Shotokan Karate: Kihon - Kumite - Kata 9781841264103, 9781841262819

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Umschlag Kumite

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THE BOOK

THE AUTHOR Joachim Grupp has been practicing Karate since 1976. He holds a 4th Dan in Shotokan Karate and is instructor of a Karate Club in Berlin. He has already published three earlier works on this subject entitled ‘Shotokan Karate – Kihon, Kumite, Kata’, ‘Shotokan Karate – Kata Vol 1’ and ‘Shotokan Karate – Kata Vol 2’.

SHOTOKAN KARATE KUMITE

Following on from KIHON and KATA, this fourth book in the series covers the third pillar of Shotokan Karate – KUMITE – meaning sparring. In it, the various forms of combat sparring in Shotokan Karate are explained and covered in a wide span between the simple ones to the more complex ones. In this way, a broad palette is covered from the first exercises with a partner in the grading programme up to the more flexible forms of sparring. Using numerous photos, the Kareteka is lead, step by step, through the techniques. The reader also goes through which techniques and actions promise more success in competition. Likewise, further themes cover tactics in competition as well as preparatory training for competition. Tips on self-defence apart from the competitive variants round off the subject.

JOACHIM GRUPP

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Joachim Grupp

Shotokan Karate Kumite

Meyer & Meyer Sport

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Original Title: Shotokan Karate Kumite © Meyer & Meyer Verlag 2004

British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Joachim Grupp: Shotokan Karate– Kumite Oxford: Meyer & Meyer Sport (UK) Ltd, 2005 ISBN 1-84126-151-3 All rights reserved, especially the right to copy and distribute as well as the translation rights. No part of this work may be reproduced – including by photocopy, microfilm, or any other means – processed, stored electronically, copied or distributed in any form whatsoever without the written permission of the publisher. © 2005 by Meyer & Meyer Sport (UK) Ltd. Oxford, Aachen, Olten (CH), Vienna, Toronto, New York, Adelaide, Auckland, Johannesburg, Budapest Member of the World Sports Publishers’ Association Printed and bound: FINIDIR, s. r. o., Cesk´y Tesín E-mail: [email protected] www.m-m-sports.com

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Index

Index Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

1 2

Introduction – Kumite in Shotokan Karate . . . . . . . . . . . . . . . . . .13

3

Jiyu-Kumite – Sparring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 Preliminary Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 3.1 Partner Exercise in Sparring . . . . . . . . . . . . . . . . . . . . . . . . . . .50 3.1.1 Partner Exercise in Sparring 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 3.1.2 Partner Exercise in Sparring 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . .52 3.1.3 Partner Exercise in Sparring 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 3.1.4 Partner Exercise in Sparring 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 3.2 Strategies and Principles of Sparring . . . . . . . . . . . . . . . . . . .56

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Kumite-Shiai – Kumite for Competition . . . . . . . . . . . . . . . . . . . . .62 4.1 Demands and Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63 4.2 Stance, On Guard Position – Kamae . . . . . . . . . . . . . . . . . . . .66 4.3 Movements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Elementary Kumite Exercise Forms in Shotokan Karate . . . . . . .20 Preliminary Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 2.1 Pre-exercise Formalities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 2.2 Gohon-Kumite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 2.2.1 Gohon-Kumite 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 2.2.2 Gohon-Kumite 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 2.3 Sanbon-Kumite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 2.4 Kihon-Ippon-Kumite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 2.5 Kaeshi-Ippon-Kumite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 2.5.1 Kaeshi-Ippon-Kumite 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 2.5.2 Kaeshi-Ippon-Kumite 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 2.6 Okuri-Ippon-Kumite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 2.7 Happo-Kumite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 2.8 Jiyu-Ippon-Kumite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 2.8.1 Jiyu-Ippon-Kumite 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 2.8.2 Jiyu-Ippon-Kumite 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 2.8.3 Jiyu-Ippon-Kumite 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 2.8.4 Jiyu-Ippon-Kumite with other Counter Techniques . . . . . . . . . . .45

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4.4 4.5 4.6 4.7 4.7.1 4.7.2 4.7.3 4.7.4 4.8 4.8.1 4.8.1.1 4.8.1.2 4.8.1.3 4.8.1.4 4.8.2 4.8.2.1 4.8.2.2 4.8.2.3 4.8.2.4 4.9 4.10 4.11 4.12

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Control, Timing and Feeling for Distance . . . . . . . . . . . . . . . .70 Tactical Training, Fighting Spirit and Psychology . . . . . . . . .73 About the Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77 Basic Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80 Defence – Counters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80 Sabaki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 De-Ai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84 The Defensive Situation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86 Attacking Techniques with Zuki and Uchi . . . . . . . . . . . . . . .88 Single Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Kizami-Zuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Gyaku-Zuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 Uraken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92 Oi-Zuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 Kicks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Mawashi-Geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Ura-Mawashi-Geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98 Mae-Geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100 Ushiro-Geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101 The Feint – Build-up and Technique . . . . . . . . . . . . . . . . . . .103 Punching Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 Punching and Kicking Combinations . . . . . . . . . . . . . . . . . . .113 Sweeps and Throws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Karate Techniques for Close Range Fighting . . . . . . . . . . . . . . . .127 Preliminary Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128 5.1 Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129 5.1.1 Neko-Achi-Dachi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129 5.1.2 Sanchin-Dachi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131 5.2 Age-Uke, Soto-Uke and Uchi-Uke . . . . . . . . . . . . . . . . . . . . .132 5.3 Empi-Uchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133 5.4 Taisho-Uchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135 5.5 Ura-Zuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136 5.6 Tate-Zuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137 5.7 Shuto-Uchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137 5.8 Tettsui-Uchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138 5.9 Mawashi-Zuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138 5.10 Hiza-Geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139

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Index

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Other Karate Techniques for Medium and Longer Distances . .140 Preliminary Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141 6.1 Kin-Geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141 6.2 Mawashi-Geri Gedan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142 6.3 Kakato-Geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143 6.4 Stopping Kicks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144 6.5 Mikazuki-Geri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

7 8 9

Punching Bag, Training Pads and Makiwara . . . . . . . . . . . . . . . .147 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151 Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153 9.1 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153 9.2 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154 Acknowledgement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160 Photo & Illustration Credits . . . . . . . . . . . . . . . . . . . . . . . . . .161

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Foreword

Foreword

K

ihon, Kata, Kumite. My first three books in the Meyer & Meyer Publishing Company series, comprehensively covered the basis of Shotokan Karate, Kihon and Kata. In the series so far, only the framework of the grading programme for Kumite has been covered, so I would now like to go into the theme of Kumite, systematically and in detail. This book – Shotokan Karate Kumite – will round off the three elementary components of Karate. The purpose of this book is to get to know the various areas of Kumite in a systematic manner, beginning with the first exercises. It will also give tips for training thus serving to improve performance in this sport. However, all this does not replace the requirement to train intensively. The reason for dealing with Kumite lies in the subject itself. The character of all martial arts is fighting with an opponent, or conducting exercises with a training partner in the Dojo, with the aim of defending oneself in a situation of conflict. In the beginning, as in all martial arts, practising the individual technique, time and time again, is the main thing, whether it is in the basic training school, in exercising the Kata or when using the Makiwara i.e., the punching bag. In order to be able to use techniques with a partner perfectly and at the intended rate, the basic characteristics must be learned and understood. In martial arts, it is not without reason that a lot of time is spent in working on the perfection of the techniques in Kihon training. This process never ends and should belong to continuous work at improving the physical constitution and technical ability. On the other hand the Karate techniques with a partner must also, of course, be studied. In training, the transition between Kihon and Kumite is a flowing one. Even after the first exercise sessions, you have to learn how to judge the right distance to the partner. The degree of difficulty in training with a partner is increased automatically by virtue of what is learned and mastered in the repertoire of the basic techniques. All the techniques that we practise in Karate are aimed at being used in the fight with an opponent. This principle must not be forgotten regarding Kihon as well as Kata training. In Kumite and the various exercise forms, the skills and the way of using the techniques in a situation with an opponent are practised. The word opponent is used here deliberately, because in a conflict situation we are actually

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confronted by an opponent. In training it is a partner. We would very much like to see the partner again in the next training session, so we should treat him accordingly. The most important basic principle in training for Kumite is looking after a partner and his safety and health. This should be kept in mind without losing the serious nature of the Karate techniques. In this book I wish to show you the sequence of training in Kumite, from its simple to its more complex forms and then go on to training for competition. Progression from Gohon-Kumite to Kihon-Ippon-Kumite, as well as Jiyu-Ippon-Kumite is included world-wide in the Karate programme and should be mastered before going on to free sparring. I have constructed the introduction according to the Shotokan Grading programme of the German Karate Association (Deutscher Karate-Verband (DKV)). I go into these first Kumite forms more deeply than covered in my first book Shotokan Karate – Kihon-Kumite-Kata. The programme laid out covers fighting forms such as Happo-Kumite and Okuri-Kumite as well as extensions of these. The logic of the martial art of Shotokan Karate is based on this practical, modular build-up of the learning system. The chapter covering competitive Kumite carries on from the description of free fighting. Although there are only a few Karateka who take part in competitions, the analysis of the application of the techniques, as well as the typical way of behaving in tournaments, should be useful for those competing, as well as providing a way of being able to improve their Jiyu-Kumite exercises where required. Which of my techniques actually work? What strategy should I use? How do I react in a situation of stress? In Jiyu-Kumite and its most completely developed form – in the Kumite competition – you will be able to find the answers to these questions. The techniques and examples of the combinations represent, of course, only a small selection of the numerous possibilities for Kumite. If you practise Kumite, and in particular free fighting or sparring – by watching out for your partner – besides providing a benefit on the specifics of the art of Karate as well as a gain in fitness, it is also a great deal of fun. This facet must be mentioned here. Altogether, one should devote as much to Kumite as one does to training for Kihon and Kata.

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What about Self-defence? Firstly: Karate is about self-defence. Secondly: Karate is a lot more than just self-defence. Thirdly: In this respect, Karate is not any better or worse than any other martial art. Karate is not one of those martial arts, which promises that you can achieve rapid success after just a few hours of training. Therefore, you have to be clear that we are not talking about something that will bring you to be an infallible fighter, who can react reliably in every situation without a lot of effort and years of training. Advocates of certain styles of martial arts, who promise this, have to carry the blame for certain failure of such promises as these. Every martial art will improve the basic ability to carry out self-defence, but none can guarantee success in a conflict. Here, there will be other influences and factors, which, on the one hand, can be prepared for in training, but on the other hand cannot always be predicted. Karate is a martial art, where in order to master it, just like all Budo types of sport, you need to apply much patience and commitment and you require to put in a lot of effort in training and time. The saying, “No pain, no gain“ is valid also in considering the apparent superiority, or the pros and cons of differing styles and methods in martial arts. If one reduces the basic characteristics of the different Asian and European martial arts down to the same principles for them all, more similarity than disparity is found. All martial arts start off trying to deliberately use the limbs of the body accurately and effectively as a weapon for self-defence. And the mastering of this demands extreme preparedness to do intensive training. No style is better or worse than another. Indeed, in a conflict it is not the styles and the methods that are ‘fighting’ each other, it is the people themselves. The style and its peculiarities must match the individual. One must feel at home with the content of the training. The basics, the techniques and their style must all be mastered, and then one can – perhaps – begin to develop an optimal effectiveness. This important and considerable aspect of the martial arts – to teach a means of self-defence in a situation of conflict – is rightly and completely emphasised in the martial arts themselves. Other aspects come seldom into discussion. Karate certainly contains a very good method of self-defence, but, on the other hand,

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Karate-Do also teaches modesty and respect for the opinions of others as well as teaching one to take steps to avoid a confrontation where possible, and to use the least amount of force. Self-defence is important, but Karate-Do has considerably more to offer. The road to one’s inner self by mastering the techniques, the opportunity to pursue a sporting challenge, which has a health benefit, and above all, the fun at taking part in this effective and also very aesthetic, lifelong martial art must be mentioned here.

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Introduction

1 Introduction –

Kumite in Shotokan Karate

arate ni sente nashi is one of the basic principles established by the father of Shotokan Karate, Gishin Funakoshi. Usually this central theme is translated as; “In Karate there is no first attack“.

K

When a layman Karateka watches Kumite training or a competition, he will find it hard to come to terms with this idea, as he sees a rapid and assaulting attack being carried out with the aim of surprising the opponent and delivering the first – controlled, but in a conflict crushing – blow or kick. “In Karate there is no first attack“ is one – perhaps, the most important one – of the paragraphs of the 20 principles established by Funakoshi, in order to make the ethical demands clear, by which this martial art was to be practiced. This aim, which Funakoshi formulated in this way, is mandatory still today for all Karateka. This is brought out in the initial techniques of the Kata, which are essentially repulsing or defensive techniques. However, a defensive technique can also be an attack, which has the objective of anticipating the attacker’s intentions. Additionally, there are other demands placed on the Karateka, which contain highly ethical criteria. Funakoshi’s statement, “Neither victory nor defeat make up the ultimate aim, but the perfection of the character“, reminds us of a further elementary premise of understanding Karate. The way to learn Karate means not to be content with short-term successes. Similarly, it means not to be demoralised by a defeat or failure. The continuous work on the technical detail and improvement of Karate offers the opportunity for one to perfect oneself also outside the Dojo. Politeness and respect, made clear by the etiquette of the “Rei“ prior to working with a partner, are integral elements of the Karate-Do in keeping with Gishin Funakoshi, as he saw it. Nevertheless, the blending of the Karate martial art with philosophical principles is a relatively new happening and came about, first of all, in the Twenties in the last century. Still younger is Karate-Kumite as we know it today.

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Karate today, is a complete system consisting of the three elements Kihon, Kumite and Kata. With its aim and content of self-defence, control of the body, the training of the body and the character, competition and the philosophical side of being a lifelong work, it is a martial art that only looks back in history for less than 100 years. The origins of Karate lie in Okinawa. The art of self-defence by the farmers and fishermen of Okinawa were limited to a few techniques, which were taught with the intention of deadly consequences. This was because their social situation made it necessary to fight to survive, only with the tools of their trade. Different fighting principles were taught at various places. At the centre of this was practising the Kata. A few individual masters of the art taught and mastered only but a few techniques or Kata, which they practised unflaggingly. Funakoshi, who had gained an insight early on in the Okinawa-Te art of fighting from the teachers Azato and Itosu, was by virtue of his teaching profession, predestined to bring the art of fighting into schools, which he did with much success. Thus, in 1902, Karate became an official sport in schools on Okinawa. Success was not far away and Funakoshi was soon invited to Japan first in 1917 to demonstrate the Okinawan martial art with other masters. In 1921, he gained the opportunity to present his style in front of representatives from the highest governmental circles and the Emperor’s household. Funakoshi’s popularity in Japan was large and he was able to gain a large number of students from the universities. Very soon, he changed the name of his style and from the TE in Okinawa Te made it into the word Karate. He ‘Japanised’ not only the name of the martial art, but also the system of Karate that then consisted more considerably out of Kata in his mind. Funakoshi took 15 Kata as the elementary ones for his style. Amongst these were 5, which had been renamed by him to Heian, originally called Pinan Kata and the remainder called Tekki 1-3, Bassai-Dai, Kanku-Dai, Empi, Gankaku, Jitte, Hangetsu and Jion making 15 in all. His students called the Japanese Karate style, developed by Funakoshi, Shotokan – Shoto was Funakoshi’s nom de plume and the Dojo, where he taught, was given the name Shotokan – Shoto’s hall. This term is still used today to define his style. Funakoshi’s books, appearing in the 1930s and 1940s, set the technical standards and spread the word on his view of Karate. While, at this time, the training of Kata had already gained importance from being just the schooling of self-defence up through to learning agility, aesthetics and flexibility, the other components such as Kihon training and Kumite now began to emerge.

