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Northampton
Karate Members' Manual
Copyright Northampton Karate llc
CONTENTS
1. Welcome
To Northampton Karate
2. Statement
of Purpose
3.The
History Of Okinawan Karate
4. The Shorin
Ryu Lineage
5. The
Shorin Ryu Kata
6. The Dojo
Calligraphy
7. Karate
Terminology
8. Counting
WELCOME
TO NORTHAMPTON KARATE
As a new member of Northampton
Karate you will see that your
karate training will help you
do better in everything you do.
With sincere and
consistent practice you can literally
get stronger, more flexible and
more skillful every day of your
life. There is no need to wait
a long time before you start to
see results. You will feel healthier,
more focused and more balanced
within a few weeks of getting started.
At first it is
important to take things step by
step and not feel that you have
to do everything at once. Nothing
that you are doing in class should
hurt. If you do get sore muscles
after your first class, let your
instructor know, so that he or
she can help you continue to train
-- while letting those muscles
rest and recover.
You will see that
there are lots of high points in
your karate training. You will
be able to do things that you never
thought you could. But there will
also be some challenges, both physical
and mental. By sticking with it
and seeing your way through these
challenges you inevitably become
stronger.
Everything we
do in the Dojo has a purpose. Nothing
is arbitrary. Everything is designed
to help you make the most efficient
use of your time to become as strong,
flexible, balanced and focused
as possible. If there is anything
you don't understand -- from new
moves, vocabulary or Dojo procedures
-- feel free to ask. The whole
Dojo is set up so that you can
enjoy your training and do well.
To get the most
out of life -- at work, at home,
at school, in personal life, in
athletics -- it is best to be healthy,
confident, good-hearted and strong.
As the old saying (from Lao Tzu)
goes: "A journey of ten thousand
miles begins with a single step."
Enjoy your journey.
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STATEMENT OF PURPOSE
Practice goes straight ahead, although
conditions and circumstances
change. We hope that people will
see the benefit of leading a
life of practice, and so will
begin. Each of us has to lead
our own life. We need strong
practice to accomplish our goals.
Adults and children alike need
a daily practice that asks them
to try hard, focus deeply, become
healthy and recognize the true
correspondence between strength
and kindness. A practice that rewards
them, inwardly and outwardly, with
the natural result of their efforts:
health, inner stability, good relationships
with others, a sense of responsibility
for one's own life and of shared
responsibility for the world around
us. That is the mission and the
intended effect of our programs.
Back
to the top
THE
HISTORY OF OKINAWAN KARATE
The origins of Okinawan
karate are difficult to trace.
There are several theories concerning
the development of karate on this
small group of islands.
Records
of contact between China and
Okinawa are mentioned in the
court history of the Chinese
Sui Dynasty (which ended in 618
AD). Some cultural exchange occurred,
probably including the exchange
of martial skills. From that time
until the 14th century however,
no written record of martial arts
exchange exists. Oral traditions
maintain that this was a time when
there was a great deal of information
about martial practices flowing
between China and Okinawa. Legend
has it that the indigenous Okinawan
fighting style called "tode" was
mingled with Chinese and other
South East Asian influences. Traditionally
the Chinese characters pronounced "karate" were
the ones which translate as "T'ang
hand."
T'ang was the name of the ruling
Chinese Dynasty during much of
this period. This suggests that
there was some connection between
the art of karate and its Chinese
antecedents.
It
is known that in 1392 a Chinese
cultural and trade mission to
the Ryukyuan Kingdom known as
the "36 families" settled
in Kumemura village on Okinawa.
Among this group were some individuals
trained in martial arts. It is
guessed that some of them taught
the Okinawans. During this period
the Okinawan port of Naha became
a busy crossroads for trade. Among
the many cultural and economic
benefits of this trend was the
Okinawans' newfound access to the
martial arts of travelers, traders
and sailors from other Asian countries.
Speculation that kicking techniques
were imported from Indonesia is
based on material recorded in the
Okinawan National Archive destroyed
in the bombing in World War II.
