Lesson 1: Introduction to Martial Arts

Lesson Outcomes:
At the end of the lesson, the students must have:
1. discussed the history of martial arts;
2. explained the consequence of impacts and misuse; and
3. analyzed the physics behind a high energy strikes.

I. What is Martial Arts?

The word martial arts discusses about the different systems of training
for combat that have been arranged or systematized. Commonly, these
various systems or styles are all designed for the purpose of physically
defeating opponents and defending against threats.

Martial arts are codified systems and traditions of combat practiced for
a number of reasons such as self-defense; military and law enforcement
applications; competition; physical, mental and spiritual development; and
entertainment or the preservation of a nation's intangible cultural heritage.
Although the term martial art has become associated with the fighting arts of
East Asia, it originally referred to the combat systems of Europe as early as
the 1550s. The term is derived from Latin and means “arts of Mars” the
Roman god of war. Some authors have argued that fighting arts or fighting
systems would be more appropriate on the basis that many martial arts were
never “martial” in the sense of being used or created by professional
warriors. A practitioner of martial arts is referred to as a martial artist.
Variation and scope Martial arts vary widely, and may focus on a specific
area or combination of areas, but they can be broadly grouped into focusing
on strikes, grappling, or weapons training.
History of Martial Arts
Martial arts techniques were created out of the need for survival
between humanity and animals, and between different tribes of humans.
From these battles, experiences and techniques were accumulated and
recorded then passed down through the generations.

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 The invention of weaponry enabled new fighting techniques to be
created. Different types and shapes of weapons were invented which led to
different schools and styles of martial arts. These new styles were formed by
imitating the fighting techniques of animals such as the tiger, panther,
monkey, snake and bear as well as a number of birds and insects.

Mankind firmly believed that in order to survive in what was a harsh

natural environment at the time, it was necessary to study animals' natural
talent and skill for fighting. The way to learn these techniques was to study
and imitate these animals, for example the pouncing of a tiger or the
attacking motions of an eagle.

Human warfare dates back to the Epipalaeolithic to early Neolithic era.

The oldest works of art depicting scenes of battle are cave paintings from
eastern Spain (Spanish Levante) dated between 10,000 and 6,000 BC that
show organized groups fighting with bows and arrows. Similar evidence of
warfare has been found in Epipalaeolithic to early Neolithic era mass burials,
excavated in Germany and at Jebel Sahaba in Northern Sudan.

Wrestling is the oldest combat sport, with origins in hand-to-hand

combat. Belt wrestling was depicted in works of art from Mesopotamia and
Ancient Egypt circa 3000 BC, and later in the Sumerian Epic of Gilgamesh.
The earliest known depiction of boxing comes from a Sumerian relief in
Mesopotamia (modern Iraq) from the third millennium BC.

Chinese martial arts originated during the legendary, possibly

apocryphal, Xia Dynasty more than 4000 years ago. It is said the Yellow
Emperor Huangdi (legendary date of ascension 2698 BC) introduced the
earliest fighting systems to China. The Yellow Emperor is described as a
famous general who before becoming China's leader wrote lengthy treatises
on medicine, astrology and martial arts. One of his main opponents was Chi
You who was credited as the creator of jiao di, a forerunner to the modern
art of Chinese wrestling.

The foundation of modern Asian martial arts is likely a blend of early

Chinese and Indian martial arts. During the Warring States period of Chinese
history (480-221 BC), extensive development in martial philosophy and
strategy emerged, as described by Sun Tzu in The Art of War (c. 350 BC).
Legendary accounts link the origin of Shaolinquan to the spread of Buddhism
from ancient India during the early 5th century AD, with the figure of Bodhi
dharma, to China. Written evidence of martial arts in Southern India dates
back to the Sang am literature of about the 2nd century BC to the 2nd

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century AD. The combat techniques of the Sang am period were the earliest
precursors to Kalaripayattu.

In Europe, the earliest sources of martial arts traditions date to Ancient

Greece. Boxing (pygme, pyx), wrestling (pale) and pankration (all-in-
wrestling) were represented in the Ancient Olympic Games. The Romans
produced gladiatorial combat as a public spectacle.

Modern History

Late 19th to early 20th century

The mid to late 19th century marks the beginning of the history of
martial arts as modern sports developed out of earlier traditional fighting
systems. In Europe, this concerns the developments of boxing and fencing as
sports. In Japan, the same period marks the late 20th and early 21st
centuries. On November 29, 2011, UNESCO inscribed Taekkyon onto its
Intangible Cultural Heritage of Humanity List.

The consequences of Impact and Misuse

Martial arts in general involve a certain amount of impact to the body.

Most of the impacts are obvious, such as kicks and punches in the striking
arts and falls that are taken in the throwing arts. One of the most dangerous
and least understood results of impact in any sport is a concussion or
bruising of the brain, which can be caused by blows to or violent shaking of
the head and neck; these must be taken very seriously as they can have
both short- and long-term effects. Other impacts are not quite so obvious,
such as the long-term effects of striking various body parts, including the
hands and feet, against hard objects such as bricks and boards. Many don’t
recognize that while the short-term effects of such blows may be mild, the
long-term effects (e.g., arthritis) can be serious and life-altering.

It’s a staple of martial arts demonstrations to be struck in the abdomen

with no ill effects. However, it’s important to remember that being struck is
inherently dangerous and must be done only under controlled
circumstances; even the best-trained practitioners need a moment to tense
their muscles so as to deflect the energy of the blow away from their
vulnerable organs. When the world-famous magician Harry Houdini (1874-
1926) was in his early 50s, he was still performing his physically demanding
escapes and was by necessity in great physical shape. One of the
demonstrations of his physical prowess was to invite big, strong, young men

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to punch him in the stomach. He did this repeatedly and suffered no ill
effects from the blows. One day, a young man came into Houdini’s dressing
room and surprised him by punching him when he wasn’t ready. Houdini
died a few days later due to a ruptured bowel.

People in their first few decades of life who have decided to “toughen
their limbs” should reconsider doing so—the damage they inflict on their
bones and muscles may not start to severely impact their lives until they’re
in their 40s or 50s. Some of the more common long-term injury sites are the
hands and feet as the result of striking hard targets, and the elbows and
knees from repeated impacts, twistings, and hyperextensions. The latter
injuries can be greatly exacerbated by the overuse of ankle and wrist
weights.

Two other common muscle abuses include: (1) repeating an action

until physical damage occurs (repetitive stress issue) and (2) so-called
secondary injuries, which arise when an injured practitioner tries to continue
training. The latter scenario results in the practitioner doing things in an
awkward or imbalanced way. For example, if you injure your right knee, to
avoid injuring it further you’ll likely place additional stress on your left leg,
resulting in a secondary injury due to this unbalanced practice. While from a
practical point of view we understand that martial artists are often in a state
of mild injury and that they must continue working out through these
inconveniences, it must be done in an intelligent way so as to avoid incurring
further injuries.

By learning and practicing proper martial arts techniques, the

consequence of impacts on the body can be minimized and, within certain
limits, martial arts can be practiced well into old age.

The Physics Behind A High-Energy Strike

Martial arts practitioners commonly ask, “How can I get as much

energy as possible into a strike?” The definitive answer is complex (think
physics equations) and generally not very helpful. In addition, many factors
are involved in generating a high-energy strike, including the relative
velocity of the striking surface and the target, the elasticity of the striking
surface (usually a hand or foot) and the targeted surface, body masses, etc.
At the risk of oversimplifying the answer, we’ll work with three relatively
simple concepts.

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 Concept #1—Dynamic and Static Muscles: A dynamic muscle is
defined as one that moves a part of the body; these are used to accelerate
the body into a technique so that it has appropriate velocity.

Static muscles are tensed but not moving, helping to put as much of a
person’s body mass behind a movement or blow as possible. Another way to
think about this is to realize that many muscles work in opposition to others
and, for a given action, one is the agonist, used for speeding the action, and
the other is the antagonist, used for slowing it. For maximum velocity, the
antagonist must relax when the agonist tenses, or contracts. For example,
during a punch, the triceps (the agonist) extends the arm while the biceps
(the antagonist) relaxes. However, at the end of the motion, it’s usually
recommended that the antagonists be used to slow the movement in a
controlled manner as opposed to letting the joint be hyperextended.

Concept #2—Kinetic Energy: Kinetic energy is defined to be equal to

the mass of the striking object times the square of the velocity of the object
divided by two. In other words, it’s important to have body mass behind a
strike, which is why tensing static muscles is important—this mechanically
connects the body’s mass to the blow. For example, if you strike with a fist
but don’t use the static muscles of the shoulder and torso, then you might
generate one unit of energy because only the mass of the fist and the
forearm contribute to the blow. If you tense the upper arm and shoulder
during impact, the effective mass of the strike could easily go up by a factor
of five, as could the amount of energy generated. However, it’s even more
important to have good velocity behind a strike—if you double the speed of
the blow, the amount of energy would go up by a factor of four (two
squared).Thus, if you increased the effective mass or body mass by a factor
of five and doubled the blow’s speed, the amount of the energy in the blow
could go up by as much as a factor of twenty (five times two squared).

The bottom line is that it’s important to increase both the effective
mass and the speed behind a blow. The problem is that to increase the
effective mass of the blow, you must tighten the correct static muscles;
tightening the wrong muscles will slow down the strike. On the other hand,
to increase the strike’s velocity, the dynamic muscles must be tensed and
the opposing muscles must be relaxed, which will decrease the effective
mass of the blow. Thus, when you want to increase a blow’s energy, there’s
an intricate trade-off between the effort to increase the blow’s effective mass
and the effort to increase the velocity of the striking surface. The timing
involved in tensing both the dynamic and static muscles is critical. However,
given a choice, increasing speed usually proves more effective in magnifying
the energy of a blow.

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 Concept #3—Elastic versus Inelastic Collisions: A strike has a certain
amount of inherent energy. The laws of physics require that the energy goes
somewhere since energy is always conserved: It might go from the striking
surface into the target and cause damage to the target; it might go from the
striking surface into the target and cause the target to fly, undamaged,
backward (it may get damaged when it falls to the floor or hits a wall, but
that’s a different story); or the striking surface may hit a hard, immobile
object and the striking surface will either be damaged or perhaps just
bounce off the target. How often have you seen a beginner walk up to a
swinging heavy bag and give it a good whack, only to find himself flung back
and the heavy bag continuing to swing, relatively unimpaired? This is an
example of an elastic collision, something martial artists hope to avoid. The
following are a couple of traditional, physics-based examples of elastic and
inelastic collisions of two rolling balls.

Example #1 (elastic collision): Take two billiard balls and bounce them
off each other. They will fly away from each other at the same relative speed
at which they struck, and no damage will occur to either ball.
Example #2 (inelastic collision): Take a billiard ball and a clay ball and
roll them toward each other. The two balls will become one mass as the clay
ball is distorted by some of the energy of the collision; the rest of the energy
propels the resulting mass away at a reduced speed.

Example #1 is what commonly happens with beginner martial artists—

their strikes are ineffective.

Example #2 is what a martial artist would like to achieve.

Assessment

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1. It refers to the arranged and systematized systems of training designed
for the purpose of physically defeating opponents and defending against
threats.
a. Jiao di
b. Judo
c. Martial arts
d. All of these
2. The following are the reasons that a martial art is considered as the
codified systems and traditions of combat, except.
a. For cognitive development
b. For competition
c. For military and law enforcement applications
d. For preservation of cultural aspects
3. What is the reason that a martial art technique is created?
a. Need for survival between humanity and animals.
b. Need for survival between tribes of humans.
c. Both a & b
d. Only a
4. Mankind created different styles of martial arts by imitating the fighting
techniques of what animals?
a. Tiger
b. Snake
c. Monkey
d. All of these
5. It refers to the martial art designed for the ancient battlefield that are
unique to India.
a. Jiao di
b. Kalaripayattu
c. Gladiatorial combat
d. Pygme

6. The following are the common muscles abuses except one.

a. Repetitive stress issue.
b. A practitioner doing things in a balance way.
c. An injured practitioner tries to continue training.
d. Repeating an action until physical damage occurs.

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7. It is considered as one of the most dangerous results of impact not just in
sports but also in any martial arts.
a. Concussion
b. Dislocation
c. Sprain
d. Fracture
8. Identify the static muscle action in the following choices when you are
performing a push up exercise.
a. Before you begin to ascend from the down position.
b. When you continue to raise your body by performing a push-up
exercise.
c. Both a & b
d. None of the above.
9. Identify the dynamic muscle action in the following choices when you are
performing a bicycle kick exercise.
a. When your both legs are descending from the overhead position.
b. When you kick as fast as you can.
c. Both a & b
d. None of the above.
10. What energy is generated when the whole body moves as a unit
throughout the punch?
a. Potential Energy
b. Physical Energy
c. Kinetic Energy
d. All of the above

Lesson 2: Introduction to Judo

Lesson Outcomes:
At the end of the lesson, the students must have:
1. manifested understanding in the code of ethics as a way of life and to the
history of Judo;
2. identified the principles of Judo;
3. performed the different Judo exercises.
4. executed the proper salutation of courtesy; 8
5. practiced the proper tying of belt and explained its function;Notes on
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6. applied the Falling techniques of Judo;
 This section includes illustrations that highlight Judo
techniques as one of the modern martial arts being practiced.
While there are countless variations on how to carry out many
of these techniques, like falling and throwing, we concentrate on the
fundamental, universal components that are shared by different styles.
The purpose of this module are to introduce the the techniques
featured here and highlight significant elements of the techniques that are
responsible for speed, power, and accuracy.

Judo as one of the oldest Oriental Martial Arts of self Defense has no
hidden mystery from the outside force, but within the inner self of the
individual who attain perfection in this art during his late time dedication of
hard training. When Judo was not very well known in the Western world, it is
a doubting face that a weakling of 120 lbs. Judo player can defend himself
and toss to the air a bullying 200 lbs. offender over his shoulder, in a flip of
his hips in split second, in lightning speed.

Today, Judo is accepted as one of the Universal Sports during the

Tokyo Olympic Games in 1954. A well trained and Disciplined Judo
aficionados are regarded as a modern chivalry or knight of the modern
society. In the contest they should play and abide with the rules and
regulations for the Way of life, they should stand in principle, to help and
protect the weak and the oppressed. For humanity, they should share
something with their neighbors, because judo is one of the stepping stones
to self-respect and spiritual growth of the individual.

Code of Ethics
In every school of Judo, there are rules and regulations to be strictly
observed by both instructors and students as part of preliminary discipline
inside the JUDO, the Training Hall.
1. No shoes allowed inside the JUDO.
2. No smoking inside.
3. Avoid drinking liquor before and after the training session.
4. Execute proper courtesy before and after the training session.
5. Observe seniority by proper salutation of courtesy.
6. Avoid wearing jewels during the instructions.
7. No horseplay or joking inside and in the premises of the JUDO.

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 8. Avoid speaking indecent words.
9. Keep feet and fingernails trimmed.
10. Clear your mind and concentrate on one point during the
instructions.
11. Avoid coaching, only authorized instructors are allowed to give
assistance during instructions or training.
12. No laughing at the mistakes of others.
13. Only advanced students are allowed to free practice sparring
during designated days.
14. Observe sportsmanship, control and courtesy during advance
sparring.
15. Develop self-confidence.
16. Practice modern, gentlemanly and chivalry way of life.
17. Observe cleanliness inside the JUDO.
18. Use equipment properly and place in a proper order after the
training.
19. Remember, we train for self-protection and not for aggression.
Brief History of Judo
The short history of this art viewed the direct important set of origin,
the founder, the devilment, the acceptance, per-action and the process as
one of the international sports of today, the bloody struggle, the tragic
intrigues, the discouragements and hardship of the JUDO to existing survival
from the past, does not sighted, for it needs a volume of chapters to write.