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Introduction

One of his most diligent and the most talented of his students, his later successor, Masatoshi Nakayama, laid the foundations for the expansion of the spectrum by bringing in Kihon and Kumite at the behest of the expectations of most of the students, who were used to the martial arts employing partner exercises in Kendo and Judo in the Japanese schools, since being children. “But in my generation, things began to change. The people in my generation were required to study martial arts beginning in grammar school, and continuing all the way through graduation from high school. Karate was not taught in the schools at that time, so all of us had studied Judo or Kendo. I began Kendo training in grammar school, for example, and my friends had also practiced for a long time. But Judo and Kendo were centered around combat – throwing an opponent or actually striking an opponent with a sword. So, the idea of combat as deeply ingrained in us, and we really needed the combative aspect which Karate lacked. Master Funakoshi understood this, and he began to change his teaching methods to meet the needs of our younger generation. We needed more than just Kata all the time, and he realized that things would have to change if he was going to attract young people and see his art grow. So, he picked techniques from the Kata and began teaching Gohon-Kumite (five-step sparring) based on individual Kata techniques. We would step in five times with the same attack while the defender blocked. Then the defender would counter-attack. But we had high spirits, and if the defender did not counter-attack immediately, we would attack him again, and he would be forced to improvise a defence and try to counter again. These actions became the basis for free-sparring. It was just a natural outgrowth of spirited young people practicing with one another. Shortly thereafter, we began Kihon-Ippon Kumite, or one-step sparring. In this method, the attacker would announce the target area to be attacked, face or stomach, and would then execute his strongest, most powerful technique. The defender had only one chance to make a powerful, correct block and counter-attack. This was very much in keeping with the basic philosophy of martial arts, which revolves around the concept that there is no second chance. Everything must be done correctly the first time, or the person dies. We weren’t trying to kill each other, of course, but we were trying to execute that one, perfect technique that would stop the opponent in a real fighting situation. A natural outgrowth of this kind of training was Jiyu-Ippon-kumite (one-step sparring), in which the defender knew the area to be attacked, but in which the attacker could maneuver freely for position and distancing.

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The significant thing about this is that this was the first time Karate had been taught in any way except for application of Kata movements to self-defence, and the entire system of Kumite (sparring) developed in a single, five-year period. When Master Funakoshi published Karate-do Kyohan (The Master Text of Karate-do) in 1936, he included basic sparring methods in the book, and this was the first time this brand-new idea was introduced to the public at large. Also in this period came the idea of practicing each technique by itself, as we do today. Master Funakoshi felt that we should practice each technique independently to develop the feeling of Tikken Hisatsu (to stop the opponent with with one blow) in our sparring. So we started practicing each technique by itself, marching up and down the floor, repeating the technique again and again. This is today the fundamental method of basic training. During my first five years in college, Karate training was divided into the three main aspects we know today – Kihon (basic training), Kata, and Kumite. “ (Hassell, 1999, p 27ff) Nakayama not only stressed the importance of basic training, which each version of any good Karate training should include, he also emphasised the necessity for the use of exercises from the Kihon techniques, containing pre-arranged sequences with a partner. The didactic assignment of roles in training with a partner in a defensive (UKE) situation and an attacking (TORI) situation thus widens the basic defensive principle of “Karate ni sente nashi“ in a play acting manner. One partner has to assume the role of the attacking, aggressive player, in order to give the defender the opportunity to practise his ability to make an appropriate reaction. Self-control and respect for the opponent, who is our partner, make it imperative that the technique is ended before it reaches its target. This principle is called Sun-Dome. The effect of the technique can always be tested out by training with the Makiwara. As a supplement for Kumite with a partner, Funakoshi laid a great deal of value in this training aid. The Karate groups, who followed Funakoshi’s (Shotokan) style, formed an alliance with the “Japan Karate Association (JKA)“ in 1949. The founding of this Shotokan umbrella organisation resulted in yet more systemisation and came nearer to his aim by giving the opportunity to spread his ideas on Karate worldwide. In order to ensure that there was a standardised form of training for Karate instructors, the JKA commissioned Nakayama, Okazaki and Nishijama to develop the renowned instructor training faculty at the Takushoku University. Only a small number of selected Karate students were able to participate in this.

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Introduction

Later on, many of the young instructors were active throughout the world, thereby spreading the word further on the Shotokan style. Masatoshi Nakayama, who published the most successful of the text books and who researched the scientific basics of the style, together with Funakoshi’s son Yoshitaka (who died in 1945) are both to be thanked, in the large, for the technical perfection, as we know it today, as well as the introduction of further Kata in the 1930s, 40s and 50s. Karate saw a further extension in the 50s with the development of rules for competition, which were to give the sporting result as seen in other sports disciplines. The examples of Judo and Kendo were used as a benchmark in taking this idea forward. The instructors Nakayama and Nishijama were responsible for working out the rules. The introduction of competition followed several aims: firstly, the effective promotion of Karate was foremost in mind; secondly, one wanted to draw equal with the other Japanese Budo arts, which had already introduced this aspect with success. A further important reason, however, was to put a stop to the euphemistically socalled fighting bouts between several students named Kokangeiko (“The exchange of politeness and joint training“), which took place without rules and in which the participants ended up with severe injuries as a result. But, it was not only for Kumite that rules were made, they were also made for Kata, so that these could be compared with each other and their execution and quality could be given points. This idea was not new in any way: in his work on the history of Shotokan, R. Hassell reports that, already in 1905, just as Karate became a school sport on Okinawa, the various participants were given points for their execution of the Kata by others, who were watching the demonstrations. After the JKA instructors had conferred for a long time over the regulations for Kumite competitions and had also tested various kit and scoring standards, the first Japanese championships took place in 1957. Not only the JKA and the Karate followers had developed regulations in this period, also the followers of the other great styles Wado-Ryu, Goju-Ryu and Shito-Ryu had busied themselves with the introduction of the competition. Nevertheless, the JKA was – largely due to their strictness of instructor training – years ahead at competitions. Nearly all of today’s internationally well known JKA instructors can look back at a successful competition career in this time.

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Funakoshi, who was head of the JKA until his death in 1957, can be counted as the moderniser of the original Okinawa-Te. He changed the name into Karate and he had “Japanised“ the names of the Kata. He also opened up the way for Karate as a school sport, and he underpinned all this both scientifically and in his literature. He combined the originally non-philosophic “Art of killing“ with the philosophical tradition of Japan and turned Okinawa-Te into Karate-Do – the way of the empty hand. This reflected the change in society. At the centre of this was the idea that one no longer was dependent on using the right technique to survive, but more the use of an art, which opened up a life long road to keep exercising. His approach to the introduction of competition was, as far as can be unequivocally seen from today’s viewpoint, two-pronged. On the one hand, he knew that its introduction was necessary, so that his idea to spread the word on Karate to gain publicity could be followed, and to bring Karate onto a level with the other Japanese martial arts. On the other hand, he warned of too great a concentration on this aspect. A version of Karate that was only to do with a sporting success should not be, to his mind, the criterion. Nakayama describes Funakoshi’s thoughts as follows: “He was worried, you see, that if the tournament concept became too popular, then students would get away from the basic principles and practice only for tournament competition. He knew we would have Karate tournaments and that they would be important for internationalizing Karate, but he wanted it clearly understood that the most important thing would always be the basic training first.“ (Hassell 1999, p 39) From today’s viewpoint, traditional Karate could not be imagined without the competitive dimension. The successes, which the JKA had achieved world-wide in holding competitions, were of benefit to spreading Karate. The enormous effect in those days on the public must, however, be put into perspective. Karate competitions, as important, fascinating and exciting as they are, take place almost always at the exclusion of the public today. It will be a rare case that a beginner will say that he had chosen Karate as a sport, because he had been aware of it at a competition. Funakoshi’s worry that competition would push the other basic elements into the background can be put to one side in today’s thoughts – some 50 years after his death. The JKA as well as those Karateka, who follow the tradition, maintain, even up to today, the basic elements of the Karate-Do and see the competition only as an attractive broadening of the spectrum for the top athletes of the Dojos and Karate Associations.

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Introduction

All in all, about 10% of Karateka take part in competitions. This phase of their life is important for many Karateka, particularly for the more competitive and enthusiastic amongst them. Quite often they sacrifice all of their free time to training for their competition career and by doing so earn highest respect. Competition offers them an opportunity to test their own capability within regulated environment, but nevertheless under stress conditions. Just as in a situation of conflict, it also depends on being able to react quickly and correctly. Competitions can be an elementary part of Karate-Do if the Karateka, after his competition career, and with the knowledge gained from it, carries on the road of Karate-Do. In conclusion to this introduction, I would like to describe the symbol of Shotokan Karate once again – the tiger in the circle – which was designed by the Japanese artist Hoan Kosugi as an illustration for Gishin Funakoshi’s book “Ryukyu Kempo: Karate“ published in 1922. It symbolises all the principles that should be observed by the Karateka, in particular also in the exercises with a partner. The Tiger, symbolising the strength and the ability to fight, is encapsulated in a circle, which prevents it from getting out. The circle stands for self-control, modesty, politeness, responsibility, respect and the defensive, deliberate conflict-avoiding ethics of Karate. What the symbol expresses should stand for all that we should take with us on our way through life. With the interpretation of the Shotokan Karate emblem, we are back with the first sentence of this chapter: “In Karate there is no first attack“.

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Preliminary Remarks

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efore describing the first partner exercises, I would like to cover a specific feature to be noted when practicing the Karate techniques. The way of moving in Karate is an entire sequence of movements, which demands not only the use of the whole body, but also deliberate control of the body’s breathing apparatus and the use of the principles of tensioning and relaxing the muscles at the correct moment. The most important characteristics of all the Karate techniques, clearly visible especially when doing exercises with a partner, are the factors of explosive power and speed when moving. The principle of relaxing/tensioning is responsible for the time till the technique reaches the target, and is also the drive behind the intensity and strength of the strike. Karate uses the whole body in its movements; all parts of the body are involved in the execution of techniques. Prior to executing the technique, only a small amount of tension is necessary, then rapid acceleration and the short, isometric contraction of the body follows at the end of the movement. At this moment, you breathe out from the stomach or the diaphragm. After you have done the technique, you breathe in again. If the tensioning occurs too early, this occurs at the expense of the explosive speed in carrying out the movement. Equally true is the adoption of a relaxed posture before carrying out an action, and then first momentarily contracting the muscles at the end of the movement. At the beginning of learning the techniques in Karate, there is the co-ordination and the learning of the specific, sporting type of movement, and with all this, the basic patterns of the Karate techniques and positions in Kihon and Kata. The initial attempts when training for Kihon can be done already in the first training sessions by using exercises with the support of a partner. This is done in order to give a feeling for distance (reach) and to take away the fear of being in front of the inevitable target, while at the same time giving respect to the partner by using controlled techniques.

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Shotokan Karate 2.1 Pre-exercise Formalities For all exercises with a partner, of course, the general rules apply, which permit a safe and concentrated training with that partner. That means that before the training, jewellery, rings and the like should be removed, the Gi must be washed and clean and the toe and finger nails should be cut short. All exercises with a partner begin with the paying of respect to the partner, the bow – the Rei in a Musubi-Dachi posture. After that, one goes into the Shizentai position with the shoulders facing forward to the front and the fists clenched.

Musubi-Dachi

Shizentai

It is a good idea to practise the first techniques with a partner standing still. According to how the lesson begins, mostly these are Oi-Zuki and Age-Uke; these techniques can be practised straight away with a partner.

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PRACTISING TO KEEP THE DISTANCE WITH A PARTNER

Choku-Zuki Chudan

Choku-Zuki Jodan

Choku-Zuki with an Age-Uke defence

Choku-Zuki with a Soto-Uke defence

Choku-Zuki with a Uchi-Uke defence

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In order to learn agility and flexibility early on as necessary features of Karate, you can carry out playful exercises. For example, you lightly touch your partner’s upper arm and he tries to avoid being hit with the open hand by doing a feinting movement.

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Exercises for training agility

2.2 Gohon-Kumite

Measuring the correct distance

Kamae with a Gedan-Barai

CORRECT DISTANCE WITH THE PARTNER

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Gohon-Kumite is the basic form of exercising with a partner. As mentioned in the foreword, this came about in the 1930s. Funakoshi took several techniques from the Kata and turned them into exercises with a partner. The simple techniques of the Heian Shodan Oi-Zuki and Age-Uke, for example, can be found here in GohonKumite. The pre-arranged training of the attacking and defensive situation, using simple techniques, represents the beginning of the learning process in Kumite. The aim is to develop a feeling for the fighting distance, self-control and the fighting spirit as well as the feeling for the correct attacking and defensive situation. For these exercise forms it is presumed that the basic techniques have already been learned. The difference between Gohon-Kumite and Sanbon-Kumite lies in the techniques required, as well as the starting position of the attacker and the defender. First of all the two partners stand in the Shizentai posture opposite each other. The greeting is exchanged and then the attacker measures up the correct fighting distance. He then steps back with the right leg into a Zenkutsu-Dachi position with a Gedan-Barai. Then follows the announcement whether the attack will be Jodan or Chudan. The attack is carried out 5x, with the Kiai being uttered on the last one. The defender defends himself each time moving backwards. After the fifth attack the defender counters with a Gyaku-Zuki and utters a Kiai. After that, the defender brings his rear leg forward. The exercise concludes with a final greeting. Concerning the manner of executing this in the eighth Kyu grading (the attacker leads with the left foot and the defending partner with the right foot or vice-versa), opinions differ, whether the attacker should go into the inside of the defender’s position or to the outside. The fact that he should be passing to the outside speaks for this attacking habit being easier later in Kumite, to avoid being given a legsweep by the defender after a successful attack. Irrespective of which version one prefers in Gohon-Kumite, later in Jiyu-Kumite, you should particularly avoid stepping to the inside of the opponent’s position. In Gohon-Kumite, it should particularly be borne in mind to do the techniques accurately and to have a good posture. Both partners must concentrate on using the movements as learned in basics. Besides having a stable position and good control of the body (so that the upper body doesn’t tip forwards or backwards), it is crucial not to “run“ through the techniques, but rather to end each phase consequently before the next one is started. The partner’s safety and consideration of his abilities plays a large role in all Kumite forms.

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Shotokan Karate 2.2.1 Gohon-Kumite 1 The attacker stands with his left leg forwards in a Zenkutsu-Dachi position and he carries out Oi-Zuki Jodan five times. On the last attack he ends it with Kiai. The defender stands in a Heiko-Dachi position and then takes a step backwards with the left foot and defends with Age-Uke. At the fifth a attack he makes a Gyaku-Zuki counter-attack ending it with Kiai. Both return to the Shizentai position and the other partner carries out an Oi-Zuki Jodan. At the end of this, the original attacker carries out Oi-Zuki Chudan five times, ending the last one with Kiai. The defender takes a step back with the left foot again and blocks using Soto-Uke. After the last block he counter-attacks with Gyaku-Zuki, ending with Kiai (for 9th Kyu). b

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2.2.2 Gohon-Kumite 2 This form corresponds to the Kumite for the ninth Kyu, with the difference that the defender goes backwards with the right leg on the first attacking movement. This serves to bring the partners to lead with different sided feet in the fighting position (for 8th Kyu).

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Shotokan Karate 2.3 Sanbon-Kumite This is the same as for 9th Kyu, however, the attack is only carried out three times. The Kiai follows the third attack, i.e., block or counter to it. In addition you must attack with Mae-Geri and go into a defending Nagashi-Uke into a step backwards. First of all, the defender uses his left leg to do this, while the attacker takes a step forward with his right leg from a left-footed Zenkutsu-Dachi. After the third Nagashi-Uke, a counter-attack with Gyaku-Zuki is made, ending with a Kiai (for 7th Kyu).