Those records stated that at this
time there were official embassies
from 44 countries, including representatives
from areas that are now Vietnam,
Thailand, Malaysia, Java and Korea.
Okinawa
served as a transshipment and
warehousing point for goods from
all over East Asia. Okinawan
sailors were often hired by traders
from other countries to transport
their goods. The Okinawans had
a reputation for being the most
experienced and most skilled
sailors of the stormy and treacherous
waters of the western Pacific.
The name Okinawa means a "rope
in the water."
For sailors caught at sea in typhoons
the Ryukyu chain -- of which the
island of Okinawa is the largest
island -- often provided the nearest
haven. The Ryukyuan archipelago
arcs like a rope thrown across
the water from southern Kyushu
in Japan, towards Taiwan and mainland
China.
Chinese
court records of this period
noted two extraordinary qualities
of the Okinawan people. Both
of these are reflected in Okinawan
karate. One of these two qualities
was the Okinawans highly refined
sense of "propriety."
Propriety was one of the chief
virtues of Confucian philosophy,
the philosophy that guided the
Chinese culture for millennia.
This
remarkable propriety referred
partly to the Okinawans perfect
performance of the elaborate
court rituals. These formal functions
were the most important obligation
of most small Chinese tributary
states. But a further mark of the
"propriety" of the Okinawans
noted by the Chinese is one of
which court records make special
note: the Okinawans were the most
scrupulously honest of all China's
trading partners. They were never
known to cheat on transactions.
They always delivered what they
promised, the amount of goods arriving
at port always matching the bill
of lading, and they never tried
to extract more than fair payment.
The
fact that the Chinese praised
the Okinawans so highly for their
propriety was a source of tremendous
pride to the Okinawan people.
The "Shuri
No Mon" or Shuri Gate, the
only structure in the Shuri Castle
precincts which survived the bombing
during the Battle Of Okinawa in
the final days of W.W.II, carries
a plaque which was presented originally
by the Emperor of China. It reads "Shu
Rei Do" or, Land Of Propriety,
the Chinese name for Okinawa.
The other quality
the Chinese annals mention is one
which may be seen as a further
extension of the Okinawans' characteristic
sense of propriety and fairness.
They were absolutely relentless
in defense of their ships and possessions.
The Okinawans are peaceful and
gracious people. But it was known
that pirates, one of the chief
perils of sea travel, would go
out of their way to avoid ships
flying the Okinawan flag. The few
cases in which pirates attempted
to raid an Okinawan ship ended
with the pirates killed or captured.
It is not hard to
understand why the Okinawans took
self defense so seriously: ocean
commerce and the biannual trade
mission to China provided the majority
of the Ryukyuan Kingdom's income.
If the ships and their cargoes
were lost the people of the island
would be reduced to poverty.
As the prosperity
of the island increased, strife
between neighboring feudal lords
on Okinawa became a severe drain
on the country's resources. To
end it, and unite the country under
his rule, King Sho Hashi banned
the ownership of weapons on Okinawa
in 1429. The ban was reinforced
by his grandson, King Sho Shin,
in 1477. It is an interesting side
note that this policy, and the
requirement that rural nobles spend
a considerable part of the year
in residence at the capital in
Shuri, were two policies that were
previously unheard of and quite
effective in centralized rule and
quelling civil strife. Both were
copied exactly by the Shoguns in
Japan two centuries later, to great
and lasting effect.
King Sho Shin also
promulgated a caste structure among
the gentry, establishing as one
of many social divisions, the pechin
class. The pechin had an upper
and lower division -- for gentry
and commoners -- and was further
stratified based on seniority.
The pechin class was charged with
enforcing the law and providing
military defense to the nation.
The pechin class was also responsible
for the development of and training
in the martial arts. Especially
important to them were unarmed
self-defense techniques.
For these reasons
the empty hand martial arts developed
on the island of Okinawa under
great pressure of practical need.
