Karate-Do Kyohan (). (船越 義珍 Funakoshi Gichin, November 10, – April 26, ) is the founder of Shotokan Karate-Do, perhaps. PDF Funakoshi Karate Do Kyohan Published on 05/18/ in Books by G . FunakoshiFull resolution ( × ) · ← Previous. Funakoshi Gichin - Karate-Do musicmarkup.info - Ebook download as PDF File .pdf) or read book online.
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KARATE-DO KYOHAN. The Master Text. Nineteen kata ("forms") of karate-the art of self- defense without weapons-are presented here in complete detail. I began my training in the martial arts over fourteen years ago in the little town of Alexandria THE COMPLETE BOOK OF. Karate-Do Kyohan: The Master Text Hardcover – January 25, Nineteen kata ("forms") of karate--the art of self-defense without weapons--are presented here in complete detail. They are the ones selected by the great master and teacher, Gichin Funakoshi, to give comprehensive.
The Master Text Sprache: Okinawan Bubishi - uechi-ryu. The text is written in Chinese, with verywide usage of old characters that are no longer in use. Back then Karate do Kyohan andthere are several different variants of this technique. Do wnload Karate - Do Kyohan: We offer two ways that you can get this book for free, You can choose the way you like!
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Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible. Delete template? Cancel Delete. Cancel Overwrite Save. The sixth move is easy to see, as I am sure, we can all agree, it is the left side gedan barai facing shomen the second image from far right.
So, what is the next step? Were you taught this way? If you had learned Heian Shodan this way, I am sorry to tell you that you learned or were taught incorrectly. You might be shocked with this statem ent since this kata is taught this way in many dojo these days.
A recent JKA kata manual for competition, illustration below shows this omission photo leftt. So, what do you think is wrong with this? A hint is that one important movement is missing.
I want to share how this kata was taught to me over 50 years ago. Here is a page from one of the Best Karate books by Masatoshi Nakayama. In it Osaka sensei is performing the first seven steps of Heian Shodan photo right.
See the sequence is this photo. The key move is numbered as 7a. When I learned this kata long time ago, we were taught kaishu age uke as a transitional move. We are to execute kaishu age uke during the stepping forward motion with your right foot. In later editions of the same Best Karate Books Vol.
In the photo below, you will find that this move is not mentioned and is shown only as a transitional move. The term of hidari jodan age uke is left out. But we need to look even further into the history of this kata.
The photo below left is from the Japanese version edition and the English version photo below right is from an edition translated by Harumi Suzuki Johnson edition. You can clearly see that Funakoshi put this 7th move as an independent move. He also explained on the page that this move is a combination move of jodan block from gedan block 6th move. He did not say it was a preparation move for right age uke or this should be treated as a transitional move.
OK it may look like I am paying too much attention to this point, but I do not think I am. I am doing this because I consider it an extremely important point for the readers to know. I feel I needed to mention this before we go on to the main point that I will discuss below. You should do this technique without changing the stance, left side zenkutsu dachi. What is most important, however, is that you execute this technique by moving your left arm alone.
When you were a white belt, I assume, you would have learned how to do jodan age uke in the way that is shown in the photo sequence shown below. Though it is probably unnecessary to describe the process of this technique as it is almost too obvious.
However, I will describe the details of this technique later. This single arm movement of jodan age-uke is the very point of the subject of this essay. Have you asked your sensei, why we need to do this? If you did, then what did your sensei tell you? He probably told you that pulling the left arm is called hikite which, by pulling it back, gives speed and power to the rising block, jodan age uke. The details of age uke technique are shown blow in the photo sequence demonstrated by Hidetaka Nishiyama.
Since you were only a white belt or a beginner, I am sure you convinced yourself that you understood this explanation. However, this is not an acceptable explanation for the advanced practitioners. This is why I am writing this essay. Are you surprised? Before we go into the in-depth explanation of this move, let me ask you one key question. Did your sensei explain the bunkai for this the seventh move?
In most of the dojo I am sure the instructors typically skip bunkai for the white belts. I think that is a wise choice as I also believe that the white belts should not worry about bunkai at their level. One popular bunkai shows an elbow joint attack illustration right. Frankly I must point out that the illustration I found in the public domain is very unrealistic. Would you not agree that this is very unrealistic?
Why would he step back? It does not make any sense. The second unrealistic move is an elbow joint attack itself. Even if we assume, no matter how unrealistic it may be, the opponent stepped back, why would the defender want to execute a not so effective counter attack? It certainly does not look like a good choice.
I will present a much better bunkai idea later. Am I saying that those bunkai ideas mentioned earlier are wrong? What I am saying is that different bunkai ideas are much more appropriate and realistic, especially for the advanced practitioners. Though the bunkai idea is not the core of this discussion, the application of this technique is.
