Book English

Jos Ramn lvarez Ruiz-Huidobro
Metodologa Integral Karate-Kata

Complete Karate-Kata Methodology
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Evolucin del movimiento tcnico al movimiento intuitivo a travs del Kata

The evolution from technical movement to intuitive movement using the Kata
Desarrollo didctico y metodolgico de los Kata Heian

The didactic and methodological development of the Heian Kata
When I was a boy, I could see a large mountain in the distance from my bedroom window.
I was attracted to it for its majesty, beauty and the wild and rugged spirit that emanated from it, as it
does from any living force of nature. By some strange twist of fate I am now living on that mountain
that so attracted me as a boy. In martial arts, perhaps something similar occurs. There is something
spiritual and magical that impels us to determindly follow those desires and interests that, at first, lead
us to its practice, and later, to its study and teaching in order to finally acheive the aims we dreamed
of and use these as another starting point for new adventures in the field of knowledge.
Jos Ramn lvarez Ruiz-Huidobro was born on 29 November, 1957 into a humble family. His father, from
Doade in the municipality of Sober (Lugo, Galicia), was the youngest son of a peasant family. He emigrated to the
city, fleeing from the hard life of the country in order to forge a better future (as did the majority of that generation).
His mother, from Madrid, was born in the Reina Victoria underground station during one of the bombardments that
the city was subjected to during the civil war. Ramn and Adela met in Burgos. They married there and from this
union were born the author and his brother Guillermo with whom he shared the love of his parents and the excitement, fantasies, mischief and worries of childhood and adoloscence. At the age of three, the family moved to Asturias, where they settled pemanently.
ty
r
pe
o
pr rounknown discipline and one
When he turned 16 he started to practise Karate, up until then a
practically
l
a came
that his parents accepted, although not without certain reservations:ustudies
ob first, everything else was set
d
condary.
ec Hui g
l
l
At the age of 19 he started work as an employee of
n company, combining this at
tea state
z-communications
i
i
all times with the practice, and then teaching, of Karatein
do.
s
Ru exclusively
rti to Karate do and to his school, lo's zhimself
e
However, after a time he left his job andk
dedicated
cated in El Entrego (muncipality of San Martn del
re awhich
dvgrew progressively and demanded all his time
ooReyvaAurelio),
and attention.
b
e l for
h
He has now been practisingtKarate n
do since 1973,
, and since 1983 has been dedicated to teaching and to
e
g
l
continuous study and personal development.
i
in am le f
s
i
His professional career
has
Revolved
pwithin the ambit of traditional Karate do. He has dedicated himself exroft karatekas
clusively to the training
and to the research and development of new work methods. This is a result
e
mpractising Karate do and the influence of the masters he has followed.

s saand
of his particular wayvof understanding
d
o
J
A
Such is the case that he has summarised his personal experience in this book. Picking up from where the
masters left off and finding inspiration in the spirit and way of thinking of some of them (especially in Master Taiji
Kases idea of Karate do) he presents us with an innovative work based on the technical structure of the Heian
Kata. He has also been influenced by Master Antonio Olivio Seba, from whom he has learnt tactics and who inculcated in him an interest for research and the development of new methods; and by Master Marceliano Gmez Martnez, who has complemented and improved his training in the area of traditional Karate.
His aim is no other than to inspire and motivate all Karate do students, independent of their grading or if
they teach or not, since he states that authentic Karate do is at its lowest ebb due to the excessive focus given to
its sporting-competitive aspect.
Preface
COMPLETE KARATE-KATA METHODOLOGY
BY
JOS RAMN LVAREZ RUIZ-HUIDOBRO

- FOREWORD -
The first impression received on having this book in ones hands is curiosity.
At first, the title demands to be read two or three times in order to understand the message that it wants to convey.
The cover, thanks to its artistic design, also demands special attention, until you see the karatekas in action of which it is
composed. And, furthermore, the volume of the book is impressive since it is a bilingual work (Spanish-English) and is enriched with a comprehensive and meticulous graphic work. Looking at the author, we find that, though being a man of deeplyrooted principles and painstaking knowledge, he is completely unknown to the general public, perhaps as a consequence of
his earnest desire to live away from the noise of the world. All this means that, at first sight, this work may seem ambiguous
and lacking in interest for the new reader.
r ty
e
opthe fact that the richness of the conWhen we open the book our curiosity is inflamed and our interest grows duerto
tents added to the expository clarity of the diagrams and drawings invites a scrutiny
work. After a first reading of the
l p ofbtheronature
a
contents page we can see that it is a careful and original work which is loyal to
the martial
of our art, which makes it
o
u
t
highly attractive to the eyes of the Karate-Do specialist. If we go a little further
and
carefully read any of its chapters, we
d
i
c approached
also see that its contents are treated with great scientific rigor since they
with large doses of critical thought
ublasts
lle are
H
g
and common sense. In other words, we have before us a work thatebrings
great
of fresh air to the daily practice of any
n still the very personal ones of the auz siare
karateka, enriching this practice with ideas and perspectives that,
nt at the ibeginning
i
thor, invite the reader to embark upon the great adventure ofi training,utraining
and training while always going beyond the
t
R erand intuition become common tools of the ka'swisely,zadaptation
established models and routines. Little by little, subtly and
k
v philosophy is related to that of Master Funakoshi
e authors
rateka, off the tatami as well as on it. Curiously, at this
o point,rthe
d
o
a
who tells us that there is no first attack in Karate-Do,
or,
similarly
that
every initial action will always be defensive. It is
a
bpart oflthe
v advanced
r
for this reason that intuition is an active and vital
levels
of Karate-Do practice, revealing the opponents
e
fo us the keys
h n and so, giving
thoughts at the moment in which they aretconceived,
to an immediate and decisive response. In
e
order to better understand what the author
wishes
to tell us
with his painstaking work, it is essential to thoroughly study our
g
l
history.
in am le fi
s
i
t
pthe mid-1960s. It was shaped throughout the 70s and was consolidated at
The practice of Karater in Spain R
e
withbegan
minstep.
the end of the 80s, entering
the 90s
aa
firm
It burst into the new millennium demanding of the authorities of that
v
s
d
o
s
time the right to be included
asJan
Olympic
sport, a right which I believe will be granted in the future. There are many men
A
and women who, from all corners of the country, have contributed, and still contribute, so that Spanish Karate shines with
its own light at an international level as well as a national one. Jos Ramn Alvrez Ruiz-Huidobro, 53 years old, 6th Dan Karate Black Belt and author of this book, is a karateka trained between the 1970s and the 1990s. This was a time of uncertainty
and great political importance in which the sport in Spain, directed by D. Jos Mara Cagigal from the INEF [Department of
the Science of Physical Activity and Sport] at the Universidad Politcnica in Madrid, fought to gain respect from both within
and without our borders.
He started with Masters Iromichi Kohata (1976-1978) and Jos Luis Prieto (1982-1984) in the Gensey Ryi style, and
then continued his training in Karate Shotokan with Masters Manuel Joaqun and Javier Fernndez Vzquez (1986-1993) and
Marceliano Gmez Martnez (1998-2011). In turn he has trained in courses with Masters Osaka, Aoki, Kanazawa, Kawazoe,
Shirai, Kasuya, Hiruma, Luis Mndez, Chus Garca, Isamu Fujita, Ramn Cid, Benjamin Martnez (Kobudo), Joaqun Muiz (Tai
jitsu), Ishimi, Antonio Oliva (tactics in combat) and Taiji Kase.
My first contact with Jos Ramn goes back to the early 90s when, at his request, I gave the first Shiai-Kumite
courses in different towns in the Naln valley (Asturias, Spain). His eagerness to know the profound why and for what reason of the techniques that we put into practice during our training led us to long debates and continued beyond the tatami.
Fortunately, at that time, the tactical concepts that I used had very strong foundations and allowed me to clear up any doubts
he lay before me. Since I wanted Jos Ramn to continue opening up new fields of knowledge and martial practice, and as
he showed himself to be dissatisfied with certain teaching methods in Karate at that time, I remember that I said to him well
take up a pen and paper and give expression to what you are thinking. And that is how this work was born. This apparently
insignificant act took place on the 19th and 20th June 1999 at a course that I gave in Burela (Lugo, Spain) and which Jos
Ramn saw fit to take part in very actively.
Twelve long years have passed between that meeting in Burela and my writing these lines in Madrid on 20th March
2011, with Jos Ramn also present here. It is more than sufficient time for the experience of Jos Ramn to have, unhurriedly
and wisely, taken shape on paper.
hed.
Therefore, you have in your hands, dear reader, a work that cost much sweat and tribulations before being publisRead, enjoy, and take as much from it as you can.
ANTONIO OLIVA SEBA
8th Dan Black Belt, W.K.F.
Ex-Technical Director of the R.F.E.K.
Internacional Coach
The autor wished to christen this work Complete Karate-Kata Methodology.
Complete: because it is made up of, or brings together, all the aspects and work forms inherent in Karate.
Karate: becasue it is the disciple being developed.
Kata: becasue it is based on the Kata.
Methodology: because it is a method, with rules, procedures, ordering and logic.
In this method, information is decoded using the Kata, it is not about teaching the Kata, we presume that this
task has already been completed.
ty
r
pe
o
pr ro
l
ob and concludes with adapua idgesture
Contributing a new viewpoint, this study starts with the simplest technical
t
tation, and then intuitive work. The pupil is able to improvise defensive e
asc
well asu
counter-attack responses when faced
l
l
with different attacks and situations created by the attacker, who is not
limited
to the techniques
normally used in the
H
g
e
n
t
kumite.
z
i
i
in Ru tis
s
This publication, which contains more than 4,000 'diagrams,
presented
and innovative manual
easr wellasasa practical
k a text,
zin isEnglish
of great interest for teachers as well as students. It includes
Spanish which considers Karate
v
e
o
r overatwelve
d years of continuous work and investigao andvdepth
literature. Its content has been put together with rigor
a
b
r
tion.
e l fo
h
t
, work and will contribute to further improve, if it is
We are fully confident that it will n
be a reference
e
g
l
i
possible, the diffusion and understanding
f
in ofaKarate
m do.
s
e
i
l
t
er s R amp
v
Ad Jo s
The aim of this text is to offer a developed, ordered, progressive and reasoned method in order to manage
with greater versatility and effectiveness the gestural selection of techniques possessed, to a greater or lesser extent,
by the karateka. This is because we believe that although(aunque) the majority of karatekas practise Kata, there exists
a great difficulty in applying these techniques in a different context to that which is practised in work such as kihon kunite or bunkai. In other words, when we go from agreed work, in which there is coloaboration, to unagreed work, in
which the attacker does not collaborate.
Karate do nisente nashi - There in no first attack in Karate
Complete Karate-Kata Methodology - Description and Foundation