Unlike the large imperial nations
of Japan and China, which had large,
armed, standing armies, the Okinawans
needed to be able to use their
hands in self defense. Of necessity
they refined unarmed martial arts
to a degree which may have been
unmatched anywhere else in the
world.
In 1609 a Japanese
invasion ended Ryukyuan independence
in all but name. The ban on the
ownership of weapons was extended
to include the Okinawan military.
Legend has it that the Okinawans
from that time on trained secretly,
in the vast network of limestone
caves that underlie the island,
in secluded pine forests, and on
the long, isolated stretches of
beach, where the sound of the waves
hid the sounds of training from
the occupying patrols.
There
was some localized resistance
to the Japanese occupation but
it was unsuccessful. In 1629
the various Okinawan martial
societies united. The new fighting
style developing at this time
was called, simply, "te".
Te means hands. The aim of these
arts was far removed from sports
or fitness. The need of the Okinawan
people at this time was, every
day, a matter of life and death:
to protect their homes, families
and towns from robbery, rape
and murder.
There were some Okinawans
who traveled to China to study
martial arts. Sometimes they went
as members of embassies. In some
cases they were selected to be
a member of an elite group of students,
sent every other year, who were
chosen to study in the Chinese
capital as a prelude to a career
in the Ryukyuan ruling elite.
The martial arts
exchange worked in both directions.
The names of some famous Chinese
martial artists who visited Okinawa
and were influential in the development
of Okinawan karate include Saifa,
Seiunchin, Ason, Waishinzan, Ananaku,
Chinto, and Kusanku.
There were three
groupings of styles on Okinawa
which emerged. Each has its own
emphasis and characteristics. Each
is named for the area in which
it was practiced. Shuri-te, practiced
by the royal family and their guards;
Naha-te practiced in the port district;
and Tomari-te, practiced outside
the capital area. Shorin Ryu, emphasizing
speed and accuracy as well as natural
breathing descends from the Shuri-te
style. The Naha-te descendants
tend to emphasize power and rootedness
as well as controlled breathing.
The Naihanchi kata derive from
the Naha-te tradition.
In the late 20th
century the Shorin Ryu style has
branched in a number of directions.
Some of the main post-war branches
include Shobayashi Shorin Ryu (Small
Forest Style), Kobayashi Shorin
Ryu (Young Forest Style), Matsubayashi
Shorin Ryu (Pine Forest Style),
and Matsumura Seito or Family Style,
handed down within the family of
Matsumura Sokon.
All the Shorin styles
are named for the Shaolin (pronounced
Shorin in Japanese) Monastery in
Henan Province, China. This is
the legendary birthplace of karate
and Chinese Ch'an meditation (pronounced
Zen in Japanese), and was an active
Buddhist monastery and fort for
much of its 1500 year history.
The system of martial arts that
were developed at Shaolin spread
across China, to Korea and Japan,
and to many countries beyond.
In the first decade
of the 20th century karate was
made available to the public on
Okinawa, for the first time ever.
This was an era when the Japanese
dominated public life on Okinawa,
and when militarization of the
culture was government policy.
The Japanese officers recruiting
young Okinawans for the China campaigns
noticed that some of their Okinawan
conscripts were tremendously fit
and powerful. When they realized
that this was a result of karate
practice, the decision was made
to make karate part of the required
curriculum for boys in Okinawan
schools.
Yasutsune Itosu devised
a system of kata for public training.
He created the Pinan kata which
deleted much of the more difficult,
subtle and deadly content from
the karate techniques, but retained
the physical fitness benefits.
In the 1920's karate
was first demonstrated outside
of Okinawa, by Kentsu Yabu on Hawaii
and later in Los Angeles. At about
the same time Gichin Funakoshi,
another Okinawan Shorin Ryu practitioner,
demonstrated karate on mainland
Japan, at the annual national martial
arts festival. He remained in Japan
where the Shorin Ryu he taught
was renamed Shotokan by his students.