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2.4 Kihon-Ippon-Kumite Basically Kihon-Ippon Kumite is the same as Gohon Kumite, only now every attack is blocked and a counter-attack delivered. Kihon means ‘basic training’ and Ippon means ‘once’, and this is exactly how the exercise form should be used. After the attacker returns into a Zenkutsu-Dachi position with Gedan-Barai, there will then be an attack, as per the basic technique, while remaining in your position and before you go back after a few seconds with Zanshin. Attacker and defender both return to their starting position after each of the actions. The attack and the counter-attack are both ended off with a Kiai. The counter-attack is carried out as per the basic technique using Hikite with the other arm, coming to a stop at the end of the movement. For an attack with Mae-Geri, a blocking technique with a dodge to the side should be used (for 6th Kyu). a

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Execution: The attacker stands alternately once with the left leg forward, and once with the right leg forward in the Zenkutsu-Dachi position. From this position he makes two attacks (for each position i.e., left leg or right leg) with Oi-Zuki at the Jodan region, Oi Zuki at the Chudan region and Mae-Geri (a total of six attacks). The defender moves from Shizentai backwards with the right leg and carries out the following techniques: Age-Uke twice and Soto-Uke twice. For the Mae-Geri attack he goes backwards first of all with the right leg and dodges into a 45° angled Zenkutsu-Dachi position and uses Gedan-Barai. At the second attack he dodges left in a 45° angled Kokutsu-Dachi position and uses Nagashi-Uke (when attacking using a left-legged Mae-Geri, the execution is carried out on the other side). After each block, the counter-attack Gyaku-Zuki is used (six blocks, six counter-attacks).

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Shotokan Karate 2.5 Kaeshi-Ippon-Kumite The Kaeshi-Ippon-Kumite sequence is attack, block, counter-attack, block and counter, each time with a separate technique. The concept of going back immediately after an attack, blocking, and then countering, should become second nature. The partners stand opposite each other in Chudan-Kamae. The attacker starts a strong attack, which keeps the opponent in check so that he cannot immediately respond with a counter. As a result, the defender must back away and then take one step forward again to carry out the counter-attack. Now the attacker takes one step back, defends and counters. The Karateka must pause and hold his position for a short period in the end phase of both the attack and the counter-attack movement. In these preparatory exercises for free fighting, the main thing is to learn how to get the right timing for the counter. The basic forms of Gohon- Kumite and Kihon-Ippon-Kumite must be mastered before you train in this variation. Carrying out the techniques and positions must be done like in Kihon.

2.5.1 Kaeshi-Ippon-Kumite 1 The attacker stands in Chudan-Kamae, once with his left leg forward and once with his right leg forward. The defender stands in the Kamae position each time with the opposite leg. First Sequence: Attack with Oi-Zuki at the Jodan region, defence is Age-Uke with a step backwards. Then counter-attack with Oi-Zuki Jodan. The first attacker takes a step backwards, blocks with Age-Uke and counter-attacks with Gyaku-Zuki.

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Second Sequence: Attack with Oi-Zuki Chudan, defence is Soto-Uke with a step backwards. Then counter-attack with Oi-Zuki Chudan. The first attacker takes a step backwards, blocks with Soto-Uke and counter-attacks with Gyaku-Zuki. a

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Third Sequence: Attack with Mae-Geri Chudan, defence is Nagashi-Uke with a step backwards. Then counter-attack with Mae-Geri Chudan. The first attacker takes a step backwards, blocks with Nagashi-Uke and counter-attacks with Gyaku-Zuki.

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2.5.2 Kaeshi-Ippon-Kumite 2 The attacker stands in Kamae, once with his left leg forward and once with his right leg forward. The defender stands in Kamae. First Sequence: Attack with Oi-Zuki Jodan, defence is Age-Uke with a step backwards. Then counter-attack with Oi-Zuki Chudan. The first attacker takes a step backwards again, blocks with Soto-Uke and counter-attacks with Gyaku-Zuki.

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Second Sequence: Attack with Oi-Zuki Chudan, defence is Soto-Uke with a step backwards. Then counter-attack with Mae-Geri Chudan. The first attacker takes a step backwards, blocks with Nagashi-Uke and counter-attacks with Gyaku-Zuki. a

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Third Sequence: Attack with Mae-Geri Chudan, defence is Nagashi-Uke with a step backwards. Then counter-attack with Oi-Zuki Jodan. The first attacker takes a step backwards, blocks with Age-Uke and counter-attacks with Gyaku-Zuki (for 4th Kyu). a

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2.6 Okuri-Ippon-Kumite Okuri-Ippon-Kumite is part of in the Kumite training programme, but, as a general rule, is not required in grading tests. However, this form of Kumite brings with it some interesting lessons. In essence, Okuri-Ippon-Kumite is a further development of Jiyu-Ippon-Kumite, insofar as it adds an extra free attack as well as the appropriate counter to the movement. Okuri means “follow-up“. This means that the first technique by the attacker, which has been pre-arranged and which the defender is already expecting and has planned the defence, is followed up by a second attacking technique. The kind of technique is chosen at random by the attacker and is not preannounced. Normally, the person being attacked counters the first attack and is then attacked again as already described. A variation of this traditional method can be achieved by not countering after the first defensive movement, but rather doing this after the second one. The important lesson to be learned in this form of Kumite is Zanshin, both for the defender as well as for the attacker. a

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Shotokan Karate 2.7 Happo-Kumite All Kumite forms assume that the opponent will attack you first. What do you do if there are more of them? Happo-Kumite means, “ fighting in every direction“. Often, the core of Happo-Kumite takes eight directions and a conflict against eight opponents into consideration. This should be covered at the end of practising this form of training. At the beginning, one should approach this target step by step and start off with two, and at a maximum, three opponents attacking from different directions. When doing this, it is important also to practise the movements slowly and then speed them up, as well as increase the effort and frequency put into the attack, once the defender has got used to the rapid change of direction required.

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Shotokan Karate 2.8 Jiyu-Ippon-Kumite This Kumite form is very close to free fighting. Free fighting is learned in easy-tograsp and predetermined sequences. Above all, in the sequences the defender is encouraged to use his reflexes to produce specific fighting actions. Nevertheless, the individual techniques should follow the perfection of Kihon in relation to attacks and blocks. Blocks should be stopped short in the end phase of the movement. On the other hand, the counter-attack is immediately drawn back just like in free fighting. Just as in all the sparring sessions with a partner, attacks are always clearly announced beforehand. Both partners adopt the basic position Chudan-Kamae. They must show that they have learned to be able to move from this position and gain a favourable advantage by attacking or by blocking and countering. The attacker must make sure he can act from the correct distance for his attack. After each action, the partners become separated from each other a little, but remain in the Kamae position. The point to watch here now is the effectiveness and control of the counter. This must be shown to come from a perfect distance between the partners and prove that, in earnest, the fight has ended or that, in a contest, an Ippon can be awarded. For Jodan counters, the strikes should be without contact. For Chudan counters there should be light contact. The attacker has to show that he could have seriously endangered the partner if he had not blocked properly. In the counter-attack, a technique must be used that shows that the defender is able to achieve an Ippon. Direct counters (De-Ai) are not allowed in these cases. It is advisable not to counter with the open hand or by executing a throw, because in this stage of training the mastering of Karate has not normally advanced sufficiently to come up to the criteria listed above. Using a combination of techniques shows that the first counter was inadequate. But, this is exactly the aim of this exercise form, which is to show that you can use a perfect counter to rapidly bring the fight to a conclusion.

2.8.1 Jiyu-Ippon-Kumite 1 All the attacks occur twice, each time from the Kamae position. Which side leads is open to the partners. The attacking techniques are Oi-Zuki Jodan, Oi-Zuki Chudan, Mae-Geri Chudan und Ushiro-Geri Chudan. The defence and counter techniques can be chosen freely, but Suri-Ashi (gliding step) and Kai-Ashi (step) must be used in combination with the movement chosen.

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The techniques for the attack in Jiyu-Ippon-Kumite for the 2nd Kyu are the same as the ones for 3rd Kyu, however, there is an additional attacking movement using Kizami-Zuki Jodan and Mawashi-Geri (Chudan or Jodan with the forward or rearward leg). Besides this, kicks as counters are now required (for 2nd Kyu).

2.8.3 Jiyu-Ippon-Kumite 3 The techniques for the attack are the same as the Kumite for 2nd Kyu, however, without use of Kizami-Zuki. The attacks are carried out using the right side once and then the left side once (for 1st Kyu).

2.8.4 Jiyu-Ippon-Kumite with other Counter Techniques As soon as you can master the counter using Gyaku-Zuki, you can begin to use the whole range of Karate techniques. The techniques for attacking and defending are exactly the same as those in Jiyu-Ippon-Kumite for the gradings. The counter-attack is free choice. Possibilities are unlimited. One cycle can be established by giving the defender the job of responding to every attack with elbow techniques after defending. This is also a good exercise to quickly bridge the distance in order to put short techniques into action.

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The next sequence is done by using only Uchi techniques, the third sequence using throwing techniques etc. The lesson here is to learn what different distances must be used to be able to do the counter and how to quickly get through them. However, in gradings one should concentrate on using mainly Gyaku-Zuki as a counter. a

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Preliminary Remarks

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n contrast to all the other pre-arranged exercises like Kihon and Kata, it is now all about fighting and sparring freely. Now, both the situation as well as the use of techniques is variable. While still maintaining all the points from the repertoire of techniques learned, the fighter’s creativity is now called for. The basis for Jiyu-Kumite is a solid training background in all areas of Karate. Success in fighting will not be possible without a sound knowledge of Kihon, the preparatory forms for free fighting (Kihon-Ippon-Kumite and Jiyu-Ippon-Kumite) and Kata. Which of the techniques can be used in sparring depends on a number of factors. The fighter’s temperament, his individual capability, his creativity, flexibility and, last not least, his physical condition are all factors that play a large role. Self-control is paramount. The attacks and counters may only be executed so that, at no time, will there be any danger to the health of the partner or oneself. The grading programme uses the following basis and criteria for this highest form of co-operative work with the partner and includes: “a meaningful sense for fighting, a good feeling for the right distance to the partner, particularly well executed techniques, the ability to recognise and always gain an advantage, the ability to work towards an Ippon, physical strength and finally, fairness – all elements of Jiyu-Kumite“. To achieve an Ippon, the Kiai must always be given. This supports the delivery of the maximum effort.

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Shotokan Karate – Jiyu-Kumite 3.1 Partner Exercises in Sparring Exercises with a partner using simple techniques prepare the Karateka for sparring sessions. This includes being able to understand how the techniques are executed from the Chudan-Kamae position, being able to snap back when countering with Gyaku-Zuki and being able to do the techniques on the move. Also to be practised is the rapid gliding step Suri-Ashi when dodging or attacking, and the defence using the open hand. After pulling back in the counter-attack, the Kamae position is again deliberately adopted. “Deliberate“ means that you don’t just simply let the arms drop down after the action, but that you glide back into the starting position in a concentrated and tensed manner. Each technique is announced beforehand by the attacker. The Kiai must follow up each attack and counter.

3.1.1 Partner Exercises in Sparring 1 Both Karateka adopt the Kamae position opposite each other, either with their left side or their right side facing forwards. The attack is carried out using Kizami-Zuki Jodan and Suri-Ashi in Zenkutsu-Dachi. Defence is with a Te-Nagashi-Uke moving back into Kokutsu-Dachi using a SuriAshi. The counter-attack is executed using Gyaku-Zuki Chudan (for 6th Kyu).

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The attacks are carried out 3 times from Hidari-Kamae (starting – left leg forwards) and 3 times from a Migi-Kamae (starting – right leg forwards). Both stand in Kamae with the left leg forwards and then with the right leg forwards. Attack is with Gyaku-Zuki Jodan and Suri-Ashi into a final Zenkutsu-Dachi position. Defence is Soto-Uke, a sideways dodging movement (45° Sabaki), using Suri-Ashi back into a Kokutsu-Dachi position. Then, the counter follows using Gyaku-Zuki Chudan or Uraken (for 5th Kyu).

3.1.3 Partner Exercises in Sparring 3 Both partners stand with either the left leg forwards or with the right leg forwards. Attack is with Mae-Mawashi-Geri Jodan or Chudan and a Suri-Ashi gliding step. Defence is Te-Nagashi-Uke, and back in a dodging movement using a 45° Sabaki to the angle of the attack, and using Suri-Ashi back into a Kokutsu-Dachi position. Then, the counter follows using Gyaku-Zuki Chudan or Uraken (for 4th Kyu). a

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Sparring 3.1.4 Partner Exercises in Sparring 4 First sequence: Both partners have either their left leg forwards or their right leg forwards. Attack is with Kizami-Zuki Jodan and Suri-Ashi into a Zenkutsu-Dachi position. Defence is De-Ai, with Te-Nagashi-Uke and Gyaku-Zuki Chudan. a

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Second sequence (not illustrated): Karateka standing in an opposing sideways starting position: Attack is Uraken Jodan, defence is De-Ai with Nagashi-Uke and Gyaku-Zuki Chudan (for 3rd Kyu).

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Shotokan Karate – Jiyu-Kumite 3.2 Strategies and Principles of Sparring How should all this now be put into practice? Confronted with free fighting, many Karateka find, first of all, that they are unable to cope and are frustrated because they meet unpleasant experiences trying to get over poor self-control and the injuries resulting from this. The answer is to practise, practise, practise! There are, however, a few important basic rules: Before you have mastered the timing required to be able to accomplish a controlled Ippon with Kime, you have to practise being able to do specific Kumite movements easily and with the least amount of effort. Dependent on the degree that you have mastered the technique, this exercise form of Randori has to be trained in differing phases of rapidity with a great deal of concentration. Kime is required when doing light sparring is at most 50%. Randori, seen in slow motion, portrays an excellent introduction into sparring. Without having to worry about being hit hard, one can try things out and get to learn how to do the movements of the techniques on the move. If this is successful, then you can increase the tempo with the partner. This type of training not only creates fun; it simply is fun, assuming that one partner doesn’t try to cheat the other. The maxim here is to be able to train together – not against each other. The trainer has to ensure that the correct fighting posture, the correct preparatory pulling back for the techniques, as well relaxed but not sloppy execution of the defensive movements, are all carried out properly. As the routine improves, rapid, flowing sidestepping (Tai-Sabaki), direct counters or quick defensive actions using the open hand replace hard blocks, which bring with them a high degree of bruising probability. An additional form of exercise to practise the step movements without any danger, and free of stress, but at the same time concentrated, is to do “Kumite without techniques“. In this the two partners move about and only indicate the start of the various techniques or appropriate defence. These movements should be done quickly. The aim of training here is to learn the ability to anticipate and to learn the correct distance to the partner (“keep close“) as well as feinting, since the start of a particular technique is used also as a feint. The correct techniques will then follow.

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Kumite only using the start of a technique

 Isolated training of individual situations in fighting with a partner can equally be of assistance. Here, the item to watch for is the exact end-point of the attack or counter e.g., that Mawashi-Geri ends at the Jodan region, also when executing this on the move, and not in front of the face or over the head, but exactly on the partner’s chin or on his temple. Only when all the techniques in this form of training are correct, can one move on to improve flexibility and the feeling for different opponents and situations. If this is all mastered, one can start to get to grips with Kumite for competition with the aim of beating the opponent by achieving a point.

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Hitting the right target – Mawashi-Geri Jodan  The best thing is to practise the Kumite techniques in all their different variations, such as: the attack, the direct counterattack, the counter-attack after a block and combinations with preparatory actions.  In Jiyu-Kumite as well as in the grading test, you should avoid techniques, which you cannot either master or be able to control yet, and thus could be dangerous for the opponent. Empi, Nukite, dangerous throws or techniques aimed at the knee, larynx, eyes etc., have no place here.  The elementary Kumite techniques Kizami-Zuki, Gyaku-Zuki, Uraken, MawashiGeri, Mae-Geri and Ashi-Barai as well as defence against them, including those with the open hand, have to be practised long and intensively before combinations are brought in. The early assimilation of these techniques in Kihon furthers the learning process. In Kumite – just as in self-defence (here also in combination with elbows and knees) – the valid maxims are that it must be executed with speed, simplicity and effectiveness. In each situation a reliable repertoire consisting of six or seven uncomplicated techniques is, in all situations, of more use than the knowledge of artistic variations. Generally, the Karateka must be able to master the basic techniques of his style in any situation to perfection, in order to be able to use them as an effective “weapon“. It is the classic Kumite techniques that offer themselves as the most successful ones in competition for this very good reason.  When learning to fight, it is important that you adapt to the typical Kumite sequence of movements. To do this, on the one hand, it’s a question of practice, on the other hand, carefully watching successful fighting situations at competitions can help. You have to learn how you set up a technique, carry it out and in so doing, make effective use of the opportunity. The use of simply one technique is not sufficient in most cases, especially when you come up against Karateka in training, gradings or contests, who have acquired a

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certain amount of knowledge. The work up to an attack using a feint or another technique is therefore enormously important in order to gain a successful action. The function of the feint is, for example, to mislead the opponent that you will go for the Jodan region, but you then attack the Chudan region. You can do this by faking a movement with your hips or by starting one technique but carrying out another. The situations in the next chapter, shown with Kizami-Zuki, Gyaku-Zuki, Uraken, Mawashi-Geri, MaeGeri, Ura-Mawashi-Geri and Ashi-Barai, are examples of opportunities to achieve a point. Using the competition Kumite form, several situations and possibilities of applying the techniques are illustrated.