___________________________________________________________________________________
1.
2.
3.
4.
5.
6.
7.
Justification
Introduction
Historical Argument
Generic Definitions
Concepts and theories
Tools to use for the formalisation of the study
Organisation and Description
7.1. Formal structured work
7.2. Structured adaptation work
8. Conclusions
9. Tree Diagram
Heian Shodan didactic unit (example of structure)

___________________________________________________________________________________
1.
2.
3.
4.
5.
6.
7.
8.
General outline
Views from other angles
Embusen
Aerial view
Analytical sheet
Technique nomenclature
Conceptual table
Kihon development
8.1. Sei te work method
8.2. Hen te work method
8.3. Work table
8.4. Examples show in the work table

9. Kihon kumite development

9.1. Kiihon ippon kumite preparation
9.2. Jiju ippon kumite
10. Complete development of the Kamae Tetsui Uchi

10.1. Study and practice method
10.2. Tactical models
11. Progression method for the Kamae Tetsui Uchi adaptation work
11.2. Explanation of the exercises
12. Complete development of the Kamae Shuto Uke

12.2. Tactical models
13. Progression method for the Kamae Shuto Uke adaptation work
13.2. Explanation of the exercises
14. Complete technique analysis and interpretation

14.1. Gedan barai
14.2. Oi tsuki
14.3. Tetsui uchi
14.4 Age uke
14.5. Shuto uke
15. Kata Goshin do

15.1. Self-defence
16. Gokugi Kata

16.1 Concepts in the Kata applicable to the kumite
This text contains seven teaching units
H. Shodan
Esquema general
General outline
1. ESQUEMA GENERAL / 1. GENERAL OUTLINE
YOI
YAME
7-A
8-A
7-B
21
18
20
19

8-B
9-A lvarez
Jos Ramn
Ruiz-Huidobro
17
9-B
16
11
12
10
15
13
14
82
YOI
H. Shodan
Nomenclatura de las tcnicas y cuadro conceptual

Technique nomenclature and conceptual framework
6. NOMENCLATURA DE LAS TCNICAS / 6. TECHNIQUE NOMENCALTURE

Movimientos / Movements
Nombre / Name
2, 5, 11, 13, 15, 16, 17
Chudan oi tsuki
1, 3, 6, 10, 12, 14
4
Tetsui uchi
7-A, 8-A, 9-A
Age shuto
7-B, 8-B, 9-B
Age uke
18, 19, 20, 21

7. CUADRO CONCEPTUAL
Conceptos
Gedan barai
Shuto uke
Movimientos
Aplicable a kumite
Aplicable a Goshin

SI
Tai sabaki
Hen te
Shikake
Sasoi
Nage waza
Kansetsu waza
Teodoki
Shime waza
Kiri kaeshi
Ko waza
Sen no sen
A te waza
Hazushi waza
7. CONCEPTUAL FRAMEWORK
Concepts
Tai sabaki
Hen te
Shikake
Sasoi
Nage waza
Kansetsu waza
Teodoki
Shime waza
Kiri kaeshi
Ko waza
Sen no sen
A te waza
Hazushi waza
19, 21
3 4, 6 7, 14 15
3 4, 14 15
3
9 10, 14 15
7-B, 8-B, 9-B
1, 4, 7, 8, 9, 18
8-B, 9-B
SI
SI
SI
SI
SI
SI
SI
SI
SI
SI
SI
SI
6, 14
7-B, 8-B, 9-B
7-B, 8-B, 9-B, 18, 19, 20, 21
SI
SI
SI
SI
Movements
Applicable to kumite
Applicable to Goshin
19, 21
3 4, 6 7, 14 15
3 4, 14 15
3
9 10, 14 15
7-B, 8-B, 9-B
1, 4, 7, 8, 9, 18
8-B, 9-B
YES
YES
YES
YES
YES
YES
YES
YES
YES
YES
YES
YES
6, 14
7-B, 8-B, 9-B
7-B, 8-B, 9-B, 18, 19, 20, 21
YES
YES
YES
YES
87
YES
H. Shodan
Desarrollo del kihon

Kihon development
8.3. CUADRO DE TRABAJO DESTINADO A LA ELABORACIN DE EJERCICOS DE KIHON
Fecha
X
X
Defensas
X
X
Ataques
indirectos
Keri waza
Keri waza
Semiesttico
Kiba dachi
Kokutsu dachi
Adelante
Atrs
Izquierda
Derecha
Diagonal
Dinmico
Desplazamientos
Giros
Combinaciones
Avance
X
X
X
X
X
Esttico
Zenkutsu dachi
dv
e
Jo rtis
s in
R g th
sa am e
m bo
pl n
e ok'
fil lv s
e, ar in
fo e z te
r a R lle
dv uiz ctu
e r -H a l
tis ui p
in do rop
g br e
o r
ty
Ataques directos
Retroceso
Mixto
De ashi
Sugi ashi
Yori ashi
Giro D
Giro D-1
Giro F-1
2 Tcnicas
3 Tcnicas
4 Tcnicas
X
X
92
H. Shodan

Kihon development
8.3. WORK TABLE FOR THE PREPARATION OF KIHON EXERCISES
Date
X
X
Defences
ty
Indirect attacks
Keri waza
Keri waza
Static
Semistatic
Zenkutsu dachi
Kiba dachi
Kokutsu dachi
Forward
Backward
Left
Right
X
X
X
Direct attacks
dv
e
Jo rtis
s in
R g th
sa am e
m bo
pl n
e ok'
fil lv s
e, ar in
fo e z te
r a R lle
dv uiz ctu
e r -H a l
tis ui p
in do rop
g br e
o r
X
X
Diagonal
Dynamic
Steps
Turns
Combinations
Advancing
Going backward
Mixed
De ashi
Sugi ashi
Yori ashi
Turn D
Turn D-1
Turn F-1
2 Techniques
3 Techniques
4 Techniques
X
X
93
H. Shodan
Desarrollo integral del Kamae Tetsui Uchi

