Karate Manual - Traditional Okinawan Instruction

PART ONE
THE HISTORY OF SHITO-RYU KARATE
Section One
Section Two
Section 'Three
............ 1
FAMILY HISTORY ...................................... 1
AN ABBREVIATED HISTORY OF KARATE ............ 2
MOTOBU-HA SHITO-RYU ............................. 3
Section four
GENERAL KARATE INFORMATION ................... 5
THE TEACHING SYSTEM IN KARATE ................ 7
Section Five.
GENERAL RULES OF ETIQUETTE ................... 8
Section Six.
Section Seven
JAPANESE GLOSSARY ............................... 9
Section Eiaht
KARATE TECHNIQUE (required for testing) ......... 13
Section Nine
TESTING REQUIREMENTS .......................... 15
WHITE BELT (9TH KYU) TO YELLOW BELT (8TH KYU) ............. 17
YELLOW BELT (8TH KYU) TO ORANGE BELT (7TH KYU) ........... 18
ORANGE BELT (7TH KYU) TO BLUE BELT (6TH KYU) ............... 19
BLUE BELT (6TH KYU) TO GREEN BELT (5TH KYU) ................. 20
GREEN BELT (5TH KYU) TO PURPLE BELT (4TH KYU) .............. 21
PURPLE BELT (4TH KYU) TO BROWN BELT (3RD KYU) ............ 22
BROWN BELT (3RD KYU) TO BROWN BELT (2ND KYU) ............ 23
BROWN BELT (2ND KYU) TO BROWN BELT (IST KYU) ............. 24
BROWN BELT (IST KYU) TO BLACK BELT (?ST DAN) .............. 25
Section Ten
KATA AND THEIR MEANINGS ........................ 26
Section Eleven
MORALS OF THE DOJO (DOJO KUN) ............... 28
Section Twelve
THE FIFTEEN BASIC TRAINING TECHNIQUES ....... 29
PATTERN AND MOVEMENT ........................................ 29
Section Thirteen
THE BUILDING OF KARATE ......................... 30
KI (LIFE FORCE) ....................................................... 31
MAAI (DtSTANCE) ....... .'............................................. 32
KARATE JUTSU ....................................................... 33
Section fourteen
HISTORYO F THE MASTERS ......................... 34
M ASTER MOTOBU ................................................... 34
SOKE SHOGO KUNIBA ................................................ 35
SOKE RICHARD BAILLARGEON ...................................... 36
SHIHAN RICHARD KELLEY ........................................... 37
SHIHAN DAl GERl T ENDRlAS . . . . .
.
SHIHAN DAI GENE WILLIAMS
PART TWO
......................................... 40
THE HISTORY OF TAI JUTSU
..................... 41
................................................................................ 41
Section one
Section two
Section three
Section four
ANDO-RYU HISTORY ................................. 41
LEVELS OF ANDO-RYU .............................. 41
SElTAl GATA .......................................... 42
ANDO-RYU BUJUTSU REQUIREMENTS ............ 44
Section 5.
Section 6
SHIHAN'S TRAINING ................................. 45
REFLECTIONS FROM THE HlDEN AND
KAIDEN ............................................ 47
HElHO AND GATA .................................... 49
Section 7
PART THREE
Section 1.
Section 3.
Section 4.
Section 5
Section 6
PART IV
Section 1
............................ 50
KOBUDO AND IAlDO
KOSHIN-RYU KOBUDO ..............................
KOSHIN-RYU IAlDO ..................................
KOSHIN-RYU Swordsmanship .......................
KOSHIN-RYU IAlDO (Basic kata) .....................
KOSHIN-RYU IAlDO 'TESTING
REQUIREM-ENTS .....................................
MHUGAI-RYU IAlDO
50
52
53
55
59
............................. 60
MHUGAI KATA ....................................... 60
......................
ZEN NlHON KENDO RElMAl
60
Section 1
SElTAl GATA ...............................:.......... 60
PART VI
HElHO ..STRATEGY
61
Section 1.
INTRODUCTION TO HElHO .......................... 61
PART V
.............................
Section 2.
PART VII
INDIVIDUAL HElHO
...................................62
KlTA KAZE BUJUTSU KAI POLICIES AND
PROCEDURES
................................... 67
e
ri
KITA KAZE
Every
emblem h a s
a
symbolfc meaning.
EMBLEM
Thfs
i s
t h e meaning
oP o u r s .
