Karate Manual

............ PART ONE THE HISTORY OF SHITO-RYU KARATE 1 Section One FAMILY HISTORY ...................................... 1 Section Two AN ABBREVIATED HISTORY OF KARATE ............ 2 Section 'Three MOTOBU-HA SHITO-RYU ............................. 3 Section four GENERAL KARATE INFORMATION ................... 5 Section Five . THE TEACHING SYSTEM IN KARATE ................ 7 Section Six . GENERAL RULES OF ETIQUETTE ................... 8

............................... Section Seven JAPANESE GLOSSARY 9 Section Eiaht KARATE TECHNIQUE (required for testing) ......... 13 Section Nine TESTING REQUIREMENTS .... . . . . . . . . . . . . . . . . . . . . . . 15

WHITE BELT (9TH KYU) TO YELLOW BELT (8TH KYU) ............. 17 ........... YELLOW BELT (8TH KYU) TO ORANGE BELT (7TH KYU) 18

............... ORANGE BELT (7TH KYU) TO BLUE BELT (6TH KYU) 19 ................. BLUE BELT (6TH KYU) TO GREEN BELT (5TH KYU) 20

GREEN BELT (5TH KYU) TO PURPLE BELT (4TH KYU) .............. 21 PURPLE BELT (4TH KYU) TO BROWN BELT (3RD KYU) ............ 22 BROWN BELT (3RD KYU) TO BROWN BELT (2ND KYU) ............ 23 BROWN BELT (2ND KYU) TO BROWN BELT (IST KYU) ............. 24 BROWN BELT (IST KYU) TO BLACK BELT (?ST DAN) .............. 25

Section Ten KATA AND THEIR MEANINGS ........................ 26 Section Eleven MORALS OF THE DOJO (DOJO KUN) ............... 28 Section Twelve THE FIFTEEN BASIC TRAINING TECHNIQUES ....... 29

PATTERN AND MOVEMENT .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 . . . . . . . . . . . . . . . . . . . . . . . . . Section Thirteen THE BUILDING OF KARATE 30

KI (LIFE FORCE) ....................................................... 31 MAAI (DtSTANCE) . . . . . . . .' ............................................. 32

.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KARATE JUTSU 33 ......................... Section fourteen HISTORY OF THE MASTERS 34

M ASTER MOTOBU ................................................... 34 ................................................ SOKE SHOGO KUNIBA 35

SOKE RICHARD BAILLARGEON ...................................... 36 SHIHAN RICHARD KELLEY ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 SHIHAN DAl GERl T . ENDRlAS . . . . .

SHIHAN DAI GENE WILLIAMS ......................................... 40 ..................... PART TWO THE HISTORY OF TAI JUTSU 41

41 ................................................................................

................................. Section one ANDO-RYU HISTORY 41 .............................. Section two LEVELS OF ANDO-RYU 41

Section three SElTAl GATA .......................................... 42 Section four ANDO-RYU BUJUTSU REQUIREMENTS . . . . . . . . . . . . 44

Section 5 . Section 6

Section 7 PART THREE

Section 1 . Section 3 . Section 4 . Section 5 Section 6

PART IV Section 1

PART V

................................. SHIHAN'S TRAINING 45 REFLECTIONS FROM THE HlDEN AND

............................................ KAIDEN 47 .................................... HElHO AND GATA 49

KOBUDO AND IAlDO ............................ 50 KOSHIN-RYU KOBUDO .............................. 50 KOSHIN-RYU IAlDO .................................. 52

....................... KOSHIN-RYU Swordsmanship 53 ..................... KOSHIN-RYU IAlDO (Basic kata) 55

KOSHIN-RYU IAlDO 'TESTING ..................................... REQUIREM-ENTS 59

MHUGAI-RYU IAlDO ............................. 60 MHUGAI KATA ....................................... 60

ZEN NlHON KENDO RElMAl ...................... 60 Section 1 SElTAl GATA ............................... : .......... 60

.. PART VI HElHO STRATEGY ............................. 61 Section 1 . INTRODUCTION TO HElHO .......................... 61 Section 2 . INDIVIDUAL HElHO ................................... 62

PART VII KlTA KAZE BUJUTSU KAI POLICIES AND PROCEDURES ................................... 67

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KITA KAZE EMBLEM Every emblem has a symbol fc meaning. T h f s i s t h e meaning oP o u r s .

