contents

KARATE
JUTSU
The Five Principles
by Nodan
c. 2013 Lighthouse Productions
All rights reserved
ISBN-13:978-1492172819
ISBN-10:1492172812
CONTENTS
Introduction and History
1
The Five Principles
6
Blocking and Kicking
24
Kata and Kumite
29
Makiwara
37
Board Testing and Breaking Difficulty
46
Self-Defense
54
Warning !
The breaking and self-defense
demonstrations shown in this book
can be dangerous and should not be
attempted without the supervision
of a qualified instructor!
1
This book provides information about the techniques
seen in the videos at the nodankarate channel on YouTube.
It is not a comprehensive analysis of my teacher Quan Li’s
karate style but, it does suggest some fundamental ways for
practitioners to improve their own techniques. Readers
should be aware that my “Nodan” character is a disguise
intended to protect the identities of people described in my
book, The Power of The Way: A Spiritual Journey.1
Quan Li trained in kempo, taekwondo, Kyokushinkai,
Shaolin, and Shotokan karate, along with judo, aikido, and
kobudo (traditional Japanese weapons). He earned his black
belt in Sensei’s karate-do in the early1970s.
His brilliance was in his striking technique, which I
have named The Five Principles. These precepts are not
new to the martial arts but, Li’s radical 1-2 Timing and his
emphasis on the Extension of Ki (Mind Principle) set him
apart. Ki (chi) is the dynamic energy that is in all living
things and, “to extend ki” is to mentally follow through
with every movement.
In Master Li’s interpretation of The 1-2 Timing, the
hips are rotated before the arm or leg moves. This
increases the terminal velocity of the strike and generates
more power. Our bodies have 206 bones, 187 joints, and
more than 640 skeletal muscles. Li’s method maximizes
leverage through precision bone alignments and a refined
firing sequence of the major muscle groups in the legs,
2
hips, abdominals, and upper torso.
Although I had worked out with heavy weights and
practiced karate for fifteen years before training with Li, I
could not have performed the breaking demonstrations
shown in this book without rigorous makiwara training and
a proficiency in Quan Li’s five striking principles.
I believe my five years of intensive training with Master
Li enabled me to double my striking power.
The Five Principles
1st Proper Bone Alignment (the stances are centered
in the hara, a point two inches below the navel)
2nd The 1-2 Timing (the hips are fully rotated before
the arm or foot is extended)
3rd Extension of Ki (the Mind Principle, or “follow
through” of every technique)
4th Correct Breathing (inhale through the nose and
exhale through the mouth using the diaphragm)
5th Soft and Hard (maintaining the right balance
between relaxation and focus)
3
In the video, “Nodan’s Teacher,” Quan Li can be seen
leading two students through the Heian Yodan and Heian
Godan katas. His speed, power, and precision are a
benchmark of excellence for the traditional striking arts.
Li’s five principles are summarized in the YouTube video,
“The Five Principles,” at the nodankarate channel.
Karate Jutsu
Quan Li’s art is karate jutsu and it is closely related to
the Okinawan Shuri-te style that Master Gichen Funakoshi
introduced to Japan in 1922. This style was developed
during the 1800s by Shuri castle bodyguards and was a
dramatic departure from the Chinese kung fu that had
traditionally influenced the Okinawan striking arts.
In his provocative book, Shotokan’s Secret, karate
expert and researcher Dr. Bruce D. Clayton writes the
following about this new unarmed fighting art:
“The new art, called Shuri-te, was fundamentally different
from traditional chuan fa. Compared to Chinese fighting,
the new art was shockingly ruthless. The new style made
no attempt to subdue the opponent through painful nerve
strikes or immobilizing joint locks. Instead, every element
of the new art emphasized destroying the opponent
completely in one or two seconds.”2
4
Soken Matsumura, the head of the Shuri castle guards,
was instrumental in the development of Shuri-te. In his day,
Matsumura was considered to be the best martial artist in
Okinawa. His former students have described him as being
exceptionally fast and deceptively strong, and he was
especially known for his powerful hip rotations and his
terrifying “piercing eyes.” His student, Anko Itosu, taught
Master Funakoshi and is credited with creating the five
Pinan (Heian) katas that are still practiced today by many
traditional karate styles.
Dr. Clayton’s research into Matsumura’s karate skills
leads him to speculate, “Matsumura may have been the first
to appreciate that kinetic energy increases exponentially
with the square of the speed.”3
The following physics formula has often been used to
illustrate the significance of speed for the striking arts.