Our emblem contains three circles. The outer of the emblem itself, the line inside the
wreath and the line within the wreath. The first line symbolizes infinity. Time without
end. Since circles have a continuous line without breaks or angles, the second line
symbolizes perfection. The third line, because a circle encloses what is within its limits,
symbolizesunity. Therefore the shape of our emblem means infinity, perfection and unity.
The central pattern reflect the I n and Yo Japanese symbol of opposites. I n and Yo
symbolize our thoughts in strategy, there is a I n and Yo phase to every attack.
Redirection of direction. The duality of opposites is a comnon concept throughout Japan
and Okinaws. These are the very roots of our Martial Arts. The common practice of
reaction fiom action. The I n and Yo are also the symbol of balance. Defining the
balance in oneself is a constant struggle to Master. Once a Martial Artist can achieve this
balance I believe he can then tap his Ki at will. The wreath symbolizes our Karate History,
the Masters before us that have dedicated their lives to Karate training and teaching.
In addition to it's shape and pattern we must consider it's colors. Our Association has a
long line of history with Instructors fiom many background, many of which have a lot in
common. The Red Sun is a symbol the Japanese use for their flag. Our practice of
Martial Arts historically dates back to Japan fiom Masters such as Richard P Baillergeon,
Soke Shogu Kuniba, Motobu and Mabuni. So therefore we should honor that heritage.
Karate-do is not just a practice or hobby. (1t is a way of life1 It is time consuming,
demanding, punishing, frustrating. It requires discipline and focus. It builds character, self
esteem and provides a new view of life for each of us. It takes a lifetime of devotion of
more than just time. It takes physical devotion and demands attention. The red wreath
represent intensity and fierceness. The Black symbolizes void, emptiness and no
pretensions.
Our emblem represents many hours of sweat, determination and labor from not one, but
many Martial Artist. The circles in our emblem remind us that we are united, we have a
common bond that leads us to strive for perfection of technique and character. It reminds
us that we must 'without question defend the paths of truth. That we have an endless road
of effort ahead. Courtesy demands courage and effort, and that we must guard that
impetuous courage in each of us, to keep our minds open to other thoughts and beliefs.
-The emblem of the Kita Kaze Bujutsu Kai represents honor and integrity. The foundation
of our association.
Kita Kaze Bujutsu Kai
Student and Instructors Guide
PART ONE
THE HISTORY OF SHITO-RYU KARATE
Section One
FAMILY HISTORY
1.
Chatan Yara - (1668 - Unknown) Master of Okinawan Weapons, studied in China at age
12 and was considered one of the famous Masters of the early 1700's.
2.
Takahara Pechin - (Unknown - 1762) Responsible for the early training of Karate
Sakugawa, studied in China and under Master Chatan Yara.
3.
Karate Sakugawa - (1733 - 1815) Developed the Kata Ku Shan Ku, studied under both
Takahara Pechin and the Chinese Master Ku Shan ku.
4.
Sokon Matsumura - (1796 - 1893) Created the Kata Shinto and Seisan. Studied in China
and under Karate Sakugawa for ten years.
5.
Ankoh Itosu - (1830 - 1915) Itosu created the Pinan series of kata and introduced Karate
to public in 1903.
Choki Motobu - (1871 - 1944) Founded the Motobu-Ha Shito-Ryu Karate Do. Went to
Japan in 1923 to teach karate.
Kosei Kuniba - (1900 - 1959) Assumed the leadership of the Motobu-Ha Shito-Ryu
upon Master Motobu's death. Founded Seishin Kai Dojo.
Shogo Kuniba - (1935 - 1992) World wide head of the Motobu-Ha Shito-Ryu, the
leadership of which he passed onto Shihan Price in 1992 before his death on 14 July
1992.
Soke Dai Price - (1945 - ) Head of Seishin Kai International.
Soke Baillaweon - (1930 - 1989) Founder of National Karate and Jdutsu Union
m.
Hanshi Ruiz - (1 943 -
) Retired Assistant Director for NKJU. Founder of the
International Karate and Kobudo Union (IKKU). Zen Shoto Kai Karate Do
Federation Founder.
-
) Retired as Assistant Director of the IKKU June 1991.
Shihan Kelley - (1943
Formed the Kita Kaze Bujutsu Kai (KKBK) in September 1991.
13.
14.
