance (HACHIJIDACHI, SHIZENTAI)b) The left fist is positioned in front of the right hip and the right fistin front of the left nipple level, with the back of the right fist facing
downwards. Simultaneously look to the right.
c) Pull back firmly the left fist until it reaches the left side of the hip.
Simultaneously, the right elbow firmly moves in a straight line towards－ 33 －

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the right side of the body, the right forearm twisting inward. The
back of the right fist is facing upward and at the right nipple level.
d) Return to Feet Outward Hip Width Natural Stance (HACHIJI-DACHI,SHIZENTAI).
e) Repeat the sequence for the other side.
2. Points of Cautiona) the fist should not detach itself from the chestb) the fist moves in a straight line at the nipple levelc) the shoulders should not be raisedd) both fists should be firmly “prying themselves apart” from each other

RISING FACE BLOCK (JODAN AGE-UKE)
Using the outer aspect of the wrist area, with a sharp upward motion, blockan attack to the face (JODAN).
1. Basic Practice for Rising Face Block (JODAN-AGE-UKE)a) Starting from Feet Outward Hip Width Natural Stance (HACHIJIDACHI, SHIZENTAI),b) Step forward with the left foot or step back with the right foot, andform Left Front Stance (HIDARI-ZENKUTSU-DACHI)c) Bring the left arm outside the right arm forming a cross in front of
the chin, with the back of the left fist facing forward. Pull back theright fist, turning the fist outward and brushing the right forearm
against the right side of the body until the fist reaches the right hip,with the back of the fist facing downwards. Simultaneously, the left
elbow moves upward along the line of the left side of the body until itreaches the level of the eyes, and the left fist turning inward ends up
above and in front of the forehead. The distance between the left
wrist and the forehead is approximately one fist, with the back of thefist facing backwards.
d) Return to the position as seen in b), then to Feet Outward Hip Width
Natural Stance (HACHIJI-DACHI, SHIZENTAI).
e) Repeat the sequence for the other side.

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2. Points of Cautiona) use the outer aspect of the wrist with a sharp upward motionb) the upper body should be half-facing front (HANMI)c) the elbow of the arm that is blocking, should course along the side of
the bodyd) the raised forearm is parallel to the forehead, slightly on an angle,
and one fist away from the forehead

OUTSIDE FOREARM CHEST BLOCK (CHUDAN UDE-UKE/SOTO-UKE)
Initiating from the side, the arm in a circular motion firmly blocks using theouter aspect of the wrist area, an attack to the chest (CHUDAN). There
should be a feeling of striking the opponent’s arm.
1. Basic Practice for Outside Forearm Chest Block(CHUDAN-UDE-UKE/SOTO-UKE)a) Starting from Feet Outward Hip Width Natural Stance (HACHIJIDACHI, SHIZENTAI), the right arm is at a right angle at the right sideof the body, the right forearm is vertical to the floor, with the backof the right fist facing backwards.
b) Step the right foot forward or step the left foot back forming Right
Front Stance (MIGI-ZENKUTSU-DACHI).
c) The left fist is pulled back to the left side of the hip in a twisting
motion, with the back of the fist facing downwards. Simultaneously,
the right arm is at a right angle and in a circular motion, bring theright fist to the front of the left shoulder, with the back of the fist
facing forward. The right fist is at a shoulder height and theunderside of the right arm is tensed.
d) Return to the position as seen in b), then return to Feet Outward Hip
Width Natural Stance (HACHIJI-DACHI, SHIZENTAI).
e) Repeat the sequence for the other side.

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2. Points of Cautiona) the elbow should be bent at a right angleb) firmly strike with the outer aspect of the wrist area, in a circularmotion, while keeping the elbow bent at a right anglec) the elbow position is at the side of the body and 1 ½ fist away fromthe side of the body; the fist is at shoulder leveld) blocking and pulling back motions should be completed at the sametimee) the upper body is half-facing front (HANMI)BACK STANCE (KOKUTSU-DACHI)
The back leg is bent fully – same as Straddling Horse Stance (KIBA-DACHI)
and the front leg is extended but not locked. The toes of the front foot arepointed forward. The toes of the back foot are pointing to the side andslightly forward. Both feet are approximately at a right angle to each other.
This is similar to Straddling Horse Stance (KIBA-DACHI) except that thefeet are pointing in different directions and one leg is extended. The upper
body is kept straight and sideways. The ration of the weight distribution
between the front leg and the back leg is as follow: 3:7.
1. Points of Cautiona) the front leg is extended but not locked and with a feeling that theheel is coming off the floorb) there should be a feeling of pushing the back leg outwards without
actually doing soc) the width of the stance is the same as Straddling Horse Stance(KIBA-DACHI)d) maintain a sideways and straight upper bodye) the ration of the weight distribution between the front and the backleg is 3:7; one should not put too much weight on the front legf) do not raise the hips or put them outwards－ 36 －