If you agree that the 7th or 7a move, a shuto jodan age uke, is considered as a legitimate blocking technique, then why did we learn the other method of age uke using both arms photo left? Is this 7a move, a non-crossing method of age uke, an exception? This is something all the advanced practitioners should ask and find the answer.
Here is, indeed, a hidden teaching which has been forgotten or ignored by most of the instructors these days. For the white belt students we teach techniques using both arms as it is easier to perform the technique correctly as well as the body motion resulting in sufficient power.
If you teach them how to do those techniques using a single arm, their techniques will be inaccurate and done with much less power. Therefore, the white belts should not be taught the real meaning of this motion.
As we advance in the karate skills, we must be able to execute almost all the arm techniques singularly. In other words, as an advanced practitioner we need to be able to execute our arm techniques effectively using only one arm. This means the management of one arm should be totally independent and not to be affected by the other arm as well as the legs unless it is working in coordination with them. Therefore, I regard this step as a full independent move and not a transitional one or a part of the next step.
This single arm technique is not an exception but rather an introduction to an advanced technique. So, I suggest to the advanced practitioners to make a full technique with this move, instead of executing it only as a preparation or a transitional move. I want to bring up another important subject that is not known by many practitioners.
I have mentioned this in another essay in the past. I need to mention it again here because it is the very essence of the technique that is often misunderstood or even unknown for many practitioners. The subject I am referring to here is the relationship between the techniques and their names. Until the 20th century, the techniques did not have names. This may be extremely difficult to believe for most of the practitioners these days.
It was not because the Okinawan masters were illiterate or uneducated. It was certainly because of some other reasons. First, they did not want to put one name to each technique. If you are a beginner you may have difficulty in understanding this statement. Allow me to explain it further with some facts. This technique can, of course, be a jodan level block but at the same time, the same technique or arm movement can be used for attacking techniques such as kentsui uchi going upward or jowan uchi, a forearm strike.
Even though the arm movement is different, the final form of a jodan mawashi uchi roundhouse punch would look like the form of jodan age uke. Thus, they must have known that tagging the names to the techniques would only cause confusion. Another fact is that before the 20th century, one master typically would have only one or two students. In other words, each sensei used to teach karate in a one to one basis. In a face to face environment, a master would only show how to do the techniques.
In addition, the Japanese culture is we prefer to teach by demonstrations.
The verbal teaching was and still is not considered as the best method. So, an Okinawan sensei most likely did not explain much and definitely he did not consider tagging names to techniques at all.
By labeling a certain technique as jodan age uke, the practitioners tend to assume that such a technique is used only for blocking purposes. This is exactly what has happened with the seventh move of Heian Shodan.
As the technique was labelled as jodan shuto age uke so you assumed the bunkai would have to look like the photo on the right. That is acceptable as just one of the options. You may agree with my ideas for bunkai up to now. Then, let me ask you the following question. There are at least two answers. The first answer is Master Itosu thought this technique currently called jodan age uke is a very important technique and it shou ld be practiced in a sequence of four times.
The second answer to the question above is that Master Itosu wanted to show us that there are many different applications using this technique.
It can be used as a block using a shuto hand or a fist, a forearm strike, or an elbow joint attack, or even a jodan mawashi uchi photo right. This idea supports my earlier statement that the Okinawan masters prior to the 20th century did not want to tag a name to a certain technique. I want to mention another interesting hidden fact of Heian Shodan kata. Many people notice a curious point of the tate kentsui uchi vertical hammer fist, photo below that is found in the 4th move.
Many question if this technique could be an anomaly in the seemingly symmetrical kata. Instead, they should have noticed that the right fist is being used as a counter attack right after gedan barai. Yes, this is the same concept you find in the 6th and 7th or 7a move, gedan barai and jodan shuto uchi I prefer to call it this rather than age uke. Though it may not look symmetrical in its enbusen, as far as the concept of the techniques now we can see it was planned symmetrical or at least well balanced on using this unique technique on both sides.
I hope you are happy to find the answer to this puzzle. Conclusion: 1. The transitional jodan shuto uke which I believe to be the 7th or 7a move of Heian Shodan, is the advanced form of age uke and should be a single arm technique. This teaches the advanced students to perform the arm techniques of uke as well as uchi in single arm movement.
Often, the names of the techniques do not really mean the true applications. Do not let the names influence you incorrectly in bunkai. Many of the bunkai ideas spread around the world are very unrealistic. The advanced students should not accept only one or two ideas.
I ask them to spend more energy in their effort to figure out the applications that are more realistic and usable in a real fight. If the techniques do not work in a real fight then what is the kata worth? Heian Shodan is the very first kata for most of the Shotokan practitioners and age uke is one of the first techniques those beginners to learn. In doing so, we will discover some new meaning and a new horizon of the karate that will take us to a higher level of understanding of this martial art.