It is now strongly influenced in
it movements and mindset by the
Japanese sport of Kendo (fencing
with bamboo swords.)
In 1936 the term
karate, meaning empty hand, was
officially applied to the Okinawan
bare handed martial arts. It was
changed from the homonymous word
meaning T'ang or Chinese hand.
This change was another one made
under the influence of the Japanese
domination of Okinawan culture.
Karate gained a lot
of popularity in the years after
World War II, during the U.S. occupation
of Okinawa and Japan. The U.S.
administration banned the practice
of judo and Kendo in Japan. These
were the traditional practices
of the military forces, and were
considered a threat to the return
of Japanese society to a peacetime
culture. The practice of karate
was permitted. The Japanese did
not understand it well and turned
it into a sport, using tournaments,
points, judges and so on. This
system was exported from Japan
all around the world. It has lately
even infiltrated back into Okinawa
itself. It was never a part of
the traditional practice of karate.
U.S. servicemen, enthusiastic but
unskilled practitioners in many
cases, returned to the U.S. and
opened karate schools. Some invited
their Okinawan teachers to teach
in the U.S.
Today there are millions
of karate practitioners all around
the world. Most continue to practice
the diluted and superficial form
of karate that was popularized
early in the century, and which
was the type offered to the hundreds
of thousands of American servicemen
in the years following W.W.II.
A few schools however are restoring
the lost aspects of the art --
tuite, nagewaza, kyushojutsu, kiko,
etc. -- which were retained in
the practice of just a handful
of Okinawan masters. Most of these
have been reluctant to share their
more profound knowledge with outsiders.
A few, fortunately, have.
Because of the effort
of many thousands of practitioners
known and unknown who have passed
the art of Shorin Ryu karate to
us, we are able to practice, learn,
and develop the profound and practical
modern art of karate. As a result
we have access to an endless source
of strength, clarity and peace
of mind; a means to make our lives
and the lives of the people we
know, better and better.
Back
to the top
THE
SHORIN RYU LINEAGE
|
Bodhidharma
The recorded history of Matsubayashi Shorin Ryu dates back to the
middle of the 18th century. But the roots of the style extend back at
least 1500 years. At that time, according to legend, an Indian Buddhist
monk named Bodhidharma traveled to China, settling at the Shaolin
Monastery to teach martial arts and meditation. He is considered the
father of the Shaolin stream of Chinese martial arts. He is also the
first patriarch of Zen. |
Chatan
Yara
Soon after the Ryukyuan kingdom entered into formal relations with
China in the 1390's Chatan Yara went to China, probably as part of the
first embassy. He studied martial arts while he was there, staying 20
years before returning to Okinawa.
|
Chinto
Chinto was the name of a Chinese martial artist who, according to
legend was shipwrecked on Okinawa. One of our advanced kata is named
for him.
|
Kusanku
Kusanku was a Chinese military
attaché stationed
on Okinawa early in the
18th century. He taught several
Okinawans his style.
The highest kata of our
style is named for him.
|
Sakugawa
Sakugawa (1733-1815) was a leading student of Kusanku. He also studied
with Pechin Takahara, a member of the king's guard. He traveled to the
interior of China to train at the Shaolin temple. He is credited for
handing down the Kusanku kata, and for creating one of the most famous
Bo kata called Sakugawa no kun. His moral instructions for martial arts
practitioners, the Dojo Kun, are central to the philosophy of Okinawan
martial arts.
|
Bushi
Matsumura
Sokon "Bushi" Matsumura
(1796-1893) is credited with
formulating much the collection
of karate kata that make up
the curriculum of practice
that we follow today. He is
the creator of the Shorin Ryu.
The kata he passed on to his
students include the three
Naihanchi kata as well as Ananku,
Wanshu, Passai, and Chinto.