Complete development of the Kamae Tetsui Uchi
EJEMPLO A-2
Ataques del oponente

N de acciones propias
Tipo de trabajo
Ubicacin
Mae gueri de derecha

3
Hen te, sei te
Interior
r ty
e
Accin
Lateralidad
Gesto tcnico
op
r
1 Defensa
Izquierda
Gedan barai
o
2 Contraataque
Izquierda
Jodan
tetsui r
uchi
l ptsuki
b
a
3 Contraataque
Derecha
Giaku
tu ido
c
EXAMPLE A-2
lle -Hu ng
e
Opponents attacks
Right mae gueri
nt uiz tisi
i
N of individual actions
3
'seis te z R er
Type of work
Hen te,
k
o re dv
Location
Inside
o
bSide lva r a Technical gesture
Action
e
, fo
h Left
1 Defence
Gedan barai
t
n
e
2 Counter-attackg
Left
Jodan tetsui uchi
l
i
n
3 Counter-attack
Right f
Giaku tsuki
i
m
tis Ra ple
r
ve os sam
d
J
A
APLICACIN / APPLICATION
99
H. Shodan
Mtodo de progresin para el trabajo de adaptacin del Kamae Tetsui Uchi

Progression method for the Kamae Tetsui Uchi adaptation work
11.2. EXPOSICIN DE LOS EJERCICIOS

EJERCICIO N 1

Tipo de trabajo
Accin
1 Defensa
2 Contraataque
Gedan tsuki de izquierda

2
Hen te
Lateralidad
Izquierda
Izquierda
11.2. EXPLANATION OF THE EXERCICES

EXERCISE N 1
Opponents attacks
Type of work
Action
1 Defence
2 Counter-attack
Left gedan tsuki

2
Hen te
Side
Left
Left
Gesto tcnico
Gedan uchi barai
Jodan tetsui uchi
Technical gesture
Gedan uchi barai
Jodan tetsui uchi

Jos Ramn lvarez
Ruiz-Huidobro
1
2
LATERALIDAD OPUESTA / OPPOSITE SIDE
108
H. Shodan
Desarrollo integral del Kamae Shuto Uke

Complete development of the Kamae Shuto Uke
12.2. MODELOS TCTICOS

MODELO A
EJEMPLO A-1

Tipo de trabajo
Ubicacin
Accin
1 Defensa
2 Contraataque
12.2. TACTICAL MODELS
Oi tsuki de derecha
2
Sei te
Interior
Lateralidad
Izquierda
Derecha
Gesto tcnico
Shuto uke
Hikite como nukite
MODEL A
EXAMPLE A-1
Opponents attacks
Type of work
Location
Action
1 Defence
2 Counter-attack
Right oi tsuki
2
Sei te
Inside
Side
Left
Right
Technical gesture
Shuto uke
Hikite as nukite

114
H. Shodan
Mtodo de progresin para el trabajo de adaptacin del Kamae Shuto Uke

Progression method for the Kamae Shuto Uke adaptation work
13. PROGRESSION METHOD FOR THE KAMAE SHUTO UKE ADAPTATION WORK
13.1. STUDY AND PRACTICE METHOD
Conditioning phase
The different methods established will be practised from the hachiji dachi (sizen tai) position as shown in the graphics
with the aim of acquiring the necessary motor skills and internalising the different response possibilities when faced with the
different stimuli proposed, respecting the sides and order of the exercises shown.
Free adaptation phase
Once the previous phase has been practised and mastered, each person will practise adopting the position and side
that they freely choose.
The attacker (tori) will perform their attacks in a completely free way and without any previous agreement. Logically,
within this freedom they will perform those attacks that conform to the defensive gestures that each of the kamae aims to
develop. They should not limit themselves to oi tsuki as is exemplified in the different tactical models, but rather also contemplate circular attacks with the fist or leg, holds before the attack, to the lapels, wrists, etc.
r ty
e
op
r
p ro
l fast.
a
It is necessary to practise at three different rhythms: slow, medium and
u idob
t
c u from the inside, in exercises 4, 5 and 7
In exercises n 1, 2, 3 and 6 the defence is performed towards
the outside
e
l
l
g towards the outside and inside
the defence is performed towards the inside from the inside, exercise
-H idefences
n
te n 8icombines
z
from the inside.
n
i Ru tis
s
r
'
e
k
z
v
oo vare ad
b
r
l
e
th n e , fo
ng m e fil
i
s
a
rti R mpl
e
v
s a
Ad Jo s
The defender (UKE) will randomly employ any of the methods used in the described work in the progression method
in the same way, aiming for the greatest effectiveness possible within the range of gestures contained in the kamae being
studied. When the specific technical gestures of the kamae have been internalised and a certain level of skill reached, try to
give continuity to other types of technique, for example gueri waza, tsuki waza, etc. It is even possible to finish the actions
with some technique from other Budo, such as joint locks, throws, etc. These last actions should be omitted if there isnt a
sufficient level of dexterity, understanding and skill in the development of, and work on, the specific waza of our art.
124
H. Shodan
Mtodo de progresin para el trabajo de adaptacin del Kamae Shuto Uke

Progression method for the Kamae Shuto Uke adaptation work
13.2. EXPOSICIN DE LOS EJERCICIOS

EJERCICIO N 1

Tipo de trabajo
Accin
1 Defensa
2 Contraataque
Atemi circular de puo jodan de derecha

2
Sei te en simultaneidad
Lateralidad
Izquierda
Derecha
Gesto tcnico
Jodan shuto uke
Chudan shuto uchi
13.2. EXPLANATION OF THE EXERCISES

EXERCISE N 1
Opponents attacks
Type of work
Right jodan roundhouse punch

2
Sei te simultaneously
er
p
ro o
p
al obr
u
t id
c
e
ll -Hu ng
e
nt uiz tisi
i
's z R er
k
o re dv
o
b lva r a
e
th n e , fo
g
fil 1-2
n
i
m
tis Ra ple
r
ve os sam
d
J
A
Action
1 Defence
2 Counter-attack
Side
Left
Right
ty
Technical gesture
Jodan shuto uke
Chudan shuto uchi
1-2
125
H. Shodan
Anlisis e interpretacin integral de las tcnicas

Complete technique analysis and interpretation
14. ANLISIS E INTERPRETACIN INTEGRAL DE LAS TCNICAS

14.1. GEDAN BARAI
ty
r
pe de la mueca
o
Tipo de impacto: choque con percusin
Zona de impacto: parte
exterior
pr ro
l
Interpretacin tctica convencional
ua idob
t
Como defensa gedan de interior a exterior
ec Hu g
l
l
- in
e
- Ante patada frontal (mae gueri), por elt interioriz
n u y portielsexterior
i
14. COMPLETE TECHNIQUE ANALYSIS AND INTERPRETATION
k's ez R ver
o
o var ad
14.1. GEDAN BARAI
b
r
e l Joints
o
f
Member used: arm
h
t
n ile, involved: elbow, shoulder, wrist
g
Main joint: elbow in

m le f Trajectory: falling, from the inside to the outside
s
a
i
t with
R repercussion
p
Type of impact:
Impact zone: exterior part of the wrist
er blow
m
v
s
a
Conventional
Ad Jotactical sinterpretation
Miembro utilizado: brazo
Articulacin principal: codo
Articulaciones implicadas: codo, hombro, mueca