JUDO, originated from the Japanese, traditional martial arts of self-

defense known as the Ju-Jitsu, one of the arts of empty hand or fighting or
“great of arms”. In ancient specifically the Feudal Civilization of Japan, the
only weapons were the hands, the knives, swords, stones, spears, bows and
arrows. Use of these feats of arm were used and taught to the emperors and
the highest Samurai Clan with scientific and often deadly skill. The masters
of these arts held official positions in the government and were highly
respected. Their teachings were promulgated in many schools that
developed throughout the country.
About (1576-1875) toward the end of the Tokugawa period, the
relationship of Japan to the western world affected the great chance occurred
in the new types of weapons and methods of fighting. The introduction of
guns and powders, the used in strategy tactics in warfare were main reasons
and methods of arms were disregarded and fell into a rapid disuse and the
interest diminished accordingly. The masters of these arts lost their
government positions and were forced to seek employment elsewhere.
Where feats of arms spread-out to the neighboring countries.

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 Then a certain young man, in the name of JIGORO KANO, a 23 years
old that time and one of the many great students of old Ju-Jitsu schools,
realized that the said arts of self-defense were disappearing. He set out to
revive organized and systematized courses of instruction different from the
old Ju-Jitsu, but the new that fitted to the requirement of Physical Education
of Japan's Universities, colleges and schools. The old ju-jitsu aims only to
defense/attack/kills and to survive in actual combat, whereas Judo aims for
mental and physical development, for sportsmanship and lastly for self-
defense.
Jigoro Kano established the KODOKAN JUDO INSTITUTE in Tokyo, Japan
in 1882. In the early 1922, the KODOKAN JUDO was then perfected through
an effort of scientific studies. The western world attracted the mystical arts
of Judo, particularly the United States, England, France, Italy, Russia and
other countries, which noted the progress of Judo in the 1930's. Even before
World War1 and II, Judo was one of the integrated subjects for the Military
Combative Tactics that kept secrets. Only then Judo was universally known
as one of the International Sports when it was entered in the Olympic Games
in Tokyo, Japan in 1964.
The Principles of Judo
Judo is composed of two words. The Ju and the Do. In Japanese writing
and character, JU (prefix) means Gentle and DO (suffix) means way.
But what is Judo? The way to employ mental and physical strength
most effectively is proper. Judo is a compact and iconic expression briefly
indicative of Kodokan Judo. According to Kyuzo Mifune, “JU” means being
natural or in other words the way which is natural and accords with the truth
of the universe and the one that human beings have to follow. Also JU" may
mean anything reasonable, just and honorable accordingly noble, namely;
the realization of truth, good and beauty. Judo is by means of form technique
and grace, which is acquired by technical training based on the truth, which
appears among the activities of human beings with well-matched will power
and physical strength.
Judo literally means an art of way “gentleness” and the Kodokan
means a school of studying the way, the “way” being the concept of life
itself. Therefore "JU" or in other words "being not hampered by anything is to
tolerate or to pacify than it is quite natural, that any one going astray or
doing wrong should easily be subdued or tolerated by “JU”.
In explaining Judo, often we say "gentleness often controls sturdiness".
Judo shows a free mental attitude created by gentle and elastic capacity,
physical and mental which enables a player in face of emergency to get his
position and act or avert a danger in accordance with the requirement of
time and place given. The true feature of Judo is to show Justice through

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reasons that no action is to be done without reason is most important. Action
of a man for instance, done without the unity of mind and body, maybe
indecent and cause harm to the people around him. This unity of mind and
body created reason in external presentation. Judo follows a righteous way
and is by no means of more fighting. This is in fact the turning from Jujitsu to
Judo and in fact the enlightenment of Judo. The purpose of Judo is to teach
physical and mental discipline through the practice of attack and defense,
leading to an understanding of the essence of the way.
The Aims of Judo
There is a difference between Ju-Jitsu and Judo not only in words but
also in motion. The term Ju-Jitsu has been employed since fairly old times
together with the Kenjutsu (fencing) Sojutsu (spear fighting) and Kyujutsu
(archery). As "Jutsu" means "art" of skill these words mean respectively the
study of how to kill an opponent or how to let the opponent lose his attacking
force or how to defend oneself and with the fight in combat. These studies
advanced during the Tokugawaera, when military areas needed, but Judo
aims for Mental and Physical Development, which implies the history origin
and theoretical accepted principles on scientific study of how-to disturb the
balance, not the mind and the body alone but his position into and
awareness of your opponent toward you, the laws of nature, the serenity of
mind and its philosophical attachment. The muscles development, the
stamina, endurance, and one's capacity to cultivate limits is a true essence
of physical development.
Sportsmanship - the old Ju-jitsu defies "life" and is ready to “die” and
acknowledge life only after combat when he survives as a victor. In Judo, he
should abide with the rules and regulations embodied in the contest and
respect his opponent in every way.
Self-Defense - Judo is also an art of self-defense in accordance to human
behavior and justice, during sudden emergencies when life is involved. As a
modern chivalry, the Judoka (practitioner) should also protect the weak and
the oppressed in principle.
The Factors of Judo

In every martial arts of self-defense, there are four factors as essential

and cannot be denied in every ways as follows:
1. Balance - In general, balance counts on the individual's stability and
equilibrium both.
a. Mental Balance - which implied the intellectual average of the learner,
the intelligence he/she learns.

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 b. Physical Balance - the appearance of the learner; it is difficult to teach
the one with a handicap.

2. Strength - is the power of the individual possessed in:

a. Mental strength - can be explained as a mental will (abstract) that can

be developed unlimitedly, the fighting spirit, it is useless to learn the
varieties of martial arts of self-defense when one loses his confidence
in the actual situation.

b. Physical strength - the individual physical capacity or power to work,

lift, move endurance and stamina. Don’t ever estimate when facing a
small opponent. There are small people who can lift heavy objects that
big men cannot.

3. Speed - Deals on the individual fastness both in the:

a. Mental speed - the thinking power of strategy of the individual to

defeat his opponent in the future moves.

b. Physical speed - the action motivated by the physical body during

creative opening, responses, counterattack of any strategy of the
individual.

It is obvious to move without thinking and to think what to move and

not to move. In Judo, one must carefully be aware of the unguarded moment
and attack like a lightning in order to apply his effective technique and win a
point
4. Techniques- It is sometimes known as a trick or a hidden develop ideas
and knowledge that can be achieve in the:
a. Length of Training - the longer you are trained, the seasoned the
techniques and effective.

b. Experience in contact and tournament - what you had experienced

inside the Judo room with your partner is not the same in the contest
or tournament, inside the Judo room you should be aware that your
partner is a stepping stone to your progress and aware of his safety. In
the contest, you should learn the hardest way to defeat your opponent
in any way. The foul is the part of the game and is only successful
when applied unnoticed and with purposes.

c. By advance research- in Judo, there is only one standard style- the

KODOKAN. It is learned as based in the program of instructions,

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 according to the individual respective progress and categories. During
the actual situation the individual concerned should not be dependent
on the layout of instruction, but rather to set in instinctively, therefore
it is the responsibility of the learner to research the most effective
technique suited in his convenient way.

Maxims of Judo:

One of the most important aspect of Judo emphasizes in which respect

for one's opponent, or sportsmanship is the cardinal principle, the maxims
which the learner should pass the screening points can be summarized in the
following words:
1. Character - Judo hides the lethal technique that can cripple or even kill
an opponent. It is therefore careful to know the personal background of
the prospect to students otherwise Judo will be harmful or a menace to
society.

2. Loyalty- In every organization there is always an oath of allegiance

and the said technique should be handed only to the worthy.

3. Interest - This point is just a mere desire to learn with absence of time,
effort and performance. A wish or a dream cannot achieve the
meaning of Judo without actual participation.

4. Dedication - It is of effort, time and performance involved, but it is still

futile and useless through forceful means of lack of interest.

5. Patience - is the measurement of calmness, self-control. It is

sometimes a turning point of success. A test to discourage,
disappointed and even to hurt. It calls for determination.

6. Etiquette - The proper decorum and goodwill to the subject Judo itself,
to the partner and to the sensei’s. The relationship of oneself to others
in which the harmony is to be suited.

Judo Training and Practice

Judo is practiced in a room or hall known as the DO JO. The floor is

covered by Japanese tatami mats, 3 x 6 feet in an area of 24 to 50 mats,
depending on the space area. The floor of the Dojo is usually supported on a
coil spring made of thin resilient flooring. The tatami gives the floor a smooth
hard surface to facilitate the use of techniques and minimize sprained
injuries, dislocation and stubbed toes. The rules and regulations should be
strictly observed and must be carried on. Special emphasis is placed on

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cleanliness by all judoka on their personal hygiene and self-respect, control,
and obedience during the formal instructions.
In Judo, a person can set his own place as to how hard and easy he
wishes to practice. The general schedule of training is as follows:
1. Calisthenics - For limbering and warming up, also for developing
muscles.

2. Ukemi - Falling exercise

3. Kata -A pre-arranged method of practicing the techniques.
4. Uchikomi - An exercise for practicing form to develop the correct
action for your body in applying the techniques.

5. Randori- Is a free exercise, whereby the actual application of

techniques is practiced against a partner who is trying to defend
himself or throw you, it is the stage of offense and defense practiced in
order to throw your partner and win a point.

The Judo-Gi or Uniform:

In every sports, there is always a distinctive uniform for standard

purposes:
1. It gives a feeling of freedom to move.

2. It gives protection against bruises, particularly the elbows and the knees,
during the falling technique.
3. It gives a support guide to the partner during the performance of the
throwing technique.
4. It also gives a precautionary support to oneself during the responses of
throwing the technique or grappling technique.
Judo Preparatory Exercise

Judo is composed of throwing, grappling, and vital-point striking

techniques. Due to the hazardous nature of vital points striking techniques, it
is not used in competition or in normal practice sessions. Beforehand, Judo
has preparatory calisthenics, lumbering up and muscle-strengthening
exercises. The aims of these preparatory exercises is to give warm up and to
tone up the muscles, to make the joints flexible and controllable and to
develop the physique and the strength necessary.
1. Body-Loosening: Relax all body muscles, particularly arms, shoulders,
legs and joints and gently lift up and down and shake it.

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2. Neck-Twisting: Twist head several times from left to right, then
backward and forward; finally rotate the head in circular motion.
Repeat several times.

3. Arm-Stretching: With shoulder relaxed, extend arms and rotate it in

big circular motion in front of the body. First going up, then in reverse
direction. Repeat several times.

4. Hip exercises: Swing the arms in side direction as far as it reaches,

then reverse the rotation, without bending the legs with the repetition
of several times.
5. Back-Bending Alternate Exercise: On standing open leg bring one
hand to the opposite foot without bending the knees. Then bring the
hands up with your back straight and then opposite hand in the same
manner. Repeat several times.

6. Back-Bending-Open-Leg Exercise: on open leg standing position, raise

both hands upward and bend your body as it reaches downward
bringing the hands inside the legs touching the floor without bending
knees. Repeat several times.

7. Back-Bending-Close Leg: On a close leg standing position, raise both

hands upward, bring the body backward as far as it bends, then bend
the body downward, touching the floor without bending the knees. The
face is touching the knees if possible. Repeat several times.

8. Trunk-Stretching: Open the leg in a wide distance keeping the knee

straight. Bring hands downward as low as possible and rotate the body
backward in circular motion, then reverse the rotation from one
direction.

9. Side Stretching: Assume an open leg position, then bring one hand
over head of the opposite side, stretching as low as possible keeping
the knees straight, then reverse the motion. Repeat several times.

10. Foot-Exercise : Assume sitting flat on the floor, cross one foot
over extended legs with one hand holding it while the other hand is
rotating the toes of the foot for proper blood circulation. Then
change the foot and rotate the same manner. Repeat-several times.

11. Abdominal Exercise: Spread the leg in a wide distance. Keeping the
knees straight while raising both arms upward. Extend the arms
forward from one foot to the other. Bringing the body close to the
ankle. Then close the leg in a straight manner and bring the

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 head as low as possible. Do not bend the knees. Repeat several
times.

12. Side Exercise on Half Flat Sitting Position: On a flat sitting

position, draw one foot on the rear, then bring one hand up
and bend low as possible. One hand touching your toes while the
other touching your abdomen, then reverse the position, repeating
several times.

13. Pelvic Exercise On Flat Kneeling Position : Assume full kneeling

position with instep flat on the floor. Then bring the body down,
pushing the base of the thigh as low as it reaches to the floor
with the instep flat and repeating several times.
14. Hopping Exercise : On squatting position, hop as far as possible
and as high as it reaches maintaining the whole weight and the
balance as it lands. Repeat several times.

15. Head stunt Exercise: Assume position with your head supporting
your upper body and your lower body assuming bottoms-up
position. Facing down with hands on the back rotate head up and
down against the mat several times. Then rotate the body,
changing direction when turning up to the right or left side using
the head as pivot with hands as a guide when turning. Repeat
several times.

16. Sit up Exercise: Lie down on your back with both hands near your ear.
Slowly lift your torso and sit up twisting from left to right. Return to the
starting position and repeat several times.

17. Bicycle Exercise: With the back on the floor, keep the legs and
hips up straight then bring both legs down not touching the floor
while holding your breath. Bring your legs and hips upward again then
rotate the legs in kicking motion, like riding a bicycle. Repeat
several times, maintaining the balance.

18. Push up Exercise: Assuming a prone position, support the body

with the palms of hands and toes only touching the floor. Bring
the body up and down. Repeat several times.

19. Jumping Jack: Stand upright with the legs together with the arms on
your sides. Bend your knees slightly and jump into the air. As you
jump, spread your legs to be about shoulder-width apart. Stretch your
arms out and over your head. Jump back to starting position. This
exercise develops lung capacity, stamina, endurance and rhythmic

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 movement and tones up elasticity of the body and gives exercise
in coordination.

20. Joint- Loosening: Relax muscles and shake all joints, shoulders,
elbows, waists, thighs, knees, ankle and foot joints.

Falling Technique- (Ukemi- Waza)

One of the most important techniques in Judo is the UKEMI-

WAZA. In Judo, your first enemy to encounter is your self’s fears and
the first weapon of the technique for self confidence when properly
learned. Falling correctly and properly will avoid sprain, dislocation and
fracture injuries during the performance of the throwing technique.

Types of Falling Techniques

1. Two Hands Back Fall- (in three position)

a. Sitting Position
b. Squatting Position
c. Standing Position

2. One Side Back Fall - (in three positions)

a. Sitting Position
b. Crouching per Half Kneeling Position
c. Standing Position
3. Forward Drop Fall (in three position)
a. Kneeling Position
b. Squatting Position
c. Standing Position

4. Forward Roll/ Tumbling Fall - (in three position)

a. Two Hands Standing Position
b. One Hand Running Position
c. Combination / One hand running jumping obstacle pyramid falling.