Sbihan Dai Williams - (1949 - ) Retired as Senior Sensei of the IKKU in Dec. of
1993. Became the Chief Training Instructor of the KKBK in Jan. of 1994.
Shihan Dai End-
- (1958 -
I
) Became a Director of the KKBK in Dec. of 1993.
Kita Kaze Bujutsu Kai
Student and Instruct6n guide
Motobu ha Shito-Ryu Lineage Chart
Takahara Pelchln
Karate Sakugawa
1733 1815
I
Bushl Matsumura
1797 1889
I
-
-
Hlgashlonna Kanryo
1853 1915
-
'
I
Matsumurn Kosaku
1820 1898
-
Motobu Chokl
1871-1944
Mabunl Kenwa
1889-1963
I
I
I
Kunlba Kosel
i
Kunlba Shogo
1935 1982
-
BallhitgoonRlchard
Ruk Joseph
1943
-
'
I
-
1930 1989
I
Kdky Rlchard
Gaw WllUuns
Section Two
3
Kita Kaze Bpjutsu Kai
Student and Instructors Guide
AN ABBREVIATED HISTORY OF KARATE
The origins of Karate are to be found in 12th Century China. There were a number of
ancient Chinese systems, collectively known as KEMPO or "Way of the Fist."
In Okinawa, the possession of weapons and the practice of martial arts were forbidden
during the 15th Century. From that time until the early 20th Century, the Okinawans practiced
their martial arts in secrecy. This secrecy limited the amount of written material on the history of
martial arts. World War I1 destroyed much of the little written history that existed.
Early Okinawan weapon less martial arts were known as TE, a word meaning hand.
During the 15th Century, Chinese visitors introduced KEMPO into Okinawa. As KEMPO was
blended into TE, the resulting art became known as TODE, or Chinese Hand. Another meaning
for the Chinese character that represents TO was KARA, meaning Open, with the result that the
weapon less martial arts of Okinawa finally became known as KARATE.
There were three main cities in Okinawa. Each developed its own version of Karate:
Tomari developed TOMARI-TE; Naha, NAHA-TE; and Shuri, the capital city, SHURT-TE.
TOMARI-TE was quite similar to SHUN-TE and was gradually absorbed into SHURI-TE.
There were other systems, to be sure, but by the 19th Century, only two main divisions remained:
NAHA-TE and SHLTRI-TE.
Matsumura, Sokan or Bushi (1797-1889) was responsible for organizing the SHURI-TE
system and carrying on its teachings. He was followed by Itosu, Anko (1830-1915). Itosu is
generally credited with the founding of SHORIN-RYU. (RYU means style.) Next followed
Mabuni, Kenwa (1889-1957). Mabuni is the founder of SHITO-RYU, the style, or system
followed here.
But it is not that simple. Higashionna Wgaonna), Kanryo (1845-1915) became the
leading master of the NAHA-TE system. Mabuni also studied under Higashionna, and when he
developed his SHITO-RYU system, he used elements of both NAHA-TE and SHURI-TE. The
name SHITO-RYU comes fiom the first syllable of Itosu (ITO=SHI) and of Zgashionna
(HIGA=TO). Hence SHITO-RYU, a blending of Itosu's and Higashionnats styles and names.
Many other masters contributed to Karate along the way. Alexander, in his book Okinawa,
Island of Karate (briefly described above) gives the early genealogy of SHURI-TE as Peishin,
Takahara (1683-1 760); Sakugawa, Karate (1733-1 815); and Matsumura, Sokon (1797- 1889).
Itosu followed Matsumura. Other masters contributed greatly to each system. Among them,
Motobu, Choki (187 1-1944).
-
Section Three
-2
Kita Kaze Bujutsu Kai
Student and Instructors Guide
MOTOBU-HA SHITO-RYU
Master Choki Motobu was born the third son to the Motobu famiIy in Okinawa. The
Motobu family was of Samurai class, which meant that the first son of the family was taught the
family fighting methods. Choki Motobu, being frustrated by this, tried to sneak in and watch his
older brothets training. Master Motobu soon found that this was too slow and fiustrating for
him, so he began to lift heavy rocks and punch the punching post or Makiwara. After a while, he
became so strong that he earned the name "Monkey King" because of his tremendous leaping
ability and general agility. In his youth, Master Motobu became known as a brawler and a trouble
maker, so when he became the student of Master Itosu, this added to his difficulties about being
accepted as a student of one of the foremost Masters in Okinawa. Master Motobu challenged
many men in Japan. However, the defeat of a Russian boxer may have made him the most
famous. In 1922, Master Motobu helped Master Funakoshi start the teaching of Karate to the
Japanese. Filled with a new outlook on his life, Master Motobu returned to Okinawa in 1936 and
began training with Master Kentsu Yabu. Master Yabu was the only man to have ever defeated
Master Motobu. Master Motobu instructed many noted Masters, among them are Shoshin
Nagamine ,Tatsuo Shimabuku, and Kosei Kuniba.