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KNIFE HAND CHEST BLOCK (CHUDAN-SHUTO-UKE)
The knife hand blocks an attack to the solar plexus with a feeling of cutting
the arm while executing the technique. This is a very unique and typical
KARATE movement, as well as very difficult to execute. Generally punching or
blocking action is simultaneous with the other hand being pulled back to thehip. However the hand that is pulled back from a knife hand attack, is pulledback in the knife hand position to end in front of the solar plexus with thepalm of the hand facing upward, permitting an immediate retaliation as
Spear Hand Strike (NUKITE).
1. Basic Practice for Knife Hand Chest Block (CHUDAN-SHUTO-UKE)a) Starting from Feet Outward Hip Width Natural Stance (HACHIJIDACHI, SHIZENTAI), place the left knife hand at the top and slightly infront of the right shoulder, back of the hand facing outwards. The
left elbow is bent and at the left nipple level. The back of the righthand is facing upward and slightly angled outward, positioned in frontof the lower part of the abdomen.
b) Step the right foot back forming Right Back Stance (MIGI-KOKUTSUDACHI), the upper body is kept sideways.
c) The right hand with a twisting motion is brought to the solar plexus,
with the back of the hand facing downward. Simultaneously, the left
knife hand with a twisting of the left forearm, moves in a downward
motion until it reaches the front of the left shoulder. When blocking,the left knife hand is slightly angled and at the height of the leftshoulder, with the elbow at a right angle. The underside of the left
arm is tensed.
d) Return to Feet Outward Hip Width Natural Stance (HACHIJI-DACHI,SHIZENTAI).
e) Repeat the sequence for the other side.
2. Points of Cautiona) the upper body should be kept sideways; the knife hand should strikein a downward cutting motionb) keep the wrists straightc) the upper body should not be leaning backwards－ 37 －

テクニカルマニュアル.indd00/0/::d) the elbow should be kept along the side of the bodye) the tip of the fingers forming the knife hand should be kept tightly
together

PUNCHING BOARD (MAKIWARA)
1. Punching a board is part of the daily practice of KARATE. It is of utmost
importance for the discipline in the Way of KARATE. It not only serves todevelop strong weapons, but to help to focus the body in an instant ofconcentration and to develop the body to execute maximum impact. It isalso a way to verify proper distance.
2. The Punching Board (MAKIWARA) is usually made with a give for elasticity.
Wood is used preferably cypress as being the best and cedar being good too.
The base is 10-12 cm in thickness and the upper part becoming thinner ends
up at 1.5 to 2 cm thick. The area where contact will be made can be hardrubber or sponge however traditional material is rope made of rice husks
called (WARA) and remains the best choice. It is known for its give capacityand durability.
3. Practice should not be rushed and regularity is foremost for success.
Weapons take time to build and gradually will become strong. Try to avoid
injuries caused by sudden overdone practices. 30 times each side to start isa good plan, and build this up gradually.
4. How to develop and strengthen a punch (TSUKI) – Simultaneously withthe hips rotation, use the full springing action of the elbow, the thrust of
the fist, using 2 First Knuckle Fist (SEIKEN) as the point to hit the target.
There should be attention to focusing the body and concentration of all
power. Pushing motion of the board is not to be used. The wrist should betensed at impact.
a) Take position in a Front Stance (ZENKUTSU-DACHI), at a distance of
one fist past the boardb) At the moment of execution, care should be taken to keep the upper
body straight, paying attention to not lean forward. There should be afeeling of punching at a far distance, extending the elbow.