Falling Technique (Ukemi - Waza)

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I. Two Hands Back Fall

A. On Sitting Position:

Instruction:

1. Sit flat on the mat, relax, extend legs forward, and back straight.
Avoid tensing.
2. Extend both hands forward with a slight (temple level) and ready to
fall.
3. Start to fall by bringing the back to the mat. As your back touches the
mat, slap the mat with both hands, extending 45 degrees
sideward from the armpit. Do not break the momentum of your legs
and head up.
4. In the final position, bend both legs without raising the body. The
elbow should be straight, chin tackle in and avoid the back of the head
to touch the mat.
5. Repeat several times.

B. On squatting position
Instruction:
1. Assume full squatting position. Extend the arm straight forward (temple
level), back straight, relax, and on the tip toes manner avoid tensing.
2. Start to fall. The first move is to lower the heels, then sit and bring the
back to the mat while bringing the legs upward without resistance
3. As your back touches the mat, slap the mat with the hands, extending 45
degrees sideward from the armpit. Do not cut the momentum of your legs
and head up.
4. As the final position, bend both legs without raising the body. The elbow
should be straight, chin tackle in and avoid the back of the head to touch the
mat.
5. Repeat several times.

C. On Standing Position
Instruction:
1. Assume standing position. Extend arms straight forward (temple level),
back straight and forward.
2. Drop to the squatting position. Avoid tensing.
3. Start to fall by bringing the back to the mat while bringing the legs
upward without resistance.

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4. As your back touches the mat, slap the mat with your hand, Extending 45
degrees sideward from the armpit. Do not cut the momentum of your legs
and head up.
5. Next is the final position. Bend both legs without raising the body. The
elbows should be straight, chin tackle in and avoid the back of the head to
touch the mat.
6. Repeat several times.

II. One Side Back Fall

(Right and Left Side Fall)

Instruction:
1. Assume sitting position. Extend the left leg forward while the right leg is
bending 45 degrees. The left hand on right temple level and right hand
resting on the left abdomen. Keep back straight, relax and ready to fall.
2. As the Half Side of the body touches the mat, slap the mat with the left
hand 45 degrees sideward from the armpit. The position of the legs is the
same as in the first position. Control the balance.
3. The left elbow should extend straight, avoid bending. Face to the left, and
avoid your head touching the mat. Relax and check the legs and feet
position.
4. Repeat several times.

* On squatting position, the first move is to drop the heel on the mat to
sitting position, face to left and start to fall.
* On standing position, the first move is to drop to squatting position. Then
follow the steps to squatting and sitting position.

III. Forward Drop

A. Kneeling Position
Instruction:
1. Assume full kneeling position, keep back straight and ready to drop.
2. At one move, stand on knees and on tip toes, extend hands forward
(temple level) and relax, avoid tensing.

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 3. Fall forward with the body extended and strike with both hands to
dissipate the impact.
4. Next is the final position of forward drop. Note that the body is straight
perpendicular to the mat. The hands extending to the elbows are only
supporting the entire upper body and the lower body are supported by
the toes. Suspend the body from touching the mat.

B. On Squatting Position

Instruction:
1. Assume full squatting position. Extend hands forward (temple level),
back straight, relax, avid tensing and ready to drop.
2. The first move is to drop the knees on the mat.
3. Follow the execution of technique in kneeling position.

C. On Standing Position
Instruction:
1. Assume standing positions. Extend hands forward (temple level), keep
back straight, relax, and avoid tensing.
2. As for beginners, the first move is to drop the knees on the mat and follow
the execution of technique in kneeling position.
3. Start to drop forward by bringing the body to the mat, keeping the body
straight, the legs are ready to land.
3. As you land on the mat, keep your body straight and suspended to avoid
touching the mat. Keep the palm of the hands and the arms flat on the mat
to support the upper body.
4. Repeat several times.
*Always take note to avoid the face touching the mat.
IV. Forward Falling (Roll-In-Tumbling)

A- The Two Hands Forward (The First Position)

The forward falling, is just like the one side back fall which also
emphasizes the right and the left side fall. It is the application of the one side
back falling forward manner. This instruction we take is the left side forward
fall, the left handed style.

This forward falling is the most important falling technique not in Judo
alone, but almost to the Oriental Arts of Self- Defense. It also encounters
techniques from certain deadlock throws, holds and even as obstacle to
hurdle. It must be learned in a proper and careful way to avoid sprain
injuries, dislocation or even fractures.

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 Do not develop self- confidence upon learning and achieving this
technique because it is highly noted that a beginner does not meet an
accident during early stages of the falling technique to the reason that they
are too careful and conscious of their safety while the secondary’s
sometimes perform, these deadly arts of falling techniques too over
confident and lack of seriousness.

Instruction:
1. Assume the position. Bend your body downward, putting the left hand on
the mat, slightly pointing to the right side. Keeping the both knees straight.
Avoid bending. Tuck the right hand inward and ready to roll- in. Bow your
head close to the chest.
2. Start to roll by rolling- in or slide the left arm to the right side without
bending the elbow. Keep your chin tucked in to avoid the head from touching
the mat. Keep the right foot forward and start to bring the left leg backward.
3. As you roll in circular motion, land with your left side the same as on the
one side back fall position.
*Only the left side of the body touches the mat.

B. The One hand forward fall

Instruction:
1. Assume on standing position. Raise the right hand alone ready to bring the
right foot forward and ready to bow and roll in.

2. Then slide the right arm to the right foot, bending the body in speed
motion, without bending both knees.

3. With speed inertia of the body weight, roll in in circular motion. Kick the
mat with the right foot and lift high the left foot backward.

4. Apply the one side back fall technique.

C. The Pyramid Forward Falling

This falling technique is nothing more than the product of one side
back fall and the application of the techniques are the same, however, it
demands guts and confidence to do so.

Instruction:

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1. Start on the one man pyramid, keep one man in a position as an obstacle
to jump over.

2. Keep the distance from the obstacle and apply the technique of the two
hands or one hand forward falling by running, jumping over the obstacle.
Avoid touching any part of your body from the obstacle during the process of
the falling technique.

3. Upon mastering this number, increase the numbers of the obstacle and
the height. Do not develop over confidence and be conscious always of your
safety and safety of others.

Throwing Technique
The Application of the Throw (Kake)
This is the actual throwing of the opponent. The biggest mistake most
beginners commit is attempting to apply a certain throw before the
correction condition of the Kuzushi (balance breaking) and the Tsukuri (set
up to execute technique) have been achieved. Remember that Judo is an art
of gentle way and is using the opponent's position, strength and weight to
your own advantage and not throwing him by superiority of brute force
alone. When applying a certain throw use your whole body smoothly as a
single unit.

All parts of the body must move in harmony. Although each certain
throwing technique emphasizes the use of one part of the body such as the
hand, the hips or the foot in a particular way, the movements of the entire
whole body is important in each respective throw. The particular part of the
body mentioned is used to guide the throw of the opponent.

Principle in Applying the Throwing Technique

Observe the Following:
1. Do not bend at the waist. When turning, try to keep your stomach slightly
forward.
2. Push or pull or lift, using your body by moving in the same directions as
your arms.
3. Push or pull and lift the opponent in a horizontal direction to unbalance
him.
4. Use the Push and Pull maneuver just like steering no.1.
5. Avoid body tensing. Relax. This will give you more power and your
movements will not indicate.
6. Never attempt a halfhearted throw.
7. Bend your knees deep and not your waist.

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8. Use a quick smooth and strong movement in a good form.
9. Avoid body grasps. Keep your body close to your opponent for better
control of the opponent's body during the throw.
10. Take advantage of the unguarded moment of the opponent.
11. Attack lime and lightning, if there is a slip second chance.
12. Be conscious of the safety of your partner; seriousness is most
important.
13. Remember, your progress depends on your partner's cooperation and
hand him with care; once your partner is crippled, you cripple your own
progress.
14. Know your strength and control when applying a throwing technique
against your partner.

One Arm Shoulder Throw (Ippon Seoi nage)

Tori breaks uke's balance by pulling
him directly forward. With his right
arm inserted under uke's armpit, tori
spins around on his right foot with
his back against uke. Tori then
lowers his right shoulder and throws
uke over his shoulder in a circular
motion.

BODY DROP (TAI OTOSHI)

Instructions:
The Kata (Form) of this Waza closely
resembles that of the Seoi-otoshi (Shoulder
drop). One leg is extended outward and is
used as the fulcrum over which to topple the
opponent.
The use of the Tsurite (Lifting hand) is of
particular importance in this Waza. Tori
(Player executing technique) Tsurite (Lifting
hand) grasps Uke (Player receiving opponent's
attack) lapel area, and then lifts Uke (Player
receiving opponent's attack) with elbow
extended outward. As the lift is applied, Uke
(Player receiving opponent's attack) heels lift
off the floor, making him easier to pull.

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Compiled Notes on
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Although the Tai-otoshi (Body drop) is frequently used in both men's and
women's competition, it is also known as a Choshi-waza (Timing technique)
where light-footed motion is critical, and is therefore most often seen in
contests between two small-statured combatants.

Both Arms shoulder throw (morote seoi nage)

Instruction:
In this throw you put your
opponent on your back, twist
and then throw them. The
morote seoi nage is a very
powerful throw often used in
competition and it is among
the most important throws in
judo. For a right side throw,
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grab with the right hand on the
opponent’s left lapel, and grab with the
left hand on the opponent’s right sleeve at the elbow. Pull both hands
strongly forward and upward while entering close and low, turning your back
to the opponent. Without letting go of either hand, place your right elbow
under the opponent’s right shoulder and roll him/her over your right shoulder
as you twist to the left and straighten your legs.

Shoulder Wheel (Kata Guruma)

Instruction:
This Waza can be
performed by inserting
your head into the armpit
of either the Tsurite
(Lifting hand) side or the
Hiki-te (Pulling hand) side.
After inserting the head
into the armpit, Tori (Player executing technique) inserts one hand between
Uke (Player receiving opponent's attack) legs, and then lifts Uke (Player
receiving opponent's attack) onto his shoulders while pulling with the other
hand. Tori (Player executing technique) then shifts his Center of gravity and
throws Uke (Player receiving opponent's attack) on the opposite side.

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Major Outer –Reaping Throw (O soto Gari)

Instruction:
1. You are both standing on the right natural position or on the right
defensive position. Break your opponent’s balance to his rear or right rear
corner to shift most of his weight onto his right heel.
2. As he pulls you toward him, take a deep step with your left foot along
the side of his right foot. Simultaneously pull his right arm downward and
contact your front upper body against his front upper body and push hard
with your right arm downward to break his balance to his right half rear
balance.
3. At this instance, swing forward with your right foot, behind the
opponent’s left leg, reaping attack.
4. Next, sweep your right leg backward striking the opponent’s back
thigh.
5. Assist your opponent on his back fall.

Grappling Technique (katame- waza)

The second composition of Judo in general is the Grappling technique or
(NEWAZI) in Japanese terms. It consist of three major groups as follow:

1. Holding Technique – Osaikomiwaza

2. Locking Technique – Kansetwuwaza
3. Choking Technique – Shimowoza
These techniques in general are considered as one of the strongest
forms of fighting in Judo. A worthy Judo-Ka does not rely only on his
physical strength alone in this form of fighting, but rather observes the
movement , cautiousness, softness and the weak and the strongest of the
opponent is of utmost importance. In practice the grappling technique is
used as a follow up technique after an unsuccessful throw. It is generally a
favorite with both young and old, small or big Judo-Ka as the value of size
and strength diminish when on the ground. Sometimes a person is well
versed in one form, the throwing technique will lose confidence in the other
form, the grappling technique and it is generally encouraged that the
throwing technique will be taught first and then the grappling technique after

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the throwing technique has been mastered. And it is no reason that a
competent or worthy Judo-Ka should not equally be confident in both
throwing and grappling techniques.
1. The holding Technique (Osaikomiwaza) is more of immobilizing and
controlling your opponent’s movement on the mat at a certain time limit in
order to win points.
2. The locking Technique (Kansotwuwaza) where pressure is applied
against the opponent’s arms or less in a twisting manner in order to make
the opponent yield or surrender.
3. The choking Technique (Shimowaza) is a strangling technique applied
on the opponent’s neck by the use of the hands, arm, legs, and opponent’s
lapel.

The following pointers for the holding technique in both offensive and
defensive techniques:

Holding Technique (Osaekomiwaza)

Offensive:
1. Movement should be with cautiousness, slow, continuous and sure.
Know your strategy first with reason.
2. Do not resist the opponent’s movement if he moves clockwise, go with
him, if he moves counter clockwise, go with him, but if he moves fast, move
slowly controlling his movement balance.
3. Do not stay in a fixed position, but move with the opponent to avoid
him from escaping.
4. Avoid body’s gap from the opponent at all times in order to control his
movements. Press your upper body against your body and guard him with
both knees and arm.
5. Never approach directly on the opponent, but move in cautiously and
be sure, controlling his body. Try to immobilize one part or side of his body at
all times so that you can control him as you move and shift for an effective
position: Every effort should be made to pin down the opponent's arm and
legs.
6. Avoid body tensing, keep your body relaxed.
7. Move with complete body action. If you push or pull, use your whole
body –not just the arm or separately.
8. Shift your weight or change angle of direction into an effective and
convenient position so that your body acts counter balance to your
opponent's movements.
9. Apply your strength freely and rhythmically.
10. Distribute your strength throughout your body in accordance with the
position you’re in. Do not let in concentrate in any particular area.
11. The main aim is to break the opponent’s escape and to pin him down.

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Defensive:
1. As the opponent attempts to come into a holding position, keep one
arm to hold the opponent's jacket and push him off with both arms and
legs, but do not attempt to kick.
2. Always try to make a gap between your body and your opponent so
that he cannot control your movements. Bring your knee against your
elbow for more strength and power in trying to escape or separate
from your opponent.
3. Keep the opponent from exerting effort in any part of your body by
moving him and to diminish his energy.
4. Move slowly and cautiously and surely.
5. Try to find a weak place in the opponent’s position. First push away
from his weak side, then as the opponent shifts his weight quickly push
to the weak side.
6. When using your shoulder or body in position or pulling, try to push at
one spot with both hands for maximum force with the use of your
shoulders and body.

Chest Hold (Mune gatame)

Instruction:
1. Approach the opponent by grasping his
right arm deep above his elbow, looking your
hand around to the inside of his right arm.
Keep his elbow locked against your upper
body with your arms.
2. Sit flat with your right knee close or with
his right shoulder, while sliding your left leg
along the rear as flat as possible with the toes curved upward.
3. Bring your head lower against the right temple of your opponent's
head. Your upper body should hold tightly to control opponents movement
and the rest of your body should be relaxed.
4. While your right hand should reach around the opponent's neck and
grasp to hold the collar.
5. Do not let your opponent’s leg reach your rear leg.
6. If the opponent succeeds in breaking your holding technique, switch or
slide into another position of grappling technique.

Note:

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a. Avoid attacking the opponent's eyes, nose, ears, and mouth by means
of poking, thrusting, striking, punching or kicking. It is not allowed.
b. Avoid squeezing the opponent's flesh and pulling the hair.
c. Press or push by the use of legs and arms, but do not kick.
d. Do not tense your body.
e. Holding limited to ten seconds duration.
f. Control his right arm under your left armpit.