Proper Bone Alignment, The 1-2 Timing, and Soft and
Hard work together to increase terminal velocity, which is
multiplied exponentially.
F = mv2
2
Thus, F (force) is a function of the amount of body
weight transfer, m (mass), times its speed upon impact, v
(velocity), multiplied by itself and divided by two.
5
Soken Matsumura (1797-1889)
Matsumura used strong hip rotations to generate
power and he was known for his “piercing eyes.”
Anko Itosu (1831-1915)
Itosu created the Pinan katas and was
known for his powerful thrust punch.
6
Gichen Funakoshi (1868-1956)
Funakoshi (on left) was a student of Anko
Itosu and the founder of Shotokan Karate.
First Principle: Proper Bone Alignment
Quan Li’s stances are upright and “centered” in the hara.
His Front Stance assumes a natural walking step. His feet
grip the floor, the back leg and spine are straight, the head
is held erect, the shoulders are down and back, and the
torso and rear foot are turned at 45 degree angles facing
toward the front.
7
Quan Li’s Front Stance
His ready thrust forearm position forms a 45 degree
angle with the floor. 45 degree angles were integral
to Master Li’s highly leveraged striking techniques.
Back Stance
Straddle Stance
8
Stance Testing
The center of gravity of a stance is in the “one point,” or
hara, a point located two inches below the navel. Nodan
and his senior student, Yakov “The Hammer,” are assisted
by three former students in a demonstration in which
Yakov maintains a one-legged Crane Stance and then, by
“moving in center,” pushes the three men backwards.
Quan Li used this testing method to measure his
students’ progress in the first principle.
Yakov, Nodan, and three former students
are about to demonstrate stance testing.
9
Maintaining the Crane Stance
Pushing the three men backwards
10
Second Principle: The 1-2 Timing
From Crane Stance, Nodan assumes ready
thrust position with his base foot, hips and
torso facing 45 degrees toward the target.
Step 1- He rotates his hips sharply toward the
target while keeping his upper body relaxed.
11
4 Board Break from Crane Stance
Step 2- His arm is extended as his torso is rotated
strongly into the target. His elbow remains under,
his back straight, and shoulders down and back.
His Extension of Ki (follow through) sends
the excess energy of the strike into the bag
as his torso rotates 45 degrees to the front.
12
Anatomy of Reverse Thrust Punch
Step 1- The hips are fully rotated towards the target as
his punching arm moves naturally and remains relaxed.
Step 2- His arm is extended as his torso turns
45 degrees facing front. The back and rear leg
are straight, the shoulders are down and back,
and his entire body is focused hard at impact.
13
The above picture shows Nodan’s finishing position in a
Reverse Thrust Punch break. His rear leg and spine form a
straight line as his upper body is rotated 45 degrees into the
board stack. His shoulders are held down and back at the
moment of impact, in order to minimize the power loss
through the shoulder joint. His fist is rotated 45 degrees at
the point of impact, and his elbow remains under
throughout the movement of his arm. If the elbow is
allowed to turn outward during the thrust, power will be
lost through the elbow joint.
Master Li emphasized the importance of “moving in
center” whenever stepping forward or backward. This is
because power is lost when the legs are not firmly rooted to
the ground upon impact with the target.
14
“Moving in Center”
Quan Li’s torso, ready thrust position,
and back foot form 45 degree angles.
Quan Li begins an elliptical forward step. His
front foot “seeks” the correct foot placement.
15
The 1-2 Timing
As he steps, Li holds ready thrust
position and keeps his hips back.
Step 1- he rotates his hips sharply to the front,
Step 2- his arm and torso are strongly rotated.
16
Fore Fist striking position
Nodan rotates his fist to a 45 degree angle in order to
maximize the energy transfer through his forearm. The
interosseous membrane connects the two bones in the
forearm (the radius and the ulna), and this 45 degree
rotation of the fore fist maintains the optimal tension and
bone alignment.
Originally, I learned the traditional Okinawan punch
which utilizes a fully rotated “cork screw” motion. After
many years of training, this position is natural to me but,
the 45 degree angle shown below is more technically
correct. Besides properly aligning the forearm, the 45
degree rotation makes it easier to keep the elbow under
throughout the movement of the arm.
To find the optimal fore fist position, extend both arms
against a solid wall and try to push it over. With the arms
held straight and the elbows turned under, form a fist from
the flat hand position against the wall.
