Understanding Karate

2
Understanding Karate-do
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Copyright Information:
Johnston, Owen
Understanding Karate-do (Work-in-Progress)
Copyright 2005-7
All Rights Reserved. This publication may be freely distributed or

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Author & Publisher:

Owen Johnston
cyriades@yahoo.com
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Table of Contents
Introduction - 6
Part I: Foundation -
A Concise History and Lineage of Wado-Ryu
History - 8
Lineage - 13
Part II: Fundamentals -

Principles, Techniques, and Kata
Karate Principles for Self Defense - 18

Techniques - 21
Kata - 27
Part III: Dojo -

Philosophy, Terms, and Ranking System
Philosophy - 39
Terms - 41
Syllabus - 42
Part IV: Insight
Budo - 48
Duty - 48
Dojo - 49
Myself - 50
Confidence - 50
Dedication - 50
Karate Precepts - 51
Karate Principles - 52
Strategy - 53
Strategy - part II - 55
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Table of Contents continued
Strategy - part III - 56

A Brief History of Karate - 59
Peace, Harmony, and Truth - 66
On Teaching - 67
Walking the Path - 69
The Pursuit of Perfection (or 'Mizuumi / Lake') - 71
The Pursuit of Perfection (or 'Mizuumi / Lake ') II - 77
Mizuumi ryu - Appendix - 85
Sources and Inspiration - 98
Understanding Karate-do:
A Guide to Unity of Body, Mind, and Soul
Owen Johnston
2005
The goal of all training is

To stand for peace, harmony, and truth
'The true purpose of budo is the search for truth. In karate,

three elements are important - physical strength, spirit and
heart. The end of do (the way), cannot be achieved in a few years,
rather it is a lifelong search. Perhaps you could say the aim is
to make us good Human Beings.'
- Ohtsuka Hironori (6/1/1892 - 1/29/1982), founder of Wado

ryu karate
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Introduction
Karate-do, as a tool for self-improvement in one's own life
and for the lives of others, is rivaled by few other disciplines
on earth. It may be practiced nearly anywhere, anytime, and by
almost anyone, especially its code of conduct. It is not
necessarily a religion, but indeed a discipline that one may apply
to one's existing beliefs. It is simply one of many methods by
which one may step onto the path of becoming the best person one
can possibly be, where one's ultimate teacher will be life itself.
No book can replace formal, technical instruction; as such,
this book is primarily designed as a companion guide for the
existing or prospective student of Karate-do. I also do not
pretend that this book is a general guide to the wide world of
karate; nor do I present a comprehensive study of its history.
Yet, I attempt to make a passable starting point on either
subject. Please refer to my Sources, Inspiration, and Recommended
Viewing section near the end of the book for more details.
I hope that this book indeed serves you well. If you would
like to know more, feel free to get in touch with me.
My lineage: I earned the rank of shodan in Heiwado (Japan
International Karate Center's karate) from Sensei Craig McKenzie.
He was taught by Sensei Kevin Marshall, who in turn was taught by
Sensei Dale Coker. His teacher was Shihan Ronald Woodard. My
particular formulation of Heiwado is based on continued research.
More lineage information is found in Part I of the book.
More about this book: Since Heiwado is a derivative of Wado
ryu Karate, this book has a slight lean towards both styles.
However - as I do in my teaching - I try to take a broad view that
(hopefully) will help current and prospective students.
My contact info:
Owen Johnston - cyriades@yahoo.com
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Part I:
Foundation -
A Concise History and Lineage of Wado-Ryu
'The Way is not meant as a way of fighting. It is a path on

which you travel to find your own inner peace and harmony. It is
yours to seek and find.'
- Ohtsuka Hironori
8
History
Hironori Ohtsuka founded Wado-Ryu, the 1st Japanese form of

Karate in 1938. It was the result of many years of training in
various forms of Japanese Jiu Jitsu and Okinawan Karate, as well
as Aikido, developed into a single fluid, powerful, yet peaceful
martial art. Wado-Ryu Karate is the Way of Peace and Harmony, and
is practiced as a way of life by millions of people worldwide.
For such a relatively new and widely practiced martial art,
details of its origin are either scarce or hotly debated. There is
also plenty of speculation and rumor. I will give as factual an
outline of the history as I am able. Also, I apologize beforehand
if it seems that any part of this history is vague, which is a
result of the lack of facts pertaining to that particular section.
For a more comprehensive study of Karate, Wado-Ryu, and Ohtsuka-
sensei, please refer to my endnotes.
Ohtsuka began his martial arts training very young. His great
uncle Chojiro Ebashi began teaching him Jiu Jitsu (alternately
spelled jujutsu and jujitsu), a grappling oriented art beginning
at the age of 3 or 4. He was later enrolled around age 5 or 6 in
shindo yoshin-ryu jujutsu ('Sacred Willow Style' jujutsu) under
Shinzaburo Nakayama-sensei. This form of Jiu Jitsu was founded by
Katsunosuke Matsuoka, a student of Yoshin-ryu jujutsu ('Willow
Style'), in the early to mid 1800s. Shindo Yoshin-ryu emphasizes
grace and natural movement.
This study of natural flowing movement later played a major
role in the development of Wado principles, along with Ohtsuka's
training later in life under Morihei Ueshiba O'Sensei, founder of
Aikido. The use of the opponent's momentum are as important in
defeating him or her as your own movements. Also, Jiu Jitsu's
orientation towards rugged practicality influenced Ohtsuka's
modifications to the Karate techniques he would later learn.
The Jiu Jitsu community of that time generally retained many
of the Samurai traditions and fighting arts from which Jiu Jitsu
itself was derived. Shindo Yoshin Ryu Jiu Jitsu, for example,
contained Kenjutsu influence and a heavier emphasis on striking
9
History continued
than many other Jiu Jitsu forms. The Kenjutsu side was a definite
influence on the body shifting and hand controlling techniques
Ohtsuka later included in Wado-Ryu.
Ohtsuka continued his study of Jiu Jitsu for many years.
During his period at Waseda University (from 1910-1917, where he
earned his Associate's Degree in Economics) he experimented with
various Jiu Jitsu styles to find their best qualities. Even this
early on, Ohtsuka began evolving his techniques and principles.
According to many, on June 1st 1920 Ohtsuka was promoted to
4th Grandmaster of Shindo Yoshin Ryu Jiu Jitsu. This has been much
debated, however. The 3rd grandmaster of Shindo Yoshin Ryu, Tatsuo
Matsuoka (grandson of the art's founder), did not pass away until
1989, 7 years after Ohtsuka's death. Also, Ohtsuka's instructor,
Nakayama, had previously branched off from the founder to begin
his own style and lineage of Shindo Yoshin-ryu. It is also heavily
debated as to how much or little of the actual shindo yoshin-ryu
jujutsu curriculum was later adopted into Wado ryu. Also, Ohtsuka
had, at some time during the early 1920s, been awarded a 'menkyo
kaiden' certificate. This certification essentially meant he had
gained full proficiency in the system.
At the very least, Wado was heavily influenced by the shindo
yoshin-ryu principles, and some of its waza (techniques).
Nonetheless, Ohtsuka's path as a budoka was set by this
point, and would soon take its first fateful turn. He would soon
meet the father of modern karate, Gichin Funakoshi. In the fall of
1922, Ohtsuka was giving thought to his future. Although his job
at the bank appeared secure, he was not satisfied. He wanted to
devote his life to his true passion, the martial arts. This
interest was heightened even more when Ohtsuka found out that an
Okinawan school teacher, Gichin Funakoshi, was invited by Crown
Prince Hirohito to perform karate before the Emperor of Japan at a
public hall in Tokyo. Ohtsuka attended the demonstration, and as a
result became one of Funakoshi's 35 original Japanese students.
Because of the popularity gained by the demonstration,
Funakoshi stayed in Japan. Ohtsuka was at Funakoshi's dojo nearly
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History continued
every night, absorbing the art. By 1924, he became chief assistant

instructor. On April 24th, Ohtsuka was named among the first seven
black belts in modern karate.
Funakoshi came to rely heavily on Ohtsuka. At 32, Ohtsuka's
realized his dream of being a full time martial artist. However,
he found Funakoshi's karate (later named Shotokan) lacking. He
felt there was little sense behind the philosophies, the kata
seemed to have no practical application, and the movements were
too confined. Also, Funakoshi did not allow free sparring, leaving
no way to truly test his karate. Therefore, while still assisting
Funakoshi, Ohtsuka trained with other notable masters. These
included Kenwa Mabuni, founder of Shito-Ryu Karate, as well as
Choki Motobu, famous for his excellent technical and fighting
abilities, and Morihei Ueshiba, founder of Aikido.
Ueshiba O'Sensei helped Ohtsuka find the missing link, and
officially begin the creation of Wado. Like Shindo Yoshin Ryu Jiu
Jitsu, Aikido is a direct descendant of Aikijujutsu (a part of
Samurai combative). The greatness of Aikido is in its reliance on
natural movements, focusing on breathing, relaxation, and 'ki'
(life force; breath; spirit). Whereas most karate tended to
generate tension in performing techniques, Aikido was the
opposite. Instead of meeting force of force, it blended with and
redirected the opposing force or ki.
It was upon learning Aikido that Ohtsuka-sensei began to form
a new budo, a Way of Harmony. He would eventually blend the basics
of Funakoshi's karate, the practicality of Shindo Yoshin Ryu Jiu
Jitsu, and the spirituality of Aikido, as well as the natural,
evasive movements of the latter two. Much like the Jiu Jitsu
influence on Ohtsuka-meijin's budo, Aikido had more influence on
the principles from which techniques are derived, rather than the
specific techniques themselves. Also, it would appear that Shito
ryu Karate and Shindo Yoshin Ryu Jiu Jitsu had a much heavier
influence on Wado than Aikido.
Ohtsuka gradually incorporated knowledge from Jiu Jitsu,
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History continued
Aikido, and the other karate sensei he trained with, into the
classes Funakoshi-sensei had put him in charge of. This included
free fighting, and weaving his newfound principles into the kata.
While many students agreed with the changes being made, Funakoshi-
sensei viewed them as contrary to his teachings. Due to their
disagreements, it was in 1930 that Ohtsuka-sensei and Funakoshi-
sensei finally parted ways.
Over the 4 years that followed, with help from students who
also left Funakoshi's instruction, Ohtsuka continued his own
teaching. Constantly developing his new budo, he focused on
deriving practical defense from formal art. A major breakthrough
was the idea of Kihon Kumite Kata, which became his greatest
contribution to martial arts. In blending Jiu Jitsu, Aikido, and
Karate, he created not only 36 new kata, but a new budo.
Ohtsuka-sensei created the All Japan Karate-do Research
Organization (Dai Nippon Karatedo Shinko Kai) in 1934, after
encouragement from many of his students. Also, his son Jiro (later
known as Hironori Ohtsuka II), who would later become Ohtsuka's
heir, was born that same year.
Four years later, the All Japan Classical Martial Arts
Festival (Dai Nippon Kobudo Tai Kai) invited Ohtsuka-sensei to
demonstrate his controversial new style. He was asked to name the
style prior to the demonstration, and he registered it as Shin Shu
Wado Ryu Karate-jujutsu - New Style Way of Harmony School. The
year after, when Dai Nippon Butokukai requested all Japanese
martial arts and their chief instructors register their names,
Ohtsuka-sensei gave the name Wado-Ryu - Way of Peace and Harmony.
Ohtsuka-sensei continued teaching, and Wado-Ryu eventually
became one of the most highly regarded Japanese martial arts. The
1st All Japan Wado-Ryu Karate championships were held in 1955. In
1963, Mr. Arakawa, Mr. Takashima, and Mr. Tatsao Suzuki left Japan
to help spread Wado-Ryu Karate to Europe and America. Emperor
Hirohito in 1966 awarded Ohtsuka-sensei with The Grand Order of
the Rising Sun (Kyuokujitsusho). In 1972, the president of
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History continued
International Martial Arts Federation (Kokusai Budo Renmei)

awarded Ohtsuka the title of 'meijin' (master), the first time a
karateka had been given such an honor in Japan. Even now, many
years after his death in 1982, people all over the world are still
being affected in a positive way by Ohtsuka's Wado-Ryu Karate-do,
which is his ultimate honor.
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Karate Lineage
A brief history of Karate is detailed later in the book.

Outlined here is a basic lineage. Any further worthwhile
information is accepted and appreciated.
Sokon Matsumura
Student of Kong Su Kung/Kushanku and Sakugawa
Matsumura taught Okinawan Shuri-te which later became known
as Shorin-Ryu. This form was a combination of Sakugawa's tode, and
Kong Su Kung's Chinese Boxing.
Yasutsune Itosu
Student of Sokon Matsumura
Itosu-sensei continued Shorin-Ryu as it was originally taught
by Matsumura-sensei.
Kanryo Higaonna
He practiced and taught the Naha-te style which became known
as Shorei-Ryu (influenced directly by Zhao Long Liu, a Chinese
martial art). After his death, Shorei-ryu was continued by Chojun
Miyagi, who later formulated it into Goju-Ryu.
Kosanku Matsumora
He practiced and taught Tomari-te.
Other practitioners and styles at/around the time:

Hohan Sokan, founder of Matsumuro Seito
Chotoku Kyan, founder of Shobayashi-Ryu
Chosin Chibana, founder of Kobayashi-Ryu
Shosin Nagamine, founder of Matsubayashi-Ryu
Joen Nakazato, founder of Shorinji-Ryu
Kanbun Uechi, founder of Uechi-Ryu
Motubi-Ryu, a family style
Isshin-Ryu, founded by Tatsuo Shimabuku.
Toon-Ryu, founded by Juhatsu Kiyoda.
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Lineage continued
Shito-Ryu, founded by Kenwa Mabuni.