Shoulder Hold (Kata Gatame)

INSTRUCTION:
Tori (Player executing technique) runs his right arm
beneath Uke (Player receiving opponent's attack)
right arm and around the back of his neck, thus
holding his head down with his arm pulled up as if
to cover his face.
Tori (Player executing technique) then clasps his
other hand to the hand around Uke (Player
receiving opponent's attack) neck and uses his neck to keep Uke (Player
receiving opponent's attack) right arm trapped, thus locking down Uke
(Player receiving opponent's attack) shoulder.
Uke (Player receiving opponent's attack) may attempt to escape by placing
his hands together and stretching violently, using that momentum to throw
Tori (Player executing technique) backwards, but these attempts can be
repelled if the shoulder lock is not loosened.
Also, to prevent Uke (Player receiving opponent's attack) from coiling his leg
around Tori (Player executing technique) leg, Tori (Player executing
technique) keeps the leg nearest to Uke (Player receiving opponent's attack)
snugly against Uke (Player receiving opponent's attack) body, with his other
leg flexed against the floor for balance.

Side Cross Four Corner Hold (Yoko Shiho Gatame)

Instruction:
Tori (Player executing technique) begins by wrapping an
arm around the back of Uke (Player receiving
opponent's attack) neck to grasp his collar, and then
bends slightly forward and uses his arm and upper body
to pin Uke (Player receiving opponent's attack) from his
shoulder to jaw. This leaves only one direction of escape available to Uke
(Player receiving opponent's attack), putting Tori (Player executing
technique) in a very advantageous position.
While pinning Uke (Player receiving opponent's attack) upper body, Tori
(Player executing technique) extends his other arm between Uke (Player

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Compiled Notes on
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receiving opponent's attack) legs and grasps Uke (Player receiving
opponent's attack) pants at the back of his thigh.
Tori (Player executing technique) also bends the knee which is nearest to
Uke (Player receiving opponent's attack) and presses it firmly against Uke
(Player receiving opponent's attack) armpit, while extending his other leg for
balance as he maintains this hold-down posture.
This Yoko-shiho-gatame (Side four-corner hold) Waza can also be performed
by grasping Uke (Player receiving opponent's attack) Belt and pinning down
his abdominal area.
Uke (Player receiving opponent's attack) may try to escape by grasping the
back of Tori (Player executing technique) Belt with his free hand and
adopting a bridge posture while rotating Tori (Player executing technique).
As this maneuver is frequently used in actual competition, Tori (Player
executing technique) must be on guard against it.

Upper Four-Corner Hold (Kami Shiho Gatame)

Instruction:
With Uke (Player receiving opponent's attack) supine, Tori
(Player executing technique) lays his upper body over him
from directly above Uke (Player receiving opponent's
attack) head, sliding both his arms beneath Uke (Player
receiving opponent's attack) shoulders to firmly grasp both
sides of Uke (Player receiving opponent's attack) Belt.
When moving into this hold, Tori (Player executing technique) must take care
not to grasp the sides of Uke (Player receiving opponent's attack) Belt by
reaching over Uke (Player receiving opponent's attack) arms instead of
beneath his shoulders, as this will leave both of Uke (Player receiving
opponent's attack) arms raised and free.
After grasping Uke (Player receiving opponent's attack) Belt with both hands,
Tori (Player executing technique) keeps his arms tightly at his sides and
presses his stomach against Uke (Player receiving opponent's attack) face.
Tori (Player executing technique) does this by thrusting out his chest to hold
Uke (Player receiving opponent's attack) down, and by spreading his legs
wide to maintain balance.
Because Uke (Player receiving opponent's attack) may try to escape by
thrusting both hands upward while moving and twisting his body, Tori (Player
executing technique) must keep his arms tightly at his sides in order to keep
Uke (Player receiving opponent's attack) arms locked.

Pillow Cross Chest Hold (Makura-Kesa gatame)

Instruction:

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Compiled Notes on
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1. This technique is slightly similar to a chest hold except your thigh is under
the opponent's head like a pillow and you control his arm.

2. Hook your right arm under his left arm, gripping the inside of your right
thigh or the hollow of your knee. Press your head against his left arm and
apply moderate pressure.

4. As the opponent moves for struggle, grasp the opponent's elbow with
your left arm for additional control and better balance.

Choking Technique (Shime Waza)

Pointers
Offensive:
1. Attack the opponent's front side of the neck when applying pressure for
choking. Do not attack the opponent’s windpipe of the Adam’s apple.
2. The opponent's jacket is useful in lapel choking. Try to reach in deep
around his lapel (Rear Portion) with your hand and apply pressure with the
aid of your head.
3. Move your hands slowly into position using your thumb, side of your right
hand, and aside of the right hand to work along the side of your opponent's
back, and pressure from the side of your head against his head.
4. One arm usually applies direct pressure to the neck while the other hand
the other side of the opponent's jackets or head steady.
5. Choking by curving the inside of your waist in an arch and pulling in a
circulation motion under or side of the opponent's neck. Pull the elbow of the
choking arm background.
6. Legs are used by choking the opponent's thigh or body, even to the direct
point, the neck or arm. Apply pressure with your legs, as you choke. Your
arm should press against the opponent's neck.

Defensive:
1. Defense against choking is done by controlling the choking arm.
2. Do not panic.
3. Reach back with both hands, grabbing the elbow of the choking arm.
4. Pull down and try to escape by rolling your head out.
5. This defense does not apply to front strangles, but it is still necessary to
control the choking arm.
6. If in case of rear choking try to grasp opponent head or free clipping your
body and apply pressure to diminish your opponent's strength or his control,
to separate from him
7. If the opponent's black out, immediately release your choke, and
immediately without second delay apply artificial respiration from the lying
position, in Japanese term it is known as KUATSU.

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8. be serious when applying the choking technique. It is one of the
dangerous techniques in Judo. Observe extra safety precautions
9. When the opponent wishes to surrender, he should tap you to say
"MAITTA" or surrender.
10. Observe your opponent there are cases that the opponent fails to tap
you. Be conscious of the safety of your opponent.

Natural Cross Collar Choke (Nami- juji-jime)

Instruction:

1. Approach the opponent at the front,

extending both hands in cross manner.
The back of your hands facing towards
you.
2. Approach deeply alongside the
opponent rear side of lapel with both
hands. Palms should be down with thumb deep under the collar
and fingers gripping tightly.
3. Apply pressure to both side of neck by pulling your opponent
toward you and with a cross arm fashion bring your head against
opponent’s either side of neck.
4. Pull your opponent towards you in lying face up position on the
ground and control his movement with the help of your both legs
pushing his front body.
Reverse Cross Collar Choke (gyaku-juji-jimi)

Instruction:

1. This technique is almost practically the same

as the natural cross collar choke, except the
position of the hands. The palms are facing
towards you.
2. Approach opponent at the front and take a deep grip as possible on
the left side of your opponent collar with your left hand, put your
thumb on the outside.
3. Slip your right hand in other from above or below your left arm, get
a deep grip on the right side of his collar. Put your thumb on the
outside.
4. Strangle your opponent by bringing your right hand to the right and
your left hand to the left as if you were going to join your thumb
together. Then push your opponent backward, his back against the
mat and bring your toward opponent either side of his head for
more pressure.

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Half Cross Collar Choke (Kata-Juji-Jime)

Instructions:
1. Again this particular technique is almost the
same as the natural and reverse cross collar
choke, except the variations of the hands position.
Either the right or left hand under crossing each
other, one palm of the hand facing towards you
and one palm of the hand facing toward your
opponent.
2. Reach in deep grip opponent's left side of his collar with your left hand,
palms up. Grasp the back of his collar with your hand palm down and thumb
inside.
3. Pull opponent towards you as you bring your back against the mat.
Simultaneously contact your either side of your head against his to control
his movement and better strangle.
Locking Technique (Kansetsu waza)

Offensive:

1. Before you apply pressure on your opponent's joint, control your strength
to avoid injuries on your opponent.
2. Pressure is exerted only on elbow joint by hooking for immobilizing the
opponent's arm.
3. Always control the opponent's body so that he cannot escape until
pressure is applied.
4. Locking technique are usually applied when the opponent pushes or hold
away with a straight arm. At this time you take advantage of this position
and applied lock.
5. Apply pressure slowly as a safety measure because this technique is
dangerous.
6. Remember, every lock has its own key to unlock yet when they lock is
secured and the key fails to function, and cannot open the lock, the key is
useless. So the same when you attempt to escape from this technique.

Defensive:

a. Once your opponent has a chance for a joint hold on you, escape before it
is too late.
b. In an instant that you sense your opponent’s intention to use a locking
technique, pull your arm free, break away and in a recoil thrust the arm out
he was attempting to hold and get free.

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c. Once your opponent has succeeded in getting a joint held on you, give the
signal immediately that you give up. Either in vocal sign or by tapping your
opponent lightly or on the mat by your either hand or foot.

Arm Lock (Udi- hishigi- ude-gatami)

Instruction:

1. The opponent is in lying position, face up. Move in

from his right side. Your right leg should be up and
bend at the knee with your right foot flat on the mat.
Only the toes of your left foot should be on the floor.
2. The hand grasping opponent's wrist should place
the thumb in the groove between the opponents hand
and wrist bone. Then bend his elbow in over his
shoulder as much as possible.
3. Slide your other hand under opponent's right arm, above the elbow and
grasp your own wrist.
4. Apply pressure by pulling back, cursing your wrist downward with the
hand that grasp opponent's wrist.
5. At the same time raise your other arm like a bar keeping the hand in
place.

Arm Coil Lock (Ude Garami)

Instruction:

1. Here again, the opponent is in lying face up

position. Move in over his upper front and reach the
opponent stretched out arm, either the right or the
left hand. In case of the opponent’s right arm
stretched, grab him with your left hand just between opponents hand and his
forearm. Are sure your force fingers of your left hand are on the top.
2. Force the palm of the opponents to face straight down against the mat.
Bend his elbow to a right angle and press his right wrist into his right side.
3. Slide your left hand under your opponent’s left upper arm and grab your
own right wrist and apply pressure to control opponent’s movements.

Cross Arm Lock (Ude Hishigi juji gatame)

Instruction:

1. Your opponent is lying face up. Seize his left hand

with your right hand.

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2. Slide your left foot under opponents back near the armpit and bring your
right foot alongside opponent’s right side of neck tightly.
3. Fall backward lifting his left arm and clamp your knees together against
his left arm.
4. Apply pressure by pulling his left arm back. Be sure his arms is arching
your back and squeezing with the knees together.
5. Bend his left arm sideways slightly in the direction of his head.

Armpit Lock (Ude-hishigi-waki-gatame)

Instruction:

1. Both on standing position with your opponent

face your body to the left and move feet diagonally
to the left side as you seize the opponent’s left
hand wrist with your left hand and with the help of
your hand on top gripping the opponent’s left hand
wrist together.
2. Clamp your opponents left arm under your right
arm and bring him down facing the mat by bringing your lower body into a
sitting flat position extending your both legs open.
3. As on sitting flat position with your legs extending open your rears legs
backward for better balance and effective position to control the opponents
struggle.
4. Let your body bend forward on your opponents left shoulder to control
completely the opponents left shoulder elbow.

Application and Assessment

I. Enumerate the code of ethics to be observed inside the training

hall.
II. Write an essay discussing the principles of Judo.
III. Perform the following techniques:
1. proper salutation or courtesy of Judo
2. the 20 Judo Preparatory Exercises
3. falling techniques

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 4. throwing techniques
5. grappling techniques

Lesson 3: Introduction to Karate

Lesson Outcomes:
At the end of the lesson, the students must have:
1. manifested understanding to the history of karate;
2. identified the objectives of karate;
3. explained the essential principles of karate;
4. discussed karate and code of ethics to be observed inside the DOJO;
5. applied the breathing techniques during the performance/ activity;
6. performed karate stances, proper salutation, proper tying of belt &
preparatory exercises;
7. applied the body shifting, double stepping and the different punch and striking
techniques during the performance of activity; and
8. demonstrated the blocking techniques and the kicking techniques.

II. Karate

This part contains significant nuances in the art of Karate

which focuses on techniques as one of the martial arts practiced today. This

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art does not only place a great emphasis on competition and sport but also
forging a lifestyle that gives more tenacity in developing skills in our physical
and psychological aspect towards life that can bring overall improvement to
every individual. This module will focus to detail and deep technical
understanding that made this art unique.
What Is Karate?
Karate is a Japanese word to its writing and character from the
translated original Chinese Kempo or “fist way”. The suffix “te” indicated a
hand that permits oneself to defend himself with his only bare hands and fist
without any reasons and the prefix “kara” means emptiness or nothing, like
a clear mirror or crystal water that reflects their surrounding without
distortion of the quiet valley that echoes a sound. It strive more for spiritual
enlightenment than that of physical strength and techniques, so one who
could learn the art of Karate, he should free himself of selfish and evil
thoughts, for only with a clear mind and conscience can he understand that
which he learned. He should always strive to be inwardly humble and
outwardly gentle and moderate.
Karate literally means an art of empty hand fighting; the art is a form,
and the form can be only an art when it shows through scientific illustration,
such as grace and mystical techniques. Essentially the art of the said Karate
is an art of self-defense. In simple words, Karate is designed for self-
protection and not for self- aggression. One effective stroke of Karate
properly delivered can kill a horse or a bull, and what more to a man? But
the main principles of Karate never allows violence, if possible.
The great ancient masters of Karate, Heijen and Tetsujin, were never
known to use it violently throughout their lives. Karate should not be violent,
it should deny violent. The complete meaning of this idea of Karate is a little
difficult to convey. Because Karate has an inner meaning itself, it is a kind of
supernatural power and is obtained through mystical means.
To understand the deeper meaning of Karate, one should proficient
first to learn the techniques and the methods and there is doubt that you
should grasp the true meaning of what is Karate.
The General Principle of Karate
The tremendous offensive and defensive power of Karate is well
known. Karate is an art with which one can defeat enemies with a single
attack, either the use of fist or feet, without a weapon. The value of the art
depends on the one applying it. If its application is for a good purpose, then
the art is of great value; but if it’s misused, then there is no more evil or

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harmful art than Karate. The indiscriminate use of the art of Karate would
cause great public concern and one cannot deny its potential dangers.
However, it would be regrettable that pursuit of this mysterious art, of which
one can properly so proud, should be shunned simply because it is too
dangerous. The source of concern is largely based on the misconception
arising from instructors or poor character, who thoughtlessly placed the
emphasis of training on the brutal concept of techniques, rather on the
spiritual aspects of the art, and from the misbehavior and poor attitude of
Karate learners who are achieving this art mainly as a technique of fighting,
properly concerned and taught and practiced in the true spirit of Karate, this
art is not only the antithesis of present danger, but it in fact admits few
equals as a thoroughly noble martial arts.
Example, the powerful drugs are dangerous. Poison is frightening,
however, there is one in the medical world today who advocates running
drugs. The danger of powerful drugs and poison depends on their usage, and
when applied correctly, they can be of great benefit to being. Karate, if
properly used, is certainly dangerous and vicious. But for the same reason
that it is dangerous, Karate too if properly applied, can yield results of great
value to save one life concerned.
One who truly trains in this art and actually understands karate is
never easily drawn into a fight, because one should know his potentialities as
well as his opponent or opponents. As it is said, Karate is an art of empty
hand fighting and an art does not make the man, the man does make the
art. Students of any art clearly including Karate-do must never forget the
cultivation of mind and body. Those who follow the way of Karate-do must
consider courtesy of prime importance. Without courtesy, the essence of
Karate-do is lost.
Courtesy must be practiced, not only during the Karate training period
or inside the DOJO alone but at all times in one’s daily life. The student must
humble himself to receive instructions. He must always be aware of and
receptive to criticism from others.
He must be constantly introspective and must readily admit any lack of
knowledge, rather than pretending to know what he does not know. He must
free himself from being presumptuous or self-conceited person. A true
Karate-do must never forsake a humble mind and gentle manner.
“Remember, it is the small-minded person who likes to brag upon acquiring
some small skill, and those with little knowledge who carry on as if they were
experts as childish. Those who humbly follow Karate-do will develop
confidence, courage, and fortitude.