Defence by Using the Open hand In preparing for Jiyu-Kumite it is important to be able to defend using both open hands. When the situation is about blocking in Kihon, and you have to use the Uke technique to prevent an attack in an emergency, or to use it as a striking movement or lever against an opponent, in Jiyu-Kumite simpler defensive movements are mainly used. This is where the rear hand has an important role to play. It must be poised ready to be able to ward off combinations of techniques. The defensive movements carried out can be circular sweeping ones, or just simply sideways, short deflecting ones. Both types are shown in the series of pictures following. During the defensive movements, the hands should not be too far away from the body. The movements should be done with the minimum of effort necessary in order to ensure that you are able to follow up with a rapid counter, or be able to catch the opponent off balance. As a training tip, it is best to do the individual techniques slowly first of all, then move on to technique combinations defending with the open hand and then, finally, to switch from the defensive technique over to a counter. In addition, defence can be practised by moving to and fro with the upper body. If the defensive technique doesn’t succeed, you can dodge away from the attacking line by cleverly weaving and dodging with the upper body or by changing the centre of balance to the rear (similar to going into Kokutsu-Dachi). When defending with the open hand you should watch out particularly that you use the rear hand as well and not leave it all up to the forward one. Particularly, in carrying out an attack using a combination of techniques, the rear hand has to “work in unison“ otherwise a safe defence cannot be guaranteed.

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A circular, sweeping defence against an attack using punches and Mawashi-Geri Sideways defence a

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4.1 Demands and Basics

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ompetition differs from the self-defence situation in a considerable number of points. Fighting with rules between opponents, who want to compare their abilities in a laid down framework, can be seen as a duel where the general conditions are different according to the type of fighting being carried out. Points for successful actions and sanctions for breaking the rules portray the extremes. The main difference to those types of sport with full contact is where the effect of a hit in the traditional Karate competition is considered a contravention against the rules and is punished by a minus point. Particularly in the region of the head, the most that is allowed is a light “touch feeling“, while, in the region of the stomach, hits can be harder, but only as far as there is no danger of hurting the opponent. Numerous Karate techniques, which are practised in basic training and exercised in Kata, but which are difficult to control when done on the move – techniques with the knees, elbows or the fingers and the use of the open hand into the face etc., – are forbidden in competition just as are attacks at specific parts of the body (eyes, abdominal region and the knees). The target areas used to gain a point are limited to the torso and the head area. Besides the perfect execution of the technique, each point must be combined with the accompanying Kiai – the Karate shout. The winner of a competition is the fighter who has gained the most points inside two or three minutes. The reduced number of techniques that can be used in a match is made up for by the numerous versions of effective competition techniques available. Just as before, the most successful techniques include Gyaku-Zuki, Kizami-Zuki, Uraken, MawashiGeri, Ura-Mawashi-Geri, as well as combinations using Ashi-Barai, and they are all used in varying different forms. The development of the modern competitive system, using three types of points awarded – Ippon (one point), Nihon (two points) and Sanbon (three points) contributes, today, to making the tactics required both athletic and varied. Contrary to the previous competition system “Shobu-Ippon“ and “Shobu Sanbon“ that was employed, the number of plus points possible is not limited. Thus, the matches usually go the full time and the fighter can take a greater risk to pull back on a point deficit easier than was possible in the earlier system. As a result,

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technical flexibility is encouraged and throws and also kicks are rewarded equally by the high mark of the Sanbon or Nihon, as are Zuki-Keri combinations. Correspondingly, the picture has changed and kicking as well as effective throws are normal and often seen today in the competitions held under this system. Nevertheless, the purist competition system “Shobu-Ippon“ still has its appeal and is still practiced today in many traditional Shotokan championships. In these, full concentration from the first moment to the last is necessary as well as enormous tactical skill, in order not to have to leave the area after a single, lightning action by the opponent, who goes ahead and gains the single Ippon possible as a result. When should one start competitive work and what are the prerequisites? The first and best prerequisite is to be able to master the basics, which one learned in Kihon, Kata and the preliminary Kumite exercises, and have a firm grip of them. Everything that was said in the chapters on Jiyu-Ippon-Kumite and Jiyu-Kumite portray the essential prerequisites for the next step – the competition. The execution of Zuki-techniques distinguishes itself from the first basic lessons on the subject. The hand is immediately snapped back. In contrary to that, the technique is locked momentarily at the end position in Kihon. With this locked position in the technique, no point can be awarded as it is counted as a pushing movement. One disadvantage of the locked technique is that it can be easily blocked and then no further technique would be possible using that arm. Snapping back the arm is part of the movement pattern that has already been practised in partner exercises for sparring as well as in Jiyu-Ippon-Kumite. The following series of pictures with Kizami-Zuki and Gyaku-Zuki show not only how this is done in competition, but also in the Jiyu-Kumite version. The point scoring is done in the following sections of the movement: firstly, preparing for the technique i.e., adopting the correct distance and the optimum starting position, that is to say catching the opponent off balance. Secondly, the execution phase with the aim of achieving a point as well as thirdly, the end of the technique, with the aim of quickly increasing the distance from the target, taking up the Kamae position and avoiding the opponent scoring a point.

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Rapidly pulling back the Kizami-Zuki after hitting the target After this you glide back in order to avoid a counter a

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Gyaku-Zuki followed by pulling back the technique If the attack comes in frontally to the opponent, a in both techniques the opposite hand should be brought up in front of the face to protect against a counter. If the attack comes in from the side, the technique can be made more effective by using Hikite of the opposite arm

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Many Dojos offer special training sessions to prepare for competitions and those interested in taking part in tournaments are systematically introduced to the specific requirements. The aim of training like this has to be to teach the relevant techniques and sequences in a variety of situations. Also, it should contain work on the most promising techniques for each individual fighter. Knowledge of the rules can do a lot to avoid misunderstandings. In the following sections, we will consider particular themes relevant to the competitive sport in detail. These are designed to act as a stimulus for trainers and competitors alike.

4.2 Stance, On Guard Position – Kamae The basic stance should be adopted somewhat higher than in Kihon. Both legs must be bent to permit a rapid movement forwards or backwards. According to the situation, it is sometimes necessary to move the body’s centre of balance a little forwards or backwards. The position of the hips is important. They should always be at an angle of about 45°, but in no instance should they be completely turned in or out. The last two positions of the hips are dependent on the movement being done according to the technique e.g., turn the hips in for a Gyaku-Zuki and turn them out when defending. The arms should be positioned so that you are able to react quickly with them and without having to pull back before the Zuki. For this the rear arm is close to the body with the lower arm pointing slightly upwards. The forward arm is pointing forwards in the direction of the opponent’s face. The back of the fists are both pointing outwards with the clenched part pointing at the opponent – i.e., not up at the ceiling nor down to the ground – and they are held at about shoulder height. An important thing is to maintain an easy, relaxed position, particularly in the shoulder and arm areas.

Kamae in Jiyu-Dachi

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4.3 Movements Dependent on the fighter’s temperament, in competition one fighter will prefer to move about more, while another will prefer a more static fighting style. Counter specialists often tend to be more static and are on the lookout to exploit a chink in the attack, while offensive fighters tend to use a rather more flexible and mobile way of fighting. The fact remains that this way of fighting is more prevalent in competition than in sparring in the Dojo. The most common form of movement between actions in competition is the stepping movement as seen in martial arts (e.g., Taekwondo, boxing and kickboxing). The advantage of this type of movement lies mainly in the rapidity in which it allows the executive of a technique: “The basic movement of most fighters today is the rhythmical step in its different forms (on the spot, a step forwards and backwards, sideways steps). The fighting techniques are used starting out from this basic movement. The advantage of this type of movement lies in being able to reduce the lead time of the action, thus achieving a higher impulse. This makes the execution of the technique, especially when starting actions on the move, quicker and more explosive than beginning from a standing position. In training terms this factor is known as ‘reactive force’.“ (Eichert, page 14). In competitions, one often sees a mixture between the stepping movements and static phases according to the situation in the fight. Other movements, which are normal for executing techniques include Suri-Ashi and Yori-Ashi, the step, the sideways, lateral stepping movement and the full step stride. a

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For Suri-Ashi (gliding step), the front leg is placed forward as the rear leg is stretched and then brought forward. Rearward movement happens in the reverse order. For Yori-Ashi, first you pull the rear leg up and stretch it rapidly, then take a step forward with the front leg in order to bridge the distance with it. At the end of this movement the rear leg is brought forward. The Yori-Ashi forward movement is often done using a feint with the arms, so that the opponent is not aware of the shortening of the distance achieved by bringing the rear leg forward. a

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Yori-Ashi In the forwards step, the rear leg again gives the impulse for the movement. You lift up momentarily from the floor and immediately place the rear leg forwards. The front leg is not deliberately placed forwards. Doing this to the rear, you stretch the forward leg momentarily and pull it back.

The forwards step

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In the lateral stepping movement, where the forward or rear leg is placed to the side and then the fighting stance is reassumed this permits a variation on the way of adopting a stance at an angle to the opponent. In order to make best use of this situation, you need to execute an attack very quickly from the new position.

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The lateral step The full step plays an increasingly important role in today’s competitions. It permits the rapid bridging of a large distance. However, the fighter has to have the speed necessary to do it, because the full step demands more time and thus brings with it the danger of a counter-attack. Besides this, a different picture of your tactic is presented and must be accepted if you use this step. It offers the basis for techniques producing a mixed form between Oi-Zuki and Gyaku-Zuki.

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The full step stride

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Shotokan Karate – Kumite-Shiai 4.4 Control, Timing and Feeling for Distance The correct distance or gap to the opponent (Maai) is the very basis of being able to score a point. Without maintaining the optimum distance, there is no chance of being able to deliver a successful technique. Maintaining the correct distance means that I will not allow my opponent to get near enough to deliver a strike or a kick without me being able to punish him with one of my actions. The other side of the coin is that I must get within reach to gain a point myself. The right timing and the question of which situation is correct for quickly delivering the appropriate technique, and then being able to execute it in control, all add to further demands on the fighter. Technique control and targets have already been learned in the first partner exercises in Karate. Finding the correct distance, at which to execute the technique without harming the partner, was part of the basic demands taught in the first forms of Kumite. However, in Jiyu-Kumite, and then again in the competitions, the problems are more complex, since the situation is not pre-arranged, and a more variable form is prevalent. The principle of going from the “simplest to the complex“ is the maxim here when doing the preparatory exercises for sparring. The difficulty lies in being able to reach the target while moving quickly and keeping the correct distance without missing to score a point because of not being near enough, and at the same time not breaking the rules. It is important to stay hard on your opponent’s “heels“ i.e., to maintain a gap by continually moving so that you keep within striking or kicking distance. Exercises, where you give a sign can contribute to learning to maintain the correct distance when preparing for competitive Kumite. In these exercises, the partner moves forwards, backwards or sideways and gives a sign with his forward hand for KizamiZuki or Gyaku-Zuki. If the hand is moved rapidly downwards then the partner attacks the now undefended Jodan area using a Kizami-Zuki. If the hand goes upwards then a Gyaku-Zuki has to be executed. The partner doing the strike is always moving within the reach of the person giving the signal, who has to stand still for a moment when he gives this in order to allow the other to execute the Zuki. This is a very elementary exercise, but it does school the eye for the “open gap“ where the strike has to come in. Besides this, it does provide training for the correct distance and the decision to employ an appropriate technique.

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Giving the signal for training the correct distance, reaction and correct execution of the technique Another simple form of exercise serves to learn the length of the distance (reach) required when executing a technique. Here again the techniques are for Gyaku-Zuki and Kizami-Zuki. The defender leads in varying the distance. The attacker’s task is to adapt his reach to the distance from the partner when doing punches. Here it is all about being able to differentiate between the typically ideal execution of a technique – especially the end part of it – as practised in Kihon, and the rapidly changing distances met in Kumite and adapt to them appropriately. It is recommended that the exercises are carried out slowly at first and then speed them up when the changes in the distance have been internalised.

EXERCISE TO SCHOOL THE LONG AND SHORT VERSIONS OF THE FIST TECHNIQUES

Kizami-Zuki – Normal distance

Kizami-Zuki – Short distance

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Gyaku-Zuki – Normal distance

Gyaku-Zuki – Short distance

In both exercises, the technique must be delivered in competitive form by pulling back straight away without locking and pausing on target. Combining the Kumite techniques with the different ways of moving at different distances becomes easier after exercising out and mastering these preliminary exercises. As in the principle of Sun Dome, pulling back and away, automatically and immediately, just before you expect to make contact, is what every good fighter must learn to have in his repertoire and has to be mastered in all positions. This self-control avoids frustration in training and negative points in competition. Particularly, by using gloves, it is easier and standard to avoid hard contact to the head. Nevertheless, this should be avoided in any case. Some fighters manage this skill perfectly, even when on the move. They can deliver lightning-hard techniques in such a controlled manner that they end up exactly on the surface of the skin (not on the bones). They then pull back immediately at that moment so that there is no negative effect of the strike.

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4.5 Tactical Training, Fighting Spirit and Psychology Even the best technical ability does not guarantee that in the critical moment, under stress and with the aim of gaining the best result, success will actually be achieved. A critical factor is to be able to combine one’s technical skills with one’s tactical and psychological abilities, and develop the appropriate fighting spirit in order to achieve the goals set. During the period prior to competition, the deliberate increase of training intensity, both in the preparatory as well as in the competition phase itself, must, besides fitness and coordination, include the tactical considerations. Tactics means “employing the individual’s psychological, fitness and technical capability in the best possible manner, in order to achieve a sporting aim“. (Eichert, page 40). Training for tactics follows on from learning the techniques, where the different Karate techniques are practised with a partner in the specific Kumite form in prearranged situations. Here, we must make a distinction between several phases. Training for the application of the techniques or the situation was targeted at being able to apply the techniques learned into specific competition situations. The form of training considers simple situations, which are often repeated in competition, and in which the training should lead the fighter to be able to make rapid and correct decisions, as well as gather experience when the actions and reactions of the opponent can be anticipated, and combine these into an appropriate plan of action. Ippon-Kumite is one form of this. In this, both partners fight on until the first point is scored. This is not watched over by a referee. The aim of the exercise is that, firstly, the fighter gains experience and learns when the point was actually scored. The exercises are also suitable, for learning to understand what the relevant actions are. After scoring the point, the fighters should temporarily break off the Randori themselves and give a quick indication, who has scored the point. The extension of this is, of course, in competition-like fights with a referee. When training for situations, particular typical phases in a fight can be deliberately exercised.