Our emblem contains three circles. The outer of the emblem itself, the line inside the wreath and the line within the wreath. The first line symbolizes infinity. Time without end. Since circles have a continuous line without breaks or angles, the second line symbolizes perfection. The third line, because a circle encloses what is within its limits, symbolizesunity. Therefore the shape of our emblem means infinity, perfection and unity.

The central pattern reflect the I n and Yo Japanese symbol of opposites. I n and Yo symbolize our thoughts in strategy, there is a I n and Yo phase to every attack. Redirection of direction. The duality of opposites is a comnon concept throughout Japan and Okinaws. These are the very roots of our Martial Arts. The common practice of reaction fiom action. The I n and Yo are also the symbol of balance. Defining the balance in oneself is a constant struggle to Master. Once a Martial Artist can achieve this balance I believe he can then tap his Ki at will. The wreath symbolizes our Karate History, the Masters before us that have dedicated their lives to Karate training and teaching.

In addition to it's shape and pattern we must consider it's colors. Our Association has a long line of history with Instructors fiom many background, many of which have a lot in common. The Red Sun is a symbol the Japanese use for their flag. Our practice of Martial Arts historically dates back to Japan fiom Masters such as Richard P Baillergeon, Soke Shogu Kuniba, Motobu and Mabuni. So therefore we should honor that heritage. Karate-do is not just a practice or hobby. (1t is a way of life1 It is time consuming, demanding, punishing, frustrating. It requires discipline and focus. It builds character, self esteem and provides a new view of life for each of us. It takes a lifetime of devotion of more than just time. It takes physical devotion and demands attention. The red wreath represent intensity and fierceness. The Black symbolizes void, emptiness and no pretensions.

Our emblem represents many hours of sweat, determination and labor from not one, but many Martial Artist. The circles in our emblem remind us that we are united, we have a common bond that leads us to strive for perfection of technique and character. It reminds us that we must 'without question defend the paths of truth. That we have an endless road of effort ahead. Courtesy demands courage and effort, and that we must guard that impetuous courage in each of us, to keep our minds open to other thoughts and beliefs.

-The emblem of the Kita Kaze Bujutsu Kai represents honor and integrity. The foundation of our association.

Kita Kaze Bujutsu Kai Student and Instructors Guide

PART ONE THE HISTORY OF SHITO-RYU KARATE Section One FAMILY HISTORY

1. Chatan Yara - (1668 - Unknown) Master of Okinawan Weapons, studied in China at age 12 and was considered one of the famous Masters of the early 1700's.

2. Takahara Pechin - (Unknown - 1762) Responsible for the early training of Karate Sakugawa, studied in China and under Master Chatan Yara.

3. Karate Sakugawa - (1733 - 181 5) Developed the Kata Ku Shan Ku, studied under both Takahara Pechin and the Chinese Master Ku Shan ku.

4. Sokon Matsumura - (1796 - 1893) Created the Kata Shinto and Seisan. Studied in China and under Karate Sakugawa for ten years.

5. Ankoh Itosu - (1830 - 1915) Itosu created the Pinan series of kata and introduced Karate to public in 1903.

Choki Motobu - (1871 - 1944) Founded the Motobu-Ha Shito-Ryu Karate Do. Went to Japan in 1923 to teach karate.

Kosei Kuniba - (1900 - 1959) Assumed the leadership of the Motobu-Ha Shito-Ryu upon Master Motobu's death. Founded Seishin Kai Dojo.

Shogo Kuniba - (1935 - 1992) World wide head of the Motobu-Ha Shito-Ryu, the leadership of which he passed onto Shihan Price in 1992 before his death on 14 July 1992.

Soke Dai Price - (1945 - ) Head of Seishin Kai International.

Soke Baillaweon - (1930 - 1989) Founder of National Karate and Jdutsu Union m.

Hanshi Ruiz - (1 943 - ) Retired Assistant Director for NKJU. Founder of the International Karate and Kobudo Union (IKKU). Zen Shoto Kai Karate Do Federation Founder.