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 The Objectives of Karate
The general aims of almost of the martial arts has the same objectives
as follows:
1. For mental and physical development: It is quite nature to know the
existence, history, founder, development, perfection and progress of
the subject we are interested beforehand. The accepted scientific
principles, the essential elements and some hidden knowledge or ideas
which sometimes we call it mystical techniques and, in mutual benefits
to enrich our mental achievement that developed upon grasping to our
understanding. All that cultivates to our mind understanding
constitutes to the mental development, on the other hand, the physical
development of Karate in such that it requires the body to move in all
directions, in contrast, for example, to the emphasis on the arms in
rowing or the legs in jumping. There is absolutely no need for concern
about one- sided development of the body in Karate, and the fact of
uniform development maybe considered to lobe the benefits of Karate.
Techniques, forms and hours of Karate’s drilling does not constitute the
physical development alone, but at the same time it developed the
speed, reflexes, endurance and stamina needed for every practitioner
of Karate. Karate as a physical development can be practiced by both
sexes, men and women, young and old, strong and weak, and does not
requires specific time, area and even without a partner. These
examples indicate of maintaining one’s health.
2. The sportsmanship: Karate, although said as a man’s ultimate and
deadly weapon, can be classified as a noble sport. It command respect
even towards opponent; courtesy, control and obedient to the rules
and regulations embodied in the conscience and tournament. It is a
test of true sportsmanship, courage and clean conscience when one
plays to be a victor or a loser.
3. For self-defense: Karate is a weapon, the ultimate man’s weapon, it is
not design to harm other people but for self- protection and we must
try to keep out of harmful way. To protect oneself, Karate is the
method that will give the weak the power to defend themselves
against stronger opponents. The dedicated practitioner of Karate can
converts his whole body into a weapon itself during sudden
emergencies when life and honor involved.

The Three Essential Principles of Karate

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 The remarkable strength manifested by many individual Karate
techniques, both offensive and defensive is not the mysterious things both
observers as well as exponent of the art itself. On the contrary, it is the
power result of the effective application of certain well-known scientific
principles to the movement of the body, likewise, knowledge of psychological
principles, along with constant practice, enable the Karate man to find
openings and execute the proper techniques at the proper time, no matter
how fast the movement of his opponent or partner. At an advanced stage, it
is even possible for a Karate expert to sense the movements of his opponent
before they take place.
Before learning the various individual techniques, it is necessary to
have a clear understanding of the physical, psychological, and the combined
physical-psychological principles which underline them all.
I. Physical Principles
1. Maximum Strength
Any movement of the body depends on muscular expansion and
contraction. There are many factors involved in exerting maximum
force through control of these expansions and contractions.

1.1 Force is directly proportionate to the degree of muscular expansion

and contraction which is the principle behind. For example, the coil
spring- the more the coil is pressed down, the greater the force it
exerts when released. Many parts of the human body operate the
same way.
1.2 The striking power of a force as inversely proportionated to the time
required for its application. This means that in Karate, it is not the
muscular strength used to lift a heavy object that is received but the
strength manifested in terms of speed on muscular expansive and
contraction.
In other words, force is accumulate in the form of speed and at the end of
the movement, speed is converted into a striking force. In scientific
language, force equals mass times the square of the velocity.

2. Concentration of Strength

To perform any kind of heavy physical work, concentration of strength

is necessary. Even a great amount of strength will accomplish little if it is
dispersed. By the same token a small amount of strength properly
concentrated can be quite powerful. It is no exaggeration to say that the

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practice of most Karate techniques is the practice of concentration of
strength at the proper time and the proper place.

2.1 Other things being equal, the shorter the time a striking force is
applied, the more effective it is. This element of concentration in terms
of the time is very important in Karate, for it enables one to move
immediately into a series of techniques.
2.2 The greater the number of muscles brought into play in performing a
given movement, the greater the concentration of strength. The force
which can be exerted by hands or feet acting alone is relatively small.
Therefore, the muscular power of the whole body should be exerted in
such a way that this strength is concentrated at the point of impact.
2.3 Maximum contraction of the body strength depends on effective
utilization of the resultant of forces produced by exertion of the various
muscles. When the muscles are properly coordinated, the resultant
force is greater; when the act is in opposite directions, it is lessened.
2.4 Contraction of strength depends not on simultaneous exertion of body
muscles, but on their exertion in the proper order. The muscles of the
abdominal and pelvic region are powerful but slow, whereas those of
the extremities are fast but weak. In order to concentrate the force of
both sets of muscles, those of the abdomen and hips must be brought
into play first, and this forced transferred to the point of impact, either
in the hands or feet. This accounts for the common saying in Karate to
move the hips first and the hands and the feet later.

3. Utilizing Reaction Force

This refers to the well-known principles of physics that to every action

there is an opposite and equal reaction. This principles find wide use in
Karate, for example, in punching out with a hand, the other hand is
simultaneously withdrawn to the hip, adding reaction force to the punching
hand. Running and jumping is made possible by pressing downward with
opposite foot. This is an important feature in Karate where, for example, in
punching- the rear leg is pressed hard against the floor, and the resulting
force is pressed through the body and arm to the striking hand, adding force
to the punch. In even more complex fashion when the hand actually strikes
the target, the shock of the blow is passed through the body to the legs and
floor and then is reversed back to the punching hand adding further force to
the blow.
4. Use of Breath Control

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 It is well-known that exhaling aids in contracting muscles while inhaling
tends to relax the muscles. This finds direct applications in Karate, where the
breath is sharply exhaled during the execution of techniques and inhaled
after their completion.
II. Psychological principles
Since Karate involved direct contact between two or more human beings,
psychological factors play an important role. In many cases, the
psychologically stronger party wins even when he is outmatched physically.
Although this psychological conditioning comes about naturally until it is
almost second nature in the course of Karate training.
1. Mizu No Kokoro ( A mind Like Water)
This term along with the one in the following section was emphasized
in the teaching of the ancient Karate masters. Both refer to the mental
attitude required while facing an actual opponent. This refers to the need to
make the mind calm, like the surfaced of undisturbed water.
To carry the symbolism further, smooth water reflects accurately the
image of all the objects within its range, and if the mind is kept in this state,
apprehension of the opponents movements, both psychological and physical,
will be both immediate and accurate, and one’s responses, both offensive
and defensive, will be appropriate and adequate.
On the other hand, if the surface of the water is disturbed, the images
it reflects will be distorted, or by analogy, if the mind is preoccupied with
thoughts of attack or defense, it will not apprehend the opponents’ intention,
creating an opportunity for the opponent to attack.
2. Tsuki No Kokoro ( A Mind Like a Moon)
This concept refers to the need to be constantly aware of the totality of
the opponent and his movements, just as moonlights shines equally on
everything within its range.
With the through development of this attitude, the consciousness will
be immediately aware of any opening in the opponents’ defense.
Clouds blocking the light of the moon are likened to nervousness or
destructions which interfere with correct apprehension of the opponent’s
movements and make it impossible to find an opening and to apply the
proper techniques.
3. Unity of Mind and Will

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 To use a common analogy, if the mind is compared to the speaker of a
telephone, the will is like the electric current. No matter how sensitive the
speaker is if there is no electrical current, no communication takes place.
Similarly, even if you correctly apprehend the movements of your opponent
and are conscious of an opening, if the will to act on this knowledge is
lacking, no effective technique will be forthcoming. The mind may find an
opening, but the will must be activated in order to execute the technique
called for.
III. Combined Physical- Psychological Principles

1. Kime (Focus)
Briefly “focus” in Karate refers to the concentration of all the energy of
the body in an instant on a specific target. This involves not only the
concentration described above. There is no such thing as a focus lasting for
any measurable length of time. Since successful Karate depends entirely on
effective concentration of body strength, focus is extremely important, and
without it, Karate would become nothing more than a form of dancing. This
principle will appear frequently in the following pages, so a clear
understanding of it at this point is desirable.
To further analyze the concept of focus, take the technique of
punching as an example. In reverse punching, the fist is thrust straight out
from the body and simultaneously the hips are being thrust in the direction
of the punch so as to transmit the strength of the hips and trunk to the face
of the fist, augmenting its speed and power. Of course speed and power
must be carefully balance, sacrificing speed by exerting too much power into
the arm or body must be avoided. Also the breath control principle explained
and plays an important part in focusing, the breath should be sharply
exhaled at the moment of impact. There must be an accompanying mental
attitude deflecting its total concentration of the body’s strength.
As the fist nears the target its speed is increased to its maximum
point, and at the moment of impact the muscles of the entire body are
tensed. The effect of this is that the speed is transformed into power, and
the strength of the entire body is concentrated for an instant at the fist. This,
in essence, is what “focus” in Karate means.
It should not be forgotten that this maximum exertion of energy is
instantaneous and in the next instant is withdraw in preparation for the next
movement, the muscles are relaxed, the breath inhaled, and a position
appropriate for the next technique. Assumed a Karate technique which is not
focused is ineffective and so much wasted effort.

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 2. Hen-O (Responding)
This concept refers to the correct apprehension of the opponent’s
movements and the conscious adoption of the proper techniques in
accordance with them. Both parts of this process are performed as a single
momentary act and appear to an onlooker almost as a reflex action.
It is the character that creates self-confidence in its practitioner, he
knows that his mind directed reflexes don’t have to “think” what to do.

Code of Ethics
Just like any martial arts of self-defense as practiced in Oriental way,
the rules and regulations inside the DOJO is the primary to observed by both
students as well as the instructors as part of discipline, respect and good will
to both concern;
1. No shoes allowed inside the DOJO.
2. No smoking inside the DOJO
3. Avoid drinking liquor before the training hour.
4. Execute proper courtesy before and after the training session.
5. Observe seniority by proper salutation of courtesy.
6. Avoid wearing of jewels during the practical instructions.
7. No horseplay or joking inside and in the premises of the DOJO.
8. Avoid speaking indecent words.
9. Keep feet and fingernails trimmed.
10. Clear your mind and concentrate in one point during the instructions.
11. Avoid coaching; only authorized instructors are allowed to give
assistance during the instructions.
12. No laughing at the mistakes of others.
13. Only advance students are allowed to free practice/ sparring during
the designated days. (the Jiyu-Kumite)
14. Observed sportsmanship, control and courtesy during advance
sparring.
15. Develop self-confidence.
16. Practice modern gentlemanly and chivalry way of life.
17. Observe cleanliness inside the DOJO.
18. Use equipments properly and place in proper order after the
instructions.
19. Remember, you are train for self-protection and not for self-
aggression.

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The Composition of Karate in General
Forms of Karate are commonly known as “techniques”. Karate
techniques like the techniques of other highly developed sports or physical
art have been organized over the years of perfection and modification into a
distinct system.
1 Breathing Technique
2 Vital Points
3 Stances
4 Postures
5 Hand Technique
6 Foot Technique
7 Shifting Technique
8 Sparring Technique
9 Others

The Breathing Techniques

Karate, like other martial arts of self-defense is an art, and breathing is
one technique of these arts, and it is an art itself, where every life breath live
to it. It is a process of inhalation and exhalation, during the exhalation phase,
it is known as expiration. Breathing is indispensable to human life. It is said
that fresh clean air like that of the mountains breeze and seaside breeze is
necessary for long life, but for that air to be of any value, proper breathing is
also vital. Breathing techniques or methods vary somewhat among various
schools of martial arts, by that of Karate is probably the strictest.
Proper breathing techniques are the very life of Karate. Karate aims for
mental and physical development, for sportsmanship, for self-defense and
lastly for the spiritual unity for the advance perfection and concentration are
essential elements through proper practiced of breathing to foster the frame
of mind needed and toward of a desultory attitude, the entire spirit must be
concentrated on one point. Breathing techniques installed into the body is
the most important acquisition. For the progress in Karate’s profession,

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success in both mental, physical and spiritual unity and strength depends on
proper breathing techniques. Generally there are two types of breathing
techniques that are commonly known in the sports.
1. The Western Breathing Techniques
2. The Oriental Breathing Techniques

The Western Breathing Techniques which are commonly practiced in

highly developed sport, they inhaled through the nose (except in swimming
and water exercise) and stored the inhaled air in their chest, making the
abdominal depressed and exhale through the mouth, expelling the inhaled
air, yet it releases down to the abdominal region.
Whereas, the Oriental Breathing techniques, particularly in the world of
the principles that of a balloon. If you put air inside the balloon, the balloon
will become bigger, and if you release the air inside the balloon, it become
smaller.
When it applies in breathing, when they inhale through the nose the air
goes down to the abdominal region and stored there, becoming the
abdominal bigger. When they exhale through the mouth, they expelled the
inhaled air from the abdominal region, releasing the entire inhaled air down
the navel, compressing and contracting the abdominal muscles.
The Foot Techniques:
In China, the empty hand fighting was divided into two mastery of
practiced; the Northern China concentrates on the maneuver of the hand
techniques: punching, strikes, thrusts, slash, blocks, parry, throws, both in
defense and attack, and it is known as the Northern fist. The Southern part
highly developed the mastery of foot techniques: kicks that can cripple or
even kill a horse. It has the power to destroy a door or even a concrete stone
block house without any aid.
In present day Karate, the hand and the foot techniques are combined
in one mastery and it is known as a man’s ultimate weapon. In foot
techniques, a kick and a block can be perform in various forms of striking
and kicking points during the target to its vital points. The following foot
striking surface points are:
1. The Knee: Effective for close range attack
2. The Instep: used for roundhouse kick
3. The Foot Edge: used for sidekick
4. The Sole of the Foot: used for crescent kick and block, parry

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 5. The Heel of the Foot: used in stomping kick, reverse and roundhouse
kick
6. The Ball of the Foot: used for frontal kick and roundhouse kick
7. The Leg Itself

The Close Hand

1. The Fore fist:

The Fore fist is the most powerful striking point when it contact as a
punch. An imaginary straight draw from the center of the forearm to the
point of the knuckle of the index finger and the middle finger and not at the
entire fingers. The vertical line represent the target that when the striking
point contact its target, the knuckles should be in balance. The horizontal
line represent the continuous line of the concentrated maximum strength
from the forearm.

2. The Back fist:

The striking point is the back knuckles of the fore fist.
3. The Bottom fist:
One of the most striking points used in attacking hard vital points.
4. One Knuckle fist:
Extend the index finger out from the regular clinch fist and press with
thumb. Used to attack hollow vital points such as temple and hollow of the
cheek.
5. Two Knuckle fist:
Extend the index and the middle fingers out, as the same in one knuckle
fist.
6. Fore Knuckle fist:
Extend the four fingers to a half bend from a proper fist and press down
with the thumb.
7. The Back fist:
The striking point is the back knuckles of the fore fist.
8. The Bottom fist:
One of the most striking points used in attacking hard vital points.
9. One Knuckle fist:
Extend the index finger out from the regular clinch fist and press with
thumb. Used to attack hollow vital points such as temple and hollow of the
cheek.
10. Two Knuckle fist:

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 Extend the index and the middle fingers out, as the same in one knuckle
fist.
11. Fore Knuckle fist:
Extend the four fingers to a half bend from a proper fist and press down
with the thumb.