Motobu-Ha Shito-Ryu literally means Shito-Ryu of Motobu. Master Choki Motobu lived
from 1871 to 1944 and trained many Shito-Ryu Karate people, among those people was Master
Kuniba, Kosei of the Seishinkai Karate dojo in Osaka, Japan. After moving to Japan in 1926
Master Motobu began teaching in Osaka, at the Seishinkai, and in Tokyo. Master Motobu left a
strong fighting legacy to the Shito-ryu of the Seishinkai. Master Motobu's Kata knowledge was
limited and he believed mainly in makiwara training and Kumite. He stated in his book, about
Okinawan training techniques, that Naihanshi Kata was all one needed to be a strong fighter.
The Seishinkai Karate dojo named the Karate that it taught Motobu ha Shito-ryu, in honor
of Master Motobu.
Master Itosu (1813-1915) taught the following people in Okinawa: Gichin Funakoshi
(considered the father of modem karate; Chosin Chibana (Founder of Kobayashi Shorin-ryu);
Shinpan Gusukuma; Kentsu Yabu (defeated Motobu in match and eventually became Motobu's
third instructor); Kenwa Mabuni (Mabuni trained under Itosu and Higaonna, and fiom that
training formulated the Mabuni system of Shito-Ryu); (also taught at the Seishinkai) and Kanken
Toyama. Master Motobu studied under Itosu, Anko; Matsumora, Kosaku; and Yabu, Kentsu.
Both Motobu and Mabuni taught at the Seishinkai Dojo, this is perhaps why the Shito-ryu Karate
system is a combination of Shurite, Nahate, and Tomarite.
Shito-Ryu had a variety of influences fiom many different masters in the middle 1800's.
This diverse influence gave rise to a very complex system of Karate.
The headquarters of Motobu ha Shito- ryu karate is the Seishin Kai, in Osaka, Japan. The
Seishinkai Karate Dojo was founded in the early 1900ts, when Kosei Kuniba moved to Japan fiom
-0kinawa.
After studying with Soke Richard Baillargeon and Shihan Ruiz fiom 1979 to 1987, and
with Shihan Ruiz fiom 1987 to 1991 Shihan,Kelley formed the Kita Kaze Bujutsu Kai in 1991.
The KKBK is an organiztltion for the preservation of Traditonal Karate, Kobudo, Iaido, and Tai
Jutsu.
Kita Kaze Bujutsu Kai
Student and Instructors Guide
Karate is a multi-purpose training program that will enhance the shape of both the body
and the mind. This program will increase awareness, sharpen reflexes, tone the muscles, and
promote coordination. The length of time devoted to the study of Karate will, of course, bear
directly on the progress that the student will make in the art. The accepted minimum amount of
training is three one hour lessons a Week!
Kobudo is simply the study of the ancient weapons that were used buy the Karate
Masters in Okinawa (Bo, Sai, Tonfa, Nunchaku, and Kama). The study of weaponry by a Karate
novice, after three months, is desirable to enhance his or her strength in the chest and shoulders
and to teach them the value of using a weapon. The study of Kobudo; is important fiom the
viewpoint that to be able too defend oneself against a weapon it is necessary to know how to use
that weapon.
Tai Jutsu is a method of combat that was used by the ancient samurai and includes
throws, joint locks, chokes and pressure points. The weapons of Tai Jutsu are sword, spear, knife
and Manriken.
Iai-do is the study of the sword as a way to inner peace, and also as a weapon of offense
and defense.