17
Third Principle: Extension of Ki
Ki (chi or qi) is the vital energy and activating life force
inherent in all living things. Quan Li learned this principle
from his teacher, Sensei. Sensei learned it from his study of
jujitsu, kobudo, and aikido, and then applied it to his
karate-do. The concept of “extending ki” is fundamental to
the throwing and weapons arts, and it has an essential mind
component to it because it requires a concentrated mental
effort to “follow through” with every technique- all the way
“out to infinity.”
4 Board Break with Back Kick
Head to heel, Nodan’s body forms a straight
line as he extends ki with “follow through.”
18
Extending Ki with Push Break
This is a simple but difficult test of thrusting power.
The challenge is to exert 135 lbs. of thrust (61kg) on the
board before the 75 pound suspended bag moves (see p. 48
for board testing standard).
Nodan’s stance is properly aligned with its center of
gravity in the hara. His body is soft, with only enough
tension to hold the stance together. The rear leg and spine
are straight and the shoulders are held down and back, in
order to reduce power loss through the shoulder joint. His
head is held erect, as if suspended on a string, and his
elbow is held under.
19
Step 1: Nodan inhales deeply, then rotates his hips
sharply while, at the same time, keeping his upper torso,
shoulders, and arms properly aligned and relaxed.
Step 2: following this, he rotates his upper body into the
board and exhales with a kiai yell. This technique takes
only a split second using the 1-2 Timing, and throughout
the movement he “follows through” the board with a
concentrated Extension of Ki, as if projecting a stream of
energy out to infinity.
With the starting position of his “striking” arm already
fully extended against the board, the acceleration required
to overtake the movement of the bag must be generated by
a very quick and explosive hip rotation.
20
3 Board Break from Cat Stance
This difficult break requires a concentrated
“follow through” beyond the breaking point.
The Mind Principle: projecting ki to infinity
21
Fourth Principle: Correct Breathing
Breathing must be controlled from the diaphragm.
Inhale through the nose and exhale through the mouth.
This same breathing method is used by boxers, professional
singers, and musicians who play wind instruments. For the
striking arts, it is essential to exhale sharply on every
focused technique.
Kiai means “spirit meeting” and is the union of mind,
body, and spirit. It can manifest itself in the vocalization of
the rush of air during hard exhalation on every focused
movement. When vocalized correctly, the kiai yell is a
ferocious primal roar from the depths of the hara.
In the video, “Dagger Form,” the kiai points are not
vocalized and a sharp exhalation can be heard on each
focused movement. This is “breathing kiai.”
Fifth Principle: Soft and Hard
This principle refers to the complex sequence of
contraction and relaxation of the more than 640 skeletal
muscles in the body. Mastering the Soft and Hard principle
requires many thousands of repetitions for each technique,
and it is the last of the five principles to be perfected.
Speed is a function of flexibility, and practitioners
should maintain a stretching routine that emphasizes the
shoulders, hips, and legs.
22
Soft and Hard combination break
Nodan remains relaxed before striking.
His first strike is a snapping back fist to the face.
23
The second strike “flows” from the first.
These two breaks take about ½ second from
the time that Nodan initiates his first strike.
24
Formal blocking techniques
Quan Li taught that the formal Downward, Middle, and
Rising blocks are striking techniques that must hit with the
entire body, and not just with the arm and shoulder. He
applied aikido’s unbendable arm, a technique whereby the
arm is extended in a soft/hard position using the tricep
muscle in the arm and the latissimus dorsi in the back.
The formal blocking movements in Li’s karate use a full
range of motion to develop form, speed, and power. With
proper training, however, practitioners learn to project
strength into the shorter and quicker street applications of
these formal kata blocks.
Formal Downward Block
Yakov defends against Nodan’s lunging thrust punch.
25
5 Board Break with Downward Block
The formal striking blocks follow The Five Principles.
Step 1- the hips are rotated sharply toward the target.
(His blocking arm moves naturally and stays relaxed.)
Step 2- his arm is extended through the target.
The unbendable arm makes Nodan’s arm like a
“slightly bent steel rod wrapped in cotton cloth.”
26
Practical street application
Nodan waits in the “surrender” ready position.
With Extension of Ki, Nodan projects his energy
downward as he extends his arm into the block.
27
Kicking techniques
Quan Li’s kicking techniques also followed The Five
Principles. In the Front Thrust Kick, he taught that the hips
are rotated 45 degrees as the knee is raised. This “opening”
of the hips releases the hamstring muscle and allows for
greater speed and flexibility in the movement. While
executing the Front Kick, it is important to keep the base
foot firmly rooted to the ground at the moment of impact,
in order to minimize power loss through the hips and legs.