I. Others

1. The Elbow- this is the most respective striking point

2. The Forearm:
a. The Back of the Forearm
b. The Inside of the Forearm
c. The Front of the Forearm
d. The Outside of the Arm
The Karate Stance:
The important element in any sports is the stance. In Karate a strong
and well executed techniques in both defense and offense lies on a large
extent on the physical balance and the good stance. There are several kinds
of Karate stance which are based on the factors of strength and agility
without the mastery of well stable stance. Karate techniques such as
punching, striking, kicking and blocking are impossible to perform
effectively.
These two above stances are the basic stances in Karate that are used
in pre-arranged sparring, Kata, and rendering courtesy. The respective
diagram represents as follows:
1. Stance on a drawn imaginary lines at center of the horizontal and
vertical lines. The meeting point of the two lines is the center of the
body’s weight.
2. The vertical line on the front represent the direction of the front
balance, the line on the rear balance whereas the horizontal line of the
right represent the direction of the right side balance and on the left
represent the direction of the left side balance.

Figure 1. Forward Stance (Zenkutsu- Dachi)

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 From open leg stance, move one leg forward at about twice of the
shoulder width distance from the rear leg, as shown in the diagram. The front
foot is pointing straight forward direction whereas the rear foot is oblique
outside at about 45%. The front leg is bent at the knee and forced outward
so that the knee is directly over the outer edge of the foot. The rear leg is
fully straight incline and keeping the back straight. The bearing of weight on
the front leg is 60% and 40% on the rear leg.
Figure 2. Straddle Stance (Kiba Dachi)
Open both legs a distance about twice in width of the shoulder and bend
knees outward. The heels should be planted firmly and toes pointing straight
forward. The distribution of the body weight of both legs is 50%-50%. Keep
back straight and chest out. All muscles of legs and hips should be tighten.
Figure 3. Back Stance (Kokutsu- Dachi)
Bend the rear knee and force outward the same as in the straddle
stance. Move the opposite leg forward about twice the width of the shoulder.
The direction of the front foot is pointing straight on Fig.3. Distribution of
body weight on the rear leg is 70% and 30% on the front leg. Keep back
straight and chest out.
Figure 4. Cat Stance
With rear foot on the ground, tense the rear knee inward so that it
points diagonally forward and raise the heel of opposite foot in front near the
point of the sole of the rear foot with toes pointing straight forward.
Distribution of body weight on the rear is 80% to 90% and 10% to 20% on
the front. Keep back straight and chest out.

Figure 5. Diagonal Stance (Sochin- Dachi)

This is a straddle leg stance moving forward direction. The front knee
is over the big toe, while the rear knee is about one foot forward of the big
toe. Body weight is evenly distributed on legs and both knees are bent and
tensed outward. Feet are about twice in shoulder width distance. Keep back
straight and chest out.
Figure 6. Hour-Glass Stance (Sanchin-Dachi)
Keep both knees tensed inward with front knees pointing directly over
toes and the rear knee about two inches forward to toes. Toes on both feet
are pointing inward and the body weight is distributed 50%-50% on each leg.

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Rear toes and front heel are about even with each other and heels are about
shoulder width apart. Keep back straight and chest out.
Figure 7. Diagonal Hour Glass Stance
The diagonal hour glass stance is performed by spreading the legs
twice of the shoulder width from the hour glass stance. The body weight is
evenly distributed on legs.
Figure 8. One Leg Stance
Raise one foot near the point of opposite side of knee with ankle and
knee bend. The body weight is bear fully by the one leg on stationary. Keep
back straight and chest out.
Karate Practical Instructions
Like any martial arts of self-defense, Karate’s foremost reason is self-
discipline and self- respect. In the oldest code of the ancient samurai, the
warrior says “Discipline yourself before you rule the nations; do not respect
no one unless you respect yourself.”
Respect means courtesy, and courtesy in the martial arts means the
salutations. It is emphasized on the code that says “bushido begins with
courtesy and ends with courtesy”. It is one of the highest cardinal principles
that even extend toward the opponent in the modern Karate.
Courtesy, the salutation, can be done by proper bowing.
1. Courtesy from standing to kneeling position.
2. Courtesy from kneeling to standing position.

I. Courtesy from standing position to kneeling position.

On standing position, assume informal stance.
Instruction:
a. At the first move- count 1, draw back the left foot on a half-kneeling
position with the left foot on a tiptoe manner.
b. Then at the second move- count 2, draw back the right foot assuming
full kneeling position in a tiptoe manner.
c. At the third move- count 3, cross the feet with each other sitting on the
heel of the feet, while the insteps resting against the floor.
d. Both hands are resting on the base of the thigh or lap.

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Note: On the last position, the instructors and students both will close their
eyes for meditation, concentrations and individual prayers to clean their
minds from outside problems and to concentrate to one point of teaching
and learning the arts of Karate. The individual players is to ensure and avoid
that no accidents, injuries, bad thoughts and evil ways may occurred during
the progress of the training.
e. After a minute allowed, the instructor will sound “rei” or bow, meaning
ready for instruction and training, the fourth move-count 4 is to extend
the hands forward resting the palm of the hands on the floor with
fingers pointing inside.

II. Courtesy from kneeling position to standing position

Assuming on kneeling position.
Instruction:
a. The first move from this position is to stand on both knees with toes
bending against the floor and return to sitting/ kneeling position; sitting
on the heels.
b. Then move the right foot forward to assume right half kneeling
position.
c. At the third move, stand on full standing position.
d. As hands resting on the side of hips, bow head slightly for salutation,
meaning “ready”.
The Proper Belting
The belt, in any forms of martial arts of self-defense like Karate, Judo,
Jujitsu, Kyudo, Kendo and others is a symbol of attainment in stages in
training and experience. It is an insignia of ranks being a symbol of
respective ranks it is therefore worn properly and distinctively. In the Figures
shown is how to tie the belt properly.
The belt is composed of the following parts:
a. The right wing
b. The left wing
c. The center of the belt
d. The lock
Instruction:
1. Hold the center of the belt with both hands and proportion the belt into
equal length.

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 2. Place the center of the belt under the navel and wrap the belt around
the waist as it passes on the back, change hold of the wings
accordingly being careful. Be sure the belt does not tangled.
3. Cross the right wing over the left wing at the center point and then
tighten the left.
4. At this point, tie the belt in square knot.
5. The belt should be comfortably snug on the trunk. Lock wings should
be pointing downward in side direction.
HOW TO FOLD A KARATE GI (The Uniform)
1. The Karate Gi is consist of jacket, trouser and the belt.
2. Place the trouser on the jacket.
3. Fold one sleeve over the trouser.
4. Fold the other sleeve.
5. Then fold the bottom of the jacket.
6. Start to fold the jacket from the bottom part.
7. Placing the center of the belt on the middle of the folded jacket, wind the
belt around and be sure both ends of the belt are in the same length.
8. Tie the belt in a square knot manner.

Karate Preparatory Exercise

Calisthenics are the important part of warming up exercise in Karate
that requires the maximum control of all the upper and the lower part of the
body. It gives a total flexible control strength and muscular exercise for
improving power, speed, endurance, stamina, and confidence. It is divided
into limbering exercises, muscle strengthening exercises, exercises for
improving the mind and reaction time exercises. The following exercises are
stated below.
1. Body loosening: Relax all your body muscles, particularly arms,
shoulders, legs and joints. Gently lift up and down by
shaking it.
2. Neck exercise: Twist head sideward from right to left with weight
pressure several times, then up and down then into a
circular motion and rotate in a reverse motion.
Assume open leg stance.
3. Arm exercise: With shoulder relax, extend arms and rotate in a
circular motion and reverse the rotation in several
times. Assume open leg stance.

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4. Hip exercise: Position the arms in side direction and reach as far as
possible, twisting the hips, then reverse the motion.
Repeat several times. Assume open leg stance.

5. Back bending alternate: On open leg stance, bring one hand to the
opposite foot without bending the knees, then
hands up with the back straight. Do the same on the
opposite hand with the same manner. Repeat several
times.
6. Back bending Open leg: On open leg stance, bring both hands upward,
leaning backward as far as it reach and then bend
downward bringing both hands inside the legs
touching the floor without bending the knees. Repeat
several times.
7. Back bending close leg: Place hands upward on close leg standing
position. Bring the body downward as far as it bend
while your hands are touching your toes without
bending the knees if possible. Repeat several times.
8. Trunk stretching: On open leg stance, keep the knees straight, bring
hands downward, sideward, and backward in a
circular motion. Repeat several times, then reverse
the motion in the same manner.
9. Side stretching: On open leg stance, bring one hand over head to the
opposite side, stretch the side of the body as far as it
reach; keeping the knees straight, then reverse the
motion in the same manner and repeat several
times.
10. Foot exercise: Assume one leg stance; hold the foot with your left
arm while the right arm is rotating the toes, then the
foot and stretch upward keeping in good balance.
Then do the same on opposite foot and repeat the
same manner. Repeat several times.
11. Leg- spreading one side: On open-leg stance, extend one leg
sideward and bend down the other leg keeping the
leg in straight knee, then push downward as low as
possible.

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 Note: Toes upward with the heel against the floor
(snap frontal kick position). Repeat the same manner
on the opposite leg. Repeat several times.
12. Twist the foot sideward after the snap frontal kick position.
13. Full- leg spreading: On open-leg stance, spread both legs on the sides as
low as possible, keeping both knees straight.
14. Rabbit Hopping: Assume squatting position with hands clasped behind
the back. Hop as far as possible and as high as
possible. Keep the balance as it land.
15. Leg Squatting: On open leg straddle stance, the partner ride on the
laps. Bend knees as low as possible in full squatting
manner and raise it up. Repeat several times.
16. Back bending sitting exercise: Assume flat sitting position and
extend both legs forward, keeping the knees straight
with hands holding the ankles. Let partner stand
behind the back and let him push you forward as low
as possible. Then let him pull you up as on flat sitting
position.
17. Sit up Exercise: With partner, bring both hands on the back of the
head. At one time, bring the body backward against
the floor and then bring it up bending forward,
keeping the head as low as possible between the
knees. Repeat several times.
18. Bicycle Kick Exercise: Lying with the shoulder on the floor, keep the hips
and legs up straight. Then rotate foot and legs in a
kicking motion like riding a bicycle. NOTE: Kick with
the heel of the foot. Repeat several times.
19. Push up Exercise: Assume the prone position. Support the body with
the fore fist knuckles or the fingers and toes only
touching the floor. Bring the body down and then up
with elbows extending fully straight. Repeat several
times.
20. Rope Skipping: On natural standing position, start with one jump per
revolution, alternate two revolution per one jump
high. Combined moving forward, backward, sideward
on left and right side directions. This exercise
develops lung capacity, stamina, endurance with

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 rhythmic movements and tones up elasticity of the
body and gives exercise in coordination.
21. Joint Loosening: After completing the sequence exercise; relax all
muscles and shake all joints: the shoulders, elbows,
thighs, knees, ankles, feet and hand joints.

The Body Shifting

In general, the body shifting in Karate is the motions of movements of
the body which consisting of stepping, slipping, turning, pivoting and
combinations of techniques.
The following pointers of the body shifting are as follows:
1. Maintain at all times a good and strong balance.
2. Control your body weight and move smoothly.
3. Maintain correct posture at all times.
4. Do not raise and lower your hips more than necessary, they should
move more or less in an imaginary straight lines, forward, backward, or
either right or left side.
5. Do not raise your feet high off the ground; move smoothly with your
ball of foot touches the ground, on the other hand, do not drag with the
sole and heel of the foot as you move. It will lose both speed and
balance.

The Stepping
In karate, the stepping means to step in forward, backward, sideward
or double step. It can be move in forward, backward, sideward from the
forward stance, straddle leg stance, back stance, diagonal straddle stance
in shifting where a relatively large change of position is desired.
The Slide Stepping
This method is a shifting of footsteps from one stance to another
desired stance. From the forward stance to the back stance.
NOTE:
1. On forward stance, there are two drawn imaginary lines when stepping
in forward and backward.

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 2. On back stance, it only used single drawn imaginary line when stepping
on forward and backward.
This shifting from one stance to another desired stance are the
combination of any shifting method of footsteps and other body
movement.

The Double Stepping

These shifting methods can be applied from any Karate stance in order
to cover a wide distance or close distance from the opponent and at the
same time move the upper part of the body smoothly so as to prevent the
opponent from anticipating your moves during such strategy or creative
opening.
In double stepping from forward stance, the rear leg should be brought
forward to a position slightly ahead of the body and the front leg, in a tip
toe manner. The steps should be performed smoothly, raising the feet
only slightly off the floor. The body, particularly the hips should continue
to face in the same direction. Both knees should kneel moderately. Do not
straighten the legs during the double steps.
In double stepping from the straddle leg stance to straddle leg stance,
the first foot, either right or left, depending the direction to double step in
order to cover up or withdrawn from the distance of the opponent, the
side foot is brought up even with the close to the other foot.
Both steps must be performed smoothly and well-balanced, with the
foot raised only slightly off the floor. As the first foot move to cross the
second foot, the second foot (the rear foot) should be brought to a tiptoe
manner, bending both knees deep, before it steps to assume the same
distance (straddle leg stance).
The two above mentioned example of the double stepping are also
applicable to any Karate at needs, such as on back stance, cat stance,
diagonal, straddle stance, etc with the same objectives.
1. Either to cover up a close distance from the opponent.
2. Or to withdraw a wide distance from the opponent.