Remember: Martial arts teachers are nothing more than guides to a student striving to
further his studies. Martial arts teachers are all students, and none of us knows everything there
is to know of the art. My first guide ,Shonosuke Ando, fiom Japan, said that to be a Master, one
must be aperpetual student. I once asked Master Ando about the difference between Karate and
Kobudo. His answer will always stay with me. He said , "Karate is of the heart andKobtrdo is
of the mind". Think about them for a while." I'm still thinking about it. twenty-five years later. I
also asked him what is the best target to strike if you want to see dramatic results. His answer
was a laugh and a smile in combination with a pat on the head. I realize now that perhaps the will
be in my own future and not from someone else's past. In truth, karate is nothing more than a
series of complex body movements that will enable the student to be aware of himself. Karate is
also nothing less. Your karate is your life and should be lived every day. The philosophies of
Karate are very simple to learn, but very complex to put into action. I will take a page later to
examine the Dojo Kun (Morals of the school) and their interrelation to the student, in or our or
the Dojo.
Kita Kaze Bujutsu Kai
Student and Instructors Guide
/
Section four
GENERAL KARATE INFORMATION
There are nine student levels, also called & grades. These kyu grades are signdied by
the colors of the belt, and these belt colors have meaning within our karate system. There are also
9 advanced grades, called
grades. These grades signify the student's proficiency in the art. It
is the purpose of the colored belts to indicate not the length of time in the art, but to describe the
level of training.
White belt -- The color purity
Yellow belt
-- The dawning of a new day
Orange belt -- The beginning of consciousness
Blue belt -- The color of a new and open mind (blue sky)
Green belt
-- The color of fiesh and growing things
Purple belt -- The color of mild conf'usion
Brown belt -- The color of the earth (Solid and Unyielding)
Black belt -- The color of void (Empty of all pretensions)
Each student should strive not for the belt, but for the knowledge that the belt represents.
In the earlier times, the intensity of one's training was represented by the dirt on one's white belt.
The longer and the more intensely the student trained, the darker his belt became until the white
belt, which was the beginning, became the black belt of a hard-training teacher.
Kita Kaze Bujutsu Kai
Student and Instructors Guide
BELT RANKING SYSTEM
TIME IN GRADE REQUIREMENTS
9th Kyu White belt
8th Kyu Yellow belt
7th Kyu Orange belt
6th Kyu Blue belt
5th Kyu Green belt
4th Kyu Purple belt
3rd Kyu Brown belt 3 BIS*
2nd Kyu Brown belt 2 BIS*
I st Kyu Brown belt 1 BIS*
1st Dan Black belt
2nd Dan Black belt
3rd Dan Black belt
4th Dan Black belt
5th Dan Black belt
6th Dan Black belt
7th Dan Black belt
8th Dan Black belt
Shodan
Nidan
Sandan
Yondan
Godan
Rokudan
Nanadan
Hacheedan
3 months to
3 months to
3 months to
4 months to
4 months to 04
4 months to ,
6 months to ,
9 months to - 5~l7
eSC
12 months to
~ , 1
66
-
24 months to
36 months to
36 months to
36 months to
36 months to
48 months to
48 months to
* (B/S Black Stripe)
Note: Yellow, orange, and blue belts may be replaced by white belts with three, two, or one
stripes respectively. A-purple belt may be replaced by a green belt with one stripe. All
stripes are to be black in color.
Note: Dan rank belts will have association name on one side and personal name on the other side.
The association name may be combined with style name. The association recognizes that
many black belts proudly wear black belts previously issued and honor this by permitting
the wearing ofthese belts rather than the association belt.
Note: Outstanding students may bypass one ,grade up to and including 4th kyu. All other time in
grade must be achieved at each grade level prior to testing.
I
Section Five.
Kita Kaze Bujutsu Kai
Student and Instructors Guide
THE TEACHING SYSTEM IN KARATE
SENSEI
SHMAN DAI
S
m
SOKE
BLACK BELT
BLACK BELT
BLACK BELT
HEREDITARY LEADER
1ST DAN & ABOVE
3RD DAN TO 4TH DAN
5TH DAN & ABOVE
8TH DAN & ABOVE
The teaching system is designed to remind us that not all dank are teachers. The teachers
in our system have to be able to instruct the students in basics, kata, bunkai and kumite. The sole
purpose of the teacher is to guide the students in the art as correctly as possible. The
advancement of a teacher may change his belt color, however, in the Kita Kaze Bujutsu Kai all
belts worn by Sensei's are black. The dan ranks, however, if they are not recognized as teachers,
are considered instructors and not teachers.