Recorrido: descendente de interior a exterior
As an interior or exterior gedan defence
- When faced with a front kick (mae gueri), on the inside and on the outside
Otras posibles interpretaciones
Como atemi descendente gedan tsuki, por analoga de movimiento
-Ante presa efectuada con ambas manos a las solapas, o situacin similar
Other possible interpretations
As a falling gedan tsuki atemi, using an analogous movement
- When faced with a two-hand grip to the lapels, or similar situation
133
H. Shodan
Kata goshin do_
15. KATA GOSHIN DO
15.1. DEFENSA PERSONAL
En este apartado se irn realizando aplicaciones ante las situaciones expuestas con anterioridad en los Kamae estudiados y desarrollados, Shuto Uke y Tetsui Uchi, en combinacin con lo mostrado de igual manera en el apartado Anlisis
e interpretacin integral de las tcnicas.
Contemplando para ello las formas descritas en el Mtodo de progresin de los trabajos de adaptacin de los Kamae,
con la salvedad de que se omitir la fase de acondicionamiento por estar sta ya trabajada, pasando directamente a la fase
de libre adaptacin, eso s comenzando por determinar un ritmo adecuado al nivel de asimilacin del mismo: lento al principio,
medio a medida que se adquiere ms soltura y rpido al final cuando el movimiento surge de forma espontnea y con poco
o nulo margen de error.
r ty
e
op
r
l p bro
a
tu ido
c
e
u
15. KATA GOSHIN DO
ell iz-H ing
t
15.1. SELF-DEFENCE
in Ru tis
s
r situations previously presented in the Kamae that
' whenz faced with
e
In this section, applications will be performed
k
v
e
have been studied and developed, Shuto Uke and
with what is also shown in the Complete techrUchi, inacombination
d
oo Tetsui
a
nique analysis and interpretation section. b
v
e l for
th in the
For this, the methods described
Adaptation
, work progression method of the Kamae should be studied, with
nomitted
e
g
l
the exception that the conditioning
phase be
as it has already been worked on. We can go straight to the free adap
i
f to its level of assimilation: slowly at first, medium speed as more asin aamrhythmlesuited
tation phase, but start by determining
s
i
surance is acquired and fast
when
the
movement
rt R mp becomes spontaneous and with little or no margin of error.
e
NB: In the v
Kamae work
a as in the Adaptation work progression method, only the possibility of using atemi
dattack
os asswell
waza as a defence,
or counter-attack
will be considered. In the Development and complete interpretation of the techJ
A
niques other possibilities will also be considered, such as releases, holds, unbalancing, throws, etc.
NOTA IMPORTANTE: En los trabajos de los Kamae, as como en el Mtodo de progresin de los trabajos de adaptacin, se contempla nicamente la posibilidad con atemi waza ya sea en defensa, ataque y contraataque, en el Desarrollo e
interpretacin integral de las tcnicas se contempla adems otras posibilidades como sueltas de agarre, presas, desequilibrar,
proyectar, etc.
146
H. Shodan
Gokugi Kata
16. GOKUGI KATA
16.1. CONCEPTS OF THE KATA APPLICABLE TO THE KUMITE
In this Kata we are shown the idea of starting out along the diagonals as a clear foundation for dodging in movements 19 and 21. Therefore, this thought will be present in the development of the work relating to this section, according
to the structuring of the work specified with this aim in the general explanation of Gokugi Kata. We can also sense the idea
of tactics in movement 3, where, by means of a lowered guard, we deliberately leave our middle and upper body unprotected
so as to somehow force an attack to the jodan area and so try to obtain. an advantage from the situation
point.
In order to follow a determined order, this section should be performed taking the ippon kumite sheets as a reference
CONCEPTS TO DEVELOP
Dodging using the diagonals
Dodging by means of the partial use of certain turns
In defence
In attack
In simultaneous defence and counter-attack
Hen te in the sequences in which they occur

Anticipation, an idea implicit in the first and fourth turn (uraken when turning, ushiro, gueri)
POSSIBILITY OF LINKING WITH ANOTHER TYPE OF ACTION
Sweep
Sweep
Sweep
Sweep
or
or
or
or
unbalance
unbalance
unbalance
unbalance
to
to
to
to
the
the
the
the
front
front
front
front
leg
leg
leg
leg
on
on
on
on
the
the
the
the
inside with the back leg

inside with the front leg
outside with the back leg
outside with the front leg
r ty
e
TECHNIQUES TO USE
op
r
Those shown in the Kata to defend as well as to counter-attack. The hen
rosei te concepts will be worked on.
l p te and
b
a
POSSIBLE WORK
tu ido
c
u
lle barai
Develop a type of kumite working the diagonals with gedan
defencegand giaku tsuki counter-attack, when
H
e
faced with a mae gueri attack, staying on the inside or the outside
intype of posture.
iz toisthe
nt according
i
u
t
r
After this work add sweeping exercises with the's
followingR
possibilities:
e
k
z
v
oo vare ad
Ai gamae (same posture)
b
r
lleg onfthe
e front
o
From the inside sweeping the attackers

inside with the back leg.
h
t
,
n
e
g
l
From the inside sweepingin

the attackers frontfileg on the outside with the back leg.
m
s Ra le
tiposture)
Giaku gamae (reverse
r
e s amp
v
From the outside
Jo the sattackers front leg with the front leg.
Ad sweeping
Use the different posibilities for sweeping work with the sei te combination gedan barai defence and giaku tsuki.
Indiscriminately ai gamae or giaku gamae, then with the other side, studying the opportunities that may arise in each
case to perform a sweep and systemise it.
Work on the gedan uchi barai and giaku tsuki techniques in the same order as in the previous exercise.
Use the shuto work to find a way out when faced with mawashi gueri attacks independent of your partners posture.
First ai gamae, then giaku gamae. Once an assurance has been acquired with the defences and the counter-attack,
make the most of the work to start on the sweep when faced with mawashi gueri performing the same steps and hold on the
opponents leg.
148
H. Nidan
Vista area
Aerial view
4. VISTA AREA / 4. AERIAL VIEW
ty
r
pe
o
pr ro
l
ua idob
t
ec Hu g
l
l
te iz- sin
n
i Ru ti
s
'
k ez ver
o
o var ad
b
e l for
h
t
n ile,
g
in am le f
s
i
rt R mp
e
v
s a
Ad Jo s
151
H. Nidan

Kihon development
8.2. FORMA DE TRABAJO HEN TE
Utilizacin consecutiva del mismo brazo como defensa-ataque, defensa-defensa, ataque-ataque.

Combinaciones especficas y posibilidades de trabajo.
8.2. HEN TE WORK METHOD
ty
r
pe
o
Defensa / Defence
Defensa / Defencer
p ro
l
a
Ude uke
Soto uke
u idob
Shuto uke
Osae uke t
c u
Gedan uchi barai
Uchi uke
e
l
l
Gedan barai
Age
teshutoizuke-H sing
n
i Contraataque
u rt/i Counter-attack
Defensa / Defence
s
R
'
k eYoko
z tsukive
o
Soto uke
r
d
o va
a
b
l or / Defence
Contraataque / Counter-attack
he n , fDefensa
Giaku tsuki
Uchi uke
t
e
Giaku tsuki
Morote uke
g
l
i
n
f
i
m
Ejemplo clsico
a lineal
leen avance y retroceso
tis de kihon
R
p
r
e sof a lineal
Classicv
example
amkihon going forwards and backwards
d
o
s
J
A
Consecutive use of the same arm to block-attack, defend-defend, attack-attack.

Specific combinations and work opportunities.
123456789-
KAMAE
Hacia delante
Hacia atrs
Hacia delante
Hacia atrs
Hacia delante
Hacia atrs
Hacia delante
Hacia atrs
Contraataque
Forwards:
Backwards:
Forwards:
Backwards:
Forwards:
Backwards:
Forwards:
Backwards:
Counter-attack:
159
Mawashi gueri, giaku tsuki

Ude uke o/or tate uke, soto uke
Chudan oi tsuki, chudan giaku tsuki
Shuto uke, osae uke
Mae gueri, chudan oi tsuki
Gedan uchi barai, uchi uke (giaku hamn)
Mae gueri, jodan oi tsuki
Gedan barai, age shuto uke
Giaku tsuki
H. Nidan
Desarrollo integral del Kamae Tate Uke

Complete development of the Kamae Tate Uke
EJEMPLO A-5

Tipo de trabajo
Ubicacin
Accin
1 Defensa
2 Contraataque
3 Contraataque
EXAMPLE A-5
Opponents attacks
Type of work
Location
Action
1 Defence
2 Counter-attack
3 Counter-attack
Jodan oi tsuki de derecha

3
Hen te, sei te
Interior
Lateralidad
Izquierda
Izquierda
Derecha
Right jodan oi tsuki

3
Hen te, sei te
Inside
Side
Left
Left
Right
Gesto tcnico
Tate uke
Mawashi tetsui uchi (ura tsuki o uraken uchi)
Mawashi tetsui uchi (ura tsuki o uraken uchi)
Technical gesture
Tate uke
Mawashi tetsui uchi (ura tsuki or uraken uchi)
Mawashi tetsui uchi (ura tsuki or uraken uchi)
er
p
ro o
p
al obr
u
t id
c
e
ll -Hu ng
e
nt uiz tisi
i
's z R er
k
o re dv
o
b lva r a
e
fo / APPLICATION
th n APLICACIN
,
e
g
fil
n
i
m
tis Ra ple
r
ve os sam
d
J
A
1
172
ty
H. Nidan
Mtodo de progresin para el trabajo de adaptacin del Kamae Tate Uke

Progression method for the Kamae Tate Uke adaptation work
EJEMPLO N 7

Tipo de trabajo
Accin
1 Defensa
2 Defensa
3 Contraataque
EXAMPLE N 7
Opponents attacks
Type of work
Atemi circular de puo jodan de derecha y de izquierda

3
Hen te
Lateralidad
Derecha
Derecha
Derecha
Gesto tcnico
Soto nagashi uke
Jodan tate uke
Jodan uraken uchi o jodan ura tsuki
Right and left jodan roundhouse punch