Shihan Kelley - (1943 - ) Retired as Assistant Director of the IKKU June 1991. Formed the Kita Kaze Bujutsu Kai (KKBK) in September 1991.

13. Sbihan Dai Williams - (1949 - ) Retired as Senior Sensei of the IKKU in Dec. of 1993. Became the Chief Training Instructor of the KKBK in Jan. of 1994.

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14. Shihan Dai End- - (1958 - ) Became a Director of the KKBK in Dec. of 1993.

Kita Kaze Bujutsu Kai Student and Instruct6n guide Motobu ha Shito-Ryu Lineage Chart

Takahara Pelchln

Hlgashlonna Kanryo 1853 - 1915 I

Karate Sakugawa 1733 - 1815 I Bushl Matsumura

1797 - 1889 I Matsumurn Kosaku 1820 - 1898

Kunlba Kosel

Mabunl Kenwa ' 1889-1963

Kunlba Shogo 1935 - 1982 i

Motobu Chokl 1871 -1 944

I

Ballhitgoon Rlchard

I 1930 - 1989 Ruk Joseph ' 1943 - I

I I

Kdky Rlchard

Gaw WllUuns

Kita Kaze Bpjutsu Kai Student and Instructors Guide

Section Two AN ABBREVIATED HISTORY OF KARATE

The origins of Karate are to be found in 12th Century China. There were a number of ancient Chinese systems, collectively known as KEMPO or "Way of the Fist."

In Okinawa, the possession of weapons and the practice of martial arts were forbidden during the 15th Century. From that time until the early 20th Century, the Okinawans practiced their martial arts in secrecy. This secrecy limited the amount of written material on the history of martial arts. World War I1 destroyed much of the little written history that existed.

Early Okinawan weapon less martial arts were known as TE, a word meaning hand. During the 15th Century, Chinese visitors introduced KEMPO into Okinawa. As KEMPO was blended into TE, the resulting art became known as TODE, or Chinese Hand. Another meaning for the Chinese character that represents TO was KARA, meaning Open, with the result that the weapon less martial arts of Okinawa finally became known as KARATE.

There were three main cities in Okinawa. Each developed its own version of Karate: Tomari developed TOMARI-TE; Naha, NAHA-TE; and Shuri, the capital city, SHURT-TE. TOMARI-TE was quite similar to SHUN-TE and was gradually absorbed into SHURI-TE. There were other systems, to be sure, but by the 19th Century, only two main divisions remained: NAHA-TE and SHLTRI-TE.

Matsumura, Sokan or Bushi (1797-1889) was responsible for organizing the SHURI-TE system and carrying on its teachings. He was followed by Itosu, Anko (1830-1915). Itosu is generally credited with the founding of SHORIN-RYU. (RYU means style.) Next followed Mabuni, Kenwa (1889-1957). Mabuni is the founder of SHITO-RYU, the style, or system followed here.

3 But it is not that simple. Higashionna Wgaonna), Kanryo (1845-1915) became the leading master of the NAHA-TE system. Mabuni also studied under Higashionna, and when he developed his SHITO-RYU system, he used elements of both NAHA-TE and SHURI-TE. The name SHITO-RYU comes fiom the first syllable of Itosu (ITO=SHI) and of Zgashionna

- (HIGA=TO). Hence SHITO-RYU, a blending of Itosu's and Higashionnats styles and names. Many other masters contributed to Karate along the way. Alexander, in his book Okinawa,

Island of Karate (briefly described above) gives the early genealogy of SHURI-TE as Peishin, Takahara (1 683-1 760); Sakugawa, Karate (1 733-1 815); and Matsumura, Sokon (1797- 1889). Itosu followed Matsumura. Other masters contributed greatly to each system. Among them, Motobu, Choki (1 87 1-1 944).


