1Ttl KYU

KOSHO RYU KEMPO

RANK REQUIREMENTS AND NOTES

8th KYU

YELLOW BELT

KATA

HACHYHENKAY

This kata is preformed by jumping from the center position on the diagram below to each number in sequence. On numbers 1, 3, 4, 5, and 7 the hands sweep up and are held open at the moment of landing and the body faces the direction hopped. On numbers 8, 2, and 6, one hand is held at the level of the floating rib and one at the level of the shoulder (mix up which one). This is a pure Kosho kata and is governed by freedom of movement not rigid rules.

Zenkustsu Hachihenkai is preformed by stepping to the angle immediately to the left or right of the angel being moved to and performing a gadon bari uke. This helps to learn the zenkutsudachi.

Kokutsu Hachihenkay is preformed by stepping along the angel being moved to and performing a shuto uke.

KRAXBERGER SHIHAN KATAS

These Kata where designed by Mr. Kraxberger in the summer of 2001 to teach basic skills to new students. These katas are also designed to be taught over a long time. Meaning a student will learn only the stances block ect that they use in other Kata at that time. All hand strikes and blocks are preformed to #1 on the octagon to matter the direction actually being faced.

Mr. K > Woodie

DACHI NO KATA

Begin at Hachiji dachi facing #1

Open toe/ heel to Heisoku dachi #1

Open toe / heel to Fudo dachi #1

Open toe / heel to Kiba dachi #1

Rotate right foot on heel to 45 degrees to Zenkutsu dachi #5

Rotate right foot on ball to Kokutsu dachi #4

Suck in right foot to #7 Neko ashi dachi #7

Lift right foot to ippon dachi facing #1

Set right foot in front to Juji dachi facing #1

Right foot slides back to # 6 for a Hangetsu dachi to #1

Right foot up to Kiba dachi #1

(Reveres from Kiba dachi)

UCHI NO KATA

The pattern of blocks is gadon barai uke, Soto chudan uke, uchi chudan uke, Shuto uke, augai uke,

SHODAN

Kiba dachi, turn left into a Zenkutsu dachi to #5 and perform pattern with left hand.

Reveres Zenkutsu dachi to # 7 and perform the sequence with the left hand.

NIDAN

Same as Shodan but turn to left block, turn to right same block then turn to left do the next block, turn to right same block as last time, ect.

SANDAN

Begin by turning to the left and blocking turn to the right and perform the next block turn to the left and do the next block ect. Then repeat on the other side.

ATAMI NO KATA SHODAN

All strikes are in sets of four the sequence goes, right inward Tettsui ken, inward Shuto uke, inward ridge hand, empi. On the forth empi (a left one) throw a left Tettsui ken and continue the pattern on the other side.

ATEMI NO KATA NIDAN

Kiba dachi all strikes are right left

Punch to chudon level

Vertical fist to chudan level

Uraken zuki to imagined side of chin

Sideways palm to floating ribs

Vertical palm to coiler bone on second one retract and punch to chudan, continue in the reversed pattern.

JUNI IPPO KATA

The foot pattern is the same for all Juni Ippo Kata. All stances are Zenkutsu dachi unless otherwise noted. In Nidon the punch goes to the lower tanden and an upward block is preformed. In sandon the punch is mid chest and a lower level sweeping block is preformed.

Robert Tias> Larry K>Woodie

Yoi

Raise the left hand to shoulder level and retract it to the right hip in a cover while chambering the right hand.

Step punch three times.

Open the right hand while still extended from the punch.

Cross step with a left lead Juji dachi to a #4 front stance.

Make a half circle with the hand beginning at the bottom and moving in.

Punch

Step and hook punch

Step punch twice.

With the hand still extended from the last punch, open the hand take one step, then pick the heals and pivot to #2.

Reverse punch

Step then reverse punch 3 times

Then step and throw a smother like a reverse hook/spear-hand

Cross the right leg behind unwind to a Zenkutsu dachi facing #1 and block

Step up and Yoi.

KNOW

Cho Chiku bai

Kigan: Ogamita / praying hands

Kai ishue: Muta / emptpy / open fist

HokenP: Hiken / covered fist

7th KYU

ORANGE BELT

STANCES

HEISOKU DACHI (Crescent Moon Stance): Feet are double shoulder width feet are straight. Identical to the horse stance accept that the opponents center is framed by the feet.

HEIKO DACHI (parallel Stance): Feet touching each other and pointed straight ahead.