The “down and in” motion of the thrust gives this kick
its exceptional power and it is most effective when used
against the lower abdomen, the groin, and the legs.
Quan’s base foot and hips rotate 45 degrees as his
knee is raised. Note his upright, centered stance.
28
5 Board Break with Front Kick
Step 1- Nodan throws out a punch to disguise
kick as he raises his knee and rotates his hips.
Step 2- the “down and in” motion of the
front kick leverages exceptional power.
29
Kata and Kumite
Traditional striking arts use a system of kata (prearranged formal exercises) to train their practitioners in
their style’s fundamental techniques. For the 19th century
Okinawan masters, kata and makiwara practice formed
the core of training (competitive “sport” karate did not
begin to develop until the 1930s).
Kata systems vary widely and I have studied Chinese,
Okinawan and Japanese styles whose basic training stances
differed significantly. Some were characterized by low,
elongated stances, while others preferred taller, more
compact positions.
Ultimately, it doesn’t matter what style you practice
because The Five Principles are foundational to all the
striking arts. Each system has its strong and weak points,
and I have applied techniques from a variety of arts to my
street self-defense.
Whether you concentrate on one style or practice many,
it is important to make your martial art your own, and
Master Funakoshi advised his students that, “Art does not
make the man, the man makes art.”4
Quan Li’s kata stances closely followed Master
Funakoshi’s earlier Shuri-te style, in which the training
stances were shorter and more upright than the deeper
stances that were later adopted by the Japan Karate
Association (JKA).
30
Tekki Nidan (Naihanchi Nidan)
Heian Godan (Pinan Godan)
Li’s arms form 45 degree angles with the floor.
31
His arms and base foot are at 45 degree angles.
32
Maintaining “Center”
Li first looks to his left as he prepares to pivot and turn.
He maintains his center as his lead foot “seeks” the
correct position before shifting into a Front Stance.
33
Quan Li taught formal prearranged Sanbon (three step)
and One Point (one step) kumites. Like the early Okinawan
masters, Li considered free-style sparring too dangerous.
The originators of the Okinawan striking art designed it to
be effective combat defense against untrained, multiple
adversaries who may be armed with weapons. So, free
sparring with another karateka who also possessed “one
strike” power could pose a dangerous risk.
Karate jutsu’s introduction to the general public in the
early 1900s marked the end of karate as a true combat art.
Later, with the development of tournament competition in
the 1930s, the art quickly evolved into a competitive sport
with rules and safeguards to protect the players.
In 1948, Goju-ryu founder Chojun Miyagi
supervises students in pre-arranged kumite.
34
Non-contact “point” sparring developed
from the mid-1930s through the 1960s.
In the early 1970s, safety hand and foot pads
enabled karate to become a full contact sport.
Today, after decades of commercialization, the public
perception of this once ferocious striking art is that of a
family friendly activity best suited for young children. It is
little wonder that MMA (mixed martial arts) training and
competition, which has so little in common with real street
35
self-defense, has become the “ultimate fighting” paradigm
for martial arts fans.
But, these are observations and not criticisms. Today,
numerous family oriented karate schools provide much
needed structure, discipline, and exercise for adults and
children of all ages.
Quan Li’s former karate teacher, Sensei, stopped
teaching his karate-do in the 1970s, believing that the
ferocious striking art no longer fit in a civilized society. In
its place, Sensei taught Morihei Ueshiba’s aikido, a “soft”
throwing art that seeks to do as little harm as possible to the
aggressor.
Morihei Ueshiba (1890-1956)
Ueshiba’s aikido was created from aiki-jujutsu
and became popular in Japan during the 1950s.
36
Mixed Martial Arts (MMA)
In the1990s MMA became a popular blood sport
where world class athletes compete for fame and
fortune in commercially promoted cage matches.
Grappling techniques have little application against
multiple attackers who may be armed with weapons.
Practical techniques like head butting, striking to
the eyes, throat, or groin, and biting are only a few
of many effective defenses not permitted in MMA.
37
Makiwara
The makiwara was the main tool used by 19th century
karate practitioners to develop their powerful techniques.
The traditional Okinawan makiwara was a wooden post
wrapped in rice straw and buried three feet in the ground.
These outdoor striking posts were fairly rigid and, with
intense training, its users formed unsightly bone calcifications and large calluses on their hands.