Okinawan Kempo, a combination of Shuri-te, Naha-te, and
Tomari-te, founded by Shigeru Nalamura.
Gichin Funakoshi
Student of Yasutsune Itosu and Sokon Matsumura
The father of modern karate-do, Funakoshi-sensei founded
Shotokan Karate-do in the 1920's after popularizing his martial
art in Japan. He originally studied under not only Matsumura and
Itosu-sensei but a number of other masters, whom Funakoshi talks
about in detail in his Karate-do: My Way of Life.
Choki Motobu
Student of Soken Matsumura and Anko Itosu of Shuri, Kosaku
Matsumora of Tomari, and possibly Tokumine
His teaching methods primarily consisted of Naihanchi kata
for kihon (basics), and kumite. He stressed up-close fighting.
Hironori Ohtsuka
Student of Gichin Funakoshi
Founder of Wado-Ryu Karate-do, Ohtsuka-sensei developed the
style as a blend of the basics and kata of Shotokan Karate, the
rugged practicality and natural movements of Shindo Yoshin-ryu Jiu
Jitsu, and the fluidity and peacefulness of Aikido. The Wado-Ryu
symbol represents peace encompassing strength.
In the months leading to his retirement, he decided that his
son was to succeed him as grandmaster of Wado-Ryu. However, some
of the higher level Wado-Ryu Karateka were not in favor of this
decision. Negotiations took place, but no agreement could be
reached as to the next grandmaster. As a result, some of the
karateka split off to form their own associations.
15
Lineage continued
Hironori Ohtsuka II (Ohtsuka Jiro)

Son & Student of Hironori Ohtsuka
Months before his father's death, he and a group split from
Japan Karate Federation-Wadokai. His split is named Wadoryu
Renmei. It is regarded as a private group. In 1989 a new split
occurred. Suzuki Tatsuo, resident in London, founded Inter-
national Wadoryu Federation. Apparently, Jiro misappropriated
organizational funds and was kicked out of JKF-Wadokai. There is
documentation supporting this, although the succession argument is
the one most backed by Jiro as to the split.
Hironori Ohtsuka III

Grandson of Hironori Ohtsuka
Tatsao Suzuki
Senior Student of Hironori Ohtsuka
Founder of International Wadoryu Federation
Suzuki sensei was one of the primary influences in spreading
Wado throughout Europe. As a result, Wado is currently the most
widely practiced form of karate in Britain.
Lineage of my personal Wado ryu:
Kiyohisa Hirano-soke
Student of Hironori Ohtsuka
Founder of Japan International Karate Center
Hirano-soke founded Heiwa-do, his interpretation of Wado-Ryu
Karate-do. It also blends in ideas from Shotokan, Shito-Ryu, and
Goju-Ryu, as well as Aikido, Iaido, and Judo. The basic strategy
and philosophies are classical Wado-Ryu.
Shotokan's scientific approach to body physics helps students
grasp instruction more easily. Shito's efficiency & superior
stances are also adopted. Also integrated into the movements are
Goju-Ryu's dynamic breathing methods.
16
Lineage continued
The name Heiwa-do uses the first kanji (Japanese set of

Chinese loanwords) of Hirano (Hira, or Hei) & the 1st character
from Wado (Wa). The do in Heiwa-do translates to The Way. Heiwa-
do's name was created out of respect for its origins in Wado-Ryu.
Heiwa also happens to be the Japanese word for peace; therefore
Heiwa-do literally means The Way of Peace.
Shihan Ronald Woodard

Student of Kiyohisa Hirano-soke & current shihan of JIKC
Shihan Woodard is the 1st JIKC instructor in continental US.
Sensei Dale Coker

Student of Shihan Ronald Woodard
Founder of Nippon Kokusai Karate Center
Founder of Japan Karate Institute
Sensei Curtis Boyd

Student of Sensei Dale Coker
Sensei Kevin Marshall

Student of Sensei Dale Coker
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Part II:
Fundamentals -
Principles, Techniques, and Kata
Included herein are generalized principles of the self-

defense side of Karate, meant to be applied to every day life.
A comprehensive listing of all techniques and variations as
practiced in every family style and branch of karate, as well as
the differences in kata between branches, is beyond the focus of
this book. Also, no book, no matter how technical the explanations
and pictures, can possibly replace formal instruction. Therefore,
included herein is a general guide - based upon my own karate
formulation - that I hope will serve you alongside your daily
training.
The general learning curve intended is for body mechanics,
mental preparations, and ethical precepts to be practiced in the
first phases of training. After such training, application of
principles, mental focus, and personal development may be
assisted.
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Karate Principles for Self Defense
Wa no Michi - The Way of Peace

We should seek unity, harmony, and peace within ourselves and
the world around us.
Karate-do - The Way of the Empty Hand

Do not look to one way of doing things or one technique.
Instead, internalize all you have learned, to become water that
takes the shape of the situation, and the path of least
resistance. Do not meet force with force, but avoid attacks with
body movements, footwork, and deflection. Blend naturally with
opposing energy to find an advantage or solution.
Zanshin
'Remaining mind' / Awareness.
Haragei
Breathing art/'Belly art'/Body Focus. Breathe, relax, and
settle your body, naturally.
Mushin
'Mind-without-thinking'/Mental Focus. Empty your mind and be
fully aware of all angles. Do not concentrate on one technique,
but let your principles guide you according to the situation.
Kiai
'Life force harmony'/Spirit Focus. Exert your spirit in a
powerful yet natural way. Be flexible, intimidating, and
untouchable.
Tai Sabaki
Body management/body shifting/'optimum utilization'. These
movements are performed with economy of motion.
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Karate Principles continued
The 3 body shifting methods - San mi Ittai

Ten-i - Move away from the attack.
Ten-tai - Turn and realign the body to dodge the attack or
reduce the area on your body that is vulnerable to attack.
Ten-gi - Perform techniques while the attack passes through.
Consider using his/her momentum to your advantage.
Timings for counter attack

Consider uses for the body shifting methods.
Go no Sen - Defensive attack. Counter once the attack is

completed, but before the opponent is able to attack again.
Sen - Simultaneously attack with the attacker. You
will complete your counter first, and/or displace the attacker's
movement.
Sensen no Sen - Preempt the attack with your own, by
perceiving your opponent's intent. This will catch him/her off
guard, breaking his/her mental balance.
Defensive movements
Heavily influenced by Shindo Yoshin-ryu jujutsu, these
movements are used to control the opponent's energy. These
movements apply maai and body shifting. Consider uses of the
timings for counter attack.
Nagasu - Flowing / Fluidity. Move evasively off the line of
attack but closely enough that the attacker's force can be used to
add to your own. Often combined with penetrating into an
opponent's side (irimi).
Irimi - Move to enter the opponent's attack.
Inasu - Move under, inside, or around the attack.
Noru - Control the opponent's movement.
20
Karate Principles continued
Musubi
'Connection'. This deals with finding the opponent's center
of gravity. Imagine touching fine silk - use no energy. In this
way you must become undecipherable. Focusing on skill in
application rather than force guarantees proper use of principle,
and that the opponent will be less likely to be able to use their
own strength against you. Relax and develop sensitivity! Once you
find this, you will find the same principles in all waza. Remember
to push with the hands and pull with the feet.
Maai
The state of mind and spirit of the combatants, and the
distance between them. Keep enough space to attack and defend. At
a high level, you control the spirit and energy of a conflict.
Draw a reaction from the opponent that will give you a tactical
advantage. Practice the above principles to understand maai, and
practice maai to apply the following. Never stop studying tactics
so you may better see from this broad view.
Ki Ken Tai no Ichi

'Mind and Body as One'. Coordination of mind and body in
movement. Thought and action must become one; there is no time to
concentrate on thought in battle.
Hei Jo Shin
'Calm mind and body'. When the opponent feints or draws a
weapon, you should not flinch, but be prepared. Harness the
adrenal state so that you do not panic, but fight reflexively.
21
Techniques & Terms
Note: The list of techniques here is not comprehensive, but is the

basic outline of what to expect.
Basic Directions/Positions:
High (Jodan) / Middle (Chudan) / Low (Gedan)
Left (Hidari) / Right (Migi)
Centerline (Seichusen)
Strikes:
Arm Strikes:
Knife hand (Shuto)
Ridge hand (Haito)
Elbow strike (Empi zuki)
Hammer fist (Tettsui)
Back fist (Uraken zuki)
Spear hand thrust (Nukite tsuki)
One knuckle punch (Ippon ken)
Palm strike (Kamate)
Jab (Tibokomizuki / Kizamizuki)
Cross (Chokuzuki)
Reverse Punch (Gyakuzuki)
Hook (Furizuki / Kagizuki)
Uppercut (Urazuki)
Kicks:
Front kick (Mae geri)
Roundhouse kick (Mawashi geri)
Side thrust kick (Yoku geri)
Back kick (Ushiro geri)
Inward & Outward Crescent kicks (Mikazuki geri)
Knee kick (Hiza geri)
Blocks:
High block (Jodan uke)
22
Techniques continued
Outward & Inward middle blocks (Chudan soto uke, Chudan uchi uke)
Low block (Gedan barai uke)
Knife hand block (Shuto uke), Support hand block (Morote uke)
Round block (Mawashi uke)
Elbow block (Hui uke)
Cross arm block (Juji uke)
Sweeping block (Nagashi uke)
Circle block
Stances:
Attention stance (Musubi dachi - feet together)
Ready stance (Jigotai dachi)
Horse stance (Naihanchi dachi)
Straddle / 45 degree horse stance (Shiko dachi)
Cat foot stance (Neko ashi dachi)
Back stance (Kokutsu dachi)
Front stance (Zenkutsu dachi)
Hanmi (Half facing stance / posture)
Sanchin dachi (Hourglass stance, as used in Goju ryu)
Crane stance (Tsuru dachi)
Side / Hooked stance
Forward stance
Grappling:
This includes throws, takedowns, as well as seizing &
controlling techniques such as joint locks, chokes, gripping, and
small joint manipulation. These deal with various body points,
including vital organs, muscles, joints, and nerve clusters. When
using locks, maintain pressure and use pain to control or subdue
the opponent.
Remember to control all the joints in the arm when applying
wrist / arm locks, and to push with your hands rather than pull
(do not depend on the opponent for balance!). The key is to not
allow the opponent to use their strength to resist - find their
23
center and attack their weak line of movement and use circular
movements to defeat the linearity of the human body.
Study kuzushi and sensitivity to understand not only
grappling, but striking - don't miss the forest for the trees!
Locks:
Arm lock (Ude gatame), Cross arm lock (Juji gatame)
Wrist lock variations
Rear naked choke, guillotine choke
Sweeps:
Major outer and inner reaps (Osoto gari, Ouchi gari)
Minor outer and inner reaps (Kosoto gari, Kouchi gari)
Foot sweep (Okuriashi harai), Forward foot sweep (Deashi harai)
Throws and takedowns:

Hip toss
Sacrifice throw (lapel throw)
Double leg takedown
Positions:
Standing - Rear, front, side
Ground - Side/half mount, full mount, guard
Footwork:
Three basic types of footwork used in getting closer to the
opponent. Yoru means to get closer.
Yoriashi - move the front foot, then the back foot.

Ayumiashi - the back foot moves forward (as if walking).
Suriashi / Tsugiashi - back foot steps up to the front foot (no
crossing over).
Surikomi - crossover step using the back foot.
24
Drills:
Alternate sparring
Take turns striking, with no blocking or hard contact.
Call sparring
Call a technique or series of techniques, and wait for your
partner to say 'Hai' before you attack. He/she will then defend
and counter. It is then your partner's turn to attack. As you
improve at this, your partner can perform a series of techniques
of his or her choosing, when you are ready. This drill helps with
dealing with various techniques, especially kicks.
Slip and duck (Reaction and combination drill)

This drills additional body shifting against punches at close
range. The key is to develop both looseness and quick reactions
when cornered. At first, the hands simply protect the face. As you
improve, add counter punches during and after slips and ducks.
This drill may be practiced with or without striking pads.
Sticking hands (Sensitivity drill)

You and your partner face each other upclose in fighting
stances, and use only your hands. You and your partner's hands
should be touching at the beginning of this drill. Both of you
should concentrate on remaining in contact with one another. This
helps develop sensitivity to direction of force, redirection, &
natural counters. It may be also help further understand bunkai,
and how to not depend only on one's eyes in close-range fighting.
Sticking hands helps drill Ki Ken Tai no Ichi and Hei Jo Shin.
Practice this well.
Kuzushi (Balance breaking)

You & your partner clinch, and use momentum, body mechanics,
sticking hands, foot sweeps/reaps, etc. to try to break one
another's balance. Try to create openings for takedowns.
25
Remember that Major outer reap uses the back leg on the
opposite leg. Major inner reap aims for the inside (mirror image).
Minor outer reap uses the front leg on the same side (mirror
image), and Minor inner reap aims to the opposite leg.
Technique combinations:
When attacked, one must counter quickly and efficiently. Use
both grappling and striking skills as necessary. The following are
simply examples. As you train, you must learn to adapt.
A few examples:
Technique Counter
Choke hold Punch, Wrist Lock, control, juji gatame
Outward Crescent Kick High block, reap, knock-out techniques
Front Snap Kick Scoop block, reap, punch
Front Snap Kick Evade or knee block, punch, reap, k.o.
Roundhouse Kick Evade, Block & pull takedown
Roundhouse Kick Evade block, Reverse Punch, reap, k.o.
Punch Counter 1:
Pulling Block with the near hand as you step to the
attacker's outside, and attack to the neck. Wrap your attacking
arm around the neck to apply a neck crank. Use your attacking hand
to hold on to your other bicep, as you push down and forward on
the head with your free hand to cut off breathing. Your back
should be turned towards him/her to prevent groin strikes. Use
your near knee to strike upwards on theirs, and apply more
pressure on the neck until he/she taps out or goes unconscious.
Punch Counter 2:
Block forearm with near hand and strike bicep with far hand.
Use blocking hand to trap, tetsui with striking hand. Continue to
trap behind the head, knee the body, elbow the head, and apply a
26
neck crank with leverage.
Punch Counter 3:
Mawashi uke to the outside and trap the attacking hand. Elbow
to the head, knee to the body, and elbow to his/her elbow. One may
then outward tetsui and foot sweep, followed by kicks, or a
submission grapple such as juji gatame or rear naked choke.
Punch Counter 4:
Smash the near knee with a side or front kick, as you block /
evade and trap the attacking hand under your arm. Knock the
attacker into submission or unconsciousness with elbows, knees,
and other in-close strikes to vital organs. The trapped arm may
also be cranked in an arm lock if necessary.
Circular Punch/Knife Counter:

Against a wide untrained punch, a hook, or a knife thrust to the
neck, apply Shiho Nage (four step throw). Maintain control of the
wrist and get the weapon (if any) away from him/her.
Straight Punch/Knife Counter:

Enter the outside of the attack (irimi). Push him/her off
balance with mawashi uke as you evade as you strike the jaw line
with the near elbow or tetsui the solar plexus with the near hand.
Apply a wrist lock and twist the attacker to the ground, or use
your near elbow to raise the jaw and strike downwards at the neck
(using a downward 'cutting' motion) to effect a takedown. In
either case, control the attacker on the way down as well as the
weapon; move it away from the attacker as soon as possible.
27
Kata
'A kata may be regarded as an integration of offensive and
defensive techniques, but it is more than that. One should try to
understand the spirit of the master karateka who created the kata,
for it has a life of its own and requires five or six years to be
mastered.'
- Hironori Ohtsuka, Wado-Ryu founder
Kata - 'Formal movements'; in the context of

Japanese martial arts, an 'imaginary fight'.
Bunkai - Principles and application of kata.
Kata:
Wado-Ryu kata tend to use the Okinawan names. Alternate names
included are the Japanese / Shotokan names, unless otherwise
indicated. The kata included in any particular dojo's curriculum
may vary from this list, however. As such, this list is intended
to be informative to those interested in kata history, rather than
suggestive of what should be required to learn. I also do not
pretend that my information is complete / perfect, due to a lack
of written records in early 'te' history, and ongoing debate. I
have also listed various other kata I am aware of.
Kata list
List of Wado ryu kata

Pinan (Heian) series: Shodan, Nidan, Sandan, Yodan, and Godan
'Peaceful Mind' Numbers 1-5. Said to be created by Anko Itosu in
1905 or 1906, basing them on Kushanku, and a forgotten kata called
Channan. There is some debate as to whether Kushanku was instead
formulated from the Pinan series, however. Ohtsuka-meijin studied
the Pinan series under both Funakoshi- and Mabuni-sensei. Ohtsuka
later made modifications to these kata under the direction of
28
Kata continued
Mabuni, and also used influences from Shindo Yoshin ryu jujutsu.
Kushanku (Kanku Dai)

'Sky Viewing'. Said to be the most advanced of all Okinawan kata.
Ohtsuka-sensei studied Kushanku under Funakoshi- and Mabuni-
sensei.
Chinto (Gankaku)
'Fighting to the East' / 'Crane on a Rock'. Formulated in Tomari
from the teachings of a Chinese sailor of the same name, this kata
was based mostly on White Crane Kung-Fu and later adopted into
shuri-te. Ohtsuka-sensei studied variations of this kata under
masters Funakoshi and Mabuni.
Seishan (Hangetsu)
'13 Hands'/'Crescent Moon'. It is based on movements brought from
Fukien to Okinawa circa 1700. Ohtsuka-sensei also knew and taught
the shuri-te version of Seishan.
Naifanchi / Naihanchi (Tekki Shodan)