SHIKO DACHI (Square stance A.K.A. sumo stance) : identical to the Kiba Dachi but the toes are turned out 45.

SANCHIN DACHI (Hour Glass or three conflicts stance) feet are at 1.25 shoulder width both feet are turned in. the feet are pushing to rotate out the knees are pushing to collapse in on them selves.

STRIKES

TATE KEN (VERTICAL FIST)

TETSUI KEN (HAMMER FIST)

HIRA KEN ZUKI (HALF FIST)

SHOTEI (HEAL OF PALM)

HAITO (INNER KNIFE HAND)

NUKITE SPEAR HAND

KICKS

HIZA GERI KNEE KICK

KIN GERI GROIN KICK

KAKE GERI HOOK KICK

YOKO KEAGE SHOVEL KICK

KANSETSU GERI JOINT KICK

UCHI MAWASHI GERI INSIDE ROUND

SOTO MAWASHI GERI OUTSIDE ROIJNO

KATA

PINON SHODAN

Yoi

Fall to #3 Hidari Zenkutsu dachi, gadon barai

Step punch

Cross behind with the lead leg; turn to #4 gadon barai uke

Shift the front foot into Kokutsu dachi Migi Tettsui ken

Step forward into Zenkutsu dachi and oi zuki

Shift back to face #1 Hidari gadon barai uke, with the same hand augai uke (open the hand)

Step Migi uagi uke (open the hand)

Step Hidari augi uke (open the hand)

Step Migi augi uke (do not open the hand)

Turn behind to # 4 and gadon barai uke

Oi zuki

Shift front foot to turn to the right to face #3 Zenkutsu dachi, gadon barai

Oi zuki

Shift front foot to turn left into a Zenkutsu dachi to #2 gadon barai

Oi zuki

Step into a haiku dachi and Hidari zuki

Step out to a Migi Zenkutsu dachi and oi zuki ki-ei

Shift back foot to #4 turn to Hidari Kokutsu dachi and Shuto uke

Step to #6 Shuto uke

Slide front foot back along the line last stepped until it meets the other foot then push it to #3 and Shuto uke

Step to #8 and Shuto uke

Yoi

PINON NIDAN

JO KATA SHODAN

JO KATA NIDAN

REQUIRED TAPES

PINON 1-5

HSTORY

NAHA,TOMARE & SHURI

YUKINAGA KONISHl

KATO KORIMASA

JIGARO KANO

HIDIORI OTSUKA

MOREI UYESHIBA

CHOKI MOTOBU

KOSHO RESTORITIVE

SEDTION CYCLE

TONIFICATION CYCLE_

A.WATER_ B.FIRE_ C.METAL_ D.WOOD

E.EARTH_?

A.WOOD_ B. FIRE_ C.EARTH_D. METAL_

E.WATER_?

ONNA NO UKE WAZA

NOSE SIDE

EAR SIDE

BUNKAI

A.NAGAE_ B. YAWARA NO WAZA

UKI NO WAZA

OUTER KNEE

INNER KNEE

BOTH SlDES OF OCTOGONE

REQUIRED CLASSES

KUMITE 1. 2. 3. 4. 5. 6.

ATEMI NO WAZA 1. 2. 3. 4. 5. 6.

NAG4E NO WAZA 1. 2. 3. 4. 5. 6. 7.

KOBUTO 1. 2. 3. 4. 5. 6. 7.

SHODO

6th KYU

PURPEL BELT

KATA

PINON YONDAN

PINON GODAN

KI NO KATA

OCTOGON 3/8 182

JO KATAS

SANDAN-YONDAN

TAPES REQUIRED

BUNNKAI 1-5

GAMAE

REQUIRED CLASSES

KUMITE 1. 2. 3. 4. 5. 6.

ATEMI NO WAZA 1. 2. 3. 4. 5. 6. 7.

NAGAE NO WAZA 1. 2. 3. 4. 5. 6. 7.

KOBUTO 1. 2. 3. 4. 5. 6. 7.