All the later members of our
lineage trained under him directly,
or with his students.
|
Yasustune
Itosu
Yasutsune "Anko" Itosu
(1830-1915) created the Pinan
kata group as a means to train
Okinawan high school students
in a simplified version of
karate. His nickname Anko means
Iron Horse. It derived from
his reputation for immense
physical power.
|
Kentsu
Yabu
Kentsu Yabu (1863-1937) served in the front lines in the Japanese
army's invasion of China. He was known as "The Sergeant", a
relentlessly tough disciplinarian in the Dojo. He is the only man known
to have ever defeated Choki Motobu in kumite. He is also one of the
first ever to demonstrate Okinawan karate overseas -- in Hawaii and Los
Angeles, in the 1920's. |
|
Choki
Motobu
Choki Motobu (1871-1944) was
not entitled to learn his family's
style of martial arts because
according to their tradition,
only the eldest son was eligible
to study. He tried to watch
training through a hole in
the fence. When this proved
unsuccessful he turned to his
own methods -- lifting rocks
for strength and punching trees
for power.
His nickname
was "Saru," the
monkey. He was a great jumper
and could climb trees upside
down. He was also known as
a trouble maker, inclined
to start fights to test his
power. |
Eventually
karate master Kosaku Matsumura
(the second Matsumura for
whom Matsubayashi Ryu is
named) taught him some kata.
He traveled to Japan in 1921
and while there attended
an open boxing match where
a professional fighter from
Russia challenged anyone
who wanted to fight him.
Motobu, in the presence of
thousands of fans and numerous
Japanese newspaper reporters,
knocked the Russian out with
one punch. Motobu was 50
years old at the time. Later
in life he underwent a change
of heart. He studied formally
with other Okinawan masters
back home and some years
later opened his own Dojo.
He pioneered the use of yakusoku
kumite as a training method.
This was his chief contribution
to the Shorin Ryu curriculum. |
|
Chomo
Hanashiro
Chomo Hanashiro (1869-1945) devised the new kanji for karate, creating
the usage "empty hand" as a replacement for "Chinese hand. |
|
Chotoku
Kyan
Chotoku Kyan (1870-1945) trained
under Bushi Matsumura, Kosaku
Matsumura and Anko Itosu. He
was one of the preeminent karate
men of his time. He was challenged
many times but he was never
defeated. He trained Shoshin
Nagamine and Chosin Chibana,
among many others. His school
is known as the Shobayashi
Ryu.
|
In
his time the countryside
and many of the roads in
Okinawa were controlled by
gangs who would beat and
rob passersby. In those days
martial artists were often
called on to aid the police
in getting rid of these gangs.
Stories are told about Kyan's
ability to defeat numerous
opponents single-handedly,
his refusal to back down
even in the face of superior
numbers, and his efforts
to return orderly civil life
to Okinawa. He is remembered
as a master of kiko as he
always emphasized the development
of the hara (tanden) in practice. |
Chosin
Chibana
Chosin Chibana (1887-1969) studied under Anko Itosu for 15 years. He
was regarded as one of the two most outstanding karatemen of his
generation. He was the founder of the Kobayashi Ryu branch of Shorin
Ryu.
|
|
Chojun
Miyagi
Chojun Miyagi (1888-1953) traveled to China to study and practiced on Okinawa
under Kenwa Mabuni. He created Fukyugata Ni; and he went on to found his own
style |
|
Ankichi
Aragaki
Ankichi Aragaki (1899-1927) studied with Chomo Hanashiro, Chosin
Chibana, and Chotoku Kyan. He inspired Shoshin Nagamine in many ways,
including his insight into Okinawa's unique cultural heritage and his
understanding of karate. He was a proponent of the toe tip or spear
foot version of the mae-geri, the primary kicking technique of our
style. |
|
Shoshin
Nagamine
Shoshin Nagamine (1907-1997)
was the founder of the Matsubayashi
Shorin Ryu style. He trained
under Ankichi Aragaki and Choki
Motobu. He primary teacher
was Chotoku Kyan. His approach
to karate is detailed in his
book The Essence
Of Okinawan Karate-Do, which
is the text book of our school. |
He
was a police officer on
Okinawa, and eventually
rose to the position of
Chief Of Police. He opened
his karate Dojo to the
public in 1947 in order
to help the young people
of Okinawa during the chaotic
and desperate years after
World War II. He was a devoted
practitioner of Zen meditation.