Empty Fore-Fist Straight

This punch is probably the most widely used techniques in all Karate
close hand form and is extremely strong, speedy and powerful when the
distance of the target is upon the reach. It is a straight punch of the close

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fist, which is twisted 180o simultaneously as it move from the origin, at waist
line to the target with arm fully extended.
Principles:
According to the theory of Karate, an imaginary vertical line drawn
directly in front of the center of the body repress at the area at which the
greatest strength of the body can be concentrated when utilized as too
punch, strike, thrust and kick. It is also vital target area from the upper to the
lower extremities of the body. Whether aiming at the opponent’s face,
stomach or groin, the blow should strike in this vertical line. Without unduly
tensing the muscles of the shoulders and arms, the close arms and elbow
move directly toward the target in the shortest distance and the fastest
speed. As the punching arm moves out for a punch, the other arm is
simultaneously pulled back to the waist line for ready point of the maximum
extension of the punching arm, all of the muscles of the body are stiffened or
focused. The focused is momentary with the coordination of the proper
breathing. Exhale with the sound HAI and in the next moment the muscles
are relaxed and ready for the next punch.
Instruction:
1. Assume an open leg stance, shoulders down and relax body. Have a
proper fore fist closed and place the punching hand at the waist line,
extend other hand slightly in front of the body as a guide to the target.
Coordinate proper breathing.
2. Thrust the punching hand from the origin straight forward, passing the
elbow lightly along the side and pull the extended hand about the
waist line.
3. As the elbow of the punching along the side of the body, twists arms
wrist so the arm is straight at its point of maximum extension.
4. At the same moment, twist and pull the opposite arms to the side for
ready position. Coordinate proper breathing (exhale with sound HAI)
this will tense the muscles of the body.
5. Punch alternately with the right and then the left hand aiming at the
center of the vertical line as an imaginary target. This is known as
“empty punch” because it does not involve stepping.
6. Beside single alternate punch, practice series of punches, double and
triple punch and it is known as “automatic punches”. These punches
are the most important fundamentals in Karate.
The principle behind twisting the punching arm inward just before an inch
to the target: the snap of the punching arm increase the speed and strength
of the blow. The purpose of the pulling of opposite arm simultaneously with

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the punching arm is based on the principles of physics, that to every action
there is an opposite and pulled out the stronger and powerful of the opposite
hand at the impact of the blow.
The Reverse Punch (Gyaku-Zuki)
This punch is the adaption of the empty fore fist straight punch. It
consist of punching with the arm which is on the same side as the rear foot
on forward stance. This is simply a fore fist straight punch performed on the
forward stance with the hips twisted in the direction of the punch. The
twisting of the hips and the punching arm should coincide simultaneously
with focusing on the body muscles at the impact of blow is released.
Instruction:
1. Stand on forward stance and assume position of the hands as the
same of the empty punch. Coordinate proper breathing. (inhale from
the nose)
2. Keep the back straight and twist the hips smoothly as the punching
arm move out from the waist line and pull the opposite arm along the
side of the waist line.
3. Thrust the punching arm straight forward in a twisting manner at its
maximum extension with a snap of twisting hips. Pull opposite arm for
a ready position. Coordinate proper breathing (Exhale in the mouth
with a sound “HAI”) at the impact of the blow.
Pointers:
1. The power of the reverse punch depends on correct timing of the
forward twisting motion of the hips emphasize practice in
synchronizing the twisting of the hips and punching arm.
2. Direct the punch forward at vertical line at the center of your body.
Lunge Punch (Oi-zuki)
Like the reverse punch, the lunge punch is adopted from the empty
fore-fist straight punch. It is performed on the forward stance is which the
punching arm is on the same side of the forward foot which moves forward
during the delivery of the punch. The force of the body moving forward
during the punch is used to increase the speed and strength of the punch.
Just like the reverse punch, the lunge punch is an independent technique on
close hand form. It is performed commonly on forward stance and diagonal
straddle leg stance.
Instruction:

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 1. Stand on forward stance placing the punching arm on the wrist line at
the same side of the rear foot. Coordinate proper breathing. (inhale
through the nose)
2. Start to move the rear foot.
3. As the stepping foot passes the front foot, begin to move the punching
arm to the same as on empty fore-fist straight punch method. Keep
stepping leg bent. Step only with ball of the foot. Synchronize the
movements of the hips to the punching arm.
4. Stretch the stationary leg, straight incline and thrust the hips forward
in a twisting manner and as the stepping foot completed the full
forward stance, simultaneously complete the punch in a twisting
manner and focus the body muscles. Coordinate the proper breathing.
(exhale thru the mouth with the sound “HAI”.
5. Keep back straight and do not lift the rear heel.
The Vertical Fist Punch (Tate-zuki)
This punch is like the fore-fist straight punch except that punching arm
is twisted only a half turn or quarter turn in a vertical position to its
maximum extension during the impact of blow. This can be performed in the
manner of reverse punch and in the lunge punch.
The Rising Punch (Age- zuki)
The origin of the punch is the same as on the mentioned punch except
that the punching arm travel wide. The twisting of punching arm and hips are
the same. These can also be performed on reverse and lunge punch fashion,
on forward stance and diagonal straddle leg stance, and on sitting or lying
position.

The Hook Punch (Kagi zuki)

This is one of the effective techniques of the close hand form for
attacking from the side for close quarters. It can be performed with the fore-
fist, fore knuckle fist, etc. to attack the solar plexus, temple, ribs, adams
apple, etc.
Instruction:
1. This can be performed on open-leg stance, forward stance, straddle leg
stance, diagonal straddle leg stance etc.
2. Start to move the punching arm to the target. The target is along the
opposite side of the body. Simultaneously pull the opposite arm to the
waist line.
3. As soon as the elbow of the punching arm passes the hip, the fist is
twisted and thrust directly sideward in a sharp curve. Do not bring the

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 elbow outward from the body. This point of impact of the blow should
be directly in front of the opposite side of the body.
4. Coordinate proper breathing during the focus.
Roundhouse Punch (Mawashi- Zuki)
This close hand form can be performed with the fore-fist, fore-knuckle
fist, etc. on open leg stance, forward stance, straddle leg stance, diagonal
straddle leg stance, etc.
Instructions:
1. Assume position natural stance position.
2. Start to move the punching arm to the target. The target is the side
but directly in front of the body. Simultaneously pull the opposite arm
to the waist line.
3. As soon as the elbow of the punching arm leaves the body, the fist
form an arc, simultaneously twist the punching arm outward 180 o with
the snap of the hips.
4. Coordinate proper breathing during the focus. Focus strongly at the
point of impact.
The Close Punch
This is one of an effective close of close hand form in close quarter
fighting and is performed on open leg stance, forward stance, straddle leg
stance, diagonal straddle leg stance in reverse or lunge punch method. This
punch is delivered from the waist line to the target with the inside of the
forearm up.
Instructions:
1. Assume natural stance position; coordinate proper breathing.
2. As the punching arm moves from the waist line, keep elbow to the
body and withdraw the opposite arm.
3. Twist the punching arm outward just before focusing with the twisting
of the hips. Special emphasis should be given to tensing of chest
muscles while focusing with the coordination of proper breathing.
The Back Fist Strike (uraken-uchi)
A. The Downward Strike:
Although the techniques fall on the striking techniques, yet it is a close
hand form. It is perform with the used of the snapping motion of the
elbow to strike with the back of fist. It is mainly effective in close
quarter fighting as to attack the face area and solar plexus of the

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 opponent. It can be performed on open leg stance, straddle leg stance,
diagonal straddle leg stance, etc. in downward and sideward strike.
Instruction:
1. Assume natural stance position. Focus eyes on the side of the target.
Coordinate proper breathing.
2. The striking fist moves from waist line to the opposite waist line in a
circular motion. Extend the opposite arm to the opposite hip.
3. Hold the elbow of the striking fist stationary and snap the fist
downward. Twist the striking fist outward at the impact of the strike;
simultaneously pull the opposite arm for ready position.
4. Exhale at the impact of strike.

B. Sideward Strike
The motion of this technique is practically the same as that of the
downward back fist strike except of the position of the fist to the
target. The elbow of the striking fist is extremely extended to the
maximum reach and the bottom of the striking fist is pointing forward.
It can be performed on open leg stance, straddle leg stance and
diagonal leg stance.

Instruction:
1. Assume natural stance position.
2. Move the striking fist from the waist line to the opposite line in a
circular motion with opposite hand extended on the opposite side.
3. Aim the elbow of the striking fist at the target and twist the waist and
snap the striking fist sideward. Simultaneously pull the opposite hand
to the waist line.
4. Release the strike in a snapping motion extending the striking fist
straight in horizontal line with the bottom of striking fist pointing
downward. Simultaneously pull the opposite hand to the waist line for
ready position.
Bottom Fist Strike (Tetsu-Uchi)
The bottom fist strike is performed in the same technique as the
back fist strike except that striking surface of one strike is the bottom
of the fore-fist. The origin of the strike from the waist line to the target
is practically the same. The twisting of the hips, the striking fist, the
snapping motion and coordination of the opposite hand as guide are all
the same as of the back fist strike.

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 This technique can be performed downward or sideward the
head, joints, solar plexus and especially the hard surface of the
opponents body.
The special advantage of this technique is that it presents little
danger of injury to the striking hand during the impact of the strike.
It is commonly adopted on forward stance, on reverse and lunge
punch method and on straddle leg stance and diagonal straddle leg
stance.
The Double Fist Punch (Morote- Zuki)
This technique is a fore fist straight punch in which both hands
punches the target at the same time. The origin of the punching hands is at
the waist line to the maximum extension during the impact of the blows. The
twisting of the punching hands before an inch to the target and the snapping
motion of the twisting are synchronized in one action.
Instructions:
1. Assume natural stance position. Coordinate proper breathing.
2. Move both hands from the waist line, passing the elbow at the side of
the body at the same time.
3. Twist both hands before an inch to the target to the maximum
extension on the impact of the blows.
The U-Punch (Yama-Zuki)
This punching technique is simultaneous punch of the fore-fist straight
punch aiming to the face area and solar plexus at the same time. The other
hand is a close punch and the other hand is a rising punch.
Instructions:
1. Assume natural stance position. Coordinate proper breathing.
2. Execute one hand of a rising punch method and the other hand of a
close punch method.
3. Twist the punching hand or a rising punch an inch before an inch of the
target, simultaneously punch the other hand on a close punch in one
snapping motion with twist of the hips at the maximum impact of the
punch.
The Knife Hand Forward Strike
The open hand forms are mainly used for striking techniques. This
knife hand strike is one of the strongest striking techniques in which the

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snapping force of the elbow and twisting techniques of the wrist and hips
and the used of the edge of the hand.
Instructions:
1. Assume natural stance position.
2. Bring the striking hands at the point of the fore-hand and extend the
other hand forward as a guide. Pass the striking hand smoothly to the
point near the ear.
3. Swing the striking hand forward forming on side to the target.
4. Snap the elbow of the striking hand straight forward at the point of the
impact and pull the opposite hand to the waist line. Coordinate proper
breathing.
The Knife Hand Strike
Like the knife hand forward strike, this technique is a powerful open
hand form. This is perform in the manner as the knife hand forward strike
except that the striking hand travel from opposite ear to the vital points of
the target.
Instructions:
1. Assume open leg stance position.
2. Bring the striking hand over the opposite shoulder at the point near the
ear. The palm of the striking hand is facing the ear. Extend the
opposite hand forward as guide.
3. Swing the elbow of the striking hand from the origin forming a wide arc
to the target; pull the opposite hand to the side.
4. Just before the point of impact, twist the arm so that it is facing
downward in a snapping force. Simultaneously pull the opposite hand
to the waist line and coordinate proper breathing.

The Back Hand Strike (Haishu-Uchi)

This form of an open hand technique is performed in the same manner
as the back fist strike, except that the striking hand is open but the basic
principle and method are practically the same. It is mainly used to attack the
face area, ears, solar plexus, etc.
Instructions:
1. Assume open leg stance position.
2. Bring the striking hand passing the opposite waist line and extend the
opposite hand in the opposite direction as a guide.

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 3. Move the striking hand in the wide area passing in front of the body to
the target points. Pull the opposite hand along the waist line.
4. Snap the elbow of the striking hand in a forceful motion to a maximum
extension during the impact of the strike. Pull the opposite hand along
the waist line. Coordinate proper breathing.
The Ridge Hand outside Strike
This technique of an open hand form is like of a knife hand strike. It
can also be performed from outside and inside strike. It is mainly used to
attack opponent’s neck, ribs, temple, solar plexus, etc. and also used for
blocking.
Instructions:
1. Assume open leg stance position.
2. Bring the striking hand in an open hand passing below the waist line
while the opposite hand is extended forward as a guide.
3. Swing the striking hand upward in a wide arc and pull the opposite
hand along the side.
4. Snap the striking hand inward just before the striking target so that the
palm of the striking hand is facing downward and directly in front of
the body. Simultaneously pull the opposite hand for ready position.
Coordinate proper breathing.
The Ridge Hand inside Strike
The ridge hand inside strike is the other variation of the ridge hand
inside strike. The striking point of the striking hand is the same except that
the origin travel from the opposite side and the palm of the striking at the
impact of the strike is facing upward.
Instructions:
1. Assume open leg stance position.
2. Move the striking hand to the opposite side near the point below the
waist line in an opening form as the opposite hand is extended as a
guide.
3. Swing the striking hand in an inside arc and pull the opposite hand
along the side.
4. Twist the striking hand in a snap motion just before the point of
impact. Strike the target with palm of the striking hand upward directly
in front of the hips.
The Elbow Strike (Empi- Uchi)
This technique is one of a powerful technique used mainly in close
quarter fighting. It consists of five different techniques as follows:

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 a. The forward elbow strike
b. The rising elbow strike
c. The backward elbow strike
d. The sideward elbow strike
These techniques are used mainly to attack the opponent’s chin, solar
plexus, ribs, neck, lungs, kidneys, etc.
Instructions for the Forward Elbow Strike:
1. Assume open leg stance position. Extend opposite hand forward as a
guide.
2. Swing the striking elbow outward at the target and pull the opposite
hand along the waist.
3. Move in the striking elbow in an arc toward the target and strike
outward in a straight line. Twists the waist inward of the striking
elbows and bend the striking elbow deeply. Simultaneously pull the
opposite hand to the side for ready position. Coordinate proper
breathing.
Instructions for the Rising Elbow Strike:
1. Assume open leg stance position.
2. Extend the one hand forward in a vertical line in front of the body as a
guide. Coordinate proper breathing.
3. Swing the striking elbow upward in a wide arc from the waist line.
Twist the hand of the striking elbow inward and pull the opposite hand
along the waist line.
4. With a snapping force, bend the striking elbow deeply so that at the
point of impact the hand of the striking is close to the ear.
Simultaneously complete the pulling of the opposite hand to the side.
Instructions for the Backward Elbow Strike:
This elbow strike is mainly used to strike in backward direction with the
coordination of the roundhouse punch to the rear with the opposite hand.
This technique is made stronger and more effective.
1. Assume position on a straddle leg stance; bring the hand of the striking
elbow at the point near the ear.
2. Swing the striking elbow in a wide arc from the point near the ear while
the opposite hand from the waist line. Move to execute the roundhouse
punch to the rear.
5. Twist hand outward and thrust the striking elbow straight backward.
Simultaneously complete the roundhouse punch to the rear with the
opposite hand.

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Instructions for the Sideward Elbow Strike:
This elbow strike mainly used to attack the opponents face area, neck,
chest, abdomen, back, kidney, ribs, solar plexus, etc.
1. Assume open lag stance position.
2. Bring the hand of the striking arm at the point near the opposite ear or
over the opposite shoulder, the palm facing the ear while the opposite
hand extending to the opposite side of the target direction as a guide.
Move the hand of the striking arm sideward passing in front of the
body.
3. Thrust the striking elbow straight sideward to the point of the target
and pull the opposite hand to the side.
4. Before completing the strike, turn the waist of the striking elbow
inward and bend the elbow. Deeply thrust directly sideward in a
straight line. Coordinate proper breathing.
The Downward Elbow Strike
This elbow strike technique is most powerful elbow strike among the
five techniques of elbow strike. By the motion of the striking elbow
downward and with aid of the body weight during the point of impact made
this technique the most powerful and effective. It is used mainly to strike the
opponent’s chest area, back area and head area when opponent if off
balance of in lying position.
Instructions:
1. Assume position on straddle leg stance or diagonal straddle leg stance.
Bring the hand of the striking arm over the shoulders and coordinate
proper breathing.
2. Swing downward the elbow of the striking arm from the origin over the
shoulder. As the striking elbow moves downward, bring the body
downward bending both knees in one synchronized movements.
3. Thrust the striking elbow straight downward, twisting the forearm, so
that the palm of the striking arm is at the point of the shoulder line.
Simultaneously drop both knee to assume flat feet full squatting
position to the momentum of the strike.
The Blocking Techniques
The true art of Karate is said to “begin” and to “end” with blocking.
Another motto is “In Karate, never make the first move”. The meaning
behind both of this expression is that karate ethics opposes its uses for
offensive purposes. Since karate originated and has developed as an art of

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self-defense, blocking techniques are highly developed. Most of these are
performed with the hands in which the opponent’s attacking hands and foot
is struck, deflected, pressed down, hooked, or in some other way blocked so
that the attack is rendered ineffective. A distinctive feature of manly karate
blocking techniques is that they are “focused” blocks in which the whole
strength of the body is concentrated at the blocking point and then
withdrawn. The advantage of this is that they often inflict such pain on the
opponent’s attacking arm or leg that he is discourage from attacking again.
Also this kind of blocks enable one to maintain in his posture and balance
and be immediately ready to perform the next technique, be it a counter
attack or another block.
In Karate, the blocking techniques to use in any given situation must
be determined on the basis of the form or attack, the strength of the
opponent, one’s own position in relation to that of the opponent, one’s own
strength and other pertinent factors. The following points particularly should
be bear in mind as follows:
1. Make every effort to turn the opponent’s strength to your advantage.
2. Be sure to maintain your own balance and posture in blocking.
3. The blocking hand should not be over-engaged in the block, but should
be propagating for the next technique.
4. While blocking and afterward be sure your posture of position does not
defer your opponent of opening.
5. While blocking you should bear in mind the counter attack you will
follow up with.
The Rising Block (age-uke)
This blocking technique is mainly used to block the opponent’s attack
on the front of the body particularly the solar plexus, chest, Adams apple and
the face area. It consists of raising the blocking forearm and reflects the
block with outer surface of the blocking forearm near the waist to the center
between the elbows.
Instructions:
1. Assume open leg stance position.
2. Bring the blocking hand long near the opposite side and extend the
opposite hand forward as a guide.
3. With the elbow of the blocking arm about 90 o, swing the arm of the
blocking arm upward keeping in close to the body.
4. As the blocking arm passes in front of the body, twist the blocking arm
inward and pull the opposite arm to the side.