'Holding your ground', 'The Iron Horse', or 'Battlefield'. Named
after naihanchi dachi, which the kata centers around. This kata
was transmitted by Matsumura-sensei throughout Shuri and Tomari
sometime before 1825. Master Ohtsuka learned Naifanchi from
Motobu-sensei, although it appears Ohtsuka's Naifanchi is slightly
different from Motobu's.
Bassai
'To Penetrate A Fortress'. An Okinawan Tomari-te kata. It uses
dynamic stances and hip rotation to find a way past attacks. The
Shotokan, Shito, and Wado ryu versions of Bassai are directly
based upon Master Itosu's Bassai. Ohtsuka-meijin learned Bassai
from Funakoshi-sensei.
29
Kata continued
Wanshu (Empi)
'Flying Swallow'. A Tomari-te kata based on movements brought to
Okinawa in 1683 by a Chinese envoy of the same name. Ohtsuka-
sensei learned Wanshu from Master Funakoshi.
Jion
'Temple Sounds' / 'In the Jion-ji Shaolin Temple'. A Tomari-te
kata, it is named after the Jion-Je, a Buddhist temple. This is a
strong kata Ohtsuka studied under Funakoshi and Mabuni.
Jutte (Jitte - alternate spelling)

'Ten Hands'. It is said that anyone who masters this Tomari-te
kata has the strength of 5 men. Ohtsuka learned this kata under
Funakoshi and Mabuni.
Rohai (Meikyo)
'Clear Mirror', 'The Mirror of the Soul', or 'White Heron'.
Originally a Tomari-te kata, a version of it was taught by Itosu-
sensei. Itosu Rohai was taught by Master Mabuni to Ohtsuka. The
Rohai practiced in Wado is known as Rohai Shodan, in Shotokan.
Suparimpei (Pechurrin - Chinese name)

'108 Steps' (represents the 108 evil spirits of man). Developed
from a Chinese form used in systems including Dragon Boxing and
Tiger Boxing. Practiced in Wado.
Niseishi (Nijushiho)
Transmitted by Ankichi Aragaki, variations of this Shuri-te kata
exist in Shotokan, Shito, and Wado.
Unsu (Unshu - alternate spelling)

'Defense of a Cloud' or 'Cloud Hand'. This Tomari-te kata is
practiced in Shotokan, Shito, and Wado.
30
Kata continued
Kihon Kumite Kata (Basic Sparring Forms):

The 1st 10 out of the original 36 are still practiced in many
Wado dojo. These kata are two-person drills.
Ipponme / Nihonme / Sanbonme / Yohonme / Gohonme

Rokuhonme / Shichihonme / Hachibonme / Kyuhonme / Juhonme
List of other kata (terribly incomplete!)

Kihon Kata Shodan / Nidan / Sandan
Basic Forms 1, 2, and 3. Variations exist in many styles.
Sei Shi
'24 Steps'. A Shorin-ryu kata performed in 3 directions - the
points of a triangle.
Seipai
Variations exist in Goju-ryu and Shito-ryu. It was influenced by
White Crane Kung-Fu.
Annan
A Shito-ryu kata that primarily uses open hand techniques. It also
has a Goju variation. Annan has great versatility and speed in its
self defense techniques.
Useishi (Gojushiho Sho)

'54 steps' number one. A Shotokan kata.
Gojushiho Dai
'54 steps' number two. A Shotokan kata.
Ji'in
Variations exist in Shotokan, Shito & Wado.
31
Kata continued
Nipaipo
A Shito kata with a Chinese flair.
Bunkai
Bunkai, or application, is not simply one prescribed method
but interpreting the movements according to the principles.
Therefore, the following bunkai is not meant to be 'the right way'
or 'the only way', but instead meant to get you thinking.
Heiwado Kata bunkai

Kihon Kata Shodan
Basic awareness, stances, defenses, attack angles, economy of
motion, & focus. High Blocks 2 & 3 may be used as strikes.
Kihon Kata Nidan

This kata builds on the previous one by drilling kick-punch
combinations.
Kihon Kata Sandan

It teaches power generation through hip twisting and body
torque as well as momentum.
Pinan Shodan
This kata helps movements become stable, efficient, and
intimidating. The first technique, 'c block', sets up for a
redirection. Even the sword hand blocks can become attacks.
Pinan Nidan
This kata instructs further on timing, distance management,
and counter-attacking quickly.
Pinan Sandan
This kata teaches a continuous guard. It also helps become
body shifting, consistency of stances, and redirection of attack.
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Kata continued
The first half may be interpreted in various ways. When practicing

Pinan Nidan, imagine perceiving an opponent's intent less
predictable, and more efficient. The middle & low blocks in the
beginning may be termed 'continuous block', which may be
interpreted in many ways. The turn after the spearhand strike, and
follow-up with the outward tetsui, is twisting out of the
opponent's grappling of your arm, and countering.
The use of the elbows in naihanchi dachi may be either
strikes or strong blocks. This may be interpreted in many ways in
close quarters. The last moves of the kata may be seen as elbowing
to both the back and front, breaking rear grapples with an elbow
to each opponent's abdomen and a hook to the face, or a powerful
hook or elbow to an opponent in front.
Pinan Yodan
Stepping into a back stance as you double block disrupts the
opponent's movement, as you simultaneously block and counter.
Blocking behind you immediately after the initial blocks cuts a
sneak attack short. The low block, front snap kick, and elbow
combination will block, stumble, and knock out an opponent. The
sequence after the second elbow assists in learning how to follow
through with attacks, and helps practice economy of motion.
The cross-block that begins the second half of the kata
counters a grab attempt. Pulling the hand back as you kick may be
interpreted as trapping the opponent's arm under yours, and
pulling him/her into a kick to the groin.
Pinan Godan
The high cross block sets up for an arm lock, tetsui, and
finishing punch. The jump ends with a strike to a fallen opponent.
The palm strikes followed by pulling motions represent attacking
the groin and causing severe trauma to it.
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Kata continued
Kushanku
The Pinan kata help one understand Kushanku, as there are
many similarities. The ready phase of Kushanku clears the mind.
The slow motions may often be used as blocks and/or attacks, but
it is preferable to perform them slowly for breathing and focus.
Practice consistency in stances, torque, and momentum in this
kata. Kushanku provides endless insight, and helps greatly in the
study of other advanced kata.
In the second half, the sequence that ends with a punch to
the ground represents blocking a kick, throwing the opponent, and
knocking him/her out. The next sequence blocks and throws an
opponent, then jumps over him/her to kick another, and follows
through with a finishing strike. The last sequence is a takedown
with a knockout blow.
Naihanchi
Naihanchi develops lower body strength. It also teaches one
to settle all one's strength in the abdomen/center and draw from
it. The methods employed in Naihanchi are best applied and
interpreted in a narrow space.
Bassai
Bassai builds a stronger, more efficient defense. The first
two middle blocks may be seen as a kick counter and takedown; the
backfists near the end may also be used this way by performing
scooping blocks to set up for the attacks. The crescent kick
redirects an attack, so as to set up for the elbow strike. After
the elbow is 3 sets of double strikes to counter a rear grapple
attempt.
Wanshu
Wanshu, like Bassai, is technical and efficient, but is of a
more aggressive nature. It is also a study in timing and follow-
through. Stepping into side stance as you set up for a low block
34
Kata continued
may be seen as body shifting to dodge an attack, as you move in to

punch the opponent. The jump represents stomping on a downed
opponent while preparing to block an attack from another.
Jion
Jion is very direct, yet powerful, stable, and technical. Its
use of stances will greatly assist your footwork. Remember, the
physical side of fighting is done from the ground up.
The first technique may be considered as a striking block,
and its uses are numerous. Compare this to Pinan Sandan. The low
block and middle block in back stance sequence sets up for a
pulling block and punch counter. Performing low block in back
stance, then a supported backfist in jigotsu dachi may represent
blocking a low punch, then sweeping a kick.
Seipai
As an Okinawan kata, Seipai uses a small structure to
reinforce mobility. Due to the Crane influence, Seipai is a study
in entering and parrying. The first combination blocks and pulls
a low attack, then knocks the attacker down. The rolling motion of
the arms after the turn, low block, middle block, and mawashi uke
combination represents a damaging arm lock. In a variation of
Seipai, juji uke is performed just before the sweep. The last two
strikes of the kata knock the opponent down, then out.
Gojushiho Sho
This kata is a study in close quarters techniques. The first
sequence is a double wrist block, and counter attack. The
sequences after the elbow strike represent a kick counter, nukite,
and grapple counter. The last sequence represents blocking an
attack to the midsection, blocking a grapple attempt, then counter
attacking to the collar bones.
35
Kata continued
Annan
Annan contains many practical, efficient counter attack
methods. It is also very useful in practicing breathing, focus,
and fighting principles. Raising the knee and striking with the
finger may represent blocking a kick, then hitting the vital point
below the ear. Stepping into naihanchi dachi, extending the hands,
and clinching them into fists will jam the opponent, and grab
him/her to gain control for the side kick. The 'ox jaw' wrist
blocking sequence near the end blocks a middle punch, then
knocking the shoulder out of joint.
Shu Shi no Kan

The bo (staff) is known for its versatility, speed, power,
and adaptability, and ease of use. Shu Shi no Kan is a great
example of this, as well as an excellent training aid. Once
learned and understood staff skills may be applied to makeshift
weapons.
The usage of both ends of the staff allows a great degree of
control. This also enables may long range (yet deceptively fast)
block-and-counter techniques. The use of centrifugal force also
adds to the power. We must remember, however, to treat the staff
as an extension of our existing karate techniques - and practice
accordingly.
Wado ryu Kata bunkai

Seishan
Known for its speeds, simplicity, and effectiveness, Seishan
is direct yet graceful. The primary stances used are seishan
dachi, tate seishan, and shikodachi. The footwork and a number of
the techniques utilize forward whipping movement for speed and
impact. The open handed blocking patterns may counter grappling
attempts as well as strikes. These may also be seen as double
spear hands. Also, in the second half of the kata, the pattern
that contains what appears to be a shortened high block is in fact
36
Kata continued
a wrist block, and a jammed front snap kick - which becomes a knee
kick.
Overview:
Aside from the dojo precepts, kata is traditionally Karate-
do's primary tool for personal development. It is the textbook of
Karate-do that is to be learned, understood, and applied. It is
the tool by which Karate-do demonstrates fighting principles, but
also creates unity in one's body, mind, and soul.
What may seem unnatural motions become second nature with
training and practice. Kata assists in drilling good habits, and
replacing bad ones. Once the techniques have been absorbed,
patterns, principles, and body mechanics may be understood. The
'art' of 'martial art' is understanding these underlying ideas,
that guide techniques and give them meaning. A technique is not
just a strike or block, but also the factors necessary for those
to work (timing, movement, and so forth). By practicing kata, and
drilling 'bunkai', you will learn to apply principles with no
extra 'clutter'.
The fighting principles, when well applied, will work in many
situations. Awareness and defensive principles help avoid, assess,
or diffuse encounters. The search for unity means we should use
lethal force as a last resort. The key is to move last, but hit
first. In this way, there is no first strike in karate, but we
meet force with a passive counter. Look for new
ways to interpret kata - many secrets may be found...or created.
Mentally, kata teaches focus, and attention to all angles.
One must cut through disclarity of mind to understand kata, and
with this a growing process takes place. You will find bunkai
where you did not before, as you imagine the problems the kata
creators faced. This problem solving that kata teaches is
invaluable. It balances the mind and grounds it to a reality that
is still unpredictable, yet enriched by clearer understanding.
Physically, kata enforces proper use of body structure. It
37
Kata continued
also strengthens the muscles through natural body weight

exercises. Practiced vigorously, kata improves cardiovascular
efficiency. Kata is therapeutic and empowering.
Spiritually, kata provides a path of self awareness. In
practicing or even creating new kata, one builds resolve. In
aiming for mastery, one builds patience. In either, one has to
continually search in and outside of themselves, that one may
learn how to apply the truths contained within kata.
38
Part III:
Dojo -
Philosophy, Terms, and Ranking System
The following material is what I personally teach. However,

regional and personal differences will necessarily make for
different experiences in the dojo you choose. It is my hope that
the following sections will give you an idea of what you may
expect in a Karate dojo. The lessons you learn there can last a
lifetime. Don't settle for less! You're looking for comprehensive
training that will make you proficient in a well-rounded system of
defense...and living.
Students are promoted based on personal merit, not just
proficiency of fighting technique. Belts are worn simply to help
fellow students approximately classify one's level of technical
proficiency.
39
Philosophy
Purpose of Karate Training

To stand for peace, harmony, and truth!
Dojo Precepts
1) Perfect one's character!
1) Dedicate oneself to others!
1) Uphold honor, bravery, and justice!
1) Never stop learning!
1) Obtain victory without conflict!
Mukso (Meditation)
1) Meditation warms up the mind before training hard
Clear the mind and focus!
2) Meditation cools down the mind after training hard.
Think about what you did well, and what you want to work on.
Bowing
Shomen ni rei - Bow to the front
Otagai ni rei - Bow to each other
Respect
1) Respect one another on and off the training floor.
2) Respect your teachers or seniors by giving them your best.
3) Respect everyone by upholding the principles of right conduct.
4) Respect yourself by doing the best you can for others.
Traditions
1) Do not wear anything on your feet on the training floor, or
anything that inhibits training. Food is not allowed on the
training floor. Keep your uniform neat, and wear it to class as
well as all dojo functions.
2) Courtesy / Respect: Bow when entering and leaving the training
floor. Bow when a teacher enters or leaves the training floor. Say
'Thank you' or 'Arigato' and 'Hai, sensei' often. Ask the teacher
40
Philosophy continued
first before you leave the floor for any reason.