HISTORY

GENRAL CHOI

HWANG GEE

MIAMOTO MUSASHI

YAGYU MININORI

CHOGEN MIYAGI

GOGEN YAMAGUCtlI

GICHEN FUNIKOSHI

ARUKI NO WAZA

KUMITE APPILCATION

LEFT LEED /RGIHT

DISTORTION POSITION

A.NOSE_ EAR_

ONNA NO ATEMI WAZA

YAWARA NO WAZA

FRONT TWO HAND

FROM RIGHT HAND

WRIST GRAB

CROSS GRAB

BUNKAI OF A GRAB RELESS

PROPER GAMAE FOR ONNA NO ATEMI

PROPPER GAMME FOR GRAB

PRPPPER GAMME FOR ROUNDHOUSE PUNCH

HISTORY

SID ASUCION (KENKABO)

EDMUND PARKER(AMERICAN KENPO)

ADRIANO EMPERADO (KAJUKEMPO)

ROGER CALLEIJO (KODENKAN KARATE)

TINO TELOSAGOS(LAMA LAMA)

WAITER GODIN (KENPO)

RALPH CASTRO (SHAOIN KEMPO)

SIMION ELI (THIRD SCHOOL HEAD)

HENRY OKAZAKI (KODENKAN JUJITSU)

SIG KUFERATH (DANZAN RYU)

BROTHER ABE (KAJUKEMPO)

KATA DENSHO

JUNI IPPO

OCTAGON

PINON KATA

JO KATA

NEKO BUTO

OCTAGON

3/8 DRILL 1,2,3,4

YAWARA WAZA WRIST 1-4

GAMAE 1-4

SHU GYO LEVEL

GERI NO WAZA

UKE NO WAZA

ZUKI NO WAZA

YAWARA NO WAZA

NAGAE NO WAZA

ATEMI NO WAZA

KATAS

NEKO BUTO SHODAN

NEKO BUTO NlDAN

NEKO BUTO SANDAN

JO KATA

NAI-HAN-CHI

REQUIRED CLASSES

KUMITE 1, 2, 3, 4, 5, 6

ATEMI NO WAZA 1, 2, 3, 4, 5, 6, 7

NAGAE NO WAZA 1, 2, 3, 4, 5, 6

KESHI RYU

MAEGOSHI (ASAYAMA ICHIDEN RYU)

Three steps forward while preparing to draw sword.

Yoko kasa draw

Yoko notoe / chuburi

Zazen

Thre steps backward

MUSOGAESHI (SHIDO MUNEN RYU)

Three streps forward while preparing to draw the sword

Tsuka uatai

Turn 180 degrees while drawing in a ichimangi

Shomen

Yoko notoe/chuburi

Turn 180 degrees

Zazen

Three steps back

MIGI NO TEKI (KYOSHIN MUYOCKI RYUJ

Three streps forward while preparing to draw the sword

Turn to the right and draw in a showmen

Shomen

Shomen

Yoko notoe/chuburi

Turn 90 degrees

Zazen

Three steps back

MAWARIGAKE (TAMIN RYU)

Take three steps forward while preparing to draw the sword

Turn to the left and draw in an ichi mangi

Shomen

Yoko notoe/chuburi

Turn 90 degrees

Zazen

Three steps back

SHIHO (TATSUMU RYU)

Take Three steps forward while preparing to dwaw the sword

Turn left and draw in a shomen

Shomen

Turn 180 dregrees and shomen

Shomen

Tunr 90 drgrees to the left and shomen

Shomen

Yoko notoe/chuburi

Zazen

Three steps back

TERMS

SAYA; THE SHEATH

TSUBA; THE GUARD

HABAKI; PART THAT SEPARATES BLADE EROM SEPPA

TANG; BASE OF BLADE

OBI; BELT

IAI HIZA

REQUIRED TEXT

WHAT IS SELF-DEFENSE

LAST DISCIPLE

REQUIRED SEMINARS AND TAPES

NEKO BUTO AND BUNKAI

SHODO #1

SHlATSU #2

S.K S.K. IAIDO SEMINAR

S.K.SK. RESTORATION SEMINAR

RESTORITIVE

DEFINE YANG CONDITION

DEFINE YIN CONDITION

WHAT IS THE THEORY OF JIN SHIN DO (WAY OF THE COMPASSIONATE SPIRIT)

OCTOGON 12,6,3

1, 2, 3, 4, 5, 6

4th KYU

GREEN BELTKATAS

NAI-HAN-CHI NIDAN

NAI-HAN-CHI SANDAN

ENN NO GYO SHODAN

TENSHO KATA

TERMS

ASHI ATE WAZA (FOOT AND LEG STRIKING)

ATO UCHI WAZA (EEIMING TRICKS)

BOGYO GERI (KICKING DEEENSES)

CHUSAN WAZA (CENTERING EXERCISES)

DENSHO (LEGEND)

HYOSHI (TIMING)

JIYU KUMITE (FREE SPARRING TRICKS)

KANSETSU WAZA (LOCKING TRICKS)