In the 1960s, my teacher, Sensei, trained with Mas
Oyama, the founder of Kyokushinkai Karate. Oyama was
considered by many to be the most powerful karateka of his
generation, and he became famous for fighting bulls with
his bare hands and for his breaking demonstrations, in
which he broke objects such as boards, bricks, and stones.
Sensei told me that Master Oyama had once confided to
him that, after many years of hard makiwara training, his
hands were damaged to the point where he always knew
when it was about to rain because of the pain and stiffness
in his knuckles.
To protect my students from these long term injuries, I
designed a flexible, rubber padded striking post based on
the principle of graduated resistance. Over time this
proved to be a safe and efficient way to develop powerful
striking techniques. Besides this, I do not believe that callus
formation is essential for effective street defense.
38
Left- Mas Oyama training on traditional makiwara.
Right- Callus formation on Mas Oyama’s right hand.
Masutatsu Oyama (1923-1994)
Using his extensive makiwara training, he
prepares to break a large stack of boards.
39
Master Funakoshi trains on traditional Okinawan
makiwara, a rigid post buried 3 feet in the ground.
The post is covered in straw and wrapped in rope.
Nodan’s flexible indoor makiwara
The platform is 4 feet wide by 4 feet long.
It was cut from a piece of ¾ inch plywood.
40
The post is made from two 1x8 inch wide boards.
Layers of soft rubber padding protect the hands.
Resistance is altered by changing the post width.
Post holder is made from wood and framing
brackets, and is attached to ¾ inch plywood.
41
Board holder constructed with ¾ inch plywood
and could hold five 1x12x10 inch wide boards.
Makiwara develops striking power
For instructions on how to construct a flexible indoor
makiwara see the video, “How to Build a Makiwara and
Board Holder” at the nodankarate channel on YouTube.
(For an excellent guide to board breaking, see Karate
Breaking Techniques, by Jack Hibbard.5)
The Shuri-te masters used the makiwara as their primary
tool for developing powerful striking techniques. The relationship between my flexible makiwara training and
horizontal striking power is illustrated in the following
breaking demonstrations, in which I have used my “weak
side” left hand to emphasize the point.
42
Resistance increases over distance.
5 Board Break with Reverse Punch
Nodan’s 5 board stacks will support a 650 lb.
(295 kg.) barbell placed across the centerline
running parallel with the grain (p. 46-49).
43
Striking from Straddle Stance
I trained many years on a padded makiwara
before breaking boards using the bent wrist.
4 Board Break with Bent Wrist Strike
This was my most dangerous breaking technique
and practitioners are strongly advised to avoid it.
Severe nerve damage to the hands and forearms
can result from hard contact with the bent wrist.
44
Palm Strike from Neutral Stance
4 Board Break with Palm Strike
Striking with power from a neutral stance
position is vital for effective street defense.
45
Reverse Elbow Strike
5 Board Break with Elbow Strike
This proved to be my most powerful horizontal
breaking technique due to the centrifugal force
generated by the circular movement of the arm.
46
Board Testing and Breaking Difficulty
Board breaking was never a part of my teaching or
martial arts training but, in order to provide some tangible
evidence of the extraordinary power in Quan Li’s striking
method, I wanted to offer visual proof. I decided to use unspaced, suspended, horizontal board breaking because it is
notably difficult, requiring both a substantial transfer of
body weight into the board stack and enough speed to
overtake the movement of the 75 pound bag.
The boards were cut from 1x12 inch wide (actual mill
size is ¾ x 11¼ inches) Common White Pine boards, which
are available at home improvement centers and lumber
yards throughout Canada and the United States. The ideal
penetration distance for a horizontal strike is approximately
two inches, or the equivalent of 3 boards (2¼ inches). So,
the four and five board stacks are more difficult to break, at
least in part, because of the increasing thickness of the
wood. A five board stack is nearly 4 inches thick, almost
twice the ideal penetration distance, which means that the
terminal velocity of the strike must be greater.
For experienced martial artists who wish to replicate
these breaks, it is important to establish and maintain a
uniform standard of board strength in order to measure
relative breaking difficulty. Wood strength varies widely,
depending on size and moisture content, and a sample from
each donor board should be tested beforehand to deter-
47
mine board strength.
Suspended stacks of wood must be broken in a fairly
straight line so, use pieces that have been cut from the same
donor board and align the grain patterns so they face in the
same direction. In addition, because the boards are not
rigidly supported, the stack must be precisely struck along
its centerline in order to distribute the force evenly across
the suspended board holder.