One of his
Zen teachers was Sogen Sakiyama,
Roshi, senior Zen priest
on Okinawa. Shoshin Nagamine
was the head of the Okinawan
Karate Federation, the governing
body of all Okinawan Karate
styles. He lived by the philosophy "Ken
Zen Ichi Nyo" -- Karate
and Zen are as one. |
|
Jeffrey
Brooks
Jeffrey M. Brooks, founder of the Northampton Karate Dojo, began
martial arts training in 1978. After studying several styles he chose
Shorin Ryu for its practicality and the commitment of founder Shoshin
Nagamine to the practice of karate and Zen as one. In 1988 Jeffrey
Brooks opened Northampton Karate Dojo. He traveled several times to
Okinawa to study, training with Shoshin Nagamine, and with senior
people associated with him including the Kishaba brothers. |
He
holds the 7th degree Black
Belt rank. Outside karate
programs include: Hampshire
Regional YMCA, the Northampton
Recreation Department, Tri-County
Youth Program, Eaglebrook
School and others.
In addition
to martial arts and Zen practice,
Jeffrey Brooks is a screenwriter
and speech writer. He attended
the State University of New
York with a scholarship for
writing from ABC News. He
received a fellowship from
NYU Film School, and completed
the Master of Fine Arts program
in screenwriting. Since 1986
he and his collaborators
have won the Gold Award at
the New York Film Festival
12 times, as well as many
other awards.
|
Back
to the top
THE
KATA OF SHORIN RYU
The training kata:
White Belt -- Fukyugata Ichi, created
by Shoshin Nagamine
RoKyu, One Green Tip -- Fukyugata
Ni, created by Chojun Miyagi.
GoKyu, Two Green Tips -- Training
exercise OyotanRen
YonKyu, Green Belt -- Pinan ShoDan
and Pinan NiDan, created by Anko
Itosu
SanKyu, Brown Tips -- Pinan SanDan,
Pinan YonDan, Pinan GoDan, by Anko
Itosu
NiKyu, Brown Belt -- Naihanchi
Sho, created by Bushi Matsumura
Ikkyu, Black Tips -- Naihanchi
Ni and Naihanchi San, by Bushi
Matsumura
The traditional kata:
Wankan
Ananku
Wanshu
Rohai
Passai
Chinto
Gojushiho
Kusanku
These traditional kata of Shorin
Ryu can trace their origins back
to the martial arts of China. Each
one offers its own set of tactics
and techniques. Each one presents
a unique approach to dealing with
multiple opponents. Together they
form a comprehensive system.
The most advanced practitioner
select one of these advanced kata
and use it for decades as the means
to perfect their karate and themselves.
Back
to the top
THE
DOJO CALLIGRAPHY
On the walls of the Dojo hang
some pieces of Japanese kanji calligraphy.
Each of the pieces has a meaning
relevant to our training, and each
has a further significance because
of its author and the circumstances
under which it was written.
On the front wall is a group of
four pieces. The upper and lower
pieces were written and given to
Jeffrey Brooks by Sakiyama Roshi,
at a ceremony at Kozen-ji temple.
The middle row of two pieces was
given to Jeffrey Brooks by Eido
Roshi, a Japanese Zen teacher based
in the United States and dharma
brother (they trained in the monastery
together) of Sakiyama Roshi.
The piece
on the top is a Zen symbol called
an "Enso".
It can be interpreted as representing
unity, eternity, oneness, continuity
and ceaseless change or sunyata,
emptiness.
The two
pieces in the middle row read "Ichi" and "Ho";
together they are pronounced "Ippo." This
means One Truth. They were presented
to Jeffrey Brooks following a discussion
of the relationship of Zen and
karate.