3
Hen te
r ty
e
op
r
l p bro
a
tu ido
c
lle -Hu ng
e
nt uiz tisi
i
's z R er
k
o re dv
o
b lva r a
e
3
th 1n e, fo 2
g
l
in am le fi
s
i
rt R mp
e
v os sa LATERALIDAD OPUESTA / OPPOSITE SIDE
d
J
A
Action
1 Defence
2 Defence
3 Counter-attack
Side
Right
Right
Right
Technical gesture
Soto nagashi uke
Jodan tate uke
Jodan uraken uchi or jodan ura tsuki
196
H. Nidan
Desarrollo integral del Kamae Morote Uke

Complete development of the Kamae Morote Uke
MODELO B
EJEMPLO B-1

Tipo de trabajo
Ubicacin
Accin
1 Defensa
2 Defensa
3 Contraataque
Oi tsuki de derecha, mae gueri de izquierda

3
Sei te
Interior
Lateralidad
Izquierda
Derecha
Izquierda
Gesto tcnico
Morote uke
Gedan barai
Jodan kizami tsuki
r ty
e
MODEL B
op
r
EXAMPLE B-1
l p bro
a
u ido
Opponents attacks
Right oi tsuki, left tmae gueri
c
3
lle -Hu ng
Type of work
Sei te
e
Location
Inside nt
iz isi
i
u
's z R ert Technical gesture
Action
Side
k
o Left re dv
1 Defence
Morote uke
o
a
a
2 Defence
Right
Gedan barai
b
v
r
l
3 Counter-attacke
Left
Jodan kizami tsuki
o
th n e , f
ng m e fil
i
s
a
rti R mpl
e
v
s a
Ad Jo s
203
H. Nidan

- Ante tcnicas circulares de pierna a nivel jodan
- When faced with circular jodan leg tehcniques
r ty
e
op
r
l p bro
a
tu ido
c
e
ll -Hu ng
e
nt uiz tisi
i
Como suelta por movimiento directo, por analoga de's
k movimiento
z R ver
e
o
r por
del frente con lateralidad sin cruzar
o a lavamueca
- Ante presa efectuada con una sola mano
a
b
r
l
e
th n e , fo
g using an analogous
il movement
As a release using direct movement,
n
f
i
m
is Ra uncrossed
le hold to the wrist from the front
- When faced withrat one-handed,
p
ve os sam
d
J
A
Como suelta por movimiento directo, por utilizacin de otro elemento que conforma la tcnica
- Ante presa con una mano a un hombro por el frente lateralidad sin cruzar
As a release using direct movement, using another element that forms part of the technique
- When faced with a one-handed, uncrossed grip to the shoulder from the front
209
H. Sandan

Kihon development
8.2. FORMA DE TRABAJO HEN TE
Utilizacin consecutiva del mismo brazo como defensa-ataque, defensa-defensa, ataque-ataque.

Combinaciones especficas y posibilidades de trabajo.
8.2. HEN TE WORK METHOD
Consecutive use of the same arm to block-attack, defend-defend, attack-attack.

Specific combinations and work opportunities.
Defensa / Defence
Defensa / Defence
r ty
e
op
r
Defensa / Defence
Contraataque
o
l p b/rCounter-attack
a
o
Empi uke
Uraken
tu uchi
d
i
c
lle -Hu ng
e
nt uiz tisi
i
's z R er
k
o re dv
o
b lva r a
e
lineal, feno avance y retroceso
th de kihon
Ejemplo clsico
n
g
file
n
i
m
Classic
e kihon going forwards and backwards
a of pa llineal
tis example
R
r
ve os sam
d
J
A
Uchi uke
Gedan barai
Morote uke
1
2
3
4
5
Gedan barai
Uchi uke
Osae uke
Kamae
Hacia delante
Hacia atrs
Hacia delante
Hacia atrs
Contraataque
Forwards:
Backwards:
Forwards:
Backwards:
Counter-attack:
240
Mae gueri, giaku tsuki

Gedan barai, uchi uke
Mawashi gueri, giaku tsuki, kizami tsuki
Morote uke, osae uke, tetsui uke
Giaku tsuki
H. Sandan
Desarrollo del kihon kumite

Kihon kumite development
Sambon kumite
A
T
A
Q
U
E
S
Primer paso
Segundo paso
Tercer paso
Chudan oi tsuki
Chudan oi tsuki
Chudan oi tsuki
Contraataques
S
A
M
B
O
N
er
p
ro o
p
l br
a
tu ido
c
e
ll -Hu ng
e
nt uiz tisi
i
k's ez R ver
o
o var ad
b
e l for
h
t Bsico
,
n // Basic
e
g
l
Desarrollado
Developed
i
f
m paso
Primer
/ First step
sin Segundo
e
a
i
l
t
ppaso / Second step
paso / Third step
er s RTercer
m
v
Attack
sa Ataque/ /Counter-attack
Ad Jo Contraataque
A
T
A
Q
U
E
S
Empi uke
Tate shuto uke
Chudan oi tsuki
Chudan oi tsuki
Mawashi gueri
Tate shuto uke
Uchi uke
Morote uke
Morote uke
Giaku tsuki
S
A
M
B
O
N
2
247
Kizami tsuki
ty
H. Sandan
Desarrollo integral del Kamae Kosa Uke

Complete development of the Kamae Kosa Uke
MODELO G
EJEMPLO G-1

Tipo de trabajo
Ubicacin
Accin
1 Defensa
2 Defensa
3 Defensa
4 Kio(control)
4 Contraataque
MODEL G
EXAMPLE G-1
Mae gueri de derecha, tsuki de derecha, giaku tsuki

6
Hen te, sei te
Interior pasando a exterior
Lateralidad
Izquierda
Izquierda
Izquierda
Izquierda
Derecha
Gesto tcnico
Gedan barai
Uchi uke
Uchi uke ayudado por soto uke de derecha
Pasar a desventaja
Jodan uraken uchi o jodan ura tsuki
r ty
e
op
r
o
Side
Technical
Action
l p brgesture
a
1 Defence
Left
Gedan barai
o
tu Uchiiduke
2 Defence
Left
c
3 Defence
Left
u uke helped by a right soto uke
lle -HUchi
4 Kio(control)
Left
Put at agdisadvantage
e
4 Counter-attack
Right
nt uiz tJodan
sinuraken uchi or jodan ura tsuki
i
i
's z R er
k
o re dv
o
b lva r a
e
th n e , fo
g
fil
n
i
m
tis Ra ple
r
ve os sam
d
J
A
Opponents attacks
Type of work
Location
Right mae gueri, right tsuki, giaku tsuki

6
Hen te, sei te
Inside passing to the outside
277
H. Sandan
Mtodo de progresin para el trabajo de adaptacin del Kamae Kosa Uke

Progression method for the Kamae Kosa Uke adaptation work
EJERCICIO N 7

Tipo de trabajo
Accin
1 Defensa
2 Defensa
3 Contraataque
4 Kio (Control)
5 Contraataque final
EXERCISE N 7
Atemi circular de puo jodan de derecha y de izquierda

5
Sei te en simultaneidad, hen te, sei te
Lateralidad
Izquierda
Derecha
Izquierda
Izquierda
Derecha
Gesto tcnico
Jodan uchi uke
Jodan uchi uke
Chudan ura tsuki
Pasar a desventaja
Giaku tsuki
r ty
e
Action
Side
Technical p
o gesture
1 Defence
Left
Jodan uchi
r
puchi uke
2 Defence
Right
Jodan
uke
ro
l
b
a
3 Counteer-attack
Left
Chudan
ura
tsuki
tuPut atida odisadvantage
4 Kio (control)
Left
c
5 Final counter-attack
Right
Giaku
u tsukig
lle -H
e
nt uiz tisin
i
's z R er
k
o re dv
o
b lva r a
e
th n e, fo
ng m e fil
i
s
a
rti R mpl
e
v
s a
4
4
Ad1 Jo s 2-3
Opponents attacks
Type of work
Right and left jodan roundhouse punch