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c) When impact has been made, as the board springs back simultaneously,
the elbow is released while the fist is still maintaining contact withthe board. When hitting the board, the elbow is slightly bent, theshoulder should not stick out during the execution.
d) As illustrated below, the reaction of the board should be absorbed by
the elbow bending thus avoiding the shoulder.
Fist

Fist Elbow

Elbowe) From Front Stance (ZENKUTSU-DACHI), use hip rotation, whereas from
Back Stance (KOKUTSU-DACHI) or Half-Facing Back Leg Bent Front
Stance (FUDO-DACHI), use shifting of body into Front Stance(ZENKUTSU-DACHI) with hip rotation to accelerate the speed.
5. Striking or othersa) The Knife Hand (SHUTO), Back Fist Strike (URAKEN-UCHI) and Elbow
Strike (ENPI-UCHI) are executed from a position that is angled or
sideways, using Front Stance (ZENKUTSU-DACHI), Straddling Horse
Stance (KIBA-DACHI) or Back Stance (KOKUTSU-DACHI). The set-up of
distance to the board is one fist beyond the board. The course should bea long distance of striking as well as using centrifuge force.
b) The inner aspect or outer aspect of the wrist area should also be
developed for improvement of inside and outside forearm blocks.

－ 39 －

テクニカルマニュアル.indd00/0/::OVERVIEW OF THE VITAL POINTS OF THE BODY
LOCATION OF BODY PARTJAPANESE NAME

* Half-way point between the top of the head & forehead

TENTO* Temple

KASUMI* Area just below or just above the eyeball

SEIDON/GANKA* Eyeball

GANSEI* Bridge of the nose, between the eyeballs

UTO/MIKEN* Area between the upper lip and the base of the nose

JINCHU* Chin / Insertion point of the jawbone

MIKAZUKI* Side of the neck, where carotid artery & jugular vein pass

MATSUKAZE* Area just above the midpoint of the collar bone

MURASAME* Anterior part of the larynx, between the hyoid bone and the cricoid cartilage

HICHU/NODOBUE* Solar plexus

SUIGETSU/MIZO-OCHI* 3 cm below the umbilicus

MYOJO* Area below each underarm, between 4th & 5th ribth

WAKIKAGEth* Below each nipple, between 5 & 6 rib

GANKA
TENTO

ANTERIOR VIEWUTO

KASUMISEIDONKASUMIJINCHU

MATSUKAZESEIDONMIKAZUKI
MURASAMEHICHUWAKIKAGE

GANKA

NAISHAKUTAKUSUIGETSUDENKO
INAZUMAMYOJO

KINTEKI

SHUKO
YAKO

FUKUTO

KOKOTSU

KORI－ 40 －

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LOCATION OF BODY PART* On each side of the upper abdomen, between 7th & 8th ribth* On each side of the upper abdomen, the tip of the 11 & 12th rib (floating ribs)* Radial & Ulnar aspect of the wrist* Fleshy aspect between thumb & index finger /Midpoint of the wrist* Inner aspect of the upper part of the thigh – Adductor* Outer aspect of the lower part of the thigh – Tractus Iliotibialis* Inner aspect of the top of the foot* Midpoint of the shin or Tibia* Male groin area
* Base of the Occiput (back of the head)JAPANESE NAME
DENKO

* Aspect between 5th & 6th cervical vertebrae

KASSATSUthth* Each side of 9 to 11 thoracic vertebrae* Coccyx* Outer aspect of the wrist where the Ulna & Radius bones meet

POSTERIOR VIEW

INAZUMA
NAISHAKUTAKU
SHUKO
YAKO
FUKUTO
KORI
KOKOTSU/MUKOZUNEKINTEKI
KEICHU/BONNOKUBOKODENKOBITEIGAISHAKUTAKUSHUKOKEICHUGAISHAKUTAKUKASSATSUWAKIKAGE

KODENKO

NAISHAKUTAKU
BITEI－ 41 －

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Technical Manual for the Instructor
Published in October 1st 2008
Author, Publisher

Japan Karate Association, Technical Division
15-23-2 Koraku
Bunkyoku, 112-0004
Tokyo, Japan
Phone: 03 (5800) 3091
Fax: 03 (5800) 3100

Printed in Japan
It is legally prohibited to make copy without the express authorized permission of the Author,
subject to prosecution by law.

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