THE DIFFERENCE BETWEEN
INSTRUCTORS AND TEACHERS WILL REFLECT IN THE DIFFERENCES
BETWEEN LEARNING KARATE-LIIUZ MOVEMENT AND LEARNING KARATE. If
a teaching title is awarded to a Yudansha (a dan grade) he is being honored for his ability to guide
students along the path of Karate.
In Japan or Okinawa, the instructor may warm up the class or instruct the general aspects
of either kata or technique. The instructor is expected to be on the floor at all times and to be
working as hard as the students are. The instructor is considered to be a teacher in training and
will always be under the scrutiny of a teacher.
The teacher is the guide in the art of karate. He must have a full understanding of the
mechanics of his art and is considered to be the philosophical leader. The teacher must be able to
inspire the student to sacr$ce his time and effort, often at the expense of his own personal life, in
order to bring the student to hller understanding of what it means to say, "I am a Karate student."
Soke Shogo Kuniba
Section Six.
F
Kita Kaze Bujutsu Kai
Student and Instructors Guide
GENERAL RULES OF ETIQUETTE
Upon entering the Dojo, one should always bow to show one's respect for a place of
learning. This is called the Rei in Japanese. Before and after each class another Rei is performed
in order to instill respect for what you are about to do and what you have done. All students
should Rei to their seniors to show respect for the knowledge that the seniors possess. It is also
certainly true that all seniors should Rei to their juniors to show the respect that is due to anyone
who is struggling to learn a new and different endeavor. Remember, courtesy and a soft voice are
necessary to the smooth workings of a person's life. Uniforms should be clean, and neatly pressed,
and with out holes or tears. A students attitude may be reflected in the neatness of their uniform.
Uniforms should be properly folded after each class, unless that uniform is to be worn home. The
Obi (belt) should never be worn outside the Dojo, and if you wear your uniform to and fi-om the
Dojo, it is recommended that a shirt of some type be worn with the Gi bottoms when amving or
leaving the Dojo. There should not be any unnecessary talking during a class and never when the
teacher is talking. Equipment should always be in good repair and the appropriate type for the
class that is being participated in. Never borrow equipment.
The Dojo's appearance is every bodies job. make sure that as a junior student, you take
your turn cleaning the Dojo.
Conduct rules for the Dojo:
1. Train Hard, Talk very little, listen well.
2. Effort and Perseverance go hand in hand.
3. Clean Gi, Clean Attitude, Clean Dojo.
4. Leave bad habits outside the Dojo.
5. Courtesy at all times.
6. Tests are unimportant, getting ready for them is all imp.ortant.
7. Be respectfbl, and respect will come to you.
KOShin (Ancient Spirit)
Section Seven
Kita Kaze Bujutsu Kai
Student and Instructors Guide
JAPANESE GLOSSARY
I
COUNTING IN JAPANESE
ICHI -- ONE
SHI -- FOUR
SHICHI -- SEVEN
JU -- TEN
NI -- TWO
GO -- FIVE
HACHI -- EIGHT
SAN --THREE
ROKU -- SIX
KU -- NINE
When pronouncing Japanese words, many of the syllables are silent. In the numbers, the
"I" at the end of ICHI, SHICM, HACHI are silent. Also, the "U" at the end of "ROKU" is silent.
In addition to being more correct, this allows for a more rhythmic counting style. Higher numbers
(1 1-99) are created by adding lower numbers together: 11 = Ju+Ichi, 12 = Ju+Ni, etc. and 20 =
Ni+Ju, 30 = San + Ju, etc.
BUJUTSU WORDS AND THEIR MEANINGS
GENERAL TERMS
Age -- Upward
Arigato -- Thank you
Ashi Barai -- Foot sweep
Ashi Sabaki -- Foot work
Atemi -- Strike
,
-2
Batto -- To draw a sword
Bunkai -- Application of technique
Chiburi -- Blood swinging
Daitai -- Thigh
Do Way
Dojo --School (Place to learn the Way)
A
B
Enpi
Bujutsu -- Wamor arts
Bunkai Soto Ura --Formal
Application
C
Chu
D
--
'
Ago -- Jaw
Ashi -- Foot
Ashi Kubi -- Ankle
Ashi Waza -- Foot technique
Ato Uchi -- Delayed strike
-- Middle
Dan -- High Grade
Doh -- Torso, Chest protector
Dozo Please
--
- Elbow
Fudo Dachi -- Immovable stance
F
Fudo Shin -- Immovable mind