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Important tactical situations are used to learn the rapid changeover from a defensive to an offensive action i.e., deliberate exercising of counters when in the lead, which must be held onto. Equally, and on the other hand, you have to practice how you get back up after being behind when under pressure. Further tasks in Randori are to attack using specific techniques in order to force the opponent out of the fighting area, or similarly, the opposite, and not be forced out yourself. Evading sideways and the use of limited space have to be practised separately so that you get used to the size of this area. Fighting with as many different partners as possible contributes considerably to collecting experience in Kumite. Particularly, the way of fighting against smaller or larger, and static or very mobile opponents is an experience you should learn about in this part. You should pay careful attention in all forms of exercise, which train you for competition sequences, so that, despite being in a fighting situation, the whole takes place in a fairly convivial atmosphere and that you don’t get carried away i.e., no injuries are inflicted. Only this way can these forms of exercise remain fun and encourage a lasting knowledge of what has been learned for all taking part. Eventually, all these forms of exercise serve to learn fighting spirit, without which the consequential will to score a point is not going to be present. In Karate we have the term, mentioned already, Ikken Hissatsu, which describes that in a real fight, a technique is designed to eliminate the opponent. Even where the technique is halted just before it reaches the target, this must still happen and be present when doing actions in competition. The Kiai, naturally, belongs in here as well, but there is also the readiness to devote your actions to dealing with the opponent with all your efforts. This is Zanshin – full concentration on the situation. A good fighter must exude absolute readiness to fight. Often, the fight is already decided before it has begun. This is because successful fighters impart this kind of concentration even before the fight and don’t release their control over the opponent for the slightest second, despite being in the lead.

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Ippon-Kumite: The fighters decide for themselves when a point is scored and indicate this to their successful partner a

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An important preparatory exercise for the right mental frame of mind is to anticipate the upcoming situation. This way of running things through in your head (Kunath, 2001) allows you to prepare for what is coming. In turn, this fosters a positive use of the options of actions you are able to take in the competition. When analysing your own strengths and weaknesses, the trainer, instructor or coach plays a central role. In order to reduce the number of weaknesses as well as boosting the available potential, this preparatory analysis, in discussion together with the fighters, of their own potential (video analysis) is of considerable importance. A good coach can be of help to fighters during a competition by making them aware of the chances or difficulties. Particularly for young and inexperienced fighters, who often only see the competition through a kind of ‘tunnel vision’, the experienced coach at the mat-side can be quite important. Success in competition has many factors. Besides having a good grip of the Karate basics, it is important to have a planned and well structured preparatory training. It is also just as important to have gathered experience in competition and be able to perfect the special techniques and to observe carefully and analyse top fighters, whose way of fighting can be adapted for themselves. How do you get the techniques right? How do find the gap in the opponent’s defence? What should your tactics be, etc? Studying video tapes can help here. Learning about competitions consists, of course, of a lot more facets, which cannot be covered here in any more detail. Those who have more interest in additional training programmes for the improvement of specific Karate characteristics, such as speed of reaction, power training, speed, stamina and agility can observe the examples for the build-up of competition training and phasing the training used by top Karate athletes. They can also read up about these things in the rich abundance of other literature on the subject. Before going into the main area of applying the individual techniques in the following sections, first we will cover the competition rules in a quick overview.

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4.6 About the Rules This short overview is designed to give the more important terms, signals and rules of competition. Because of space, however, it does not contain the whole details of the comprehensive WKF (World Karate Federation) rules for Kumite-Shiai. The competition takes place on a square surface side length 8m. A mat is usually used as an underlay to ensure that the fighter is afforded the maximum protection in falls, throws and sweeping techniques. There is a flexible referee together with 3 further referees (judges) on the sides controlling the match and awarding points for actions made. The match lasts three minutes, whereby only the effective time is counted. The clock is stopped for interruptions and breaks signalled by the referee. 30 seconds prior to the end of the fight, the competitors are given a clearly audible signal of a gong indicating the time remaining (Atoshi Baraku). It is mandatory that the fighters wear a mouth-guard as well as wearing gloves about 2cm thick. For female fighters, the wearing of a chest protector is recommended or laid down for most tournaments. The fighters wear a red (Aka) and a blue belt (Aoi) as well as gloves that are in the same colour.

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The fighters bow to each other when given the signal to do so by the referee (Otagai-ni-Rei) and adopt the Shizentai position. Fighting begins when the signal Hajime is given. Scoring Ippon (one point), Nihon (two points) and Sanbon (three points) match the different degrees of difficulty in the technique. The criteria for awarding points are: good form, correct stance, power in execution with a Kiai, Zanshin, good timing and the correct distance. The score is announced in the break to the fighters and the audience by the chief referee stating the point marking, both verbally and by giving certain hand signals. The command Yame orders a break in the action. On hearing this, the fighters must stop any action immediately and return to the starting position. The command Tsuzukete signals that fighting can recommence. If both fighters carry out a scoring technique at the same time, neither of them receives a point (Aiuchi). The winner of the match is decided when, after the time is through, one fighter has more points than the other, or when one fighter has scored 8 points more than the other has before the fight is ended. The referee announces Aka or Shiro No Kachi as he declares one or the other the winner. In the event of a drawn match (Hikiwake) or no scores, the winner can be decided by the referee (Hantei). In individual contests, for a no score result, however, the match can be decided in extra-time of one minute (Enchosen).

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In this, the fighter who scores first is the winner. All the penalties incurred previously are carried over into the extra-time. Similar to the scoring system for successful techniques, there is a staged system for penalties. All the techniques must be carried out in a controlled manner, so that no injury is inflicted on the opponent. The first category for forbidden actions is primarily for punishing contact or an attack on forbidden body regions which could injure the opponent. The category begins with a warning without penalty and is called Chukoku. The next stage – Keikoku – gives an Ippon to the opponent as a penalty, and the third stage HansokuChui means a Nihon for the opponent. In the fourth, final stage, disqualification – Hansoku – is awarded. If one fighter gives up, the signal Kiken is uttered. If a Shikkaku is awarded, which is rare, then the fighter is disqualified from the tournament for a severe infringement. The second category uses similar stages for infringements of various kinds. This includes: simulating an injury, leaving the contest area (Jogai), constituting a danger to oneself (Mubobi) such as turning round after executing a technique or failing to conduct self-defence. Also not committing oneself to the fight and excessive holding or speaking without reason during the match or doing techniques, which are forbidden, are considered under this second category of the competition penalty register. Both categories are not merged with each other, rather they are counted separately.

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4.7 Basic Principles The basic principles of free sparring – counter and attack – should now, here in this section, be introduced. No one principle should be a determining factor for training. The various kinds of counter and attack should complement each other and form part of the fighter’s whole repertoire. Which of the principles are the most preferable ones to be used, depends greatly on the individual disposition of the fighter.

4.7.1 Defence – Counters The aim of avoiding being hit is at the centre of the counter principle. In competition, the implementation of the defence often occurs simultaneously with a counter. Gyaku-Zuki, the ‘all-purpose’ Karate technique, is used here as the main one in the examples given. Where there is an individual attack, the forward hand normally blocks the attack while the other side of the body is responsible for the counter. From the position of the body being used by a fighter, one can easily recognise a counter specialist by looking at the way the weight of the body is over the rear leg. a

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Attack using Kizami-Zuki, defence with the forward hand, then in comes the counter with Gyaku-Zuki If you are ready with the counter, it’s important that during a long attack the body is also used in the defence. Use it to do an evading movement to the rear and defend at the same time with the hand in order to bring the centre of balance of the body forwards immediately and by turning the hips and torso bring Gyaku-Zuki on to the target.

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A further variation is to take a step backwards just prior to the attack so that the attack ends up in thin air, and then immediately glide forward and deliver the counter. a

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Leaning back away from the attack by moving the centre of balance rearwards. Counter using Gyaku-Zuki a

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Step backwards, step forwards, then Gyaku-Zuki When you want to do a counter successfully and you are standing frontally on to the opponent, it is imperative, to practise the guard cover. The other arm is used to provide the guard cover, which normally does the Hikite movement in Kihon. The impact of the counter will be less effective because of this movement of self protection. The momentum, which is compensated for by the lack of striking force not using the Hikite movement, is the speed of the attack, into which the counter is

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inserted and with which the force of your own technique is added to by using Gyaku-Zuki as the counter. This is done at the normal distance and degree of intensity of the Kumite form, by turning the shoulder and lifting the heel of the rear leg. a

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Competition version of the Gyaku-Zuki with an immediate pull back out of the technique

4.7.2 Sabaki Sabaki, also called Tai-Sabaki, means doing a twist of the body out of the way of the opponent’s attack. In doing this the person being attacked moves out of the direct line of the attack, in which most fighting manoeuvres are made. Avoiding the strike effect occurs, therefore, not by using a defensive movement but by conducting an evading movement, ending up in a position 45° to the opponent’s attack line.

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Sabaki down the inside from a basic position leading with the left a

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Sabaki down the outside from a basic position leading with the left a

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Sabaki down the outside from a position where one participant is leading with the left and the other the right

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As a general rule, the evading movement occurs by pivoting the forward leg and moving the rear leg to the side so that the attack ends up in thin air. If for example in an attack with Kizami-Zuki, both partners are standing with the same side forward, then the defender is standing on the inside to the attacker and can counter out of this position. It is more risky to do the Sabaki movement towards the outside. However, if this succeeds then one has the better position from which to counter. Various versions of the Sabaki, for example as a reaction to attacks against kicks, were practised already in the beginning forms of Kihon-Ippon-Kumite and Jiyu-Ippon-Kumite. If you are standing to the outside of the attacker, then the full dynamic of the counter comes into play i.e., by also using the Hikite movement with the opposite arm, since a counter-attack by the opponent cannot be expected to come from him out of this position. The Sabaki method plays much less a role in fast combat situations during competition. Even if you try to do so, you shouldn’t move sideways out of the attack line, relying only on the evading movement. In this case you should complement it by using the guard cover hand as a safety measure.

4.7.3 De-Ai The De-Ai principle is the highest form of the counter; that is to say, countering without a blocking or defensive movement. De-Ai is a mixed form and resembles more a counter than an attack. De-Ai is a direct attack carried out at the start of the opponent’s attack. That is to say, the first impulse comes from the opponent and before he can do his attacking technique, you disrupt his distance and foil him with a direct action against his attack intention. De-Ai requires much experience, determination and control of the technique, which are all required before you can execute it perfectly. This variation is particularly suitable for use against kicks. The main thing is to recognise when the attacker is about to start his technique, in order to be able to then spring into action before the attack can develop. To do this you have to take a gliding step forward just at the moment of the attack. The De-Ai technique is then applied.

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Basically, there are several techniques that can be carried out as De-Ai techniques. The most successful ones, however, are Gyaku-Zuki, Kizami-Zuki and Uraken. Only a few specialists would have success in foiling the attack directly with a kick. Principally, the De-Ai action is without a block and this is its specific advantage. Nevertheless, it is recommended that an appropriate defensive position is maintained with the other arm.

De-Ai against a Mawashi-Geri attack

De-Ai against an Ushiro-Geri attack

De-Ai against a Kizami-Zuki attack

In order to practise the movement that is necessary for De-Ai, it is recommended, first of all, to practise an individual attack type slowly. The De-Ai technique and the fighting posture for it should then be done with both leading with the same foot. The partner then begins the start of developing his attack, while the De-Ai candidate immediately makes a gliding step forwards and pre-empts the attack with his own action. If the attacker is given too much free space and time to develop his attack, then there is a danger that you will be hit first by his strike. This is the problematic nature of this method. It requires anticipation of the opponent’s intentions. You have to know exactly how the attack will be developed. This includes watching the breathing rhythm, the opponent’s preparatory moves, his facial expression and his posture. You have to study all these factors and the situation as often as possible together with as many partners as possible using different attacking techniques so that you are able to handle this. Once you can master this principle, it is one of the most efficient and quickest of methods to be able to prevent from an attack before it even starts.

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Shotokan Karate – Kumite-Shiai 4.7.4 The Defensive Situation The defensive situation, as we see it here, requires more tactical than technical ability. One often comes across the following situation in a match: The one fighter is leading by quite a margin and it hasn’t occurred to him how to keep this lead. Either, he keeps on attacking and takes the risk of suffering a counter-attack, or he doesn’t understand how he can change over to a defensive style from the offensive style that gave him the lead. By moving skilful, it is now important to be able to avoid being attacked by the opponent, who is trying to get back equal, and at the same time not appear to be deliberately avoiding the fight. As a result, guarding and covering actions and leg work become critical factors in this. Evading actions to one side and guarding and covering the potential target areas with the arms are both now essentialities. One can use passive defence as shown in the series of pictures that follow. When practising defensive measures against Mawashi-Geri you should avoid using the elbows to defend. These should stay close to the body. Defence against Chudan Mawashi-Geri with the upper arm, or using a short movement with the lower arm, is a lot easier and more comfortable than defending using the elbow against the shinbone. Techniques, which keep the opponent out of reach such as Yoko-Geri or Kizami-Mae-Geri also make sense.

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Gyaku-Zuki against an attack

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Defence against Mawashi-Geri-Chudan

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Kizami-Mae-Geri

Yoko-Geri

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Shotokan Karate – Kumite-Shiai 4.8 Attacking Techniques with Zuki and Uchi For most fighters, the attack represents the central focus of their tactics. The techniques, which are the most successful ones, are introduced in the following sections. Generally, there is hardly an attacking technique that doesn’t require some sort of preparation by using a feint or closing the reach, in order to be successful. Similarly, it is noticeable that, particularly in the attack, a change is required from the basic way of executing the technique. Thus, for example, with Gyaku-Zuki the arm that strikes is brought immediately back to the hip. The lack of a Hikite movement and the raising lift of the heel on the rear leg to put the weight on the ball of the foot characterises the Kumite style of its execution. The latter is due to the dynamics of the movement. The techniques are brought on to target by the quick movement of the whole body. The shoulders are turned in further in order to increase your reach and, generally, the Hikite hand protects your own face, so that you avoid being struck by the opponent doing a technique at the same time.

4.8.1 Single Techniques 4.8.1.1 Kizami-Zuki The front arm has the shortest distance to reach the opponent. This makes so effective and gives it flexible usage in the attack and the counter. However, by virtue of its close proximity to the opponent, this makes it easy to be anticipated, and is also weaker than Gyaku-Zuki or Oi-Zuki because of the lesser amount of effort needed in its execution. Nevertheless, its advantages, when correctly carried out, are quite brilliant in the true sense of the word. Kizami-Zuki comes like a lightening strike with the forward arm and achieves a situation of total surprise. When countering, KizamiZuki has to be used as soon as the opponent is within reach. This requires a lot of practice with different distances. When doing the technique, you should watch out for the following details: The fist of the striking arm should always be pointing at the target. The elbow of the striking arm should be close to the body in order to ensure the straightest striking movement. In order to maintain the effect of surprise, the strike should be made directly from Kamae i.e., not by pulling the arm back prior to delivering the strike. This typical ‘beginner’ mistake serves as a warning to the opponent, who can react appropriately to this Kizami ‘signal’.

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After delivering the strike, you must bring the fist back immediately to the hip and then you can bring it back into the Kamae position. The typical movements of the body are a light turning out of the hips when striking and a turning in movement when pulling back from the technique. When executing it, care should be taken to keep the upper body upright and not lean forward. If the technique was successful, you move back using a quick movement of the forward leg as you bring the strike back in order to get out of the opponent’s reach. Should you want to do a follow-up action, of course you can go forward again further on the offensive. It is left open to the individual fighter’s degree of willingness to accept a risk, whether he pulls his opposite arm back when striking, or raises it up to protect his face area. If both of you are leading with different feet, this protective movement is not necessary as you attack the opponent from the outside in a 45° angle to him. Also, you are automatically outside his reach. In this case, the technique can be bolstered by using Hikite. Because there are so many various possibilities of making a feint in preparation for the strike, only a few examples are mentioned here. Also, they are difficult to illustrate in photos. For these the fighter’s own creativity and imagination are brought into play. Examples: Fake a Kizami-Zuki, pull back again, then do the strike. Turn the hips in as if for a Gyaku-Zuki, then do a Kizami-Zuki. Pull the forward leg back a little, as if for Mawashi-Geri, and then go forward with Kizami-Zuki. Prepare for an Ashi-Barai, then start immediately.