Before assembling each board stack, “strike test” each
board against a rigid surface to expose unseen weak points,
such as cracks or splits.
Finally, avoid boards with knots along the centerline
because the circular grain pattern will make them nearly
impossible to break.
Downward Versus Horizontal Breaking
Downward breaking is considerably more powerful than
suspended, horizontal breaking because it follows gravity,
has a longer arc of movement in which to generate hand
speed, and the rigid supports eliminate the power losses
that occur when using a softer suspended bag.
Nodan’s karate is self-defense oriented and suspended
horizontal breaking more closely resembles the kinds of
striking techniques used in real street defense situations.
48
Suspended horizontal breaking is considerably more
difficult than rigidly supported downward breaking.
Nodan used 1x12x10 inch wide pine boards in all his
breaking demonstrations. Testing showed that each board
could support, on average, a 130 lb. (59 kg) barbell placed
across the centerline of the wood running parallel with
the grain. When testing a board’s strength, the full weight
of the barbell should be rested on the board for no more
than one second, because the actual contact time during a
break is but a fraction of that time.
When the boards are un-spaced, the resistance increases
proportionally. For example, the five board stacks used in
Nodan’s suspended power breaks could support at least a
650 lb.(295.5 kg) weight (5x130 = 650). Board strength can
49
be adjusted by changing the width of the boards. For
example, an 8 inch wide board with 130 lb. test strength is
equal to a 10 inch wide board with 130 lb. test strength.
Placing spacers between the boards changes the physics
of breaking, making it considerably easier. Spacing the
boards is breaking them one at a time in rapid succession.
Breaking can be faked by first scoring or baking the boards,
or by inserting thin spacers. In the YouTube video, “Board
Strength and Breaking Difficulty” at the nodankarate
channel, 53 seconds of un-edited film (2:14-3:07) show that
Nodan’s breaking demonstrations are authentic.
For those who are serious about testing their striking
techniques using suspended horizontal breaking, be aware
that adding one additional board to a board stack can sig-
50
nificantly increase breaking difficulty. For example, going
from 4 to 5 boards will require a 25% increase in striking
force, which is somewhat analogous to raising a bench
press lift from 400 to 500 pounds!
I lifted heavy weights for seven years during high school
and college. Although I never used steroids and did not
develop large muscles, I believe this strength training
contributed to my ability to perform these 4 and 5 board
suspended power breaks.
My college weightlifting coach performs a one
arm bent press with 150 lbs. demonstrating the
leveraging strength of Proper Bone Alignment.
(At the time, “Coach” weighed in at 148 lbs.)
51
A barbell was used to measure board strength.
The average board broke with 135 lb. (61.4 kg).
52
Training both sides
Left and right 4 board palm breaks from Neutral Stance
Developing both the right and left sides of every technique is an important part of karate training, because an
injury to one side or the other can occur before or during a
street confrontation. Also, street attacks are fluid and unpredictable, and having the option of using either hand is a
strategic advantage. One of Master Funakoshi’s admonitions was to always strike the makiwara with twice the
number of repetitions using the weak side hand.
To emphasize this point, I executed my four and five
board horizontal power breaks using my “weak side” left
hand and, the fact that I was in my late fifties and when
performing these demonstrations illustrates the advantages
of Quan Li’s striking technique over sheer physical
strength and athletic prowess.
53
7 Board Break with left hand
7 Board Break with right hand
7 boards are 5 ¼ inches thick and can
support a 910 lb. (413.6 kg) barbell.
54
Self-Defense
The self-defense techniques shown in the following
demonstrations against guns and bladed weapons require a
high level of skill with many repetitions of practice with a
variety of training partners. These are high risk self-defense
techniques that should only be attempted in life or death
situations.
Today, the mixed martial arts (MMA) have taken center
stage as an entertainment blood sport. At the highest level,
world class professional athletes compete for fame and
fortune in heavily promoted cage matches. This latest
expression of the martial arts embraces a very different
philosophy from that of the 19th century Okinawan
inventors of karate jutsu. For them, the martial arts were
primarily for health and self-defense, and practitioners were
encouraged to embrace these proverbs:
“To win without fighting is the highest skill.”
“A man learns to fight so he will not have to fight.”
Discussions about which is the best martial art should
begin with the question, best for what? There are traditional
arts, sport oriented fighting styles, and practical street
defense systems. Each approach develops its own unique
set of tools and strategies.