Section Three MOTOBU-HA SHITO-RYU

Master Choki Motobu was born the third son to the Motobu famiIy in Okinawa. The Motobu family was of Samurai class, which meant that the first son of the family was taught the family fighting methods. Choki Motobu, being frustrated by this, tried to sneak in and watch his older brothets training. Master Motobu soon found that this was too slow and fiustrating for him, so he began to lift heavy rocks and punch the punching post or Makiwara. After a while, he became so strong that he earned the name "Monkey King" because of his tremendous leaping ability and general agility. In his youth, Master Motobu became known as a brawler and a trouble maker, so when he became the student of Master Itosu, this added to his difficulties about being accepted as a student of one of the foremost Masters in Okinawa. Master Motobu challenged many men in Japan. However, the defeat of a Russian boxer may have made him the most famous. In 1922, Master Motobu helped Master Funakoshi start the teaching of Karate to the Japanese. Filled with a new outlook on his life, Master Motobu returned to Okinawa in 1936 and began training with Master Kentsu Yabu. Master Yabu was the only man to have ever defeated Master Motobu. Master Motobu instructed many noted Masters, among them are Shoshin Nagamine , Tatsuo Shimabuku, and Kosei Kuniba.

Motobu-Ha Shito-Ryu literally means Shito-Ryu of Motobu. Master Choki Motobu lived from 1871 to 1944 and trained many Shito-Ryu Karate people, among those people was Master Kuniba, Kosei of the Seishinkai Karate dojo in Osaka, Japan. After moving to Japan in 1926 Master Motobu began teaching in Osaka, at the Seishinkai, and in Tokyo. Master Motobu left a strong fighting legacy to the Shito-ryu of the Seishinkai. Master Motobu's Kata knowledge was

-2 limited and he believed mainly in makiwara training and Kumite. He stated in his book, about Okinawan training techniques, that Naihanshi Kata was all one needed to be a strong fighter.

The Seishinkai Karate dojo named the Karate that it taught Motobu ha Shito-ryu, in honor of Master Motobu.

Master Itosu (1813-1915) taught the following people in Okinawa: Gichin Funakoshi (considered the father of modem karate; Chosin Chibana (Founder of Kobayashi Shorin-ryu); Shinpan Gusukuma; Kentsu Yabu (defeated Motobu in match and eventually became Motobu's third instructor); Kenwa Mabuni (Mabuni trained under Itosu and Higaonna, and fiom that training formulated the Mabuni system of Shito-Ryu); (also taught at the Seishinkai) and Kanken Toyama. Master Motobu studied under Itosu, Anko; Matsumora, Kosaku; and Yabu, Kentsu. Both Motobu and Mabuni taught at the Seishinkai Dojo, this is perhaps why the Shito-ryu Karate system is a combination of Shurite, Nahate, and Tomarite.

Shito-Ryu had a variety of influences fiom many different masters in the middle 1800's. This diverse influence gave rise to a very complex system of Karate.

The headquarters of Motobu ha Shito- ryu karate is the Seishin Kai, in Osaka, Japan. The Seishinkai Karate Dojo was founded in the early 1 900ts, when Kosei Kuniba moved to Japan fiom -0kinawa.

After studying with Soke Richard Baillargeon and Shihan Ruiz fiom 1979 to 1987, and with Shihan Ruiz fiom 1987 to 1991 Shihan, Kelley formed the Kita Kaze Bujutsu Kai in 1991. The KKBK is an organiztltion for the preservation of Traditonal Karate, Kobudo, Iaido, and Tai Jutsu.


Karate is a multi-purpose training program that will enhance the shape of both the body and the mind. This program will increase awareness, sharpen reflexes, tone the muscles, and promote coordination. The length of time devoted to the study of Karate will, of course, bear directly on the progress that the student will make in the art. The accepted minimum amount of training is three one hour lessons a Week!

Kobudo is simply the study of the ancient weapons that were used buy the Karate Masters in Okinawa (Bo, Sai, Tonfa, Nunchaku, and Kama). The study of weaponry by a Karate novice, after three months, is desirable to enhance his or her strength in the chest and shoulders and to teach them the value of using a weapon. The study of Kobudo; is important fiom the viewpoint that to be able too defend oneself against a weapon it is necessary to know how to use that weapon.

Tai Jutsu is a method of combat that was used by the ancient samurai and includes throws, joint locks, chokes and pressure points. The weapons of Tai Jutsu are sword, spear, knife and Manriken.

Iai-do is the study of the sword as a way to inner peace, and also as a weapon of offense and defense.