KIERU WAZA (DISAPPEARING TRICKS)

KIHON TEKI (FUNDAMENTAL)

NE WAZA (GROUND TRICKS)

REISHIKI (ETIQUETTE)

KOGA KEN KEIKO (REPOSITIONING WITH SWORD)

KOSHI WAZA (HIP THROWING)

MA Al (DISTANCING)

TAPES REQUIRED

FREEZING

NAI-HAN-CHI

THROWING

KEYS 1-6

SHODO #2

SHODO

UPWARD CURVING BIT

RISING HORSES BIT

BOWED HORSES BIT

MOTHER DOT

IVORY SCEPTER

HANGING NEEDLE

CARPENTERS SQUARE

HISTORY

AARON BANKS

ROBERT TRIAS

TOM CONNORS

AL REYES SR.

AL DECASCOS

TONY RAMOS

STEVE ARMSTRONG

ROBFERT RAPUE

NISHIYAMA

OSHIMA

KUBOTA

KOSHO RESTORATIVE

HEADACHE

HIP RELEASE

BASIC THEORY 0F SHIATSU

TRACE CONCEPTION VESSEL

TRACE GOVERNING VESSEL

OCTAGON

3/8 DRILL 1-5

ARUKI NO WAZA ALL ANGLES_

APPLICATION

BOGYO WAZA

KANSETSU WAZA

KOGA KEN KEIKO

ASHI ATE WAZA

3rd KYU

BROWN BELT

ATEMI NO WAZA

1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20

KANSETSU NO WAZA

1, 2, 3, 4, 5

BOGYO WAZA

1, 2, 3, 4, 5 APPROVED

KOGA KEN KEIKO

1, 2, 3, 4, 5 APPROVED

KNOW

BUNKAI OF JUNI IPPO

PINON 1-5

UNDERSTANDING OF NOGARE, NOGARENI AND IBUKI BREATHING

RADICALS AND DEFINITIONS FROM 1-124

UNDERSTAND AND KNOW WAYS OF USING TRAINING

MEDICINES

PRINCIPLES OF CAGING

ATEMI

KUMITE

NAGAE

KATAS

ENN NO GYO NIDAN

ENN NO GYO SANDAN

NAI HAN NO KATA

OUTSIDE KATA;

WANCHU KATA

Woodie Rentz< Bonifacio Samson,< John Murphy Bill Chun

Gathered Papers

From Mitose's "In Search of Kenpo," p. 38

THE HONORABLE GREAT GRAND MASTER (THANK YOU-MASA)

In the town of Kumamoto, in Southern Japan, lived a Great Grand Master of Kosho-Shorei True Self-Defense. He was also a master of psychology. When this story happened, he was 120 years old. His real name was Masa-yoshi Kosho, but everyone called him "Thank You-Masa".

Why did they call him that? Let us watch and find out.

Each morning when he awoke, he would blink his eyes and look around. He would nod to the morning sun, and the chirp of the bird would bring a smile to his face. The sounds of his family would make his smile grow wider. He believed that it was the mercy of God and Mother Nature that he did not die during the night. He rejoiced that he had another day to enjoy nature, his family, his neighbors and his friends. This made him so happy he would cry out, "Thank You! Thank You!"

His friend asked why he cried out, "Thank You!" He replied, "I could have been injured. Because of God's mercy, I have not been injured. So, I said my gratitude to God."

On another day, when he was 127 years old, he almost received a bump on the head from a falling tree branch, but again he jumped and escaped from being injured. He again cried out, "Thank You' Thank You!"

One day, when he was 130 years old, one of his good-hearted disciples got sick. Great Grand Master went to visit him. He told his disciple, "There are many people suffering from sickness in this world, many worse than you.

"Because of God's help and mercy, you are not suffering much. You should thank God." He then prayed, and cured the disciple by using the Kosho-Shorei energy-healing art. Then, he cried out to God, "Thank You! Thank you, for healing my disciple."

When he was 137 years old, he was returning home late from a friend's house. Along the way, a ferocious looking bandit leaped from behind a bush. The bandit whipped out his sword and demanded money. As the bandit turned to go, he cried, "Thank You! Thank You!"

The bandit turned in astonishment, realizing whom he had just robbed. He knelt in front of him and returned the money. The bandit said, "I'm sorry. I know you are the Great Grand Master of Kosho-Shorei True Self-Defense. I have heard of your skills. You could have escaped easily, but you gave me money and you said, 'Thank You! Thank You!' Why?"