Kizami-Zuki from a start position with both leading with the same foot

Kizami-Zuki with both leading with different feet

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Kizami-Zuki as a counter against Mawashi-Geri a

Kizami-Zuki as a counter against Gyaku-Zuki b

Kizami-Zuki with a preparatory Gyaku-Zuki feint a

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Kizami-Zuki with a preparatory Ashi-Barai feint

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Kumite for Competition 4.8.1.2 Gyaku-Zuki Gyaku-Zuki was comprehensively described in the chapter about counters as the ‘all-purpose’ weapon. It is one of the strongest arm techniques. It gets its dynamics from the turning in of the hips when executing it. In the competition form, you increase its effect often by a slightly bigger twist of the upper body and pulling up the heel of the rear foot. Dependent on the angle to the opponent, it is recommended to position the opposite hand as protection in front of the face and to dispense the Hikite movement. This is particularly necessary if you are standing frontal, both with the same side forward, and you attack at Chudan and want to avoid the risk of being struck possibly yourself by the opponent using a strike at the same time. It is suitable, like Kizami-Zuki, not only as an excellent single technique but also as a technique for use in numerous combinations. When being used as an single technique, make sure that the striking arm is pulled back immediately. This should be done with the same force as the striking movement itself. If the technique is done as a locked movement, as in Kihon, it can be easily caught and generally will not gain a mark. As a preparatory feint, as in the Kizami-Zuki, there are a number of variations that can be called upon. The rapid execution of the Suri-Ashi (gliding step) with a Uraken feint and then doing Yori-Ashi with Gyaku-Zuki is probably one of the most promising versions for success. However, there is also the variation, where both are leading with different feet, and where the opponent’s forward arm is pushed downwards before executing the Gyaku-Zuki. This is just one example of how to successfully prepare for this strong arm technique. a

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Gyaku-Zuki, using a Uraken preparatory feint

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Gyaku-Zuki, where both lead with different feet. Before doing the technique the opponent’s arm is pushed down 4.8.1.3 Uraken The basic version of this technique is similar to Kizami-Zuki from the point of view of the body movements. Here we see the pulling back of the lower arm so that the opponent’s temple is struck, by using the full force of the snapping movement. The form met in competition, nowadays, sees more focus being placed on the forward snapping movement part, rather than the preparatory phase of pulling back because of the time it takes.

Uraken: To provide protection against a counter, the rear arm is also used

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This means that only a small pulling back movement is made, so that the technique is not ‘signalled’ in advance. When delivering the strike, the trunk of the body is turned out a little to shorten the reach and to lend more torque to the turn of the body as it comes round. Because the attacker using a Uraken can be counterattacked by a Gyaku-Zuki easily, it is recommended that the other hand does a protecting movement. 4.8.1.4 Oi-Zuki The longer the way, the greater the impact – this is how Oi-Zuki could be described. Taking a whole step forward hides the risk of being countered before being able to finish the technique. On the other hand, by virtue of its tremendous impetus, which the body mass and speed can bring on to the target, Oi-Zuki is extremely effective. Before executing the technique, it is recommended that you adopt a completely relaxed state and then explode forward as quickly as possible into the movement. When doing this, watch out that the upper body is as relaxed as possible and that the arm technique is done very loosely but rapidly. Deliberate acceleration training for the leg work helps to allow you to do the movement effectively. It is also important at this juncture to throw the opponent off the scent, so to speak, so that the Oi-Zuki comes as a surprise and is successful i.e., you do a preparatory feint.

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Oi-Zuki: the rapid bridging of the distance to the opponent is necessary for success

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Shotokan Karate – Kumite-Shiai 4.8.2 Kicks 4.8.2.1 Mawashi-Geri Mawashi-Geri is extremely suitable for going round the opponent’s guard because of the way it is done in an arching movement. It is by large the most successful kick used in competition. Differently to the way it is done in Kihon, the start phase is not done to the side, but rather often the leg is brought up directly in front of the body and then rapidly executed by doing an explosive twist of the hips. You can also kick to the body with the ball of the foot. In Kumite, a kick to the head is done using the instep in order to avoid causing injuries and to achieve a greater distance. As you execute the kick, the leg you are standing on must also turn. The snapping back movement has to be done before the Mawashi-Geri has reached the full extent of its stretch, so that the energy from the kick doesn’t get swallowed up in the knee joint. For the whipping effect of the snap movement to be successful, it is fundamental that, at the start, the lower leg must be positioned close to the thigh. a

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Mawashi-Geri using the rear leg. The knee is brought up high in front of the body The kick with the front leg is done, firstly, out of a stepping movement with the forward leg, whereby the start of the action is similar to a Mae-Geri. Using the knee, often pulled up directly in front of the body, makes it difficult for the opponent to make out whether he is facing a Mawashi-Geri or some other technique. This is why lifting up the forward leg is a good preparatory faking movement for other different techniques. In addition it is a good guard against a counter with Gyaku-Zuki after doing Mawashi-Geri.

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Mawashi-Geri without a follow-up technique using the forward leg from a stepping movement. The rear leg is placed rapidly forward and the kick is done immediately with the forward leg. After this the standing leg should be placed to the rear again in order to get out of the opponent’s reach. The impulse for the gliding step to the rear comes from the forward leg

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In order to avoid injuring the opponent, particularly in the eyes, a middle line must be maintained and, above all, you must not kick using the toes or the ball of the foot. The instep and the toes of the kicking foot must point to the rear. Mawashi-Geri requires exact timing. The snapping back movement of the lower leg in this technique is done by experts with only a few millimetres separating the foot from its target. The posture of the upper body is critical and should be held as upright as possible. Similarly, the position of the arms is also critical. You should avoid holding the arms too far away from the body, so that when placing the foot down again, follow-up techniques, as well as guarding actions, can be timely executed. The placing down of the foot must be deliberate i.e., don’t just let the leg fall down again. The award of two points for a kick to the body area makes the Chudan version of this technique increasingly popular. The Mawashi-Geri, done using the rear leg from a stepping movement, is often combined with a preparatory technique. If the kick is done to the side of the opponent’s body, its intensity must be lessened. The side of the body is not so well protected by muscles and, if contact is too heavy, it can lead to injuries, particularly in the kidney region. It is recommended that you kick higher up in the region of the latissimus dorsi muscles.

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Mawashi-Geri Chudan using the rear leg, where both are leading with different legs. Prior to this you change the attack angle to the opponent by taking a 45° step to the side with the forward leg

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Mawashi-Geri Chudan using the rear leg, where both are leading with the same legs. The kick must get through under his guard on to the target

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Mawashi-Geri Chudan using the forward leg within a short reach to the opponent. Preparatory Gyaku-Zuki fake prior to Mawashi-Geri a

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Mawashi-Geri Jodan using a preparatory fake with Uraken, which distracts the opponent’s attention to the other side of the head

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The available versions of Mawashi-Geri are as numerous as those for Gyaku-Zuki and Kizami-Zuki. This means not only the way they are executed, but also the combinations possible with other kicks or Zukis. The disadvantage of Mawashi-Geri is the same as in any other kicks. At the moment that you are kicking, you are standing on one leg and are therefore rather vulnerable to leg sweeping techniques and throws i.e., any self-defence situation, where there is a chance of being struck in the lower areas. 4.8.2.2 Ura-Mawashi-Geri The way Ura-Mawashi-Geri, or the twisting form – Ushiro-Mawashi-Geri – is done with an arching sequence, offers similar advantages as well disadvantages as Mawashi-Geri. By using the arching movement of this technique, you can get round the opponent’s guard better, but you have to be certain to execute it with precision in order not to be swept away, thrown or counter-attacked. Just like all the other techniques, the successful use of Ura-Mawashi-Geri relies on untiring and continuous practice. In competition, you kick with the sole of the foot and not, as in a real fight, with the heel. You can pick to do the action equally as well with the front leg as well as the rear leg, and also out of the turn. The upper body must remain as upright as possible, and the rapid snapping movement of the lower leg must be coupled together with the impulse from the hips, which catapults the technique on to the target. As the kick comes in to the target, the foot does a hinging movement. After snapping back from the technique, the foot is placed down deliberately. a

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Ura-Mawashi-Geri with a stepping movement using the forward leg while both are standing with different legs leading

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Ura-Mawashi-Geri using the rear leg while both are standing with the same leading legs

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4.8.2.3 Mae-Geri Unfortunately, this efficient technique is not seen so often in competitions any more. Amongst other things, this is because of the danger of injuring the toes, which is due to the defence used. It must be said here that the value of this strong kick must not be underrated for self-defence in long reaches – that is, in general, when shoes are worn and therefore there is no danger of injury. In competition, you can only be successful if you make a determined kick without any delay in the flow of the movement. When doing this it is essential to steer the opponent’s guard upward in good time. In the example shown, it is done using a fake with a Gyaku-Zuki Jodan. You kick at the moment that the opponent adjusts his guard in order to protect himself against the faked Gyaku-Zuki, which is stopped abruptly, thus leaving the Chudan region open for a while. You can strike and contact the Chudan region, but the use of Mae-Geri to the head in competition is not foreseen, because of the lack of ability to control it. When kicking with Mae-Geri, there should be a determined and dynamic snap back done, and with the foot deliberately placed down, your guard should be prepared to avoid a counter or a follow-up technique from the opponent.

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Mae-Geri done with a Gyaku-Zuki feint

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Kumite for Competition 4.8.2.4 Ushiro-Geri The turn of the body, and the impulse that arises in this technique, gives UshiroGeri such a force, which, in respect of its striking effect, makes it by far the strongest in Karate. As with all the competition techniques, a solid basis from the Kihon training and the technical perfection of this technique are the prerequisites for its use. This includes the flowing, rapid turn into the opponent and the close passage of the kicking leg past the standing leg, in order to avoid doing an arching movement. Ushiro-Geri has to be executed absolutely straight. The striking point is the heel and not the side of the foot, while the toes are pointing downwards. The upper body is tipped forward a little in order to lend the use of the hips some necessary support. You have to pull back out of the technique immediately, once executed, and keep the arms always beside the body. As you turn, you must get your opponent directly in your line of sight by turning your head. Ushiro-Geri must strike the target area at the middle of the body. All other versions (too high or too low) hold a dangerous risk for the person being attacked. Differently to Kihon version, you try to bridge the gap to the opponent by making a gliding motion into him with the forward leg. At the same time, this enables a greater impulse and a more rapid execution of the technique. The jump version of this technique should only be practised or used, if at all, in competition when you have practised for a long time. It is very seldom seen in the competition scene. Generally, one tries to defend against Ushiro-Geri by gliding backwards, doing evading movements i.e., by also using the hands as blocks. More seldom is a direct counter, which requires a great deal of determination. a

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Ushiro-Geri as a counter using the front leg a

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The jump version of Ushiro-Geri

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Kumite for Competition 4.9 The Feint – Build-up and Technique There are numerous ways that you can score in competition. They all depend on the specific situation and the disposition of the fighter. The possibilities range from feinting a technique by quickly making a movement with the hips or shoulders, or by lifting the front leg as if to do a kick through to tricks such as staring for a moment at the opponent’s feet and then immediately doing a strike at the head. In modern competitive Kumite, with its rapid, stepping movements, you often see the movement of the leg pausing for a second or two. Then the quick attack follows on from this short pause in the flow of the movement. Often, combined with the short pause in the flow, there is a quick faking movement of the arms as if you were about to execute a Zuki. As you do this, the arms are only brought forward a little towards the opponent’s body, and then from this position into a rapid, explosive attack. The aim of the feint is to confuse the opponent for a short moment. Let us take, for example, the aim is to do a Jodan technique. The opponent’s attention has to be attracted to defending the Chudan region before you do the Jodan attack. Remaining with this simple example: The hips are quickly turned in, the arm and the shoulder fake a quick movement towards the Chudan as if for a Gyaku-Zuki, and then you attack immediately with a Kizami-Zuki. By virtue of the faking movement, the hips are in the optimum position so that all you need do now is the Suri-Ashi movement and turn away into Kizami-Zuki. It is important when faking that the opponent is given a short moment, in which he reacts to the fake. In training for the fake, one often notes that the movement is done too hastily after the fake or even the technique is done at the same time as the fake. The maxim here is: When the opponent moves his guard in the desired direction (in the example – Jodan), then the attack follows immediately after into the target area (in the example – Chudan). The transition from the faking movement into other fakes on the opponent is little. For example; pressing the forward arm down, or the quick twitch of the front leg, like before the attack with an Ashi-Barai, or any other actions, which might distract his concentration or cause him to change his guard.

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Feinting by rapidly lifting the forward leg with Gyaku-Zuki follow-on a

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Feinting an Ashi-Barai with Gyaku-Zuki follow-on a

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Feinting an Ashi-Barai with Mawashi-Geri follow-on

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Feinting Jodan Zuki with Gyaku-Zuki Chudan attack following-on a

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Pushing down the front arm with Uraken following a

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Kizami-Zuki: Feinting once, then strike afterwards a

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Staring at the feet and then doing Kizami-Zuki a

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Throwing a glance sideways and then Uraken

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Feinting an Ura-Mawashi-Geri and executing a Mawashi-Geri

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Shotokan Karate – Kumite-Shiai 4.10 Punching Combinations In the following section we show some Zuki-combinations. Despite the high scoring achieved when doing kicks or throws in competition nowadays, Zuki-techniques remain the basis of fighting and statistically are the most common scoring actions. The repertoire for these is so large that we can only show a small selection here. When combining Zuki-techniques, it should be noted that without complete mastery of the single techniques, of course, there can be no practical gain in using the combinations. In competitions today, you often see techniques, which are begun with a whole step forward either by using Oi-Zuki, Gyaku-Zuki or KizamiZuki. Generally, you see combinations of two techniques, which are complemented sometimes with kicks or throws. In combinations, the first stepping movement is executed in an explosive manner. The stepping movement is done, like in sprinting, quickly and spontaneously, and as this is done the first Zuki is done (technique to close the gap). Then, while the motion is still being done, the second technique follows through, even often before the foot has been placed down.

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Gyaku-Zuki done as a mixed technique

Gyaku-Zuki Jodan, then Gyaku-Zuki Chudan a

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Gyaku-Zuki Chudan, then Gyaku-Zuki Jodan a

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Suri-Ashi with Kizami-Zuki and then Yori-Ashi with Gyaku-Zuki a

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A lunge step with the opponent’s guard pushed away, followed up with Gyaku-Zuki

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Circular movement of the arms while taking a step forward. Another circular movement of the arms followed up with Gyaku-Zuki a

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A lunge step with Kizami-Zuki while defending with the rear hand then followed up with Gyaku-Zuki a

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The rear leg is drawn forward while doing Gyaku-Zuki, then a Yori-Ashi with Kizami-Zuki

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Kizami-Zuki, then Oi-Zuki

Gyaku-Zuki, Kizami-Zuki then a step with Gyaku-Zuki a

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4.11 Punching and Kicking Combinations Generally, it is difficult to start off directly against an experienced fighter by using a kick. Your intentions are too obvious to him. This is why a punch is best as a preparatory move in order to achieve success.

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Kizami-Zuki, Mae-Mawashi-Geri Jodan

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[Bilder Seite 113 ab unten] Gyaku-Zuki, Mawashi-Geri Jodan

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Gyaku-Zuki Jodan, Mawashi-Geri Chudan a

Kizami-Zuki, Ushiro-Geri

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Kizami-Zuki, Gyaku-Zuki, Mawashi-Geri with the front leg, then Mawashi-Geri Chudan with the rear leg

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Shotokan Karate – Kumite-Shiai 4.12 Sweeps and Throws Ashi-Barai offers a good method either to bring the opponent off balance or to make him fall. Following on from the sweeping technique or throw, a scoring technique must be executed straight away, otherwise even a successful sweeping action itself does not score a point without follow-up. There are many ways of using Ashi-Barai: You sweep away the opponent’s leg, either from the outside or the inside, sideways. Generally, the forward leg is the one to target. A successful attack on the rear leg, with the aim of sweeping both of the opponent’s legs away, is seldom any good. The classical method of Ashi-Barai – the sweeping kick – is often used when both fighters are standing exactly opposite each other and is done using the rear leg. The sweeping kick is also done with the forward leg when a ‘southpaw’ situation exists (Tori leading with the left foot and Uke with the right foot) since the reach is shorter. It must be noted that when doing a sweep with Ashi-Barai, the strike must be made with the middle of the sole of the foot. If you strike with the tip of the foot, the effect is less and there is good risk of injury to your own knee. In respect of injuring your own knee, this is also the case when doing a frontal sweeping kick against the opponent’s shin. a

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Ashi-Barai done on the outside with the rear leg

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Ashi-Barai on the inside with the rear leg

Ashi-Barai with the forward leg

Ashi-Barai as a counter against KizamiZuki attack using the front leg

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Kizami-Zuki, Gyaku-Zuki, Ashi-Barai, Gyaku-Zuki Gedan. Assisting the Ashi-Barai, the opponent’s Gyaku-Zuki arm is pushed down to the ground. In this way the maximum pivotal effect is achieved The target area is the opponent’s lower leg, just above the ankle. In a pulling (or hooking) Ashi-Barai, by contrast, you attempt to come up behind the leg on a height with the heel or Achilles tendon and pull (sweep) the leg in your direction. In the event of a follow-up technique, there is danger of injury, because the person being swept, is placed in an unstable position and often falls in the direction of the second, scoring technique. This has to be executed with great care and control. Often the technique is done in a short version in order to avoid hard contact. Further criteria, which are critical to the success or failure of Ashi-Barai are:  An attack with this sweeping technique against an opponent standing firmly is seldom successful.