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 5. Simultaneously snap forward and focus at a point about three inches
out from the top of the forehead and pull the opposite hand to the side
for ready position. Coordinate proper breathing.
Forearm Block (UDE-UKE)
This is the second kind of the forearm block which uses the outside
surface of the blocking forearm to block an opponent’s front attack.
Instructions:
1. Assume open leg stance position.
2. Bring the blocking hand to the opposite shoulder near the ear and
extend opposite hand forward as a guide.
3. With elbow bend of the blocking arm, swing the blocking forearm from
the origin to the front of the body.
4. Snap the fist of the blocking forearm outward in a twisting motion and
focus strongly at the hand point of impact. Simultaneously pull the
opposite hand to the side for ready position.
The Downward Block (Gedan- Barai)
This blocking technique which uses the outer part of the forearm from
the waist to the center between the elbow, deflect and block an attack to the
area of mid-section of the body from the shoulder lines to the groin. It is
effective in defending against kicking and punching attack.
Instructions:
1. Assume open leg stance position.
2. Bring the blocking arm over the opposite extending forward as a guide.
3. Swing the blocking arm downward from the origin in a strong
deflective motion.
4. Simultaneously twist the blocking arm so that the waist is downward
and at the same movement pull the opposite arm to the side for ready
position. Coordinate proper breathing.
The Knife Hand Block (Shuto-uke)
The knife hand block is an open hand block and it is a speedy technique
and is unique to karate form. It is used in a wide range of situations mainly to
depend against an attack to the front mid-section vital areas.
Instructions:
1. Assume open leg stance position.
2. Bring the blocking hand near the ear while extend the opposite hand
forward as a guide.

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 3. Swing the forearm of the blocking hand down diagonally,
simultaneously twisting the blocking forward.
4. At the same time, quickly pull withdrawing opposite to the point near
the solar plexus and complete the blocking. Coordinate proper
breathing.
The Augmented Forearm Block
The augmented forearm block is a close hand block which is similar to
a forearm inside; the principle and the basic techniques are the same but it
is somewhat stronger and after the blocking the opposite hand at the point
near the elbow of the blocking hand is in a ready position and can
immediately move in to the counter attack or defend against an opponent’s
next move.
Adaptations of the Block:
1. As the opponent move in the reverse punch, blocked with an
augmented forearm on back stance.
2. Then the opposite hand move to press the hand of the opponent’s
punching hand and the blocking and moves for an uppercut close
punch.
The X-Block
The X-block is divided into two forms:
1. The rising open hand x-block; blocking downward against the attack
from the waist line to the face area; and
2. The downward close hand x-block; blocking downward against a
kicking attack from the abdomen to the groin.
Instructions for the rising open hand x- block:
1. Assume open leg stance position.
2. Thrust both hands in an open form in a straight diagonal lines upward
passing in front of the face.
3. As both hands cross at a point even with the top of the hand and one
foot away, complete the block with a pressing strength.
The downward close hand X-block:
This effective blocking technique requires comparatively little strength
and which can be easily turned to one’s advantage in counter attacking. This
is mainly used to defend against a kicking attack from the abdominal section
to the groin.

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Instructions for the downward close hand X-block:
1. Assume open leg stance position.
2. Bring both fists in a cross-fist near the side of the body.
3. Thrust both fists strongly downward in front of the body.
4. At the completion of the block; bring both elbows straight inclined
downward as that they strike at the point in front of the abdomen
about one foot away. Coordinate proper breathing.
The Foot Techniques
The foot, as well as the hands, is the most powerful weapons in karate,
not like in other comparative martial arts of self-defense, the feet are hardly
and rigorously trained and made into the most powerful defective weapons;
that is a unique feature in the art of karate.
Even the most common man who without trained their feet, they are
inclined to use their feet both for offense and defense so what more if they
have a special training and converted them into a powerful weapon. In
ordinary circumstances, we do not use our feet in a large variety of ways as
we do our hands; therefore it says in karate “make thy feet do as what thy
hands can do and make thy hands strikes as powerful as thy feet”. In simple
words, it is a constant practice. It should be bear in mind that like all karate
techniques, not just the feet or hands, but the whole body that moves during
the performance of certain technique used.
The foot techniques are widely used for both offense and to defend, it
consists kicking snap or thrust, jumping flying stomping, turning and
blocking.
In kicking, the special attention must be emphasized to the stationary
foot, shifting of the body balance, and the withdrawal of the kicking foot into
a good stance.
Since the stationary foot bears the whole weight of the body during the
kicking, it must have a strong stance and balance, especially in the direction
of the target, and to withstand the impact of the shock of the kicking during
striking the target. The balance must be shifted in such a way that the
kicking foot bears none of the weight during the kicking and at the same
time the weight must be thrust in the direction of the kick in order to give
the strength of the striking force of the kick.
A kick must be like that of a coil spring. The kicking leg should be
quickly and smoothly withdrawn after the kick to avoid from being grabbed

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or scooped by the opponent and to enable one to prepare for the next
technique, either defense or series of techniques.
The Frontal Snap Kick (Mae-geri Keage)
Instructions for the frontal snap kick:
1. Assume position on forward stance.
2. Lift the knee of the kicking leg high and close to the chest at the same
time bend toes and ankle upward as much as possible and hold them
under tension.
3. Kick upward directly in front of the body in a snapping motion of the
knee to the striking target with ball of the foot.
4. Upon the kicking leg reach to its maximum extension, snap back to
withdraw to the previous position with knee near the point of chest.
5. Then lower the kicking leg backward to assume the original forward
stance.
6. Avoid lifting heel of the stationary foot when kicking.
7. Do not lean the body backward or forward when kicking; the body
should be kept erect and balance.
Instructions for the frontal thrust kick:
1. Assume position on forward stance or back stance.
2. Raise the kicking knee close to the chest.
3. Kick in thrusting manner outward straight to the target. Coordinate
proper breathing.
4. Withdraw the knee of the kicking leg close to the chest.
5. Then return to the original position.
The Frontal Kick (Mae-geri)
This kicking technique is to kick forward in which the striking surface of
the kicking foot are the ball and the heel of the foot. There are three kinds of
frontal kick on standing position namely the:
1. Frontal Snap Kick which makes use of the snapping motion of the knee.
2. Frontal Thrust Kick which the heel of the foot is thrust in a straight line
to the target.
3. Frontal Stomp Kick which the ball of the heel of foot is stomp
downward in a straight line to the target.
On Back Stance:
Adaptation:

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 These frontal snap kick and the frontal thrust kick can be performed
from a stationary position with either the front or the rear leg.
The Side Kick (Yoko-Geri)
Side kick on forward stance:
This kicking technique uses the edge of the foot as the striking surface
in a force snapping and a thrust motion of the knee. These are the three
kinds of side kick on standing position, namely:
1. The side snap kick which utilizes the snapping motion of the knee.
2. The side thrust kick which the foot is thrust out in a straight line like a
punch.
3. The side stomp kick which the foot is stomp downward to the target.
Instructions for the side snap and thrust kick:
1. Assume on position and coordinate proper breathing.
2. Bring the kicking foot upward.
3. To perform a side snap kick, utilize the snapping motion of the knee
joint to jerk the sideways in an upward arc. At the beginning of the kick
the knee should point diagonally toward the target.
4. To perform a side thrust kick, the origin and the basic principles are
the same except when kicking, thrust the edge of the kicking foot
sideways in a straight line direction.
The Side Kick: Adaptation from the straddle leg stance
Instructions:
These kicking technique moves in a sideward direction in a single
straight line either forward or backward directions.
1. Assume position on straddle leg stance.
2. Turn your face at the direction of the target; kick the kicking foot in a
snapping or thrust motion using the edge of the foot. In case from
straddle leg stance, turn 90o to the direction of the target when kicking
and assume straddle leg stance for the next move.
3. Repeat the same technique kicking the opposite foot on a series moves
and kick.
The Roundhouse Kick (Mawashi-geri)
This kicking technique which uses the ball of the foot as a striking
surface in which the snapping motion of the knee and the swinging of the
hips are utilized simultaneously to attack an opponent to the front, side or
back with ball or instep of the foot.

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Instructions:
1. Assume position in forward stance, straddle leg stance or back stance.
2. Bend ankle and knee of the kicking foot sharply and lift up sideways.
3. Swing the hips and kick in a snapping motion of knee joint forward so
that the foot moves in a circular motion to strike to target directly in
front of the body.
4. As the kicking leg extend to its maximum strength, withdraw quickly in
a circular motion on the origin.
5. Then return to the original position and coordinate proper breathing.
The Back Kick (Ushiro- geri)
The kicking technique uses the heel of the foot as the striking surface
in attacking to the rear or backward direction. Like the frontal and the side
kick, the back kick is classified into three kicks in standing position, namely:
1. The Back Snap Kick (Ushiro- Geri- Keage) which utilizes the snapping
force of the knee joints to attack the upper part of the opponent’s vital
points.
2. The Back thrust kick (Ushiro- Geri- Kekomi) which utilizes the thrust
motion of the heel of the foot attacking the opponent’s upper vital
points.
3. The Back Stomp Kick which uses to attack the opponent on the ground
or throw down.
General Instructions
1. Assume the position on forward stance, back stance, straddle leg
stance or diagonal leg stance with face turning at the back direction.
Coordinate proper breathing.
2. Bring the kicking leg similar to the preparatory position in the frontal
kick.
3. Bend the supporting leg slightly more than in frontal kick and keeping
your eye on the target to the rear. Swing the thigh of the kicking leg in
an arc motion in case on the back thrust kick and utilize snap of knee
and strike the target with the heel.
4. Quickly withdraw the leg of the kicking leg to the ready position.
5. Return to the original position. Repeat the same technique on both
legs.
The Crescent Kick (Mikazuki- Geri)
This technique uses the sole of the foot as the striking surface. It is
mainly used to attack and to back in a wide circular motion and target to the
front or to the side opposite of the kicking leg.

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Instructions:
1. Assume position open leg stance and extend one hand sideward from
the side of the kicking leg as a guide or a target. Coordinate proper
breathing.
2. Lift the kicking leg slightly bend at the knee and with a swivel like
movement of the hips, swing foot in an arc to the extending hand as a
target focusing in front of the body with the leg still slightly bend. At
the point of impact the toes should be pointing upward and the target
struck with the flat sole of the foot.
3. Withdraw the kicking leg to a bent position in front of the chest.
4. Then assume the original stance on the opposite direction.
The Stomping Kick
This technique is a downward kick which uses the heel, edge and the
sole of the foot as a striking surface to the vital points either to the front, to
the rear, to the inside or outside. In the front and rear stomping kick, the
heel is most commonly used as the striking surface; the edge of the foot is
mainly used. The stomping kick is consists of three kinds namely;
1. The frontal stomping kick
a. The side stomping kick
b. Outside side stomping kick
c. Inside side stomping kick
2. The back stomping kick
General Instructions:
1. Assume position and coordinate proper breathing.
2. With ankle bent upward, lift knee high toward the chest.
3. Thrust the kicking foot downward in a straight line to the target (and
on the applications) whether to the front or rear or to the side.
4. After the kick is completed, lift knee to ready position as returning to
the original stance.
The Knee Kick (Hiza-geri)
The knee kick is divided into two kinds:
1. The frontal knee kick
2. The roundhouse knee kick
This technique is very effective on the close quarter offense and
defense which uses the knee as the striking surface.

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 In the frontal knee kick, the preparatory adaptation from the frontal
kick is the same; the position and the release and pull-back to the ready
position except that the focus of the strength is transferred to the knee
during the point of impact.
In roundhouse knee kick, the knee is used as the striking surface. The
basic principle and the adaptation from the roundhouse are practically the
same except the focus on the knee during the point of impact. The circular
motion of the release of the kick to the target is the same.

Application and Assessment

I. Multiple Choice

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1. It is described literally as an art of empty hand fighting.
a. Shaolin- Szu c. Judo
b. Okinawa- te d. Karate

2. One who truly trains and understands the art of Karate is never easily
drawn into a fight because one should know his potentialities and his
opponents. This statement is…
a. True b. False
c. Maybe true d. Maybe false

3. What is needed to practice not only during the Karate training and inside
the DOJO but at all times in one’s daily life?
a. Criticism c. Courtesy
b. Aggressiveness d. All of the above

4. The following are the objectives of Karate except one.

a. Mental and physical development c. Self- defense
b. Sportsmanship d. Concentration of strength

5. It is well- known that exhaling aids in contracting muscles while inhaling

tends to relax the muscles. In what physical principles this statement refer?
a. Use of breath control c. Maximum strength
b. Concentration of strength d. Utilizing reaction force

II. Enumeration.
1 .Enumerate the 20 code of ethics to be observed inside the training
hall.
2 . Enumerate and discuss the essential principles of karate.

III. Perform the following:

1. Preparatory exercises
2. Different Karate stances
3. Different punching and striking techniques
4. Blocking techniques in coordination with striking techniques
5. Kicking techniques applicable to different stances
References:
https://www.studocu.com/ph/document/university-of-northern-philippines/
education/lecture-notes/fundamentals-of-martial-arts-notes-1/9698970/view

Chou L. & Link N. (2010) The Anatomy of Martial Arts: An Illustrated Guide to
the Muscles Used for Each Strike, Kick, and Throw Retrieved from
https://www.google.com/search?

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gs_ssp=eJzj4tFP1zc0SsqtqsxLTjZg9BJPzEssyc-
tVMhPU8hNLCrJTMxRAFLFAAMNDZk&q=anatomy+of+martial+arts&oq=anat
omy+of+mart&aqs=chrome.1.69i57j46j0i22i30l4j69i60l2.15143j1j7&sourcei
d=chrome&ie=UTF-8

Glossary of Judo Waza Retrieved from

https://www.judoch.jp/english/dictionary/terms/tukurikake/

Fundamentals of Judo Retrieved from

https://www.judo-ch.jp/english/knowledge/technique/

Lisondra R. A. Judo Manual (Unpublished Book)

Lisondra R. A. Karate Manual (Unpublished Book)

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