Thank You-Masa replied, "I thought you might injure me with that sword. You chose not to. Suppose it had come to a fight, you might have injured me. Fortunately, in God's mercy, this was all avoided. So, I said thank you to God, and also to you."

The simplicity and beauty of this statement so affected the bandit, he gave up his evil ways. He became a disciple of Thank You-Masa's. After years of devotion and study, the ex-bandit became a well-known Minister of Kosho-Shorei True Self-Defense. People called him "Number Two Thank You-Masa" and they also called him a Saint.

When Thank You-Masa realized God finally was calling him to heaven, at the age of 150 years, he gathered his family, friends and disciples before him. He told them how grateful he was for being born a human being.

If he had been born an animal. such as a dog, cat, horse, or cow. He would have had no control over anything. He was thankful to have been a human, so as to have some control over his destiny. He told them that if we forget to give thanks, we are less than the animals. This is because all animals have a sense of thanks.

"So, always remember to give thanks, first to God, then to others." He nodded his head, and cried, "Thank You! Thank You!" Then he smiled and passed away.

SPECIAL NOTE

Remember, do not forget Thanksgiving Day. We should think that every day is thanksgiving day and give thanks to god, Jesus Christ, Buddha, human beings and nature, including animals, birds, fish, plants and other things.

My name is Larry Kraxberger and I have been studying Kosho Shorei Ryu Kempo for the last eighteen years. Prior to that I put in a few years in other disciplines. I feel fortunate to have made contact with some remarkable people during those years and hopefully this resource will continue the process. I was added to this list through the enthusiasm of Steve Miller. While I will likely keep track of general conversation it is unlikely that I will have much time to add to the flow of information. I think that it is an interesting option and I forgive Steve for his eagerness and I don't spend a great deal of time online. This piece is by way of introduction.

SKELETAL FREEZING: Basic Principles and Philosophy

All martial arts are identical. They all employ the same raw materials with the same general intent. What differences are noted in various martial applications are the reflections of the cultural origins, historical perspectives, environmental resources, philosophical foundations, and the interpretations of the individual practitioners who bring their wishes, biases, prejudices, and egos to their study.

There was a time when the sharing of information with people from outside your school was unthinkable because it might give away the one secret on which you depended for the protection of your life. Today, that attitude is only found in the fantasies of people who are too paranoid to genuinely trust their martial study. I have been commissioned by my teacher to share what small insights I can with anyone who is interested in learning. If I believe that this study has the power to change lives, and I do, then I must be willing to share it with anyone. No one needs preachers who only sermonize to the choir, ships are secure when they are at rest in the harbor but that is not what ships are for, and the forests would be a quiet place if only the most beautiful bird were allowed > to sing.

I am addressing this message to Turiyan but it is also meant for anyone who decided that because of that person's poor first impression they should be denied access to information which is readily available to anyone who has ever watched a child learning to walk. The only true value in sharing information is in breaking down barriers to communication. Never fear that someone can steal your martial arts knowledge. If the sum of what you know of the martial arts can be stolen then you have barely scraped the surface of the study. The surest way to learn an art form is in freeing yourself from fear and conflict and I hope that Turiyan can do that. (Incidentally, Robert, there is a world of difference between turning the other cheek and sharing some simple observations. If Turiyan can share and learn then it is a good thing and if he can't then it is a sad thing.)

The great difficulty in attempting to share insights into an art form is in recognizing that no matter what you say the only important information is what the person that you're sharing with hears. James Mitose said that words are a difficult means of communication. I sav that he understated the problem. The term "Skeletal Freezing" is just a way of describing the temporary inhabitation of natural body movement.

Gravity is an extremely powerful, consistent and reliable force which seeks a natural state where all things that are standing eventually fall down. The body's skeletal and muscular systems resist this state, as much as possible, throughout one's life by following a series of fluid, three-dimensional rotations. Freezing is nothing more than putting one part of the body in a position where gravity can do what it does best and the body cannot adequately recover.

Since no part of the body can move independently of the rest of the body it also holds that if one part suddenly stops moving naturally the rest of the body must over-compensate.

At it's most elementary level, the freeze is initiated by the tightening or redirecting of one major rotation while motion is occurring. Skeletal freezing is not a study in anatomy, or kinesiology, or postural manipulation. It is, first and foremost, a study in developing greater awareness skills and in applying those skills as honestly as possible. Try to keep this training as simple as it already is. Most of the necessary change is in recognizing this simplicity. Kosho Ryu is not what you think.

Uncle Larry

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