Ultimately, the best martial art will be the one that best
55
addresses your needs and goals. There are good and bad
practitioners in every art and each style has its strengths
and weaknesses.
karate as street defense
For me, karate was always an exercise in survival, not a
sport, and my main interest was in learning how to apply
the techniques in real situations. In the 1960s, I decided to
concentrate on street self-defense and began to work out
with Tex Barnes, a college classmate who studied a style of
combat jujitsu. Tex brought a metal training knife with a
dull, rounded blade to our first practice session together. He
succeeded in “killing” me a number of times and afterwards
I had large red welts all over my body.
This became a wake-up call for me, exposing the fact
that real street defense was something quite different from
the traditional training I was receiving in the dojo. My
formal blocks were ineffective, my body was out of
position, and I lacked a strategy for defending against a
skilled knife fighter’s flowing combinations.
Tex taught me wrist locks and joint holds that were
effective against close quarter knife and gun holdups. We
also practiced against moving knife and club attacks, and
the kinds of grabs and holds that street criminals were
likely to use.
56
This early jujitsu training was the most important
influence in my future approach to the martial arts. Not
surprisingly, Tex Barnes went on to become a high ranking
jujitsu master.
I stopped training in karate for six years after the lifechanging events I experienced in late 1985. In 1991, I was
brought back into karate by two young men who asked for
self-defense lessons. Yohan and Yakov trained with me for
five years and were awarded the rank of black belt by an
independent panel of experts in 1996.
Yohan and Yakov (front center) pose with their judges.
They trained for five years as white belts before testing
for the black belt with an independent panel of experts.
57
Then, in 1999 I received another request for self-defense
instruction from Jason, a former high school track athlete
who had previously trained in karate. Since there was only
the two of us, I became his practice partner for five years.
This training, along with regular makiwara practice, kept
me strong in karate into my late fifties.
For me the primary purpose of karate is self-defense,
and understanding the predatory nature of street criminals
is essential for developing good strategies. In order for a
traditional martial art to be effective self-defense, its
techniques must be adapted to practical street applications
because what we practice is what we will do when
confronted with a real attack.
There are no rules in the street. Spear hand strikes to the
eyes and throat, grabs and strikes to the groin, and biting
are among the many effective defensive measures that are
not permitted in sport. Also, sport fighters do not face
armed or multiple opponents, and having “one strike”
power can be the equalizer in those situations.
The following examples illustrate how strategy and “one
strike” power can combine to produce a formidable array of
street defenses. These are hypothetical scenarios that are
not intended to be “how to” instructions. To effectively
learn to do these defenses requires a trained instructor and
many repetitions of practice with a variety of partners.
58
Defending a front choke with Palm Strike
“One strike” power from a neutral stance position
is advantageous in street self-defense situations.
59
5 Board Break with Palm Strike
This circular Palm Strike to the head was my
strongest upper level technique. Its exceptional
power makes it effective “one strike” defense.
60
Double spear hands to the eyes and throat are effective
defense techniques not permitted in sport competition.
Yakov applies a joint hold and uses a front kick
counter attack to thwart Yohan’s knife holdup.
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Lunging knife attack
Yakov waits for Yohan to commit to a lunging attack.
Then, he simultaneously blocks and angle steps away,
positioning himself for an immediate counter attack.
62
Gun holdup from the front
Nodan raises his hands in surrender and distracts the
gunman by asking a simple question. During this tactic, he
subtly moves his head out of the line of fire.
When his assailant’s attention has been diverted away
from the weapon, Nodan applies a wrist lock to the
gunman’s hand and then follows up with a snapping side
head strike to his face. After stunning the attacker, he can
use a follow up counter attack and disarm him.
This kind of gun defense utilizes deception and
misdirection, and requires much practice with a variety of
partners in role playing scenarios. Its effectiveness is
predicated upon the element of surprise.
63
After a stunning head strike, Nodan can
thrust the gun barrel into assailant’s face
and then disarm him with a wrist break.
Board break using a side head strike
64
Gun holdup from the back
Nodan raises his hands in surrender and distracts the
gunman by asking a simple question such as, “Have you
heard if it’s going to rain tomorrow?” He will turn his
upper body on the “to” syllable of “tomorrow,” because the
gunman’s mind will naturally finish the question, thus
taking his attention off his trigger finger, even if only for a
moment.
Nodan’s quick turn moves him out of the line of fire. He
continues turning and traps the gunman’s arm. Then, he
strikes before his assailant can react. This maneuver can be
performed in either direction, depending on the location of
any bystanders.