5
Sei te simultaneously, hen te, sei te
2-3
286
H. Sandan

12.4. FUMIKOMI GUERI
Miembro utilizado: pierna
Articulaciones implicadas: cadera, rodilla, tobillo
Tipo de impacto: choque
Zona de impacto: planta del pie
r ty
e
op
r
Como atemi aplastante
l p bro
a
tu ido
12.4. FUMIKOMI GUERI
c
lle -Hhip,u knee,
Member used: leg
Jointse
involved:
t iz singankle
n
i Rudirect tand
Main joint: knee
Trajectory:
s
r i falling
'
e
k
z
vsole of the foot
o Impact
Type of impact: blow
re zone:
d
o
a
a
b lv
r
Conventional tactical interpretation
e
o
f
h
t
n ile,
As a crushing atemi g
sin Ram le f
i
t
er s amp
v
Ad Jo s
Articulacin principal: rodilla
Recorrido: rectilneo y descendente
Como defensa con la tibia de interior a exterior, utilizacin por analoga de movimiento
- Ante patada frontal
As a defence from the inside to the outside using the shinbone, using an analogous movement
- When faced with a front kick
292
H. Yondan

Kihon development
8.4. EXPOSICIN DE ALGUNOS EJEMPLOS SEALADOS EN EL CUADRO DE TRABAJO
8.4. EXPLANATION OF SOME OF THE EXAMPLES SHOWN IN THE WORK TABLE
Ejemplo 1 / Example 1
ty
r
pe
o
pr ro
1
2
l
ua idob
t
ec Hu g
l
l
te iz- sin
n
i Ru ti
s
'
k ez ver
o
o var ad
b
e l for
h
t
n ile,
g
in am le f
s
i
rt R mp Ejemplo 3 / Example 3
e
v
s a
Ad Jo s 1
2
318
H. Yondan
Desarrollo integral del Kamae Kakiwake Uke

Complete development of the Kamae Kakiwake Uke
EJEMPLO D-3

Tipo de trabajo
Ubicacin
Accin
1 Defensa
2 Defensa
3 Kio (control)
4 Contraataque
EXAMPLE D-3
Opponents attacks
Type of work
Location
Oi tsuki de izquierda, giaku tsuki

4
Sei te, hen te, sei te
Interior
Lateralidad
Derecha ayudado por la izquierda
Izquierda ayudado por la derecha
Izquierda
Derecha
Left oi tsuki, giaku tsuki
4
Sei te, hen te, sei te
Inside
er
p
ro o
p
al obr
u
t id
c
e
ll -Hu ng
e
nt uiz tisi
i
's z R er
k
o re dv
o
b lva r a
e
th n e , fo
g
fil
n
i
m
tis Ra ple
r
ve os sam APLICACIN / APPLICATION
d
J
A
Action
1 Defence
2 Defence
3 Kio (control)
4 Counter-attack
Side
The right helped by the left
The left helped by the right
Left
Right
3-4
338
Gesto tcnico
Kakiwake uke
Kakiwake uke
Pasar a desventaja
Giaku tsuki
ty
Technical gesture
Kakiwake uke
Kakiwake uke
Put at a disadvantage
Giaku tsuki
H. Yondan
Mtodo de progresin para el trabajo de adaptacin del Kamae Kakiwake Uke

Progression method for the Kamae Kakiwake Uke adaptation work
EJERCICIO N 3
Este ejercicio es igual que el anterior pero la defensa es realizada ante un ataque con arma
Tipo de trabajo
Accin
1 Defensa
2 Kio (control)
3 Contraataque
EXERCISE N 3
Ataque rectilneo con arma blanca con el brazo derecho

2
Sei te
Lateralidad
Derecha ayudado por la izquierda
Derecha
Izquierda
Gesto tcnico
Kakiwake uke
Pasar a desventaja
Giaku tsuki
This exercise is the same as the previous one but the defence is performed facing an attack with a
weapon
Opponents attacks
Type of work
Action
1 Defence
2 Kio (control)
3 Counter-attack
Direct attack with a blade using the right arm.

2
Sei te
Side
The right helped by the left
Right
Left
rty
e
op
r
l p bro
a
tu ido
c
lle -Hu ng
e
nt uiz tisi
i
's z R er
k
o re dv
o
b lva r a
e
1
2
t h n 1 e , fo
g
fil
n
i
m
le
tis Ra LATERALIDAD
p
r
OPUESTA / OPPOSITE SIDE
e s am
v
Ad Jo s
342
Technical gesture
Kakiwake uke
Put at a disadvantage
Giaku tsuki
H. Yondan

- Ante tcnicas circulares e pierna a nivel jodan
- When faced with circular leg techniques at jodan level
r ty
e
op
r
l p bro
a
tu ido
c
e
ll -Hu ng
e
nt uiz tisi
i
R manos,
's conz ambas
er una a cada mueca, aplicacin por analo Como suelta ante presa efectuada por la espalda
k
v
e
o
ga de movimiento
o var ad
b
l for
Other possible interpretationse
h
t
, one to each wrist, from behind. The application uses an analon igrip,
e
As a release when faced with
a two-handed
g
l
in am le f
gous movement
s
i
t
er s R amp
v
Ad Jo s
344
H. Yondan
Kata goshin do
13. KATA GOSHIN DO
13.1. DEFENSA PERSONAL
En este apartado se irn realizando aplicaciones ante las situaciones expuestas con anterioridad en el Kamae estudiado y desarrollado, Kakiwake uke, en combinacin con lo mostrado de igual manera en el apartado Anlisis e interpretacin
integral de las tcnicas.
Contemplando para ello las formas descritas en el Mtodo de progresin de los trabajos de adaptacin de los Kamae,
con la salvedad de que se omitir la fase de acondicionamiento por estar sta ya trabajada, pasando directamente a la fase
de libre adaptacin, eso s comenzando por determinar un ritmo adecuado al nivel de asimilacin del mismo: lento al principio,
medio a medida que se adquiere ms soltura y rpido al final cuando el movimiento surge de forma espontnea y con poco
o nulo margen de error.
r ty
e
NOTA IMPORTANTE: En los trabajos de los Kamae, as como en el Mtodo de progresin
de los trabajos de adaptaopy contraataque,
r
cin, se contempla nicamente la posibilidad con atemi waza ya sea en defensa, ataque
en el Desarrollo e
p
o
r
l
interpretacin integral de las tcnicas se contempla adems otras posibilidades como
sueltas
de agarre, presas, desequilibrar,
proyectar, etc.
ua idob
t
ec Hu g
13. KATA GOSHIN DO
l
l
e
nt uiz tisin
13.1. SELF-DEFENCE
i
R situations
r previously presented in the Kamae that
's facedz with
e
k
In this section, applications will be performed when
v
o rewith what
have been studied and developed, Kakiwake Uke, in o
combination
a r ad is also shown in the Complete technique analysis
b
and interpretation section.
v
l
foprogression method of the Kamae should be studied, with
he n work
,
For this, the methods described intthe Adaptation
e
gbe omitted
l already been worked on. We can go straight to the free adap as itfihas
the exception that the conditioning phase
n
i
m
tation phase, but start by determining
a
rhythm
suited
to
its
level of assimilation: slowly at first, medium speed as more asa pbecomes
le spontaneous
surance is acquired and fast when
and with little or no margin of error.
tisthe movement
R
r
e
m
vwork asoswell assina the Adaptation work progression method, only the possibility of using atemi
NB: In the Kamae
d
J
waza as a defence, attack
or
will be considered. In the Development and complete interpretation of the techA counter-attack
niques other possibilities will also be considered, such as releases, holds, unbalancing, throws, etc.
355
H. Godan
Vistas desde otros ngulos y embusen (lnea de realizacin)

Views from other angles and embusen (performance line)
2. VISTAS DESDE OTROS NGULOS / 2. VIEWS FROM OTHER ANGLES
13
er
p
ro o
p
al obr
u
t id
c
e
16
14-A
14-B
17
ll 18-Hu n20g
e
t iz si
n
i
u
i
3. EMBUSEN
's z R ert
k
v line
o /rePerformance
Lnea de realizacin
d
o
a
a
b lv
r
e
o
f
h
t
n ile,
g
sin Ram le f
i
t
er s amp
v
Ad Jo s
359
ty
21-A
21-B
H. Godan
Desarrollo integral del Kamae Jodan Juji Uke

Complete development of the Kamae Jodan Juji Uke
EJEMPLO D-10

Tipo de trabajo
Ubicacin
Accin
1 Defensa
2 Defensa
3 Contraataque
Oi tsuki de izquierda, mae gueri de derecha