3) Relationships: Teacher-Student (oyabun-kobun) and Senior-Junior
(sempai-kohai). In Japanese tradition, the relationship of master
& apprentice is comparable to that of parent & child. In the dojo,
one should respect seniors highly & with seriousness.
4) Honor: Carry yourself in an honorable fashion in dealing with
people in and out of the dojo.
41
Terms
Pronunciation
Ei is like long a, ai is like ie in pie, y is like long e
General
Dojo - 'Place of the Way'; The training hall
Sensei - 'One who comes before'; Instructor
Sempai - 'Senior'; Senior Student / Assistant Instructor
Kohai - 'Junior'; Instructor-in-training
Karate-do - 'Way of the Empty Hand'; Founded in Okinawa as a
system of self-defense & conduct
Hai - Yes
Osu - A karate greeting used in various styles.
Commands
Yoi - Ready
Kiyotsuke rei - Line up, bow
Jiyu kumite - Free sparring
Hajime - Start
Yame - Stop
Mawate - Turn
Seiza - Formal Japanese sitting position
Mukso - Concentration / Meditation
Shomen ni rei - Bow to the front
Otagai ni rei - Bow to each other
Tate - Stand up
Moichido - One more time
Counting
Ichi - One / Ni - Two / San - Three / Shi - Four / Go - Five
Roku - Six / Shichi - Seven / Hachi - Eight / Ku - Nine
Juu - Ten
(Note: 'Shi' may also be pronounced 'yo' or 'yon', since 'Shi' can
also mean death. 'Shichi' is alternatively pronounced 'nana', and
'Ku' is alternatively pronounced 'kyuu'.
42
Syllabus
Kyu - Class (10th to 1st) / Dan - Grade/Step (1st to 10th)

The requirements for each rank include any/all previous
requirements, and include noted additions and changes.
10th kyu (Beginning Rank)

Requirements: A willingness to learn!
9th kyu
Requirements:
Blocks: High & Low blocks; Inward & Outward Middle blocks
Strikes: Jab, Reverse punch, Backfist, Front snap kick
Stances: Musubi dachi, Jigotai dachi, Zenkutsu dachi
Sparring: Alternate & Call sparring
Personal: Try to do a good deed every day, no matter the size.
8th kyu
Strikes: Hook, uppercut, elbow, crescent kicks
Stances: Naihanchi dachi, Kokutsu dachi
Kata: Naihanchi, and bunkai
Also: Dojo Precepts and Purpose of Karate training memorized
7th kyu
Blocks: Sword hand block, Sword hand strike, Ridgehand strike
Strikes: Spear hand thrust, Roundhouse kick
Stances: Back stance
Kata: 1/4th of Kushanku, and bunkai
Sparring: Basic body shifting; 2 rounds of light free sparring
Also: Slip and duck, Sticking hands; improved footwork
6th kyu
Strikes: Hammer strike, kamate (palm)
Kata: Half of Kushanku, and bunkai
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Syllabus continued
Overall: 3 rounds of light sparring; Improved combinations; Basic

ma-ai; Kuzushi (Balance breaking); Grappling & takedown basics;
Qualifying for Kohai rank (see requirements on page 45)
Optional: Any Pinan series or Kihon Kata series kata
5th kyu
Strikes: Side thrust kick
Kata: 3/4th of Kushanku, and bunkai
Sparring: 3 rounds of medium contact free sparring (instead of
light); Breaking the opponent's line: Defense & Attack timings
Also: Attack by drawing; Basic self-defense scenario of
instructor's choice.
4th kyu
Blocks: Mawashi uke, Morote uke, Circle block
Strikes: Back kick / Spinning back kick
Stances: Catfoot stance
Kata: All of Kushanku, and bunkai
Sparring: Improved maai, groundwork, broken rhythm, discipline,
and use of principles; 4 rounds of medium contact free sparring
Also: An obvious dedication to others and self improvement.
3rd kyu
Kata: Bassai, and bunkai
Other: Improved overall awareness and survival instinct.
Overall: 4 rounds of hard contact free sparring (instead of
medium; age and health allowing); Economy of motion; at least a
basic development of strategy (Remember, this is more than just
technique versus technique!)
Also: Qualifying for Sempai rank (see requirements on page 45)
2nd kyu
Kata: Wanshu, and bunkai
44
Syllabus continued
Sparring: 4 rounds of hard contact sparring

Other: Hei Jo Shin (calm mind and body).
Overall: Good control and focus
1st kyu / 'Pre-shodan'

Kata: Student's choice of the following kata: Seipai, Annan,
Gojushiho Sho, Jion, Seishan, or Shu Shi no Kon, plus bunkai.
Sparring: 4 rounds of full contact sparring; Good timing and
distance management
Overall: Good application and strategy
Also: Dedication to others; Minimum age of 13
Shodan / 'Black Belt'

Sparring: A self defense scenario of instructor's choice. You will
be graded on effectiveness of reaction (spontaneity, control,
etc.). Scenario will simulate psychological, physiological, and
environmental factors, etc. Real life and survival are more than
just hand-to-hand technique! Lastly, minimum of five (5) 2-minute
rounds of hard to full contact sparring (age and health allowing).
Overall: Minimum age - 16; min. training time - 2 years. Required
are an understanding of and technical proficiency in karate basics
(physical, mental, and spiritual). Basically, promotion to shodan
means your instructor acknowledges you as having just begun your
true walk along the martial path.
Other: Qualifying for Sensei title. See requirements below.
Also: Nekoashi kata, Nekoashi no michi
Kohai ('Junior' / Junior Assistant / Instructor-in-training)

Rank: 6th kyu or above
Other: This is an acknowledgment of your status as a serious
'junior student', as well as your dependability, and dedication to
others and the karate way. Must also have a basic understanding of
the history & lineage of our karate lineage (an oral summary of
45
Syllabus continued
Part I of this book will do ). Minimum training time of 1 year.
Sempai ('Senior' / Senior student/ Assistant Instructor)

Requirements:
Rank: 3rd kyu or above
Writing: Book reports on Miyamoto Musashi's Book of Five Rings,
Gichin Funakoshi's Karate-do: My Way of Life, and martial arts
classic of choice. Feel free to choose from among books, movies,
instructional videos, etc. Recommended movie is Circle of Iron.
Other: The ability to effectively communicate the ideas and
mechanics of karate.
Sensei (Instructor / 'One who comes before')

Requirements:
Rank: Shodan
Other: 1 year teaching experience and satisfactory teaching
ability. Also, present your own research into an area of martial
arts. It must apply to real life in a way beneficial to others,
and show a degree of maturity.
Full proficiency certificate

Requirements
Rank: Shodan
Other: All 18 traditional kata, including Kihon Kata series,
and Pinan series. Also, further personal development in the
martial ways, including knowledge, technical application, and
teaching ability. Lastly, a personal polish on Nekoashi kata and
Nekoashi no michi.
Further belt ranks

While I personally do not promote beyond Shodan, many
organizations do.
46
Syllabus continued
Nidan / 2nd degree Black belt

Kata: 3 advanced kata of your choice
Also: Greater understanding of martial arts, no technical flaws,
personalization of technique, and at least 5 years of training.
Sandan / 3rd degree Black belt

Sparring: 5 2-minute rounds of full contact sparring with 5
different black belts, including a round against instructor.
Also: Advanced understanding of martial arts & development of
strategy. Self-defense situations. At least 10 years of training.
4th - 10th Black belts (Master Ranks)

Yondan/Godan/Rokudan/Shichidan/Hachidan/Kudan/Judan
Requirements: Exceptional accomplishments in furthering Karate-

do. Such accomplishments often include revolutionary development
and/or much personal research of kumite, technique, philosophy,
teaching methods in general, etc.
Common traits of high ranking black belts:

Yondan: Advanced teaching level; 'Apprentice Master'
Godan: High level of research & understanding of Karate and
themselves.
Rokudan: Great commitment to benefiting all Karate students.
Shichidan: Advanced application of personal research.
Hachidan: Revolutionary accomplishments/research.
Kudan: Nearly lifelong dedication to Karate in a great way;
has the best qualities a person can attain through Karate-do.
Judan: Commonly reserved for the soke (grandmaster or founder)
of a style or one who wields a similar level of respect.
47
Part IV: Insight
The following articles share further insight on The Way. Look

to the endnotes for the sources I used when researching this book,
as well as recommended reading/viewing.
48
Budo
Literally translated from Japanese, 'Budo' is 'The Way of
Brave and Enlightened Activity'. Therefore, a 'budoka' is not
simply one who practices a traditional form of Japanese martial
arts, but one who always seeks greater being and awareness for him
or herself and others. Budo is heavily rooted in Zen Buddhism, and
as such can be considered moving meditation. Budo can be the start
of a new personal journey of continual improvement for yourself
and all of your loved ones, regardless of your personal faith.
_________________________________________________________________
Duty
Duty comes first. This will be different for everyone: moral,
civic, religious, or a combination. Personal goals can be good to
have, although they may not always be ethical. Consider your
duties first, and then your own personal goals, in light of what
your ethics and obligations. Honor is found in upholding your
duties in the most ethical fashion possible.
_________________________________________________________________
Dojo
Translated from Japanese, 'dojo' means 'training hall', or,
'The Place of The Way'. Therefore, 'dojo' can apply to traditional
budo training floors, or to the battleground of life itself. This
means your training does not end when you leave the training
floor. You must uphold honor at all times, all places, for not
everyone else will. Expect the unexpected. These are the things
you train to do. Research this continually.
49
Myself
I suppose that, as a martial artist, I am expected to be
tougher, stronger, faster, and wiser than everyone else. I can
assure you that I am none of those. I am as human as everyone
else, with my share of faults. I am simply following my course in
life, which is helping others on The Way. As a result of my
personal moral code, which is Christian, I must do what I can to
help anyone of any belief. It is simply the right thing to do. Not
everyone will agree with my personal code, nor am I the one to
convince them. I must simply do my duty, never expecting happiness
in return. The well-being of others comes first, and it is
involving myself in this that gives me joy.
50
Confidence
Confidence and ego are not necessarily the same, nor are they
mutually exclusive. One must have confidence to work toward one's
dreams. However, one must not let accomplishment inflate the ego.
The ego consumes entirely and clouds the mind. It drives one's
mind higher into the sky and farther from reality. Clouds and life
have a tendency to rain. When this happens, your fire will be
dampened, you will fall back to earth, and you will feel pain and
remorse. Your clouded head will rain tears. However, rain and
tears are part of a growing process. Yet, one must not allow
oneself to drown in remorse. One must search for the truth of why
one did not succeed, how one let oneself be so blind. That is the
not-so-subtle difference between ego and confidence. Never forget
this, or you will be reminded of it. Also, it is better to be
reminded of it in the training hall than in life.
_________________________________________________________________
Dedication
Dedication is needed to walk the unending path to perfection.
One must continually seek truth, in every thing. Narrow and hard
is the way of truth, but great are the rewards at the end.
My path is found on the battleground of life serving my Lord
and Savior. I am far from perfection, but I believe He is leading
me all the way. If Christ is not your Truth, I can not hold it
against you. I am only another human being on the road of life.
The most I can do is help others the best I know how. Consider all
this carefully before making a decision. Remember caution in all
decisions, for you will need dedication to see you through to the
end of where they lead you.
Never forget this, or you will be reminded of it. Also,
better to be reminded of it in the training hall than the
battleground of life.
51
Karate Precepts
Perfect one's character:
Do not harbor hatred and bitterness. Negativity breeds
negativity. Love one another. Enough cannot be said on this.
Dedicate oneself to others:

And not just to oneself. Selfishness leads to hate, which
leads to anger. Anger consumes all in its path and is never
quenched, except by effort, which rebuilds. This may be one's own
effort, or the effort of another, changing your nature and your
life from the inside out. This will influence those around you.
Uphold honor, bravery, and justice:

In these you will find right paths. Selfishness corrupts.
Patience instructs. Only time will tell.
Never stop learning:

Always consider following right paths. Think not on the way
of life or death. Life's sorrows in disguise will always surprise
you. Do not settle for less than truth, or you will be deceived.
Letting go of life too quickly is not always honorable. Let go of
concern for your life or death; seek only honor and truth. Focus
only on these, then pain and deception turn into lessons, or
blessings. You must always seek greater understanding, so you may
seek greater truth. 'Obstacles are what you see when you lose
sight of your goal.' - Anonymous
Obtain victory without conflict:

The paramount of skill is victory without conflict. Preserve
the whole using your empty hand. You must practice preserving the
whole in every thing.
In summary:
Meditate on all of this continually. Righteousness is The
Divine Truth, the goal of all existence, and the only path to
Nirvana, or Heaven.
52
Karate Principles
'The ultimate aim of karate lies not in victory or defeat, but in
the perfection of the character of its participants.' - Gichin
Funakoshi, founder of Shotokan Karate
The underlying principles of karate-do (Way of the Empty
Hand) include not only self-defense, but a system of learning that
provides one with a tool for self-improvement. Its accessibility
is shown by its ability to be practiced hard or soft, by nearly
anyone, and nearly anywhere, even in one's own mind. Its precepts
and discipline can lead us on in the difficult times of our lives.
This is the connection of body, mind, and soul.
'There is no first strike in karate.' - Gichin Funakoshi

Karate-do is a way of life that teaches one to be the best he
or she can be, in spite of and because of the worst situations
that one faces. Karate is a code of conduct that avoids conflict;
its level of force is only stepped up if absolutely necessary. In
this way, karate may be used to defend oneself and others without
striking a single blow.
Way of the Empty Hand

Karate is not simply a method of empty handed combat, but
also a way of peace. Keep your mind open to the situation, and to
the Truth. Do not miss the forest for the trees. Cut through all
the hype and find understanding. Your hand, the human hand, is the
most versatile physical tool on the planet. Your mind is an even
more versatile tool. It is the tool of your human soul, human
instincts. In that way, your mind is a hand, reaching out for
truth, greater things. Therefore, Karate is the way of uniting
body, mind, and soul, that one may be a sharpened tool. Once one
has learned Karate, its textbook of technique, philosophy, kata,
one should digest it and make it part of one's nature. Continue to
sharpen yourself, refining what you have learned, using it to your
advantage and the good of others.
53
Strategy
After years of study, I have come to a small understanding of
the way of strategy. I will here explain some strategy as it
applies to warrior-citizens. Seek whatever truth you may find
here, then continue on your search for enlightenment.
In the broad view, a warrior must uphold the values of his or
her society to be of any honorable use. We all depend on one
another. The warrior must quell disorder, promote peace, and
cultivate character. In practicing the ways of war, one has an
obligation to not use them in an illegal or immoral fashion.
Let us now consider fighting tactics. First, we must
understand self defense. One should exercise caution in the use of
force. Awareness must have the highest priority.
In self defense, one must be able to read the situation and
potential adversary. Pay attention to the neighborhood, your own
mental and physical state, as well as the mental state of
potential attackers. One can never be too careful. When visiting a
new area, stay in well lit areas that seem safe. Also try to find
good information on the right places to stay if you are going to
be in town for a while.
There are many articles on the uses of makeshift weapons, and
weapon disarms. Not all such articles are realistic, nor are any
of them a substitute for hands-on defense training. They may be a
supplement to such training from a true instructor. The broken
rhythm of fighting, the form without form, and the warrior's
mindset are difficult to learn without guidance.
There is never enough thought given to proper timings. Blend
with or break the opponent's energy, rhythm, or attitude. Read
timings/habits quickly. This is applied to hand to hand combat,
large scale combat, and overall strategy. Study this well.
You must be ready to defend yourself as soon as you leave
your home, even if you are not feeling well, caught off guard,
outnumbered, or overwhelmed by a stronger attacker intent on
killing you. You must be prepared for the worst. End the fight as
soon & as peacefully as possible; simplicity & instinct are key!
In life, stay truthful to yourself and loved ones. Take the
54
Strategy continued
most honorable course of action in every situation; your enemy
today may become your ally tomorrow. Your best friend can be your
worst enemy because he or she knows the most about you. It is in
this case you must treat them as honorably as possible. Also
remember that what protects and upholds you today may hinder you
tomorrow. Watch carefully, ask questions, and do not ever stop
learning. This will be your lifelong progress, and contribution.
55
Strategy - part II
Many fights actually begin at or near home; before a
disagreement turns into an altercation, try to defuse the
situation. In any altercation, use positive reinforcement. 'I know
/ am sure you're a nice person, but I would rather not (fill in
the blank).' Remember, martial arts are not just collections of
fighting techniques, but 'arts' by which we defend the quality of
life for ourselves and others.
'Budo' and 'kung fu' have rather holistic meanings for
everyday life, and not simply 'martial arts', as they are so
commonly translated. In this sense, 'martial art' may itself take
on a new meaning. 'Martial' certainly connotes fighting tactics,
yet 'art' presents a deeper level of understanding. Do everything
you can to 'preserve the whole'. Do not fight if possible, or to
take the path of least resistance if conflict is inevitable.
Fight out of necessity rather than hostility.
Let us further look into how to apply the art of strategy as
it relates to self defense. The attacker believes he/she has an
advantage. This may include a weapon, surprise, strength, and so
forth. He / she is also more likely to attack you if he / she sees
you as a potential victim. Therefore, be cautious when you are
fatigued or alone, and do not appear timid, even if you are
smaller than potential attackers. Always try to stay aware, and
prepared to talk your way out of a situation, or defend yourself.
The environment, mindset of the attacker, and effects of
panic will further handicap you. Your attackers do not come at you
in prearranged patterns. You have to be ready to fight back, and
take the initiative, because every second counts!
The best defense is a good offense. Use distance and the
environment; be spontaneous. This is all very important against
multiple assailants! Your movements must be fluid, economical, and
not overly mechanical. The longer the fight, the more dangerous it
becomes! When in unfamiliar territory, scan for escape routes,
taking potential obstacles into account. Don't forget pepper
spray, pinching, biting, etc. to provide distractions. Overall,
you want to be as prepared as possible for potential violence.
56
Strategy - Part III