65
Nodan strikes to the temple. Strategically, the “one
strike” techniques are intended to stun an attacker,
leaving the option for escape or a follow up strike.
66
The Twofold Gaze
The twofold gaze of perception and sight6 enables the
defender to sees everything simultaneously, and not be
distracted by insignificant details or sudden movements by
his assailant. With a clear mind devoid of anticipation, he
can perceive his adversary’s strength and intention.
The twofold gaze is especially helpful when defending
against moving attacks involving bladed weapons because
it gives the defender a sense of having more time to react, a
phenomenon that “perceptually” slows down the speed of
his attacker’s movements.
Defending against a knife thrust
Using the twofold gaze, Nodan remains relaxed
as he patiently waits for his assailant to attack.
67
Nodan uses a sliding angle step to avoid the sudden
knife thrust. As he steps, he simultaneously executes
a middle level block and a hook punch to the head.
3 Board Break with Hook Punch
68
Simultaneous block with Palm Strike
Effective simultaneous block and counter
techniques require a higher level of skill.
Using the twofold gaze, Nodan steps in with a
simultaneous Rising Block and Palm Strike.
69
3 Board Break with Palm Strike
Thrusting above shoulder height significantly
reduces leverage. Nodan is limited to 3 board
break to the jaw because of the upward angle.
70
Knife defense with Side Kick
“Surrender” position keeps Yakov’s hands
out of reach from Yohan’s slashing attack.
He begins a pre-emptive counter attack by striking
toward Yohan’s face to draw his attention upward.
71
Yakov disguises his intention to kick to his
attacker’s knee by not staring at the target.
Yakov can kick through his attacker’s knee
while keeping out of reach of a knife thrust.
72
Pre-emptive defense against a knife threat
For most street situations, Nodan preferred to defend
from a neutral stance position. Sometimes, however, the
circumstances may call for a fighting stance. In the following scenario, an armed assailant is threatening. If Nodan
believes that a deadly assault is about to be launched at
him, he may determine that a pre-emptive counter attack is
his best strategy.
He assumes a relaxed fighting stance with his arms
“floating” in a lowered, non-aggressive attitude. Note that
he keeps a safe distance away- just beyond the attacker’s
effective lunging range.
73
Nodan surprises his assailant with a sudden head feint,
as if initiating his own attack. Then, he moves in quickly
with a sweeping knife hand block and continues stepping
through to strike his attacker’s face before he can react to
make a counter move.
The speed at which this maneuver must be performed
can only be appreciated by viewing the YouTube video,
“Nodan Self- Defense” (2:51-2:58) at the nodankarate
channel.
He moves forward while executing a knife hand block.
Once he begins the pre-emptive self-defense maneuver
he must remain committed throughout the technique.
74
Nodan’s rear leg and spine are aligned
as he extends ki with “follow through.”
75
Conclusion
19th century karate jutsu was designed as a combat
strategy against multiple un-trained opponents who may be
armed with weapons. When Quan Li’s five striking principles are combined with makiwara training, very powerful
“one strike” techniques are developed that can be applied in
a variety of street defense situations. But, to ever use these
techniques except under the threat of serious bodily injury
would be highly unethical. Besides this, self-defense
expertise will always have limitations due to circumstances
beyond our control.
After my journey into the dark side in the 1980s, I
realized that our transition from this physical world to the
next spirit realm will be seamless, and that the best “selfdefense” for mind, body, and spirit is to put our trust in
God and to practice loving our neighbors as ourselves.
With perfect clarity, we will be judged in the next life by
every thought, every word, and every act we have
committed during our time on earth. So, pursue love!
I have described my life-changing experience in my
book, The Power of The Way: A Spiritual Journey. I
hope you will read it.
Peace be with you,
76
END NOTES
1. Nodan, The Power of The Way: A spiritual Journey,
Lighthouse Productions, c. 2011, p. 2
2. Bruce D. Clayton, Ph.D., Shotokan’s Secret,
Ohara Publications, Inc., c. 2004, p. xii-xiii
3. Ibid, p. 43
4. Gichen Funakoshi, Karate-do Kyohan,
Kodansha America, Inc., c. 1973, p. 5
5. Jack Hibbard, Karate Breaking Techniques,
Tuttle Publishing, c. 1981
6. Miyamoto Musashi, A Book of Five Rings,
Overlook Press, c.1974, p. 54-55
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Nodan’s books and essays are a FREE download at:
nodan-karate.com
Nodan’s karate videos can be viewed at
the nodankarate channel on YouTube.