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Kumite for Competition  You must catch the opponent with the sweeping kick exactly at the moment that he makes a move e.g., when he lifts a leg momentarily in order to start a movement, or at the moment when he places his leg down again on the ground.  A further aspect is often the lack of a correct guard being used by the attacker employing the Ashi-Barai. At the second of doing the sweep, you are in danger, when faced with an experienced opponent, because if you have dropped your guard, you can be countered. As a general rule, Ashi-Barai is best suited for fighters, who are heavier than their opponents. The series of pictures show three ways how you can defend against an Ashi-Barai. Firstly: Glide into the technique and then stand firmly with all your weight over the forward leg. This works only if you have realised the intention (anticipation training). Secondly: The forward leg is pulled up sharply and the attacker loses his balance and can be countered. The knee must be pulled up really quickly and high, in order not to be struck eventually by too high a sweeping technique that has begun. Thirdly: Glide in and do a direct counter (De-Ai) with Gyaku-Zuki.

DEFENCE AGAINST THE ASHI-BARAI

Stand with the weight of the body over the front leg and do a counter

Pull up the front leg

Glide into the attack with De-Ai Gyaku-Zuki

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In competitions, throwing techniques are increasingly being used. Even when one decides to use the more risky versions of these, because of the short distance one has to the opponent, you should understand the basic principles in order to be able to adapt them. A throw is used either in defence or in an attack, mostly combined with preparatory techniques. In the defence, the throw is most suitable, above all, against attacks with kicks. In the following series of pictures, we show numerous examples of these throws. When throwing, done in the attack form, it all depends on bridging the distance to the opponent as quickly as possible, being able to grab him and immediately get him off balance. This happens by cutting away (reaping) his forward leg or levering him over. The reaping method (O-Soto-Gari) is the more quicker form and can prevent the opponent’s standing leg from twisting and injuring his knee. As tempting as it might seem to be able to beat the opponent with such ease, it is also not without danger. The thrower must be aware of his responsibility towards the opponent. Being able to fall correctly is not the speciality of each and every fighter. Therefore it is advisable, when throwing, to keep contact with the opponent in order to permit a quick but safe landing. It is equally important to note that if the opponent is placing too much weight on his standing leg at the moment of the reaping action, there is the possibility of injury to the knee. In training for the reaping action, as well as for throwing, a good grounding in the method of falling down is indispensable. What do you do if you are thrown? In competition or Randori, it is sometimes possible that as you fall, you turn so that you are far enough away from the opponent and can hold him off by kicking at him. If he is unable to quickly follow through with his finishing technique, because of your action, the fight is halted and the throw is not given a point. On the other hand, the thrower can try to brush the legs of the person on the ground sideways and push his follow-up technique through.

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ATTACK FORM OF THE ATTACK a

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Stepping over the forward leg and reaping with O-Soto-Gari or throwing with O-Soto-Oshi

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Stepping inside and reaping away the forward leg

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Feinting an Ura-Mawashi-Geri and then reaping the forward leg

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THE COUNTER a

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The attacker’s step sequence is dodged round and the opponent is thrown

Attack with Mawashi-Geri; the leg is caught and you carry on the step sequence into the opponent, then O-Soto-Ashi

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Attack with Ushiro-Geri; go into the attack and then throw the opponent. When gliding in, move out of the line of attack

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ON THE GROUND a

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The person thrown; turn round immediately towards the opponent and prevent the follow-up technique by kicking at him a

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The thrower; brush the legs to one side immediately and bring the person lying on the ground into a position where you can take advantage of your follow-up technique

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Karate Techniques for Close Range Fighting

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his chapter is designed to supplement the Kumite forms, covered so far, with some more techniques. These either don’t appear in competitive Kumite, in the predominantly middle and long reach areas (with the exception of throwing techniques), or they are not too often practised in training, although they do belong to the classical Karate repertoire. At this juncture I would like to make a reservation: Of course, the classic middle distance techniques (Kizami-Zuki, Gyaku-Zuki and Uraken) can also be used at a shorter distance. In this latter case, they are not so explosively effective, but are still always successful. Following this, it is sensible that, not only competitors but all Karatekas have these techniques up their sleeve, both in the long as well as a short reach version. The following very effective techniques, especially when fighting with a close reach, represent only a small selection of the possibilities for infighting. I would not wish to be accused of not providing a complete list here, and have merely included those, which are my personal preferences and which, to my opinion, are efficient ones. There are numerous other further possibilities in existence and these are also included in the Kata. Several lever or finger techniques (e.g., in the Kata – Chinte) contained in the Shotokan Kata, need not be repeated here, since these are often practised in Bunkai. The selection in the repertoire shown here are suitable to a large degree for use in creative application as preparatory steps for a typical selfdefence situation. At this point, the term self-defence plays a big role. As a supplement to the different, traditional Kumite forms that have been learned as techniques and reaction methods in training, the perfection of these short reach techniques contribute to increasing your capability. You should practise them often in different variations so that you can call on them as easily as those that are your classical basic techniques. It is recommended that you show some leniency, when training with a partner, and pay care and attention, particularly when vital spots are being targeted. The maxim of training with absolute control should be remembered. Carry out those techniques a little slower in the beginning of practice. Then try out with full force on the punchingbag or Makiwara.

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5.1 Positions The first two positions shown (below) are suitable – as well as a shorter Jiyu-Dachi – for close-quarter fighting, because they protect the lower abdomen and still afford sufficient stability. Just like all the positions in Karate, they are ideal positions. For the self-defence situation, they only provide a basic pattern around which you have to work to come up with your own individual form.

5.1.1 Neko-Achi-Dachi The defensive position: The body’s centre of balance is placed over the rear leg. This leaves the forward leg free to protect yourself against kicks to the lower abdomen, as well as being able to use it carry out kicks yourself. The tension in the leg goes towards the inside and it is in this way that the abdomen is protected. At close range, it is recommended that first of all you don’t stand as deeply as you do in Kata. This is the way to act before an obvious attack is coming. When it does arrive, then you can drop the centre of balance down. At the beginning, the hands are loosely positioned in front of the body, but nevertheless ready to be able to immediately react with a defensive action or a counter.

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Relaxed starting position

A head butt is one of the greatest dangers when at close reach. It is done using the skull and not the forehead

A frontal head butt

The head butt rearwards

Preparation for the close reach: React immediately, do not hold your own head forward. Create a gap and then attack or protect your own head when at close reach

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The bent arms held in front of the body play an important role. They act like ‘feelers’ that first detect someone grabbing or carrying out an attack and have to prevent it. At close reach it is essential to watch out carefully and avoid ‘nasty tricks’ that are very effective, but rather use them yourself! This includes, for example, the head butt after the ritual of being threatened or intimidated for a while, or in the moment of being grabbed. The arms serve the purpose to stop the distance being closed, so that you can react appropriately.

5.1.2 Sanchin-Dachi In Sanchin-Dachi, the weight of the body is centred over the middle of the stance. The knees are bent inwards and the legs are also tensioned towards the inside. In the same way, you largely avoid that the lower abdomen is going to be struck. The positioning of the hands in an emergency can similarly be held as described in the Neko-Ashi-Dachi. Sanchin-Dachi is particularly suitable, for example, to allow you to use the hips for strong elbow techniques. It is important, in both of the positions addressed, to hold the back straight and avoid leaning the upper body forwards.

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Shotokan Karate – Techniques 5.2 Age-Uke, Soto-Uke and Uchi-Uke These blocks, well known to all Karateka from Kihon and Kata, contain – and not all Karateka know this point – that, besides having the function of being able to make a strong block using them, they can also be used as a pivot, or in the case of Age-Uke, as an attack to the chin.

Age-Uke as an attack against the head

Age-Uke as a lever

Soto-Uke as a lever

Uchi-Uke as a lever

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5.3 Empi-Uchi Numerous versions of this technique are known from the Kata. It is worthwhile practising Empi intensively and in different forms. The various techniques with the elbow are the strongest and likewise, at the same time, most economic techniques that Karate has on offer. You don’t have to stretch or warm up in order to carry them out strongly. The dynamics necessary comes from the explosive rotation of the hips and turning in of the shoulders when executing Empi. The shoulders and the arms should remain loose and the Empi should be executed as quickly as possible at the same moment as the hip rotation. The striking point used is the bone at the tip of the elbow. It is hard and can bring about a tremendous effect. Training tip: Practise in Kihon how to stop and lock the movement. Train slowly with the partner and use full force on the pads, both as a single technique or as a combination. Mawashi-Empi

Empi out of a turn a

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Age-Empi a

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Combination Age-Empi, Mawashi-Empi a

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Using Empi to free from a grip, turn the hips and then do another turn with a Mawashi-Empi as a counter

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5.4 Taisho-Uchi The strike with the palm of the hand against the chin, nose or the solar plexus belongs to the repertoire for short distance fighting. The wrist must be completely flexed upwards when executing it. Combined with the use of the hips, it can be as strong as Gyaku-Zuki. Without any preparation, done as a quick shock technique against one of the vital points, it creates time for a strong follow-up technique, or to allow you to rapidly get out of the line of fire.

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Taisho against the chin a

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Taisho against the body

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Shotokan Karate – Techniques 5.5 Ura-Zuki You use the Ura-Zuki, either to strike a punch to the body – in Karate this is the most usual form – or to come up under the opponent’s guard against his chin. The impulse here comes from the shoulders and from the hips.

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5.6 Tate-Zuki In the Tate-Zuki the fist is held vertically. Its application and use resemble the other arm techniques. In the example shown, Tate-Zuki is used immediately after blocking the opponent’s arm.

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5.7 Shuto-Uchi The version of this strike with the edge of the hand has been modified in the example shown, insofar as the strike to the side of the neck is being made with the lower arm rather than the edge of the hand. The opponent is being pulled by the grabbed arm, using Hikite. In this form, you can use it also in a close distance.

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Shotokan Karate – Techniques 5.8 Tettsui-Uchi In Karate, there is hardly a technique that strikes down on the opponent from above. This ‘hammer’ strike, called Tettsui-Uchi is one of these rare techniques. Its strength is proportionate to the length of how far one pulls back to execute it. In the example shown, it is done from above. a

b

5.9 Mawashi-Zuki This technique is a circular swinging technique and similar to the swing in boxing. In the example shown, it is used out of the clinch, where the striking arm is still free. The impulse for this strike comes from the shoulders. a

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5.10 Hiza-Geri The strike with the knee is often used as a follow-up technique after grabbing the opponent within the infight distance. The example shown here demonstrates a counter against a Zuki-attack. The third example demonstrates the sideways version of Hiza-Geri as a follow-up technique after Empi. a

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Hiza-Geri used as a counter a

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Hiza-Geri done as a jump a

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Combination: Empi, Hiza-Geri

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T

he kicks shown in this chapter are also not practised much in normal training, because, on the one hand they do not count as a competition technique, but also because they are difficult to control and thus in training could lead to causing injuries. Nevertheless, one should practise them. When done with a partner, they should be done slowly in order to get a feeling for the distance required. To practise them using full force, they should be done using the punching bag.

6.1 Kin-Geri Kin-Geri is executed with a straight leg like Mae-Geri. The striking surface is the instep, just like the Kumite version of Mawashi-Geri, i.e., the toes are pulled back up. If you are near enough to the opponent, you can also use the shin. The advantage of this version is that it is easier to hit when aiming at the vital point – the opponent’s testicles. The following examples show this version as well as the use of Kin-Geri as a counter against an attack with a high kick.

Kin-Geri as a counter

Kin-Geri as a counter against Mawashi Geri

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Shotokan Karate – Techniques 6.2 Mawashi-Geri Gedan In traditional Karate competitions, Mawashi-Geri Gedan or low-level kick is forbidden. Nevertheless, Mawashi-Geri Gedan belongs to the traditional Karate techniques. One should know this technique, and also, in loose sparring around with a partner, try it out with a maximum of sensitivity. The kick to the thigh or sideways against the knee joint has tremendous effect if it is done without any warning and is done with full speed of the rear leg. This kick is divided into three different types here: Attack from the outside to the leg, attack on the inside to the leg and as a blocking technique against a foot attack. The defensive technique against the first two of these versions shown, is done using the lower leg. The problem of this low kick, for the person executing it, is similar to that of Ashi-Barai: If you are standing too high or drop the guard as the kick is made, you are vulnerable to a counter.

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Mawashi-Geri Gedan from the outside

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Mawashi-Geri Gedan from the inside

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Mawashi-Geri Gedan against an attack with a Mawashi-Geri Jodan

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Defence against a Mawashi-Geri Gedan with the lower leg/shinbone

6.3 Kakato-Geri This is a risky technique for the person executing it. The maxim here is the same as in all high kicks: Don’t use it in self-defence. In a real self-defence situation, you should not kick up high. Firstly, it is often not possible to do because of the space required, and secondly, instability and the danger lurking that you will be attacked by an experienced opponent and struck in the lower abdomen at the same time. Nevertheless … you should get to know this technique so that you know how to react to it. It is characterised by the uncontrollable force that is in the end point, transmitted by the heel as the kick occurs. It can be found also in use in competition as a technique to reap away the opponent’s guard. Actually, the kick is aimed up at the collarbone or the head and requires a great deal of agility.

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Shotokan Karate – Techniques 6.4 Stopping Kicks This kick is easily recognisable from Kihon and Kata. Here, we show some ways on how to stop an opponent with Yoko-Geri and other kicks; first of all in the classical form to the body, then to the legs and then from the defence on the ground. Further stopping kicks are from the inside against the legs or into the groin, as well as from the ground into the opponent’s face and body.

Stopping kick to the body

Frontal stopping kick against the knee

Stopping kick to the inside of the knee

Frontal stopping kick against the thigh

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Stopping kick to the lower abdomen from the floor

Stopping kick against the knee from the floor

Stopping kick against the face from the floor

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Shotokan Karate – Techniques 6.5 Mikazuki-Geri The classical application of this sideways, crescent kick is to reap away the forward guard hand, or anything that the hand is holding. The second version (below) shows an alternative possibility of doing it on the inside against the head. Again, here, there is the reservation about self-defence: High kicking techniques are risky because of the reasons mentioned already. a

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A

s a follow-up to the controlled execution of the Karate techniques you should also train for strikes with full impact. Nearly every Karate technique can be practised with full power and its effect checked, tried out and improved. As there is not always the possibility to have a punching bag or Makiwara available, it is recommended to use training pads here. In this way you are not only able to train the standard techniques, which can be used on a partner with low intensity contact, but also the techniques, which are too dangerous on account of their uncontrollability. These can now be trained with full contact. At the same time this also serves to keep your fitness up. Flexibility, speed and reaction can be practised using hand pads. However, this should only be carried out with reduced contact to keep the respective control.

a

b

d

e

c

Training with devices: Here, all the techniques can be practised at full force

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Punching Bag/Training Pads/Makiwara

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Hand pads: Flexibility and light contact training

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Conclusion

8

Conclusion

F

or most Karateka, self-defence plays an increasingly lesser role the longer they practise Karate. This is the same with followers of other martial arts. Other aspects overshadow this aspect such as fun at moving about, interest in fitness, the thrill of sporting prowess, the aim of continuing on the path of Karate-Do and much more besides. Nevertheless: Karate is (also) self-defence. I am quite sure that the perfection of the whole spectrum offered by Karate will not lead to invincibility. However, there will be an enormous potential present to be able to hold one’s ground in extreme situations. Fortunately, situations such as these are more seldom than they are often made out to be. One can often consciously avoid them. Whoever practises a martial art, should be clear that in a real self-defence situation, responsibility should always prevail. What you have learned should only be brought into play in threatening situation. Those who are interested more in this aspect and who have practised Karate long and hard, know that they possess an instrument that is versatile, and that it does not cover all aspects. Which of the martial arts can give you this? Sometimes a comparison is made amongst martial arts. Example: Aren’t Judoka or wrestlers better fighters on the ground? Can Thai boxers kick harder? The answer is clearly “Yes“. Even when you practise a bit of it, it will never be better than they are. If such comparisons must be made – and I believe they are not necessary – the answer can only be: You have to be able to use the weapons offered to you in your particular martial art adequately. And, on top of this, master them and always continue to perfect them further. You can gain much, when you try out other martial arts, especially when you do have the time to train in them. But who has that much time? You should know about them, but not necessarily practise them. In particular, it is worthwhile taking a good look at Judo. This can give you a good supplement to Karate with sweeping and throws and fighting on the ground. Also getting to terms with psychological matters and the “dirty tricks“ of self-defence is well worthwhile. With this in mind I have included a number of literary tips in the appendix.