I will here attempt to be non style specific in discussing
fight strategy. Simply remember to train your reflexes for the
proper use of body mechanics. Prepare your mind for a self defense
mindset, rather than hostility. Remember 'zanshin' - remaining
mind. This is your most powerful weapon. Prevention is better than
cure!
When faced with a heavy handed puncher, his or her hand speed
and upper body defenses may be hard to match or get past. In this
case, timing and creativity are of high priority. In a street
situation, you do not have time to memorize his or her habits.
Neither do you get the benefit of watching fight tapes beforehand.
Watch for openings in the attacks, and draw out your opponent for
a timed hit. Don't forget use of body shifting; especially to the
outside of the opponent, which will present you with a strategic
advantage. This reduces his / her options by 50%. This will be
easier or harder to do depending on the attacker's training; such
is hard to judge immediately, so it is instead better to take the
initiative and/or counter-hit as quickly and efficiently as
possible. Untrained punchers, however, tend to have a large amount
of telegraphing (movements that signal a certain attack, not
unlike 'tells' in poker).
Against a kicker, remember that people are already on the
brink of disaster on two feet, and taking another foot off the
ground ruins balance even more. Also, a kick generally takes
longer than a punch to reach its destination. Use this in
conjunction with 'stop hits' when you are at or just outside of
the attacker's kicking range. Essentially, you will want to react
to the opponent's starting movement as quickly as possible with a
jamming technique or combination. Be extra careful when the
attacker does manage to raise a kick. A well trained kicker can
often change a kick's height or target before putting his or her
foot down.
You must maintain a strong cover from which you can counter
swiftly, and off-balance your opponent while their kicking foot is
still traveling. Make an opportunity to close with the kicker, and
57
Strategy - Part III continued

reduce his or her options. Elbows and knees are particularly
effective for striking away kicks, and use in close-up fighting.
Use caution, however, if your attacker appears trained in a
heavily body-conditioning oriented flavor of Muay Thai / Thai
boxing, Kyokushin karate, or the like. Counter striking to vital
areas that cannot be conditioned (solar plexus and so forth) will
be even more important in these cases.
Many fights end up hitting the ground. If you are not
comfortable working from the ground, then maintain a solid
fighting distance and avoid in-close fighting as much as possible.
Adding to the danger of ground fighting is the possibility of more
attackers arriving, glass on the ground, weapons, and your most
immediate attacker being much heavier, as well as numerous other
factors. A grappler will have methods of closing the fighting
distance with you, and taking you out of the range from which many
types of strikes can be thrown solidly. In this case, make well-
timed use of elbows, knees, standing submissions, reversals,
makeshift weapons, and other such anti-grappling maneuvers. Be
especially careful not to over-extend your strikes, or leave them
extended for long after delivery, against a seasoned grappler.
When faced with an attacker who you suspect has a weapon, you
will, of course, have even more reason to seek means of escaping
the situation other than hand to hand combat. It is possible that
if you comply with your attacker, they will let you alone
afterwards. However, do not always be quick to believe that he or
she shares your belief system; they could very well harm or even
kill you after getting what he / she wanted.
The attacker may also be on drugs such as PCP, which would
make him or her very dangerous to deal with. Pain compliance may
not work as well against such an assailant; move defensively while
doing as much damage as possible. Use the environment even more
so, such as getting free to run and throwing things in his / her
path. Also be extra careful of weapons the attacker is wielding.
If at close range, attempt to stop the weapon from even being
drawn. If this is not possible, dodge an attack or jam it as your
58
Strategy - Part III continued

opponent comes at you. Control the wielding arm, and strike at
your opponent with your free limbs, head butts, etc. until you can
disarm or subdue. It's also very important not to get caught off
guard with a handgun, which would put you at a severe
disadvantage. In this case, use distraction or other methods to
diffuse the situation, and disarm if necessary.
Overall, many attackers will concentrate on their 'weapon'
(striking, grappling, a weapon, sheer strength or numbers, etc).
Your attacker may believe that he / she has something that
guarantees success. There is no way anyone can plan ahead for all
situations, however. You must instead constantly learn, as well as
use strategy, adaptability, and heart to your advantage, in a
fight or life itself.
59
A Brief History of Karate

Karate-do, in all its various forms, finds its origins in one
place - the Ryukyu islands off the coast of Japan. What we know as
one of the most widely practiced systems of self defense and
discipline in the world is the result of centuries of development.
While Karate-do was introduced as a code of ethics to a peacetime
America only a few decades ago, it began through the need of
Ryukyu natives for better methods of fighting.
There are a few theories about the origins of the fighting
arts that later became collectively known as Karate-do. However,
it is certain that many notable Chinese kung fu practitioners
settled in Okinawa, the capital of the Ryukyu kingdom.
The origins of the Chinese arts themselves are also shrouded
in the mists of time. A widely accepted theory is that
Bodhidharma, the founder of Ch'an (Zen) Buddhism created what
would later evolve into Shaolin kung-fu. The original exercises
were used to strengthen his monks' bodies, minds, and spirits, to
help them better fulfill their duties. This level of personal
cultivation carried across to many Chinese martial arts. By way of
transmission to other countries, this carried across to other
martial arts, Karate-do being one of them.
Details are rather sketchy at best as to the actual origins
of Karate-do, however. It is most widely accepted that in the year
1507, a weapons ban was passed by King Sho Shin. This led to the
rapid development of native unarmed fighting arts. These arts were
primarily influenced by various forms of Chinese kung fu, which
Okinawans began learning in the 14th century.
Okinawans learned forms of Shaolin kung fu from Shaolin
masters who fled China as a result of the oppressive Qing dynasty.
Okinawans also learned various forms of kung fu from Chinese
merchants, Chinese officials on diplomatic missions, and young
members of wealthy Okinawan families who went to China to learn
'Quan Fa' / kung fu to further their education and martial arts
studies. The general name given to the fighting arts learned and
further refined by the Okinawan martial artists was tode-jutsu
(alternately spelled tou-di), the Okinawan name given to Chinese
60
A Brief History of Karate continued
martial arts.
In February 1609, invasion of Okinawa by the Satsuma clan (of
Kyushu, Japan) triggered another period of rapid development of
native Okinawan fighting arts. Satsuma control lasted until 1879,
when the King of Ryukyu finally abdicated and the country became
part of Japan.
During this period, kobudo (often translated 'classical
fighting method'; commonly used to represent Okinawan weapon
fighting) evolved. Farm implements were used as weapons, as
traditional weapons were not allowed. However, some of the native
Ryukyu warrior class traveled up to the Satsuma clan in the later
part of the 19th century and learned their samurai fighting art
Jigen-ryu kenjutsu. It was not long after this that Sokon
Matsumura, 'Toudi' Sakugawa, and Tsuken Koura, among the many who
had made the trip, introduced their contributions to kobudo.
Ultimately, three major strains were developed from Ryukyu
kenpo karate-jutsu (as tode-jutsu eventually came to be called).
These strains were named Shuri-te, Naha-te, and Tomari-te, for the
regions in which they were developed. All three regions are based
in the southern part of Okinawa. The differences of the three
styles may be traced back to the socio-economic status of those
who practiced them. The lowest rung on the ladder was the worker
class studying Tomari-Te. The middle section was the merchant
class studying Naha-Te. The upper class noblemen were taking up
practice of Shuri-te in and around the capital.
Matsumura is commonly considered the great grandfather of the
karate movement in and around Shuri. He learned native Okinawan
fighting from Sakugawa (who in turn learned from Kusankun and
other masters). He later studied in Fujian and Satsuma. He learned
Shaolin Boxing (Shorin-ryu) under the tutelage of master Iwah. As
a result of the efforts of Matsumura, the fighting arts that
surfaced around the noble / castle district of Shuri came to be
known as Shuri-te (Shuri hand).
The Chinese master Ason taught Zhao Ling Liu (Shorei-ryu) to
61

Sakiyama, Gushi, Nagahama, and Tomoyori of Naha. This led to the
development of Naha-te. Naha, a coastal city, was a large trade
center at the time. Xie Zhongxiang (nicknamed Ryuru Ko) of Fuzhou
founded Whooping Crane kung fu (hakutsuru) and taught it to a
number of notable karate masters in the Fuzhou province. Wai
Xinxian, it is said, was a Qing dynasty officer, and taught Xingyi
kung fu as well as Monk Fist Boxing. It is also said he assisted
Master Iwah's instruction in Fuzhou province.
Two separate, modern styles developed from Naha-te: Goju-Ryu
and Uechi-Ryu. Goju-ryu stresses deep breathing methods (ibuki).
Its kata, including Sanchin, tend to utilize dynamic tension for
power training. Uechi-ryu uses a number of kata that Kanei Uechi
(1877-1948) learned while in China, as well as several Goju-ryu
kata. Uechi-ryu's Sanchin is done with open hands, and doesn't use
the deep breathing emphasized by Goju ryu.
Naha-te's Chinese lineage can be seen through the influence
of the forms and methods of Crane and other styles. Dragon Boxing
includes the forms Seisan, Peichurrin (also known as Suparimpei),
Saam Chien, and Eighteen Scholar Fists. Tiger Boxing also includes
Saam Chien and Peichurrin, as well as Sanseiru and others. Arhat
Boxing (Monk Fist) has Saam Chien, Seisan, Jitte, Seipai, Useishi,
Peichurrin, and other forms.
While Karate was primarily organized in Shuri and Naha,
Tomari originally had little direct influence. This is because, at
that time, Tomari was inhabited by a simple people; it was a
working class city of fishermen. Tomari had its share of notable
masters, however, with Kosaku Matsumora (1829-1898), Kokan
Oyadomari (1827-1905) and Gikei Yamazato (1835-1905) the most
notable. They studied under Annan, as well as Ason, a Chinese
sergeant.
Tomari was located near Shuri, and therefore its fighting
arts developed partly under its influence. Some of the Chinese
masters who taught Tomari villagers, however, did not reach Shuri.
Some of these teachings did later influence Shuri-te, nonetheless,
as exchanges eventually took place. Many of the kata became part
62

of both Shuri-te and Tomari-te. Some of the kata unique to Tomari-
te, however, are Wansu, Rohai, and Wankan. It is widely believed
that Chotoku Kyan (1870-1945) brought the kata Ananku from Taiwan
in 1895. It is said, sadly, there are other kata that have been
lost over time.
It is also said in Okinawan tradition that a pirate or sailor
(named Chinto, or Annan, depending on the source), was a castaway
from a shipwreck on the coast. He took refuge in the graveyard of
the mountains of Tomari, and later lived in a cave. Reportedly,
Sokon Matsumura formulated the kata Chinto (also known as Gankaku)
from the sailor's White Crane Kung Fu teachings. Chinto kata, of
which there are more than half a dozen versions, was adopted into
shuri-te. The Tomari-te chinto kata as a Chinese flair, in
contrast with the simpler looking shuri-te version. Chinto kata
uses straight lines of movement, and is executed with power. A one
legged stance occurs many times, bearing the image of a crane
poised to strike its prey. The flying kicks of this kata
differentiates it from others.
Matsumora and Oyadomari apprenticed under local masters
Kishin Teruya (1804-1864) and Giko Uku (1800-1850). They learned
from Teruya the kata Passai, Rohai, and Wanshu, and from Uku, the
kata Naifanchi. Matsumora was also versed in the jo-jutsu (short
staff technique) of Jigen ryu. It is often said in Okinawan
sources that Matsumora is Annan's successor. Yamazato followed
Matsumora and Oyadomari, who were close friends. Both masters
encouraged their students to exchange techniques and kata,
furthering the development of Tomari-te. Tomari-te became a light
form of fighting, with plenty of feints.
The kata Seishan is named after a well known Chinese martial
artist who lived in or near Shuri circa 1700. He was associated
with Takahara Perchin, a map-maker who was the first to teach Tode
Sakugawa. The kata is said to be the oldest still in use, and
translates to '13' or '30'. The naha-te Seisan has a Chinese
flair, while the shuri-te version evolved in its own way. The
movements are repeated in sets of three, and has pivots and
63

turning of the head. Hangetsu, the Japanese name for Seisan,
translates to half-moon. This is taken from the stances &
footwork, as well as the hand movements, which use circular paths.
As with many other forms, the kata's movements differ slightly
between styles.
Throughout this period, tode-jutsu was taught primarily for
health, philosophy and self defense. In this way, the Chinese
tradition was continued. Tou-di, the karate of old, was not meant
for the competition seen in modern karate. In fact, there were no
public classes, as practicing fighting was forbidden as a way to
promote public order. The to-de masters chose their students with
caution because they were liable for problems that could arise
(and frequently did) from their students' actions. Tode-jutsu had
also become a part of the imperial guards' training. As a result
of Okinawa's annexation to Japan, however, there was a huge
unemployment boom, and poverty spread heavily. Because of this, a
number of chikundun peichin (those who upheld public order in the
Ryukyu kingdom) started teaching tode-jutsu for money.
In the Satsuma occupation's later years, Japan began major
changes as a result of the Meiji restoration. Cultural reforms led
to the abolition of the feudal system, the abasement of the
samurai class, and development of democracy. However, democracy
was never fully implemented, nor were all the ideas of the samurai
code and the feudal system totally abandoned. Japan did not want
to totally lose its strong identity to (primarily Western) foreign
influences. Part of this identity was the bugei (martial arts),
which assisted in the shaping of modern Japan.
The budo (martial ways), as they came to be called, were more
than simply a cultural recreation. The ruling elite used the
spread of budo to further instill moral virtues, the values of
bushido (way of the warrior), and 'Japaneseness' in the Japanese
public. In this Pre-World War II age full of increasing
militarism, Japan needed strong, able men who were willing to
fight to the death. Japan also hoped that young men of good health
and mind would be more productive citizens.
64

As a result, many budo were introduced to the school system.
Some of these classical budo included Aikido (The Way of Spiritual
Harmony), Jiu Jitsu (unarmed self defense art often focused on
grappling), and Kendo (Way of the Sword), derived from the samurai
fighting traditions. Also, Judo ('Gentle Art') was developed from
jiu jitsu in the later part of the 19th century.
Itosu Anko led a group of Okinawan karate-jutsu experts in a
campaign to introduce the art to the Okinawan school system as a
form of exercise. Many of the dangerous applications were not
practiced in the school system, transforming karate from a hidden
art of self defense into a unique recreation.
Karate was introduced in this form to the Japanese mainland
in 1917. The Japanese martial arts association ('Dai Nippon
Butokukai') was interested enough in karate to invite the art's
best practitioner. Their intent was to compare karate-jutsu to
Japanese jiu jitsu in matches of skill.
Gichin Funakoshi was an Okinawan native who taught at the
school 'Shoto Gakko', which prepared Okinawans for Japanese civil
service. His life's passion, however, was karate. Because of the
respect he commanded from Japanese gentlemen, and his skill in
karate, he was selected to represent Okinawa's martial art.
He defeated every opponent he faced at the demonstration, and
won great respect. Because of this and his love of Japanese
culture, he stayed on the mainland to further propagate karate. As
a result of the first and further exhibitions, he gained many
followers and ultimately began teaching out of a Kendo dojo.
At first, there were cultural barriers and traditions that
slowed the progress of karate across the mainland. As a result of
Funakoshi's excellence in teaching, however, he broke through the
prejudices against karate. Eventually, he was able to open his own
dojo, which was the first formalized karate dojo. Also during this
time, karate as a whole came to be formalized and 'Japanized'
(although divisions among separate karate styles have not, to this
day, been resolved - primarily due to pride and organizational
politics).
65