Remember: Martial arts teachers are nothing more than guides to a student striving to further his studies. Martial arts teachers are all students, and none of us knows everything there is to know of the art. My first guide , Shonosuke Ando, fiom Japan, said that to be a Master, one must be aperpetual student. I once asked Master Ando about the difference between Karate and Kobudo. His answer will always stay with me. He said , "Karate is of the heart andKobtrdo is of the mind". Think about them for a while." I'm still thinking about it. twenty-five years later. I also asked him what is the best target to strike if you want to see dramatic results. His answer was a laugh and a smile in combination with a pat on the head. I realize now that perhaps the will be in my own future and not from someone else's past. In truth, karate is nothing more than a series of complex body movements that will enable the student to be aware of himself. Karate is also nothing less. Your karate is your life and should be lived every day. The philosophies of Karate are very simple to learn, but very complex to put into action. I will take a page later to examine the Dojo Kun (Morals of the school) and their interrelation to the student, in or our or the Dojo.


Section four GENERAL KARATE INFORMATION There are nine student levels, also called & grades. These kyu grades are signdied by

/ the colors of the belt, and these belt colors have meaning within our karate system. There are also 9 advanced grades, called grades. These grades signify the student's proficiency in the art. It is the purpose of the colored belts to indicate not the length of time in the art, but to describe the level of training.

White belt -- The color purity

Yellow belt -- The dawning of a new day

Orange belt -- The beginning of consciousness

Blue belt -- The color of a new and open mind (blue sky)

Green belt -- The color of fiesh and growing things

Purple belt -- The color of mild conf'usion

Brown belt -- The color of the earth (Solid and Unyielding)

Black belt -- The color of void (Empty of all pretensions)

Each student should strive not for the belt, but for the knowledge that the belt represents. In the earlier times, the intensity of one's training was represented by the dirt on one's white belt. The longer and the more intensely the student trained, the darker his belt became until the white belt, which was the beginning, became the black belt of a hard-training teacher.


BELT RANKING SYSTEM TIME IN GRADE REQUIREMENTS

9th Kyu White belt 8th Kyu Yellow belt 7th Kyu Orange belt 6th Kyu Blue belt 5th Kyu Green belt 4th Kyu Purple belt 3rd Kyu Brown belt 3 BIS* 2nd Kyu Brown belt 2 BIS* I st Kyu Brown belt 1 BIS*

1 st Dan Black belt 2nd Dan Black belt 3rd Dan Black belt 4th Dan Black belt 5th Dan Black belt 6th Dan Black belt 7th Dan Black belt 8th Dan Black belt

3 months to 3 months to 3 months to 4 months to 4 months to - 0 4 4 months to , 6 months to , 9 months to - 5~ l7 e S C

12 months to - ~ , 1 6 6

Shodan Nidan Sandan Yondan Godan Rokudan Nanadan Hacheedan

24 months to 36 months to 36 months to 36 months to 36 months to 48 months to 48 months to

* (B/S Black Stripe) Note: Yellow, orange, and blue belts may be replaced by white belts with three, two, or one

stripes respectively. A-purple belt may be replaced by a green belt with one stripe. All stripes are to be black in color.

Note: Dan rank belts will have association name on one side and personal name on the other side. The association name may be combined with style name. The association recognizes that many black belts proudly wear black belts previously issued and honor this by permitting the wearing ofthese belts rather than the association belt.

Note: Outstanding students may bypass one ,grade up to and including 4th kyu. All other time in grade must be achieved at each grade level prior to testing.


Section Five. THE TEACHING SYSTEM IN KARATE

I SENSEI BLACK BELT 1 ST DAN & ABOVE SHMAN DAI BLACK BELT 3RD DAN TO 4TH DAN S m BLACK BELT 5TH DAN & ABOVE SOKE HEREDITARY LEADER 8TH DAN & ABOVE

The teaching system is designed to remind us that not all dank are teachers. The teachers in our system have to be able to instruct the students in basics, kata, bunkai and kumite. The sole purpose of the teacher is to guide the students in the art as correctly as possible. The advancement of a teacher may change his belt color, however, in the Kita Kaze Bujutsu Kai all belts worn by Sensei's are black. The dan ranks, however, if they are not recognized as teachers, are considered instructors and not teachers. THE DIFFERENCE BETWEEN INSTRUCTORS AND TEACHERS WILL REFLECT IN THE DIFFERENCES BETWEEN LEARNING KARATE-LIIUZ MOVEMENT AND LEARNING KARATE. If a teaching title is awarded to a Yudansha (a dan grade) he is being honored for his ability to guide students along the path of Karate.