3
Hen te
Interior
Lateralidad
Ambas manos
Izquierda
Izquierda
Gesto tcnico
Jodan juji uke
Gedan nagashi shuto barai
Nukite (garganta)
ty
r
pe
Opponents attacks
Left oi tsuki, right mae gueri
o
3
pr ro
l
Type of work
Hen te
ua idob
Location
Inside
t
c u
eTechnical
l
Side
gesture
Action
l
-Hjuji uke
e Jodan
1 Defence
Both hands
ng
t
z
i
i
n
s
2 Defence
Left
Gedan
nagashi
shuto barai
i R u ti
s
r
3 Counter-attack
Left
Nukite
(throat)
'
k ez ve
o
o var ad
b
e l for
h
t
n ile,
g
in am le f
s
i
rt R mp
e
v
s a
Ad Jo s
EXAMPLE D-10
406
H. Godan
Mtodo de progresin para el trabajo de adaptacin del Kamae Jodan Juji Uke
Progression method for the Kamae Jodan Juji Uke adaptation work
EJERCICIO N 8

Tipo de trabajo
Ubicacin
Ataque descendente con el brazo derecho y ataque de puo chudan

3
Hen te
Interior pasando a exterior
r ty
e
op
r
l p bro
EXERCISE N 8
a
ochudan punch attack
tuarm and
d
Opponents attacks
Falling attack with the right
i
c
3
lle -Hu ng
e
Type of work
Hen te
t iz si
Location
Inside passingin
to the outside
u r ti
s
R
'
e
k
z vTechnical
Side
gesture
Action
e
o
r
d
1 Defence
Both
hands
Jodan
juji uke
o
a
a
b lv
2 Defence
Left
r
e
o
3 Counter-attack
Left
Nukite
th n e , f
g
fil
n
i
m
tis Ra ple
r
ve os sam
d
J
A
Accin
1 Defensa
2 Defensa
3 Contraataque
Lateralidad
Ambas manos
Izquierda
Izquierda
Gesto tcnico
Jodan juji uke
Nukite
416
H. Godan

12.12. MANGI UKE
Secuenciacin como bunkai clsico
r ty
e
op
r
12.12. MANGI UKE
l p bro
a
tu ido
Conventional tactical interpretation
c
lle -Hu ng
Sequencing as in the classic bunkai
e
i
nt uiz with
sthe
i
i
Kamae basically composed of gedan barai and the action of pulling
hand until it is placed just behind
t
r action. other
's for ztheRfollowing
the head, perhaps as a protective element, or in preparation
It can represent different actions, such
e
k
vinterpretations are described in the technique gedan
as releasing onself from a grip to the wrist, hitting theo
genitals,
reetc. These
d
o
a
a
barai.
b lv
r
e
1, /foSequence
1
th Secuencia
n ile
g
in am le f
s
i
rt R mp
e
v
s a
Ad Jo s
Kamae compuesto bsicamente por gedan barai y la accin de tirar con la otra mano hasta colocarla justo detrs
de la cabeza, quizs como elemento de proteccin de la misma o bien como preparacin de la siguiente accin. Puede representar diferentes acciones, como soltarse ante una presa a la mueca, golpear genitales etc. estas interpretaciones estn descritas en la tcnica gedan barai.
Secuencia 2 / Sequence 2
Secuencia 3 / Sequence 3
426
H. Kaishu no kata
Justificacin
Justification
1. HEIAN KAISHU NO KATA
1.1. JUSTIFICATION
ty
r
pe
o
pr ro
1.2. FOCAL POINTS
l
ua idob
Historical
t
ec Hufocusedgrather on physical education than on
l
In such a way that they were almost symmetrical and withl a purpose
- up of iopen-hand
n
te made
z
the martial aspect. This is why, at the beginning, they were mostly
techniques, like the naifanchi
i
n
s
i
(tekki), but master Hanashiro (Itoshus disciple) taking theiridifficultyu
and danger
for
children into account, started to close
t
fists. This change being approved by Mater Itoshu himself.
k's ez R ver
o
r all theadopen hand sequences of the heian Kata, the aim is to
o together
With the creation of this Kata, which brings
a
b
v
regress, albeit only symbolically, to their origins.
e l for
h
t
n ile,
Technical
g
f it being an open-hand Kata, it generates a lot less muscular tension

in consider
m lthat,
e
From this point of view,is
we must a
pthe movements and coordination since there are certain technical sequenand allows a greater development
of
rt in theRfluidity
e
m
ces in which both arms and
hands
intervene
simultaneously.
also improves work on the opposite side of the body as there
v os performed
a on one side inItthe
are sequences that ared
usually only
heian Kata. In this work, both sides are used.
s
J
A
This Kata has been developed with the open hand techniques that the heian Kata offer us in mind, since, although
from a historical point of view, these were first created by Master Itoshu in 1909, who called them Pinan and then modified
by Master Gichin Funakoshi, who called them Heian, they were designed with a didactic aim in order to be able to introduce
Karate do into the schools of Okinawa and then Japan.
Tactical
Improving our compendium of open-hand technique application, straight as well as circular, incorporating these
types of technique into our usual work repertory by giving it greater variety and quantity of resources.
Pedagogical
Giving the teacher another tool when it comes to teaching Karate do and showing the relationship and interaction
of the old with the new, always respecting the tradition and essence of Karate do.
1.3. OBJECTIVES
Creativity
Improving the concept of relaxation, contraction, relaxation.
Achieving versatility and fluidity in open-hand work, not only looking for the concept of defence and counter-attack, but also possible holding, controlling and unbalancing actions, etc.
Acquiring motor skill in agreed work so as to translate this to adaptation work or intuitive work.
432
H. Kaishu no kata
Esquema general
General outline
2. ESQUEMA GENERAL / 2. GENERAL OUTLINE
er
p
ro o
p
al obr
u
t id
c
e
ll -Hu ng
YOI
e
1
nt uiz tisi
2
i
's z R er
k
o re dv
o
b lva r a
e
th n e, fo
g
fil
n
i
m
3
tis Ra ple
r
ve os sam
d
J
A
5-A
6-A
14
5-B
15-B
16
13
6-B
12-B
11-A
9-B
15-A
ty
9-A
10-A
17-A
17-B
18-A
18-B
12-A
11-B
10-B
433
YAME
YOI
H. Kaishu no kata
Secuenciacin de algunas aplicaciones

Sequencing of some applications
EJEMPLO N 5

Tipo de trabajo
Ubicacin
Accin
1 Defensa
2 Contraataque
3 Contraataque
4 Sabaqui largo
5 Kio (control)
6 Barrido
7 Contraataque
Chudan oi tsuki de derecha

6
Sei te
Exterior
Lateralidad
Derecha
Izquierda
Derecha
Gesto tcnico
Shuto uke
Shuto uchi a la garganta
Shuto uchi al costado
Ambas manos
Ambas manos
Izquierda
Shuto uchi al cuello
ty
r
Opponents attacks
Right chudan oi tsuki
pe
6
o
Type of work
Sei te
pr ro
l
Location
Outside
ua idob
t
c u gesture
Action
Side
eTechnical
l
1 Defence
Right
ShutoH
l
g throat
- uke
e Shuto
2 Counter-attack
Left
uchi ito
nthe
t
z
i
n
s
3 Counter-attack
Right
Shuto
uchi
to
the
ribs
i Ru ti
s
4 Long sabaqui
r
'
z ve
5 Kio (control)
Both handsk
e
o
r
d
6 Sweep
Both hands
o va
a
7 Counter-attack
Left b
e l for Shuto uchi to the neck
h
t
n ile,
g
in am le f
s
i
rt R mp
e
v
s a
Ad Jo s
EXAMPLE N 5
439
Estudio general sobre los giros

General study on turns
Giros matrices
Principal or generic turns
2. GIROS MATRICES O GENRICOS
Siguiendo el patrn de ordenamiento anteriormente descrito tendramos:
er
p
Goyu shiho sho, primer giro, orientacin en una sola direccin.
ro o
p
2. PRINCIPAL OR GENERIC TURNS
al obr
u
t id
c
Following the pattern of order described above we have:
e
l -H u g
l
e
2.1. SHORT TURNS
nt uiz tisin
i
A - With the front leg
's z R er
k
o re dv
Goyu-shiho-sho, first turn, facingo
in one direction.
b lva r a
e
th n e , fo
g
fil
n
i
m
tis Ra ple
r
ve os sam
d
J
A
2.1. GIROS CORTOS
A - Con la pierna adelantada
458
ty

Giros matrices
Principal or generic turns
F-1 - Con la pierna atrasada hacia la espalda y con cambio de direccin de 90
Variante y manifestacin parcial del segundo giro de Heain Sandan, tercer giro presente
en Heian Shodan.
r ty
e
Variant and partial demonstration of the second turn in Heian
op sandan, third turn present in Heian sho
dan.
r
l p bro
a
tu ido
c
lle -Hu ng
e
nt uiz tisi
i
's z R er
k
o re dv
o
b lva r a
e
th n e, fo
g
fil
n
i
m
tis Ra ple
r
ve os sam
d
J
A
F-1 - With the back leg, 90 backwards turn with change of direction
F-2 - Con la pierna atrasada hacia la espalda y con cambio de direccin de 90