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My main concern in writing this book was to give tips and encouragement for readers to get to know the different aspects of Kumite in Karate. Even if it sounds strange: Kumite is fun, you only have to practise it seriously, but also with the care and consideration for your partner, and not least for yourself. Even the longest way begins with the first step.

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Appendix

9

Appendix

9.1 Bibliography Karate Literature The History and Theory of Karate Bittmann, H. (1999). Karatedo. Der Weg der leeren Hand. Ludwigsburg: Bittmann Verlag. Cook, H. (2001). Shotokan Karate, a precise History. England. Funakoshi, G. (1978). Karate-Do Kyohan. Tokio: Kodansha. Funakoshi, G. (1983). Karate-Do. Mein Weg. Weidental: Kristkeitz. Groenewold, M. (2002). Karate, the Japanese Way. Ishikawa-Ken: Usagi Press. Hassel, R. G. (1994). Conversations with the Master Masatoshi Nakayama. St. Louis: Damashi Publications. Hassell, R. G. (1998). Shotokan Karate: Its History and Evolution. St. Louis: Focus Publications. Reilly, R. L. (1998). Complete Shotokan Karate. Boston: Charles E. Tuttlle. Reilly, R.L. (2000). The Secrets of Shotokan Karate. Boston: Charles E. Tuttle. Schlatt (1995). Shotokan No Hyakkajiten. Lauda: Sake Verlag.

Karate Techniques Croft, A. (2001). Shotokan Karate. Ramsbury: Crowwood Press. Deutscher Karate-Verband e.V. (1998). Shotokan Prüfungsordnung. Gladbeck. Eichert, R. Karate – Rahmentrainingskonzeption für Kinder und Jugendliche im Leistungssport. Ofterdingen o.J. Enoeda, K. (1996). Shotokan Karate 10th Kyu to 6th Kyu. London: A & C Black. Enoeda, K. (1996). Shotokan Karate 5th Kyu to Black Belt. London: A & C Black. Enoeda, K. (1999). Shotokan Karate Free Fighting Techniques. London: Crompton. Evans. B. & Christopher, R. (1997). Get to Grips with Competition Karate. London: Ward Lock. Grupp, J. (2002). Shotokan Karate Kata 1. Aachen: Meyer & Meyer. Grupp, J. (2003). Shotokan Karate Kata 2. Aachen: Meyer & Meyer. Grupp, J. (2001). Shotokan Karate. Kihon, Kumite, Kata. Aachen: Meyer & Meyer. Kanazawa, H. (1987). SKI Kumite Kyohan. Tokio.

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Nakayama, M. (1972). Karate-Do. Dynamic Karate. Sprendlingen: Budo Verlag. Nakayama, M. (1989). Karateperfekt Kumite Bd. 3-4. Niedernhausen: Falken. Nakayama, M. (1994). Karate zur Selbstverteidigung 1-2. Niedernhausen: Falken. Nishiyama, H. & Brown, R. C. (2001). Karate. Lauda: Sake Verlag. Okazaki, T. & Stricevic, M. V. (1994). Modernes Karate. Niedernhausen: Falken. Tanaka, M. (1997). Kumite in Perfektion. Lauda: Sake Verlag.

Training and Training Methods Jordan, A. (2001). Train your Back. Aachen: Meyer & Meyer. Jordan, A. & Linse, M. (2002). Kräftigen und Dehnen. Aachen: Meyer & Meyer. Kunath, P. (2001). Sportpsychologie. Aachen: Meyer & Meyer. Michaelis, P. (2000). Moderne Funktionelle Gymnastik. Aachen: Meyer & Meyer. Pampus, B. (2001). Schnellkrafttraining. Aachen: Meyer & Meyer.

Other Martial Arts and Self-defence Höller, J. & Maluschka, A. (2003). Taekwondo – Self -Defence. Aachen: Meyer & Meyer. Jakhel, R. (2002). Modern Sports Karate. Aachen: Meyer & Meyer. Kernspecht, K. (2001). Blitzdefence. Burg/Fehmarn: Wu-Shu Verlag. MacYoung, M. (2001). Billige Tricks, Hinterhalte und andere Lektionen. Buchholz: Michael-Kahnert-Verlag. Nonnenmacher, K. (2002). Kickboxen. München: Copress Verlag. Rebac, Z. (1998). Thai-Boxen. Berlin: Weinmann. Schäfer, A. (2002). Richtig Judo. München: BLV. Sde-Or, I. & Eyal Y. (2003). Krav Maga. Berlin: Weinmann.

9.2 Glossary Japanese Technical Terms A Age-Uke Ai Uchi Antei Ashi-Barai

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Rising block At the same time, making the same movements at the same time Balance, equilibrium Sweep

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Atemi-points Atenai Oni Ato Shibaraku

Vital points of the body A warning for contact …there’s still a little time left

B Barai Bunkai Budo

Sweeping movement Training techniques of a Kata with a partner Japanese martial arts

C Choku-Zuki Chudan Chui

A straight punch from the Hachi-Dachi position Mid-section of the body A warning

D Dachi Dai Dan De-Ai Do Dojo

Stance / position Big, great Black belt grade, grade of master Direct counter The path to spiritual and good moral behaviour The training hall

E Embusen Empi Empi-Uchi Enchosen

Diagram of the steps for a Kata Elbow An attack delivered with the elbow Prolongation (of a period of fighting)

F Fudo Fujubun Fumi Fumikomi-Achi

Firm, deeply rooted Not enough Stamping movement with the foot A step made with a stamping movement

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Shotokan Karate G Gaiwan Gedan Gedan-Barai Gohon-Kumite Go No Sen Gyaku Gyaku-Zuki

Outer edge of the arm Lower area of the body, below the belt area Downward Block Five-step sparring Taking the initiative to counter Reverse side to the forward leg Reverse punch (e.g., left foot forward, right Zuki)

H Haisho-Uke Haito Haiwan Hajime Hangetsu-Dachi Hanmi Hansoku Hantei Hara Hasami-Uchi Heisoku-Dachi Hidari Hikite Hikiwake Hiza

Backhand block The (sword) edge of the hand The upper edge of the arm “Begin!“ The command given for opponents to start a fight ‘Half-moon’ or crescent posture Stance with the hips half-turned to one side Disqualification Decision ‘Belly’, centre of the body, the body’s spiritual and inner centre of gravity Strike with a scissor action Standing posture, feet together Left Movement of the reverse arm backwards while the Zuki is done with the other arm A draw, equal score Knee

I Ikken Hissatsu Ippon Ippon-Kumite

A decisive, deadly technique A full point An attack using only one technique (step)

J Jogai Jiyu

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Outside the limits of the mat contest area Free

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Jiyu-Kumite Jiyu-Ippon-Kumite Jodan Juji-Uke

Free Sparring One-step sparring Upper level Cross hands/wrists block

K Kachi Kaeshi-Ippon-Kumite Kagi-Zuki Kai-Ashi Kakato Kaki-Wake-Uke Kamae Karateka Karate-Gi Kata Keage Kekomi Keri Kiai Kiba-Dachi Kihon Kime Kizami-Zuki Kokutsu-Dachi Kumite

Contest winner Attack and counter one-step Kumite A hooked punch Step Heel Wedge block Starting position, guard Anyone who practises Karate Karate training uniform Form, sequence, method Kick with a withdrawing snapping action A penetrating kick Kick (also spelled Geri) Karate Shout Straddle leg-stance Basic Focussing all one’s physical and psychological force (at the end of the technique) Jab Back Stance Sparring

M Maai Mae Mae-Ashi-Geri Mae-Empi Mae-Geri Makiwara Mawashi-Geri Mawate Migi

The distance between two opponents Front, in front A front kick with the leading leg A front attack with the elbow A kick to the front with the rear leg Punching Board Roundhouse kick Turn Right, on the right, right hand side

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Mikazuki-Geri Mokuzo Morote-Uchi-Ude-Uke Musubi-Dachi

Crescent kick A meditative posture for concentrating and breathing with closed eyes Augmented inside to outside block Feet positioned at 600 apart, heels touching together

N Nagashi-Uke Naiwan Nami-Ashi Neko-Ashi-Dachi Nukite

Block using the inside of the forearm Inside of the arm Blocking movement by bending the leg up to protect the target ‘Cat stance’, the weight of the body is almost completely over the rear leg Spear hand

O Oi-Komi Oi-Zuki Otagani-Rei Otoshi-Uke

Technique using a full step Lunge punch Formal bow of greeting to the other training participants Defence from above downwards

R Randori Rei Ren-Geri Ren-Zuki

Free Sparring Karate bow, greeting Two-step kicking movement Alternate punches

S Sabaki Sanbon-Kumite Sanchin-Dachi Seiza Sen no Sen Sensei-Ni-Rei

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Body Shifting Three-step sparring Stance with knees and feet turned in to protect the lower abdomen Kneeling posture sitting on the heels at the beginning and end of training Initiative in an attack Formal bow of greeting to training teacher

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Shiai Shikkaku Shizentai Shobu Shomen Shuto-Uchi Shuto-Uke Shuwan Soto-Ude-Uke Sun Dome Suri-Ashi

Competition Referee announcing a defeat/disqualification Natural posture with the feet shoulder width apart Contest Centred to the front Attack with the ‘sword-hand’, edge of the hand Defensive movement edge of the hand Underside of the arm Block using the edge of the forearm from the inside to the outside Bringing attacks to a sudden halt just before making contact with the target Sliding step (starting with the front foot)

T Tate-Empi Tate-Shuto-Uke Tate-Zuki Te Teisho Teisho-Uke Te-Otoshi-Uke Tettsui-Uchi Tokui Kata Tori Tsugi-Ashi Tsuki Tsutsukete

Upward elbow strike Blocking a blow using the edge of the hand stretched out Vertical fist punch Hand Palm of the hand Block with palm of the hand Hand block from above downwards Fist blow using the back (little finger) edge of the hand in a reaping action ‘Favourite’ Kata The attacker Sliding the feet forward one after the other rear foot first Punch (also spelled Zuki) Carry on with the contest

U Uchi Uchi-Ude-Uke Ude

Strike Inside arm block Forearm

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Uke Uraken-Uchi Ura-Mawashi-Geri Ura-Zuki Ushiro-Geri

Defensive movement Back fist strike Roundhouse with the heel or sole of the foot Close punch Back kick

V Yama-Zuki Yame Yoi Yoko Yoko-Geri Yoko-Uraken-Uchi Yori-Ashi

“Mountain fist“. A wide U-shaped double punch Stop! “Get ready!“ Lateral, side Side-kick Sideways strike with the back of the fist Sliding movement

W Waza Wazari

Technique A half-point

Z Zanshin Zenkutsu-Dachi Zuki

State of physical and mental prepareduess Front stance Blow, punch (also spelled Tsuki)

Acknowledgement I would like to thank all, without whose help this book would not have been possible: Tanja Schwabe, John Dahl, Felix Engeln, Frank Engster and Andreas Gaede for their patience as demonstrators during the photographic work. Tanja Schwabe for her contribution and encouragement with the content. Prof Dr Dieter Korschelt for his critical check of the manuscript. Christian Fritsch and Jana Rohleder from Fotostudio FTB-Werbefotografie Berlin as well as Gerhard Axmann for his help with the design. Last not least, thanks to Monika Wedel for the photos of competitions on Pages 78 and 79.

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Photo & Illustration Credits Cover Layout: Cover Photos: Photos internal:

Jens Vogelsang, Aachen FTB-Werbefotografie, C Fritsch FTB-Werbefotografie, C Fritsch Page 78-79 Monika Wedel

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Shotokan Karate Kihon, Kumite, Kata

This standard work offers assistance to all Shotokan Karateka, which they will want to use when training or intensively preparing their fighting skills – whether they are beginners or advanced students, pupils or coaches. All the facets of this demanding fighting art are covered in an easily understandable manner. This is a complete package for anyone who wishes to improve himself in this type of martial art.

152 pages Two-color print More than 400 photos Paperback, 5 3/4” x 8 1/4” ISBN 1-84126-071-1 £ 12.95 UK/$ 17.95 US $ 25.95 CDN/E 16.90

MEYER & MEYER Sport | [email protected] | www.m-m-sports.com

MARTIAL ARTS

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Shotokan Karate KATA Vol.1 The Kata are the backbone of Karate. Continually practising them allows the whole spectrum of possibilities contained in Karate to be revealed. The Kata consist of a fascinating multitude of techniques, which permit defence in close contact as well as at medium and long distance with your partner. Situations where the Kata can be applied are comprehensively explained in this book.

224 pages Two-color print More than 1,000 photos Paperback, 5 3/4” x 8 1/4” ISBN 1-84126-088-6 £ 12.95 UK/$ 17.95 US e 16.90 $ 25.95 CDN/e

MEYER & MEYER Sport | [email protected] | www.m-m-sports.com

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Shotokan Karate KATA Vol.2 The Master Kata described in this book belong to the advanced part of the repertoire and carry on from the 17 basic and advanced Kata introduced in Volume 1. This then completes the list of all the Shotokan Karate Kata. There are 9 Kata with Bunkai in this book: Sochin, Meikyo, Chinte, Kanku-Sho, Wankan, Ji'in, Jitte, Gankaku, Unsu. There are more than 600 photos and detailed descriptions, which allow a deeper understanding of the Kata and their application.

152 pages Two-color print 682 photos Paperback, 5 3/4” x 8 1/4” ISBN 1-84126-091-6 £ 12.95 UK/$ 17.95 US $ 25.95 CDN/e 16.90

MEYER & MEYER Sport | [email protected] | www.m-m-sports.com

MARTIAL ARTS

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Seite 1

THE BOOK

THE AUTHOR Joachim Grupp has been practicing Karate since 1976. He holds a 4th Dan in Shotokan Karate and is instructor of a Karate Club in Berlin. He has already published three earlier works on this subject entitled ‘Shotokan Karate – Kihon, Kumite, Kata’, ‘Shotokan Karate – Kata Vol 1’ and ‘Shotokan Karate – Kata Vol 2’.

SHOTOKAN KARATE KUMITE

Following on from KIHON and KATA, this fourth book in the series covers the third pillar of Shotokan Karate – KUMITE – meaning sparring. In it, the various forms of combat sparring in Shotokan Karate are explained and covered in a wide span between the simple ones to the more complex ones. In this way, a broad palette is covered from the first exercises with a partner in the grading programme up to the more flexible forms of sparring. Using numerous photos, the Kareteka is lead, step by step, through the techniques. The reader also goes through which techniques and actions promise more success in competition. Likewise, further themes cover tactics in competition as well as preparatory training for competition. Tips on self-defence apart from the competitive variants round off the subject.

JOACHIM GRUPP

www.m-m-sports.com