In Japan or Okinawa, the instructor may warm up the class or instruct the general aspects of either kata or technique. The instructor is expected to be on the floor at all times and to be working as hard as the students are. The instructor is considered to be a teacher in training and will always be under the scrutiny of a teacher.

The teacher is the guide in the art of karate. He must have a full understanding of the mechanics of his art and is considered to be the philosophical leader. The teacher must be able to inspire the student to sacr$ce his time and effort, often at the expense of his own personal life, in order to bring the student to hller understanding of what it means to say, "I am a Karate student."

Soke Shogo Kuniba


Section Six. GENERAL RULES OF ETIQUETTE F Upon entering the Dojo, one should always bow to show one's respect for a place of

learning. This is called the Rei in Japanese. Before and after each class another Rei is performed in order to instill respect for what you are about to do and what you have done. All students should Rei to their seniors to show respect for the knowledge that the seniors possess. It is also certainly true that all seniors should Rei to their juniors to show the respect that is due to anyone who is struggling to learn a new and different endeavor. Remember, courtesy and a soft voice are necessary to the smooth workings of a person's life. Uniforms should be clean, and neatly pressed, and with out holes or tears. A students attitude may be reflected in the neatness of their uniform. Uniforms should be properly folded after each class, unless that uniform is to be worn home. The Obi (belt) should never be worn outside the Dojo, and if you wear your uniform to and fi-om the Dojo, it is recommended that a shirt of some type be worn with the Gi bottoms when amving or leaving the Dojo. There should not be any unnecessary talking during a class and never when the teacher is talking. Equipment should always be in good repair and the appropriate type for the class that is being participated in. Never borrow equipment.

The Dojo's appearance is every bodies job. make sure that as a junior student, you take your turn cleaning the Dojo.

Conduct rules for the Dojo: 1. Train Hard, Talk very little, listen well. 2. Effort and Perseverance go hand in hand. 3. Clean Gi, Clean Attitude, Clean Dojo. 4. Leave bad habits outside the Dojo. 5. Courtesy at all times. 6. Tests are unimportant, getting ready for them is all imp.ortant. 7. Be respectfbl, and respect will come to you.

KO Shin (Ancient Spirit)


Section Seven JAPANESE GLOSSARY

I

COUNTING IN JAPANESE

ICHI -- ONE NI -- TWO SAN --THREE SHI -- FOUR GO -- FIVE ROKU -- SIX SHICHI -- SEVEN HACHI -- EIGHT KU -- NINE JU -- TEN

When pronouncing Japanese words, many of the syllables are silent. In the numbers, the "I" at the end of ICHI, SHICM, HACHI are silent. Also, the "U" at the end of "ROKU" is silent. In addition to being more correct, this allows for a more rhythmic counting style. Higher numbers (1 1-99) are created by adding lower numbers together: 11 = Ju+Ichi, 12 = Ju+Ni, etc. and 20 = Ni+Ju, 30 = San + Ju, etc.

BUJUTSU WORDS AND THEIR MEANINGS

GENERAL TERMS

Age -- Upward ,

-2 Arigato -- Thank you Ashi Barai -- Foot sweep Ashi Sabaki -- Foot work Atemi -- Strike

Batto -- To draw a sword Bunkai -- Application of technique

Chiburi -- Blood swinging

Daitai -- Thigh Do -- Way

' Dojo --School (Place to learn the Way)

A Ago -- Jaw Ashi -- Foot Ashi Kubi -- Ankle Ashi Waza -- Foot technique Ato Uchi -- Delayed strike

B Bujutsu -- Wamor arts Bunkai Soto Ura --Formal

Application

C Chu -- Middle

D Dan -- High Grade Doh -- Torso, Chest protector Dozo -- Please

Enpi - Elbow

Fudo Dachi -- Immovable stance F

Fudo Shin -- Immovable mind

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