Variante y manifestacin parcial del segundo giro de Heian Sandan.
F-2 - With the back leg 90 backwards turn with change in direction
Variant and partial demonstration of the second turn in Heian sandan.
464

Esquivas asociadas_
Associated dodges
- Ante ataque circular con la pierna izquierda desde la espalda:

EJERCICIO N 1:
Esquiva por el interior, defensa hacia el exterior
EXERCISE N 1:
Dodge to the inside, outward defence
- When faced with a circular attack with the left leg from behind:
er
p
ro o
p
al obr
u
ct uid
e
l
el iz-H ing
t
in Ru tis
s
r
' z
e
k
v
e
oo var ad
b
r
l
e
th n e , fo
ng m e fil
i
s
ti Ra pl
r
ve os sam
d
J
A
478
ty

Formas de escape
Means of escape
6.3. EXPOSICIN DE LOS EJEMPLOS

POR ACERCAMIENTO AL OPONENTE
Lateralidad sin cruzar

Tipo de trabajo
Ubicacin
Accin
1 Agarre del oponente
2 Acercamiento
2 Ataque
3 Ataque
Agarre con mano derecha a hombro derecho

2
Hen te
Interior
Lateralidad
Derecha
Pie izquierdo
Izquierda
Izquierda
Gesto tcnico
Utilizacin parcial del giro D

Ushiro empi uchi
Gedan tetsui uchi
er
p
6.3. EXPLANATION OF THE EXAMPLES
ro o
p
BY APPORACHING THE OPPONENT
al obr
u
t id
Uncrossed
c
e
u g
ll right-Hshoulder
Opponents attacks
Right-handed hold to
the
e
2
nt uiz tisin
i
Type of work
Hen te
's z R er
Location
Inside
k
o re dv
o
Action
Side
a gesture
b lva Technical
r
1 Opponents hold
Right
e
foPartial use of turn D
2 Approach
foot
th Left
,
n
e
2 Attack
Left
empi uchi
g Left fil Ushiro
n
3 Attack
Tetsui uchi gedan
i
m
tis Ra ple
r
ve os sam
d
J
A
483
ty

Conclusin
Conclusion
7. CONCLUSIN
Hemos de transmitir, una vez analizados los diferentes giros en funcin de los criterios anteriormente mencionados,
la siguiente observacin:
Todos los giros existentes en los kata estn contenidos en alguno de estos seis giros genricos o matrices, con la
salvedad de que algunos de los giros que existen en los kata se manifiesten de forma parcial, es decir, si un giro determinado
no es exactamente igual que uno de estos mencionados, es una variante o manifestacin parcial de uno de ellos.
Cabe destacar tambin que los giros desarrollan una serie de habilidades fsico-tcnicas por un lado y por otro, que
contienen aspectos tcticos. Se ha observado que en algunos kata determinados giros slo se realizan con una lateralidad,
y en otros con la contraria, por lo que sera conveniente trabajarlos todos con ambas lateralidades tanto en el trabajo de kihon
como en el de las aplicaciones. De ah la importancia de trabajar los kata, adems de en el sentido habitual, es decir, en
omote, en ura (sentido contrario), go (con la misma lateralidad, pero hacia atrs), en esta forma los giros se efectan en sentido inverso que en omote, en ura-go (por el lado contrario y hacia atrs), como formas ms destacables de prctica. Una
vez practicado e interiorizado este amplio bagaje de movimientos en todas las direcciones, dispondremos de una mejor y
mayor movilidad, una gran coordinacin y un mejor control del espacio, as como la soltura y fluidez necesarias para posteriormente trasladar estas habilidades fsico tcnicas al campo de las aplicaciones con una aparente naturalidad y sencillez.
r ty
e
op
r
Por este motivo debemos distinguir dos aspectos diferentes en el entrenamiento
l p bro de los giros:
a
1- Adquisicin de habilidades fsico tcnicas
tu ido
c
e Hu esgdecir, el aspecto tctico
2- Capacidad de adaptacin en el campo de las
ell aplicaciones,
t
n uiz tisin
i
7. CONCLUSION
's z R er
k
v
e analysed
o haverbeen
d
o
We must pass on, once the different turns
according to the abovementioned criteria, the folloa
a
b
v
r
wing observation:
l
e
fo
th n inon eof,these
All the turns in the Kata are contained
six generic or fundamental turns, with the exception of some
g in partial
l
i
of the turns in the Kata they appear
form,
that
is
to
n
f
i expression
m lofe one of them. say, if a certain turn is not exactly the same as one of those
mentioned, it is a variant oripartial
s
a
Rturns develop
p a series of physical-technical skills on the one hand, and on the other, that
It is important to point out
rtthatIt the
e
they contain tactical aspects.

has
beenm
observed that in some Kata, certain turns are only performed in one direction, and
v
s
a
d one.
in others, in the opposite
thissreason, it is advisable to work on them in both directions, in kihon as well as application
JoofForworking
work. Hence theA
importance
on the Kata, as well as in the usual direction, that is to say, in omote, in ura (opposite
direction), go(on the same side, but backwards), in this version, the turns are performed in the inverse direction than in
omote, in ura-go (on the opposite side and backwards), as the most notable practice methods. Having practised and internalised this wide selection of movements in all directions, we will have a greater and better mobility, excellent coordination
and better spatial control, as well as the assurance and fluidity necessary to then transfer these physical-technical skills to
the field of applications with an apparent naturalness and simplicity.
For this reason, we must distinguish between two different aspects in the training of turns:
12-
The acquisition of physical-technical skills
The ability to adapt in the field of application, in other words, the tactical aspect
487

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Jos Ramn lvarez Ruiz-Huidobro

Metodologa Integral Karate-Kata

Advertising the book's intellectual property

Evolucin del movimiento tcnico al movimiento intuitivo a travs del Kata

Desarrollo didctico y metodolgico de los Kata Heian

mpractising Karate do and the influence of the masters he has followed.

JOS RAMN LVAREZ RUIZ-HUIDOBRO

The autor wished to christen this work Complete Karate-Kata Methodology.

Kata: becasue it is based on the Kata.

Methodology: because it is a method, with rules, procedures, ordering and logic.

Karate do nisente nashi - There in no first attack in Karate

Complete Karate-Kata Methodology - Description and Foundation

Heian Shodan didactic unit (example of structure)

Advertising the book's intellectual property

9. Kihon kumite development

10. Complete development of the Kamae Tetsui Uchi

12. Complete development of the Kamae Shuto Uke

14. Complete technique analysis and interpretation

15. Kata Goshin do

16. Gokugi Kata

Advertising the book's intellectual property

Nomenclatura de las tcnicas y cuadro conceptual

6. NOMENCLATURA DE LAS TCNICAS / 6. TECHNIQUE NOMENCALTURE

2, 5, 11, 13, 15, 16, 17

7-A, 8-A, 9-A

7-B, 8-B, 9-B

18, 19, 20, 21

Advertising the book's intellectual property

Desarrollo del kihon

Desarrollo del kihon

Desarrollo integral del Kamae Tetsui Uchi

Ataques del oponente

Mae gueri de derecha

Mtodo de progresin para el trabajo de adaptacin del Kamae Tetsui Uchi

11.2. EXPOSICIN DE LOS EJERCICIOS

Ataques del oponente

Gedan tsuki de izquierda

11.2. EXPLANATION OF THE EXERCICES

Left gedan tsuki

Advertising the book's intellectual property

Desarrollo integral del Kamae Shuto Uke

12.2. MODELOS TCTICOS

Ataques del oponente

12.2. TACTICAL MODELS

Advertising the book's intellectual property

Mtodo de progresin para el trabajo de adaptacin del Kamae Shuto Uke

Mtodo de progresin para el trabajo de adaptacin del Kamae Shuto Uke

13.2. EXPOSICIN DE LOS EJERCICIOS

Ataques del oponente

Atemi circular de puo jodan de derecha

13.2. EXPLANATION OF THE EXERCISES

Right jodan roundhouse punch

Anlisis e interpretacin integral de las tcnicas

14. ANLISIS E INTERPRETACIN INTEGRAL DE LAS TCNICAS

Main joint: elbow in

Articulacin principal: codo

Articulaciones implicadas: codo, hombro, mueca

As an interior or exterior gedan defence

Otras posibles interpretaciones