Such formalization included acceptance of the kyu/dan
(class/grade) system as devised by Jigoro Kano (founder of judo).
Also, it became important that all teachers were qualified and
knowledgeable. Finally, it was necessary to institute a standard
curriculum, uniform, and competitive format.
Nationalism and anti-Chinese sentiment made the karate-jutsu
movement consider a more appropriate ideogram to represent their
art. The original 'kara' ideogram of karate meant China, as did
the 'tou' of toudi (Chinese hand, and a reference to the Tang
dynasty). The replacement ideogram means 'empty', and takes on not
just a physical but a spiritual meaning. 'Kara' may represent the
'void', and freedom from worldly desire.
Also changed was the suffix for karate. Instead of jutsu
(art/science), do (way/path/totality, pronounced 'dao' in
Mandarin) came to be used. In this sense, as a result of the
efforts of such masters as Itosu, karate-do joined kendo, jiu
jitsu, aikido, and judo as a modern budo, in which not only combat
is practiced, but also a cultural discipline for the pursuit of
harmony.
66
Peace, Harmony, and Truth

Practice the Way of the Empty Hand to become as an empty
vessel. This is so that you may take natural courses of action,
like water, that you may find the path of least resistance. This
is in order to better understand and utilize your nature, as it
relates to the universe, and universal truth.
Practice the Way of Peace and Harmony in every way possible.
Strength (the hand) of mind, body, and soul is a tool for peace
and harmony (the dove). Peace and harmony give strength meaning.
Life, like the ocean, is an ebb and tide, a give and take.
Learn to subside and crash upon the shores of life. Study,
recover, train, become...Then give it all back. This all relates
to not just combat, but life itself.
Like the ecosystem, people all depend on each other. Do not
hesitate to plant a good seed. Though 'an eye for an eye' makes
the world blind, a favor for a favor makes the world a garden.
In your search for peace, harmony, and truth, strip away the
unessential. Make leaps of faith; give it all your best effort. Do
not ever hesitate, or stop learning. Reach to the bottom of the
lake of your soul. I believe in you. I wish you the best, and God
bless you.
Mizuumi - Lake
67
On Teaching
'True karate-do is this; that in daily life one's mind and
body be trained and developed in a spirit of humility; and that in
critical times, one be devoted utterly to the cause of justice.' -
Gichin Funakoshi, Karate-do Kyohan
This article will concern itself with the business of
teaching martial arts. The teaching of martial arts concerns
itself with helping others. It is not necessarily wrong to make a
living on the arts, but we must keep in mind that prestige is
nothing if one does not set a good example.
We can not have desirable progress in the 'martial ways' or
peace and happiness without mutual respect. To ensure continued
progress in the effectiveness of philosophy and technique of our
own arts, we must study our arts diligently while opening our
minds to other perspectives. In this way, teachers must set an
example for their students by being an excellent one themselves.
This level of modesty takes years to cultivate through proper
etiquette - and is one of the ultimate goals of our training. It
is said that to have taught once is to have twice learned.
We must be of good conscience when considering our talents
and faults. Before we can realize our full potential in teaching
others, we must honestly and modestly learn our own strengths and
weaknesses. Let us look at ourselves in the mirrors of truth, good
standards, and absoluteness, while chasing the rainbow of
perfection.
'The technique of the martial arts is like the universe -
there is no limit to knowledge. One must realize no limit to one's
performance.' - Hironori Ohtsuka
Most of all, we must be respectful. This might sound cliché;
however, we must remember to have and give respect as least as
much as we get it. Modesty is key.
It is easy to lose modesty under a pile of well-practiced
technique. Keep in mind, however, that without modesty of
character, you have gained nothing from training. We learn to
fight so as not to fight. There are no winners in war - only
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On Teaching continued
losers. We must fight against fighting - to have the least
possible bloodshed. With this in mind, we must punch and kick not
to win or lose, but to learn from each other in martial
brotherhood.
'Have no regard for the martial aspects when training, but
rather adhere to the way of peace.' - Hironori Ohtsuka
69
Walking the Path

'From one thing, know ten thousand things.' - Musashi, Go Rin
no Sho (Book of Five Rings)
It is hard to describe the true experience of kata ('set

forms' / 'formal movements' in various Japanese arts) with words,
in the way it is hard to describe a symphony with sheet music
alone. Similarly, it is difficult to understand the true way of
karate after having practiced kata only a few times. Life is in
the living - swimming is in the water - karate is in the empty
hand. Karate is not in the clenched fist, but in the open mind and
tempered spirit. This is the true path of budo.
Much practice and study of technique are required for its
digestion and understanding. In this way we slowly come to view
the true path. While we may begin with 'a way', a style of
technique, this gives us the foundation to find 'the way'. What we
call our style is simply a symbol for what we practice and absorb,
and should not be confused with the true way. However, practicing
a well-taught style may teach us many things. In diligent, proper
training, we find the flexibility and focus of not just our
bodies, but also our minds. A tempered spirit is a tool that
solves according to internal principle, and guides technique. In
light of this, listed below are a few general factors that we
should train in ourselves, for others, along the martial path.
Power and endurance: Explosive strength is a must in the
performance of athletic skill. Ways to develop power include (but
are not necessarily limited to) plyometrics, body weight exercises
(with or without partners), cardiovascular training, and stance
training. One must also have mental fortitude to press on past the
comfort zone. Spiritual development occurs as a natural result.
Every day provides fresh lessons.
Rhythm, timing, distance: Fighting and music have often been
compared to one another. If you understand rhythm, you will know
how to break your own - and find your opponent's. Timing, then, is
a necessary consideration in employing the use of rhythm and
broken rhythm. To develop rhythm, we may start with kata, then
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Walking the Path continued

understand bunkai (application of kata), and then learn how to
adapt naturally. In this way, one may control the distance between
oneself and one's opponent - both physically and mentally. Many
different sparring drills may be employed. The serious study of
rhythm and timing may provide many lessons on understanding the
ebb and tide of life's many seasons.
Awareness and adaptability: While we by nature depend highly
on vision, we may train ourselves to more fully use our senses.
Knowledge is nothing without being mentally aware of its
application, or the spiritual flexibility to adapt to change in a
positive fashion. Let us train diligently so that we may do our
best, and be prepared for the worst.
In this way, we can see that disciplining our bodies develops
our mental clarity. In cutting away the inessential, we develop
our mental focus and begin to see the true path. Thus, we make
progress in our spiritual perception. In this way, we will take a
positive direction spiritually and morally, as we have already
done mentally and physically. Thus, we will make a positive effect
on the world around us. For more on the martial way, please see my
previous articles. Also, please see a local instructor, if
possible, to seek training ideas.
71
In Pursuit of Perfection
Or 'Mizuumi' / 'Lake'
In the pursuit of perfection of character - the ultimate aim

of karate-do - one learns a new mode of self-expression. In this
way, verbal and body language take on new forms and meanings. As a
result, we may better effect positive changes within - and without
- ourselves, as well as more honestly and clearly express our
inner hopes and desires.
In this light, let us remember that life is a give and take.
In all fairness, we must treat others as we would like to be
treated. In this way, we are always reminded of the universal
good. If we believe in being treated in a 'correct' way - then to
believe in an absolute right is the easiest logical assumption to
make. Therefore, we must seek the best possible solution in every
situation. Studies of ancient wisdom, and hard - yet efficient -
training, will provide the answers.
What is invisible must become visible. What is visible must
become invisible. The rhythms, seasons, and cycles of life and
nature are easily observed, but are hard to understand without
much study. To improve our own nature is even more difficult. Yet,
let us look at acorns. Depending on factors in the environment
surrounding it, the small acorn disappears in the ground and grows
into a grand oak tree. In time, this oak produces acorns of its
own.
Let us then review the different kinds of power in nature
terms. Water yields - sticking / glueing / pulling power. Wind
turns - twisting / grinding / ripping power. Fire burns - driving
/ exploding / pushing power. Metal axes - penetrating / cutting /
hacking power. Earth buries or strengthens - crushing / stopping /
Blunt Force Trauma. These deal more with application and training
than specific techniques. Many techniques, stances, and footwork
utilize a certain type of power, but may use different types of
power as needed.
In one example, a knife hand block may utilize both hands -
the off hand 'sticking', while the blocking hand's setup maneuver
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In Pursuit of Perfection continued
'crushes' at the bicep or elbow of the opponent's arm. Upon the

completion of the block, the off hand 'twists' at the opponent's
blocked arm and traps it, while your blocking hand 'cuts' or
'penetrates' at the opponent's neck or head. If at the neck, a
full hacking strike must be used, as well as a pulling with your
trapping hand to break their balance further and control their
movement. This penetration will help you effect a takedown,
submission, or knockout strike.
One such takedown is to simply continue with your blocking /
striking hand - as if cutting with a sword - which will collapse
the spine and ruin their stance. Of course, in even gaining the
opportunity to utilize such an application, you must have
'exploding' footwork and earth-like strength in stances, as well
as the looseness of water in movement.
Remember these factors for external strength - power, speed,
technique, agility, balance, control, endurance. Remember these
factors for internal strength - love, hope, faith, discipline,
looseness, determination, fighting spirit. Many subtleties and
shades are contained within! The factors for internal strength
take time to foster, but are infinitely more important. Difficult
external training, and the wisdom of others will strengthen you on
the inside - but only as long as you want to learn. Also,
adversities in life develop one's mental and spiritual depth.
Massive strength, lots of setup, and extraneous movements
should not be necessary in technique or application. Rather, we
should consider power - smooth, explosive movement. Much practice
and training are required to achieve the proper efficiency.
However, unlike raw strength, there is virtually no limit to skill
development. Remember this in your physical, mental, and spiritual
training.
Allow me, then, to put forth a few training ideas. Many
martial arts use forms to help teach not only the technique
systems, but the qualities and types of power that I put forth
above. Proper rhythms - and broken rhythm - must be understood.
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This is not simply for fighting, but also for life. In this light,
I have developed Mizuumi ryu Karate. It is primarily based upon my
own experience in karate, boxing, and jiujitsu. 'Mizuumi ryu'
translates to 'Lake school' (taken from Lake City, my hometown).
The system contains two exclusive training methods which may be
used to supplement traditional martial arts practice
The first method is a new kata entitled 'Nekoashi kata',
literally meaning 'catfoot form'. This is not necessarily superior
to the older, traditional kata ('set form' in Japanese). Nekoashi
kata is instead meant to be easier to digest and interpret than
some of the old kata. Also, the qualities for external and
internal strength, as well as the types of power, are highly
emphasized in the movements.
Like any of the old forms, there is more that is not seen.
The entire structure is meant to be heavily interpreted. It is not
meant to be set in stone, but instead adjusted once learned. One
could say that this is so for the old forms, but others would
argue that there are only a few 'definitive' ways to perform them.
However, with Nekoashi kata, it is proper to learn 'a' version of
it and apply it to oneself. As long as both the version learned
and one's own adjustments are effective for one's needs, then both
are proper.
Nekoashi kata may be seen as including the following
sequences. 1. Cat swipes at dog. 2. Cat sharpens claws. 3. Cat
hunts mouse. 4. Cat climbs tree and finds nest. 5. Cat scratches
branch. 6. Cat plays with tiger. 7. Cat dodges bird and pounces.
8. Cat digs in and bites. 9. Cat smashes with iron claws. 10. Cat
penetrates with sword claws. 11. Cat grabs its prey. 12. Cat
shoots like bullet.
The second method of Mizuumi ryu is 'Nekoashi no michi',
literally meaning 'Method of Cat Feet', or 'The Way of The Cat's
Feet'. This set appears more free form, and may also appear at
first to be a mix of kickboxing and jiujitsu. However, as in any
kata, or walking the circle in Bagua kung fu, one must learn
74
the subtleties of footwork. Nekoashi no michi has the following

exercises for footwork.
1. Shuffle steps - or simply, 'Shuffle'. First, shuffle side
to side, slowly then quickly. Practice this with left or right leg
in front, then switch and practice again. Then, add in quick
shuffling pivots, to practice moving along the line of an
opponent's attack. Do these forward, and backward, and side to
side. Lastly, use circle shuffling around your practice area,
switching your balance. Stay on the balls of your feet for this
drill. In real fighting, you would keep your feet planted (for
power and stability), but this drill helps develop speed,
efficiency, grace, timing, softness, and rhythm in footwork. As
you improve in shuffling, begin keeping your feet planted more.
2. Pushing steps - may also be called 'Smashing steps' or
simply 'Smash'. Perform a brushing block with the lead hand as
your back foot steps across to set up for a step-across reverse
punch. As you improve at this, add a lunge to the punch, then
explode with a kick. Upon rising, set the kicking leg forward and
perform the same movement with the other side. This is meant to
set up for incredibly explosive movements.
3. Pulling steps - may also be called 'Lock and load steps',
or simply 'Load'. This is a big step backwards using the front
foot while using a brush block with the lead hand, then performing
a striking or grappling technique with the other hand or arm. This
is to be done in one fast, smooth motion. Remember that it is the
hands that push and the feet that pull!
4. Switching steps, or simply 'Switch'. Quickly move forward
with the lead foot while performing fast technique of choice with
the lead hand. As you step, pivot the back leg around and past the
front leg, using a quick twist of the hips. This looks like a
shortened step-forward-and-pivot body shift maneuver. The dip of
the back leg may be large or small, but it has to be fast and
performed immediately after the first technique. Dipping the back
leg sets up for a side kick with the front leg. It also sets up
75
for sweeps and throws, as well as Sinking Steps and Slicing Steps.
5. Sinking step, or simply 'Sink'. Move diagonally as you
deepen your stance in the chosen direction. This is like lunging
at an angle. Of course, this may be practiced in the direction of
either the back or lead leg. This would commonly be used in moving
off the line of attack while performing one's counterattack. One
may use sinking steps to assist in performing jumping kicks.
However, keep in mind that jumping kicks are only used in Sinking
Steps practice to assist in speed and power training. In a real
scenario, one could counterattack with brush block and power-
stepping roundhouse kick. A sinking step may also set up for
pivoting into the opponent and performing a fast combination. This
may include techniques that use Switching or Slicing Step.
6. Slicing step, or simply 'Slice'. It is essentially
spinning. However, take care to time and distance properly. This
step should be a quick evasive pivot that sets up for techniques
such as throws, back hands, and back kicks.
7. Falling step, or simply 'Fall'. It is essentially
practicing break falls and fast ground work. Kicks, elbows,
takedowns, setups for various submissions (joint locks and so
forth), and more, may be practiced in conjunction with the rolls,
falls, and position changes. The key is to keep moving,
transitioning, and attacking.
8. Rhythm steps, or simply 'Dance'. Practice working the
previous steps together into realistic combinations. Each kind of
step may also take on qualities of other steps (a sinking shuffle,
or rolling into a smash step, and so forth). One should have a
good rhythm about practicing this freeform drill. It is best done
to music with a strong, upbeat rhythm.
9. Partner steps, or simply 'Party'. Partner up with someone
and essentially "bounce" off of their rhythm. This should also be
done to music. Done properly, it is like designing the
choreography of a stylistic fight scene in a movie. For excellent
results, try matching the pace with the music.
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The ultimate goal is near-constant movement. One must be able

to move in any direction with equal agility. Even in defensive
movement, one must be able to simultaneously attack. The best
defense is a good offense - and a direct one. Cut your opponent
short, and jam their attack by sensing their pattern, their
rhythm.
Much study is needed to understand all of this. It would take
many pages to break down how techniques utilize the different
kinds of power, much less describe further application in actual
fighting. Let us remember then that these elements of personal
power, and factors for external and internal strength, should also
be used to carry ourselves with a positive attitude through life.
77
In Pursuit of Perfection
Or 'Mizuumi' / 'Lake' - Part II
Let us always remember that our only strength is the truth,

for it will always stand. Let us continue to seek the true path.
To that end, my hope is that this pair of articles could, by
itself, provide a concise supplement to any martial arts training.
External and internal factors are considered equally important -
one does not exist without the other. Also, one's own training
will inform the way one considers and/or uses any of the ideas in
these articles. As such, I will put forth a few ideas for training
the Nekoashi no Michi mentioned previously. I will present
Nekoashi no Michi in light of the elements.
First element - Wind:

Keep moving, ready to change directions and angles at any time. Be
also prepared to move through the situation with the right timing
and distance. Be light and untouchable, yet move forward with an
all-encompassing straight blast. Let your opponent know not where
you're coming from, or where you're going. This is like a cat
running, pouncing, climbing, jumping from many angles as swiftly
as the wind.
Second element - Fire:

Burn your way through the situation - not in anger, but with
a strong decisiveness that leaves nothing untouched. Your fuel is
anything you touch, even the air itself. Consider it in the
following ways. In combat, everything provides you a potential
combination. In life, everything provides a way to break free.
This is like a cat, full of ferocity, confidence, and sheer
aliveness. This gives her the fiery spirit to keep moving forward
through any situation.
Third element - Water:

Keep flowing from one thing to the next. Do not ever stop,
yet be still in your relaxed focus. Take the path of least
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In Pursuit of Perfection II continued
resistance, and use the most effective method. There is no time to

think; allow your trained instincts to take over. Your opponent
can touch you, but cannot hold. If pulled, you push like a tidal
wave. If they push, they are pulled into your lake of defense.
This is like a cat, who is able to sense disturbance. She is also
able to roll and squeeze out of many attacks, with poise, grace,
fighting instinct, and incredible flexibility. In this way, she
fits the shape of the situation, like water.
Fourth element - Earth:

Be strong and solid, yet changeable like soil or clay. Be
like a rolling stone, anchored, yet crashing. Earth is your
strength, and foundation for power. This is like a cat stalking
her prey. She moves low to the earth, in a poised, yet calm
fashion, ready to look for the best timing, distance, and angle of
attack. She is also ready at any moment to hide under a large rock
or upon a high branch. At the same time, she is also ready at any
time to take a solid position on the ground where she may attack
and defend with equal ability.
Fifth element - Metal:

A sharpened tool, a harnessed force of nature. Cut to the
truth of all you perceive. Understanding and action quickly
follow. Even one's own senses are not completely trusted, but
rather re-trained to find the clearest path. This is like a cat
ready to use her paws to control her prey, as she pierces with
claw and teeth. She also uses her sharp claws as tools for
climbing, kneading, and gaining extra traction on soft surfaces.
Overall, be natural, let go of human pride, and prepare

further to understand the path of truth. The human mind and body
are incredibly adaptable. The human soul is capable of great depth
- and great height as well, if indeed we study hard, so as to soar
into the heavens and return to share what we have learned. To
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assist in this training, I will suggest a basic outline for

developing the external and internal factors mentioned in the
previous article. Do remember to always engage in well rounded,
quality, sober training in the martial ways. Anything less is to
shortchange oneself and all those one comes in contact with.
Firstly, one should study the martial ways wholeheartedly. To
understand the warrior mindset, one must understand warriors who
have come before. To be a warrior is not to be hostile, violent,
or proud, but to be ready to survive, protect, and lead. Much can
be said on this, but I do not pretend to be a sage. It is for this
reason I recommend various martial and religious texts.
However, I may say that one should not mistake the truth for
an interpretation of the truth. Let us study "a" way for a while
to gain an understanding of "the" way - whose goals include
perfection of character and dedication to others. This will help
us further our knowledge of the internal factors, which we may
call wisdom. Also, the key in any sustained personal progress
begins not in action, but choice. We must decide within ourselves
to follow our goals and dreams. As some have said, life is all
about attitude - in the case of martial arts, it is no different.
Secondly, let us train the external factors with the whole
heart. This will help us develop power. This is not just personal
power, which may be used blindly, and with vanity. This is
strength that may help us walk the path of truth. Let our inner
hopes, then, shine through. I will detail below a few ideas for
external training.
Keep in mind that the following routine is a general outline
that I recommend. The exercises train one's body to be able to
properly perform Nekoashi no Michi. Age, health, time, and other
such factors allowing, one may make adjustments to the routine. Of
course, one may substitute exercises for easier or more difficult
ones, as well as do more or less reps, and even add or remove
exercises.
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Pushups:
One minute rest between each exercise, and each set.
Incline pushups - one set of 25 to 50
Knuckle pushups - one set of 25 to 50
Clap pushups - one set of 10 to 15
Regular pushups until failure
Pull-ups:
Two sets of 10
Perform pull-ups until failure.
Abdominal:
Incline sit-ups - equipment allowing, of course. Perform 2 or
3 sets of 15.
Crunches - perform 25-50. Only the shoulders should be raised
off the floor, as you breathe out and tense the upper abs, and
then relax. A light to medium weight held slightly above the chest
may be used to provide resistance.
Double ended crunches - pull your knees as close as possible
to your chest as you perform a crunch. Perform this 25 times.
Squats
Squat kicks - squat as low as you possibly can, and as you
come back up, perform a front snap kick. Alternate legs with each
repetition. One set of 20.
One legged squats - use a door or wall to assist balance.
However, one should try to maintain balance during this exercise
without relying too much on objects. To perform this exercise, one
may place one leg in front of or behind the body (depending on
what one feels more comfortable with) and squat with the other
leg. At least one set of 10 each leg. Once proficient with one
legged squats, add a free weight.
81
Normal squats
One set of 20, a set of 40, then perform squats until
failure.
Other leg exercises

Extreme horse stance training - sit deep in a very wide horse
stance. To add difficulty, one may practice strikes, perform calf
raises in this stance, and/or add two dumbbells (which may be
balanced on the upper thighs, which should be perpendicular to the
floor). Without weights, try to hold the horse for at least
several minutes. With weights, try at least two minutes total
(even if one has to do this exercise for one minute, rest, then go
for the second minute).
Bear crawls - get on hands and feet, with the body close to
the floor (the knees and elbows should be bent). Move forward as
quickly as possible while staying low. Choose an area (20 to 50
feet) to bear crawl across. Bear crawling the length of it, and
back, is a lap. Do 4 laps, or until failure. Ankle weights may be
used to provide resistance.
Bunny hops - completely bend at the knees while keeping your

back straight (for correct posture), and your hands up (for
balance). Jump forward explosively from the ground. Tuck your feet
back in as you jump, and land lightly. The goal is to be able to
perform bunny hops in quick succession. Do 2 laps, or until
failure. Ankle weights may be used to provide resistance.
Duck walk - start in bunny hop position, but instead move one
foot in front of the other without coming up at all. The goal is
to move swiftly without dragging one's feet, or losing balance. Do
2 laps, or until failure. Ankle weights may be used to provide
resistance.
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Dumbbell exercises
If necessary, start with light weights - 5 or 10 pounds.
Rows - these work arms and back. Best with two dumbbells,
which should be placed beside one another, and within arm's reach
on the floor in front of you. A.) Start with your feet shoulder
width apart, then lean forward and stretch down your right arm and
grab the right dumbbell. Use your left hand and leg for support if
needed. B.) Then, pull the right dumbbell up as you bend your arm
back to waist level, and carefully lower the dumbbell back to the
floor. This should be done quickly. C.) From there, grab the left
dumbbell and perform the same exercise. Perform 2 sets of 25.
Weighted shoulder shrugs, calf raises, squats - perform at

least one set of 10 each. Add additional shoulder exercises as
needed and/or desired.
Dumbbell curls - best done sitting, so as to enforce proper

technique.
Dumbbell flies - lay flat on your back, preferably on a

workout bench, or a short chest with a folded towel laid across
the top (for comfort). Your feet should placed on the floor, one
on each side of the chest / bench if possible (for stability). The
dumbbells should be placed within arm's reach, one beside each
arm. Grasp both dumbbells from under - palms facing up. Instead of
a curl-like motion, keep the elbows mostly locked, and squeeze
your arms close enough together that the dumbbells touch. Perform
one set of 10, then perform until failure.
Dumbbell press - start in the same position as described

above. However, in this exercise, grasp the dumbbells from above -
palms facing down. Position the dumbbells above your chest and
allow them to touch. Then, simultaneously lower the dumbbells by
83
allowing your elbows to bend, as you breathe in. Your elbows

should end up outside and below chest level. The dumbbells should
end up at just chest level. Straighten out one's elbows and touch
the dumbbells again as you breathe out. That is one repetition.
Perform one set of 10, and then perform until failure.
Weight bar exercises

Power cleans - start with light weight on the bar if
necessary. Bend your knees completely, while keeping your back
straight. With palms facing the floor, reach down and grasp the
bar. Your hands should be at about 45 degree angles outside of the
shoulders. Jump as best possible with an exploding movement and
land in horse stance. As you jump, pull up with your hands, and as
you land, allow your elbows to bend in front of the body and the
hands to come to shoulder level. You want it to be as if you are
landing "under" the weight. Perform this 10 times at half your
max, 5 times at two thirds max, and at least once at max.
Weighted jumping jacks - After performing a power clean at

half your max, do not put the bar down. Instead, push the weight
bar upwards, above and slightly in front of your head. Then make a
small fast jump, and land with your feet together, as you let the
bar come back down to about shoulder level again. Then jump your
feet outwards and quickly press the weight upwards again. That is
one repetition. Perform at least one set of 10.
Military presses - After performing a power clean at half

your max, do not put the bar down. Instead, lift the bar above
your head, then slowly lower the bar behind it, letting it almost
completely rest on neck and shoulders. Finally, slowly press the
bar upwards above the head. That is one repetition. Perform at
least one set of 10.
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High intensity interval training

The idea is to supercharge your running routine by sprinting,
then jogging, then sprinting, and so forth. Highly useful in
losing excess fat (and therefore toning up) as well as building
your overall cardio. Also, in any form of fighting, one needs both
long term endurance and quick bursts. No matter how tired one
gets, one should always have that one last burst.
One way to start H.I.I.T. is to begin with a four minute
cycle. Sprint for 30 seconds, and then jog for 30 seconds, four
times. Each week, one may add a sprint and a jog to the routine.
Work up to doing 15 minutes or more of H.I.I.T.
I recommend personalizing H.I.I.T. My personal routine
utilizes my local downtown area. The length of my run is
approximately 2.5 miles, and takes 15-20 minutes to complete
depending on one's stride (if no breaks are taken). I also prefer
to carry an mp3 player with various "workout mixes" loaded on it,
for motivation.
"Strength comes from health, speed comes from efforts, technique

comes from experience, will power comes from faith, serenity comes
from old knowledge, progress comes from new knowledge - today is
now!" - Peter Urban, founder of American Goju-ryu Karate
85
Mizuumi ryu - Appendix
Let us consider these ideas for advanced Mizuumi ryu

practice. Mizuumi is a heavy handed, light footed style that
includes compact, continuous movement. The goal is to utilize the
entire body in such a way that the opponent's line of attack may
be rendered an advantage to the Mizuumi practitioner. However, I
do not propose that Mizuumi ryu is a replacement for traditional
training - merely a supplement.
With Nekoashi no Michi, its various types of footwork are not
simply fighting techniques, but drills that help with physical
conditioning and combat tactics. As for Nekoashi Kata, its
sequences provide not just an assemblage of techniques, but a
consistent structure which may be applied, interpreted, and added
to. Nekoashi Kata provides a solid framework of bunkai
(application of techniques) from which to study. In that regard,
the Nekoashi no Michi assists in kaisetsu (study of principles) of
the Nekoashi Kata.
Nekoashi no Michi
Shuffling
This set of movements provides a setup for the rest. This
drill helps develop speed, efficiency, grace, timing, softness,
and rhythm in footwork.
1.) Side shuffles. Shuffle side to side, slowly then quickly.

Practice this with left or right leg in front, then switch and
practice again. The three types of side shuffles - side, behind,
across.
2.) Pivot shuffles. Step forward along the line of attack,

then pivot the back leg behind the front leg, using a hip motion.
If against punches, use a parrying strike while trapping your
opponent's lead hand or arm (to set up for grappling and/or
further strikes). If against kicks, use the motion to begin a
takedown. Once you have pivoted your back leg out, pivot back in
86
Mizuumi ryu - Appendix continued
while blocking with the lead hand.
3.) Straight line shuffles. Shuffle forward and backward,

shooting out punches as you do so. Then, perform fake-out shuffle
twists - perform two small hops in which you switch feet, then
perform kick of choice with the back leg. Before setting the foot
down, pivot to the opposite side of the kick and perform a full
turn in that direction. (If you kicked with the right foot, then
turn to the left.) As you are planting your feet, shoot forward
with a jab with the lead hand. Finally, perform another Fake-out
Shuffle Twist.
4.) Circular shuffles. Shuffle around your practice area,

switching your balance. Stay on the balls of your feet, for
lightness of foot. Then, use sliding circular shuffles - with feet
more planted - to practice shifting your balance with solid, but
light steps. In this way, you practice for real fighting, where
you need not only agility, but power and stability.
5.) Four-paw cat shuffles. Coordinate both hands and both

feet in simultaneous movement, attack, and defense. Blocking isn't
always necessary - better not to be in the way of the attack!
Smashing
Each of the following could be used alone, or as a setup for
the technique that comes after it. One could also use qualities of
two or more of them.
1.) Cross smash. Perform a brushing block with the lead hand
as your back foot steps across to set up for a step-across reverse
punch. As you improve, add a lunge to the punch, then explode with
a kick. Then set the kicking leg forward and perform a Cross Smash
with the other side. This sets up for very explosive movements.
87
2.) Sticking smash. This is a continuous straight blast.