In the recess
on the front wall is a calligraphy
that reads "Nin
Tai". This means endurance
in the sense of not yielding to
anger or frustration or other negative
emotions in the face of difficulty.
It is one of the "six perfections" or
actions of an enlightening being.
On the back
wall is a famous saying "Karate
Ni Sente Nashi." It can be
translated as "There is no
first attack in karate."
On the window
wall are two pieces of calligraphy.
The one on the left reads
"Bun Bu Ryo Do". This
means the harmony of pen and sword.
Literally the characters mean Peace
War Both Ways. It represents the
ideal of the cultivated person
in samurai philosophy -- to develop
mastery of both the martial arts
and the arts of literature (especially
for administration and persuasion)
-- as the way to master one's self
and to become an effective leader.
It was given to Jeffrey Brooks
by Sensei Ryuhei Teneya, a top
ranking Kendo master. At the time
that he wrote it he was in his
eighties, and was the Sensei of
the Japanese National Kendo Champion.
He suggested that it be the motto
of the Dojo.
The calligraphy
on the window wall closer to
the front wall reads "Shojin".
It means Pure Effort. It is complementary
to Nin Tai.
Back
to the top
KARATE
TERMINOLOGY
Anza...............................Crossed
legged seated posture
Arigato...........................Thank
you
Atemi..............................Breaking
Bo...................................Long
Staff
Bunkai.............................Divide
and analyze
Chishi...............................Strength
stone
Chudan.............................Middle
Dan...................................Black
Belt rank
Dachi.................................Stance
Do.....................................Way
Dojo..................................School,
way place
Dozo.................................Please
Eku...................................Oar
Fukyugata.........................Basic
kata
Gedan...............................Lower
Geri...................................Kick
Gi......................................Uniform
Hajime...............................Begin
Hara..................................Center
of the body
Hidari.................................Left
Hiji ate...............................Elbow
strike
Hikite……………………..Returning
hand
Jodan.................................Upper
Kama..................................Sickle
Kara...................................Empty
Karate.................................Empty
hand
Kata....................................Form;
a set of fighting moves against
imaginary opponents
Ki........................................Energy
Kiai......................................Convergence
of energy and spirit
Kime....................................Focused
energy
Kosa dachi...........................Crossed
leg stance
Kumite.................................Crossing
hands; fighting practice
Kyotske................................Attention
Kyu......................................Rank
below black belt
Maai.....................................Distance
Mae......................................Front
Matsubayashi Ryu.................Pine
Forest style; Shorin Ryu
Mawashi................................Round
Mawatte................................Turn
Migi......................................Right
Naihanchi...............................Gripping
the earth from within
Nunchuku..............................Grain
flail
Obi........................................Belt
Onegaishimasu.......................Please
teach me; I request
OyotanRen.............................Apply
and refine; basic exercise
Pinan......................................Peaceful
spirit
Ren Zoku...............................Flowing;
without a count
Rei.........................................Bow;
courtesy
Sai..........................................anti-sword
weapon
Seiken....................................Fist
Seiza......................................Kneeling
position
Sempai....................................Senior
Sensei......................................Teacher
Shihan.....................................Director
Shinden...................................Predecessors
Shinden ni rei..........................Bow
to those who have come before us
Shotto matte...........................Wait
a minute
Shuto.......................................Knife
hand
Tanden.....................................Hara;
center of vital energy
Tanden kumite..........................Fighting
from the center; three point arm
training
Tonfa........................................Mill
handle
Uke...........................................Block
Uraken......................................Back
fist
Waza.........................................Technique
Yakusoku Kumite......................Pre-arranged
fighting
Yame.........................................Stop
Yoi............................................Ready
Yoko..........................................Side
Zuki...........................................Punch
Back
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COUNTING
Ichi............................One
Ni..............................Two
San............................Three
She (or Yon)..............Four
Go..............................Five
Ro (Roku)..................Six
She (Shichi)................Seven
Hachi..........................Eight
Ku...............................Nine
Jyu..............................Ten
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