Concentrate on controlling and/or jamming the opponent's movement.
This straight blast may be used to back your opponent into an
obstruction. If the opponent moves off the line of attack, quickly
transition into the next technique.
3.) Angle smash. Utilize techniques that requires both

forward movement and circular pivoting for full power, such as
elbows, roundhouse kicks, and hooks. Concentrate on boxing in the
opponent and making him or her panic, or change tactics.
4.) Downward smash. Simultaneously use pulling / clinching /

controlling techniques, as well as momentum - both yours and your
opponent's - and downward angled brute force techniques.
5.) Cutting smash. Fast, well-timed, evasive attack along

your opponent's line of attack. Utilize techniques for parrying
and bridging the gap while simultaneously attacking. Quickly
transition to off-balancing / sweeping / groundwork techniques.
Pulling
As with smashing steps, each of these may be changed to
become a complete technique, or as a setup for the technique that
comes after it. The key is to push with the hands and pull with
the feet.
1.) Twisting pull. In one smooth motion, take a big step

backwards using the lead foot while using a brush block with the
lead hand. This is to control the opponent's attacking arm / wrist
/ leg, using the opponent's momentum, to effect a takedown. Use
strikes as needed. Afterwards, apply a submission maneuver, pain
compliance, and/or "ground and pound" (depending on the
situation). Otherwise, transition into the next movement.
88
2.) Dragging pull. Lock up / drag / etc. the opponent with

twisting techniques to put them in a position favorable to you.
This will allow you to move to a position from which you can keep
control. From here you may lock in a submission or use pain
compliance (giving your opponent every reason to not resist).
Then, one may move to Seizing pull if needed.
3.) Seizing pull. Use your superior position to seize joints

/ muscles to gain leverage and control. This technique may be
needed if your opponent powers through a submission, and you need
to keep him or her on the ground. You may also use pain compliance
(wrist / arm locks etc.) to force your opponent to stand up with
you. In either case, take away your opponent's free range of
movement using leverage and positioning, so that you do not have
to do too much damage. If you have to stand your opponent up, you
may transition into the following technique.
4.) Slamming pull. This is mainly for shoulder throws and

sweeps. Quickly transition as needed into controlling the opponent
and applying a submission. In the case of multiple opponents, you
may throw one into another, as well as use one as a shield against
others (the next technique is useful in such cases).
5.) Controlling pull. Go for any available vital area, joint,

nerve cluster, etc. to effect a submission.
Switching
Each may be used alone or as part of a sequence. The goal of
switching is to use trickery and clever strategy to throw your
opponent off his or her rhythm / pattern (and everyone has a
pattern!). Switching step also sets up for Sinking Steps and
Slicing Steps.
1) Forward switch. Quickly move forward with the lead foot

89
while performing fast technique of choice with the lead hand. As

you step, pivot the back leg around and past the front leg, using
a quick twist of the hips. This looks like a shortened step-
forward-and-pivot body shift.
The dip of the back leg may be large or small, but it must be
fast and performed immediately after the first technique. Dipping
the back leg sets up for a side kick with the front leg. After the
side kick, retract the leg and come back to a front stance, and
perform a roundhouse kick with the back leg. Retract that leg to a
front stance (pulling it back or setting it forward), then perform
a front kick with the other leg. Of course, one may change the
techniques, but the idea is to trick your opponent and "box" him
or her in and limit their movement.
2) Pivot switch. Like forward switch, move in with the lead

foot and hand, then pivot the back leg. However, follow-up with a
full-pivot technique. This may be used as a tricky version of
"Twisting pull", or "Pivot shuffles".
3) Side switch. This is similar to side shuffles. As with

forward switch, move in with the lead foot and hand, then pivot
the back leg. However, after this, follow-up with stepping your
front leg out to its side again, so that you return to the stance
you began in. Finally, quickly step forward with your back leg
into the stance of choice. The idea is quickly shutting down your
opponent's movement with tricky footwork. One should add in
continuous strikes, making this also similar to sticking smash.
4) Turn switch. As with forward switch, move in with the lead

foot and hand, then pivot the back leg. However, after this,
follow-up with pivoting the body completely around. One should
land in a stance with the same leg in front as before. Perform
techniques while using this footwork.
90
5) Dancing switch. Combine qualities of the previous types of

switching to cover various angles of movement. Try it with a
partner - you will both try to throw each other off-guard.
Sinking step
This involves deepening your stance, lunging, and turning of
the body to remove your vital areas from the line of attack. These
movements also setup for quick counter attack.
1) Angle sink. Move away or along the line of attack using a

deep, ducking style of diagonal footwork. The hands should remain
up, ready to parry just in case. The legs should remain loose but
stable, so that one may move quickly to the next strong position.
A roundhouse kick or hook may be used in conjunction with angle
sink.
2) Wedging sink. Sink backwards with brush blocks, then sink

forward with penetrating sword hand blocks. This is to not only
continue the idea of pulling and smashing, but to also add your
own momentum, as well as "uprooting" the opponent. The idea is to
twist your opponent and "burn" through their stance.
3) Flowing sink. This may be called a kind of spinning sink.

Turn the entire body along the line of attack by making a quick,
small pivot on the hips, as you use a parry, counter strike, and
trap the attacking arm as needed. When you pivot, one of your feet
should also pivot to stand beside the other foot. This, as well as
which way you need to pivot, will depend on the circumstance.
Compare this to twisting pull, but smaller. This is also like
Wanshu and Bassai kata's uses of sword hand blocks in back stance.
4) Rockfall sink. Sink away from the attack into a very low
stance, and wedge in with the lead leg. Parry and/or trap the
91
opponent's arms as possible. Then, while controlling the opponent,

pivot away from him or her to create the momentum needed to effect
a takedown. One may adjust the previous Flowing movement to use
more of a switching downwards sink. The idea is to bowl your
opponent over.
5) Pouncing sink. Use a downward parrying sink, then quickly

move in for a sword hand block takedown or something similar.
Compare to "Cat dodges bird and pounces" of Nekoashi kata.
Slicing step
Take care to time and distance properly. This step should be
a quick evasive pivot that sets up for techniques such as throws,
back hands, and back kicks.
1) Forward spin. Like forward switch, move in with the lead

foot and hand, then pivot the back leg. However, follow-up by
completing a full turn on the back leg. This back leg turn may be
compared to the kind of pivoting commonly seen in karate kata.
Forward spin is more of a practice drill than a direct
application. As such, one may adjust it to include techniques such
as spinning back kicks, or throwing one opponent and then turning
with the back leg to face another.
2) Side spin. Quickly pivot to the side, then take a fighting

step forward (with either front or back leg). Practice pivoting to
one side, then the other. Finally, adjust it to include defensive
and offensive techniques, as well as various kinds of steps
(depending on what you want / need to practice).
3) Throwing spin. Like forward switch, move in with the lead

foot and hand, then pivot the back leg. However, follow-up by
using a brush block against your imaginary opponent's arm or leg,
then trapping the limb, and pivoting quickly behind you to effect
92
a takedown. This may be adjusted to accommodate various kinds of

throws, especially judo applications. For instance, imagine that
you lead in with a side foot sweep, and the opponent evades.
Transition from the sweep attempt into forward switch, and adjust
the step to get into the proper position to land a shoulder throw,
uchi mata, or hip toss.
4) Up-down spin. This includes using leg sweeps that are

performed with a great degree of spin, such as dragon sweeps and
roundhouse "cut" kicks to the legs.
5) Swing spin. Like throwing spin, move in with the lead foot
and hand, then pivot the back leg. Then, follow-up by using a
brush block against your imaginary opponent's arm or leg, then
trapping the limb, and pivoting quickly behind you. Here, instead
of just a takedown, one may apply Dragging pull to spinning your
opponent into another, or into an obstruction, and finishing with
a Slamming pull. Also, instead of tossing around only one
opponent, Swing spin may also be considered continuously moving in
on opponents and throwing them (and/or creating openings for
whatever techniques are needed).
Falling step
It is essentially practicing break falls and fast ground
work. Kicks, elbows, takedowns, setups for various submissions
(joint locks and so forth), and more, may be practiced in
conjunction with the rolls, falls, and position changes. The key
is to keep moving, transitioning, and attacking. The key in
breaking falls is to use both momentum and every part of the body
to lesson the impact on any one part.
1) Back roll. This may be used effectively when falling

backwards, and not simply straight down (in which case a side fall
93
may be better).
2) Forward roll. Remember to "check" with the hand that is on

the side you are falling to, and "rocket" with the balls of the
feet. This will help you roll with the momentum and clear the
ground. Do not land flat on your back, but instead bridge over
quickly on your shoulder as you keep your head tucked in.
3) Back control. This includes setting up a guard position

and submissions when on one's back. Also, practice changing
positions from the ground, especially when it comes to sweeps from
the guard.
4) Forward control. This is when you are engaged in standup

grappling. Practice sprawls, guard passes, mounts, ground strikes,
submissions. Also practice spinning while giving the opponent no
space, so as to gain the best position.
5) Side fall. Sometimes you may have to use a side break fall
as not to "get the wind knocked out of you". From here, use one or
more kicks as you try to regain position and control with the
hands. This may be following with clinch, shoot, leg sweep (by
using a roundhouse kick, for example), and so forth.
Nekoashi Kata
The general theme of this kata is to unify many techniques
and methods into one structure, which is loose, agile, and cat-
like. As such, the following qualities are highly important within
the kata - efficiency, flexibility, power (including strain
energy, falling energy, momentum, explosive power, and short
power), springy evasive movement, trapping hands and feet, as well
as simultaneous attack and defense. Let us consider not just the
techniques in each of the sequences, but the meanings of the
sequences themselves.
94
1. Cat swipes at dog.

When taken by surprise, react quickly and lower into a solid
fighting stance while dodging, pivoting, guarding and counter
striking as needed. Evasive, angular movement with simultaneous
parry and strike is preferable to meeting force with force. It is
also more efficient than blocking and then countering. Also, in
Nekoashi kata, blocks double as attacks.
2. Cat sharpens claws.

Move into the opponent's attack using an active, continuous
guard, and aggressive counter strikes that quickly follow into
takedowns.
3. Cat hunts mouse.

Pull the opponent off balance, and follow up with a takedown.
4. Cat climbs tree and finds nest.

Block is strike and strike is block. Quickly move in on the
strikes as you destroy them using hard blocks, while
simultaneously striking with your free hand. Also, blocks may be
extended into full strikes. For instance, use an inward middle
block with your forearm, to redirect the opponent's attack.
Simultaneously extend the blocking hand into a hammer strike to
the jaw. One may easily add an armbar at the end of this sequence.
5. Cat scratches branch.

When faced with weapons, evasive movement, and then
controlling the weapon, always come first. Finally, gain leverage
to take the opponent down, with his or her weapon hand still in
control. This will allow you to even the odds.
6. Cat plays with tiger.

When faced with a faster, stronger, or technically more
skilled opponent, you must be evasive, using broken rhythm. Also,
95
quickly read your opponent so that you may throw off their tactics
with something unexpected.
7. Cat dodges bird and pounces.

Awareness, fast reactions, quick explosive power, proper
technique, and flexibility (of both mind and body) are necessary
to defend and attack in a difficult fight. One must quickly
perceive and then act naturally - not fighting the adrenal state
(and thereby locking up), but harnessing it.
8. Cat digs in and bites.

In a real street fight, do not forget techniques such as
blood chokes, seizing your opponent's muscles, as well as applying
knee strikes and head butts to various target areas.
9. Cat smashes with iron claws.

The inward middle block and knee block in this sequence may
be extended into a hammer strike and front snap kick. Trap one of
the opponent's arms and destroy both knees.
10. Cat penetrates with sword claws.

This sequence is Smashing step, followed by a trapping hand,
stamping kick, and double crescent kick. It may be interpreted as
different kinds of smashing, followed by controlling the opponent
and doubling them over with a kick, and finishing with a scissor
leg takedown, flying armbar, or similar.
11. Cat grabs its prey.

The outward middle block, its pullback, and the brush block
with the other hand, may be interpreted as controlling the
opponent's movement. The "bullet kick" uses forward momentum and
strain energy. The "bullet kick" is a modified mawashi geri.
96
12. Cat shoots like bullet.

Trap the opponent's hand and explode into a "bullet punch",
which unleashes strain energy, then forward momentum, and falling
energy. The "bullet punch" is a modified junzuki.
Index of Steps
1) Side shuffles
Side, behind, across - slowly, then quickly
2) Pivot shuffles
3) Straight line shuffles
Forward, backward, fake-out shuffle twists
4) Circular shuffles
5) Four-paw cat shuffles
6) Cross smash
7) Sticking smash
8) Angle smash
9) Downward smash
10) Cutting smash
11) Twisting pull

12) Dragging pull
13) Seizing pull
14) Slamming pull
15) Controlling pull
16) Forward switch

17) Pivot switch
18) Side switch
19) Turn switch
20) Dancing switch
21) Angle sink

22) Wedging sink - back/forth
97
23) Flowing sink - quick spin

24) Rockfall sink - sink low, wedge in, sinking spin to throw
25) Pouncing sink - downward, forward
26) Forward spin - forward turn

27) Side spin - pivot
28) Throwing spin - judo throws etc.
29) Up-down spin - sweeps
30) Swing spin - continuous spins and pivots
31) Back roll

32) Forward roll
33) Back control
Guard, submissions, sweeps
34) Forward control
Sprawl and brawl, mounts, ground and pound, submissions
35) Side fall
Breakfall, kicks, sweeps, clinch
36) Dance
37) Party
98
Sources, Inspiration, and Recommended Viewing
'Bible of Karate - Bubishi' translated with commentary by Patrick

McCarthy. This book contains a wealth of in-depth information,
analysis, and history.
'The Complete Idiot's Guide to Karate' by Randall G. Hassell and

Edmond Otis. This book makes an excellent starting point for
anyone wanting to know more about the wide world of Karate-do.
'Karate - Technique & Spirit' by Tadashi Nakamura. This is a

wonderful, inspiring pictorial guide to Karate as a whole and many
of its techniques.
'The Karate Dojo' by Peter Urban
'Karate-do: My Way of Life' by Gichin Funakoshi
'The Art of War' by Sun Tzu
'A Book of Five Rings' by Miyamoto Musashi
The official Wado-Ryu Japan site

http://www.wado-ryu.jp
Japan International Karate Center homepage

http://www.jikc.org
The Japan Karate Institute homepage http://www.japankarate.net

More details on Ohtsuka's life and the expansion of Karate
USA National Karate Federation website

http://www.usankf.org/
Great listing of kata by karate ryu (style).
99
Sources, Inspiration, and Recommended Viewing continued
Takamura ha Shindo Yoshin Ryu

http://www.shinyokai.com
Jarek's Chinese Martial Arts Pages

http://www.chinafrominside.com/ma/
Information about Chinese internal martial arts.
http://www.conradjoneskarate.com/
Great Wado ryu webpage with info about their Tennessee area
classes as well as Wado as a whole.
http://www.msisshinryu.com/history/tomari-te/
Very detailed explanation of the Tomari region's important role in
the development of karate.
http://www.kojosho.com/kata.html
http://www.hogia.net/karate/karate/history.htm
Various religious texts and commentaries
A Wadokai practitioner, and poster on www.budoseek.net, shared a

few observations about stances and terminology with me. I have
assimilated some of these into the book as well.
cyriades@yahoo.com

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Part II: Fundamentals -

Karate Principles for Self Defense - 18

Part III: Dojo -

Part IV: Insight

Strategy - part III - 56

The goal of all training is

'The true purpose of budo is the search for truth. In karate,

- Ohtsuka Hironori (6/1/1892 - 1/29/1982), founder of Wado

'The Way is not meant as a way of fighting. It is a path on

Hironori Ohtsuka founded Wado-Ryu, the 1st Japanese form of

every night, absorbing the art. By 1924, he became chief assistant

International Martial Arts Federation (Kokusai Budo Renmei)

A brief history of Karate is detailed later in the book.

Other practitioners and styles at/around the time:

Shito-Ryu, founded by Kenwa Mabuni.

Hironori Ohtsuka II (Ohtsuka Jiro)

Hironori Ohtsuka III

Lineage of my personal Wado ryu:

The name Heiwa-do uses the first kanji (Japanese set of

Shihan Ronald Woodard

Sensei Dale Coker

Sensei Curtis Boyd

Sensei Kevin Marshall

Included herein are generalized principles of the self-

Karate Principles for Self Defense

Wa no Michi - The Way of Peace

Karate-do - The Way of the Empty Hand

Karate Principles continued

The 3 body shifting methods - San mi Ittai

Timings for counter attack

Go no Sen - Defensive attack. Counter once the attack is

Karate Principles continued

Ki Ken Tai no Ichi

Techniques & Terms

Note: The list of techniques here is not comprehensive, but is the

Throws and takedowns:

Yoriashi - move the front foot, then the back foot.

Slip and duck (Reaction and combination drill)

Sticking hands (Sensitivity drill)

Kuzushi (Balance breaking)

neck crank with leverage.

Circular Punch/Knife Counter:

Straight Punch/Knife Counter:

Kata - 'Formal movements'; in the context of

List of Wado ryu kata

Kushanku (Kanku Dai)

Naifanchi / Naihanchi (Tekki Shodan)

Jutte (Jitte - alternate spelling)

Suparimpei (Pechurrin - Chinese name)

Unsu (Unshu - alternate spelling)

Kihon Kumite Kata (Basic Sparring Forms):

Ipponme / Nihonme / Sanbonme / Yohonme / Gohonme

List of other kata (terribly incomplete!)

Useishi (Gojushiho Sho)