I look forward to hearing what the readers think about this subject that was discussed in this essay. Of course this is because they are required to wear a pair of boxing gloves. Due to this rule, their hands are made into a fist. On the other hand, in karate we have so many different ways. Not only can we use both a fist and an open hand, but also many different parts of our hands. I am not going to list all of those different parts and uses but most of the readers most likely the karate practitioners know most if not all of those parts and methods.
The subject here may be a surprise to the readers. You might wonder why are we going to discuss such a simple and self-evident subject, how to make a fist. Yes, it is very true that we, the karateka, make our fist every time we train in karate. Therefore, it is almost natural for us as far as how to make our fist. I am well aware of this and despite all of this, I have been feeling a strong necessity to bring this subject to your attention.
My commen t may raise your eye brow but I suspect most of the practitioners do not know how to make a fist correctly. It is not their fault as I suspect that they never learned how from their sensei who may not know nor learned how to do it themselves. How can he say we do not know how to make a fist? You probably believe the way to make a fist is quite simple.
Take a look at the photo shown on the left. It shows the steps to make a fist. First, we roll in all the fingers except the thumb. By placing a thumb over the index and middle finger, now we have a beautiful fist. Even though the more precise way to make a fist is different this will be shared in the later part of this essay , the general concept is correct as shown above. Well, it is v ery straight forward so what would be a problem? Before I get into my explanation, I wish to share something very interesting.
Here are a couple of photos of a boxer whom we all know. Yes, this is Muhammad Ali who passed away last year Take a look at his fist photo right. It looks just like the fist we make, even though he wore boxing gloves when he fought. This is nothing unusual but the next photo below is the interesting one. That someone else happens to be the guy standing in front, Sugar Ray Leonard left side.
What is important is not their faces. Did you notice it? Can this be a freak photo where Ali was relaxing or being sloppy? No, I can definitively tell you that it could not have been. I do not know exactly how old Ali was when he started his boxing training but I am sure he had been training for twenty or close to thirty years by then. If so, he would make his fist, unconsciously, to the way he normally did whether in the training or in a photo session.
So, I conclude this is the normal way of how Ali made his fists. Well, at least this photo made a strong impression to me. Before I discuss about this interesting fist that is made by Ali, let me share another photo here right. Obviously it came from a book. Do you know which book this is and who is the author? Some of you may be surprised. This is from Karatedo Kyohan published in from page So, you know the author, yes, Gichin Funakoshi.
Look at the index finger! I wonder if Ali had read this book and seen the photo. This may sound like a joke but there is a very interesting and important point hidden here. This is another reason why I am writing this essay. By the way, the photo shown here is from the English translated version. Here is a PDF of the original Karatedo Kyohan in Japanese so you can access this link and check page 20 yourself in case you wish to verify this.
The first two steps look almost identical to the one shown in the first page. However, the last photo shows that the index finger needs to be extended. It is missing the third photo so I will add it here below right.
The steps from photo 2 to 3 maybe confusing so this additional photo will supplement it. It is easier to roll all four fingers little finger to index finger first rather than roll only three little finger to middle finger and keeping the index finger ext ended, even though you can do this once you get used to it. Have you learned this way of making a fist? Most likely you have not. As a matter of fact, when I first learned karate in , I took both Shotokan and Goju ryu.
The teacher at the Goju ryu dojo in Osaka showed me this method more than 50 years ago. In fact, he showed me two options of extending only one finger index which is mo re popular and a less popular option of extending two fingers index and middle fingers. I do not know if the Goju ryu practitioners are still making their fist this way and I would like to hear from them about this. I know that this method is, as far as I know, still honored in one of the Okinawan styles, Isshin ryu.
I can say this because they picked up this fist as their style logo photo left. So, we must assume that this manner of fist making was brought to the mainland Japan from Okinawa by Funakoshi and other Okinawan masters. It, somehow, survived at least in Goju ryu until the early sixties. I am not sure how long it lasted in Shotokan and this may be an interesting research project I may do in the future. Now that we have touched on the historical background of this fist style, let us get into the meat of the subject.
Why did the Okinawan masters use this fist? When I learned how to make this fist in that Goju ryu dojo, the instructor did not tell me to roll all four or even three fingers. He told me to start from the little finger and roll one by one photo right but keeping the index finger extended. He also told me to squeeze the little finger the tightest, then a little less on the next finger.
With the index finger, I was told to even relax that finger. You cannot squeeze the index finger because the part of the finger between the second joint and the finger-tip is extended. Try it with your hand and you will see how it feels. Unfortunately, he did not explain why I had to make my fist this way.
If he did, I just do not remember it. Regardless, I practiced Goju ryu for one year and during that time I made my fist this way. At the same time, I was attending a Shotokan dojo in Kobe.
When I started my karate training, I did not know that I was not supposed to do this training at two dojo of two different styles. After one year, my training friend found out and he advised me to stop and so I had to choose one dojo. I liked both dojo but the Shotokan dojo was closer to my house so I stayed with Shotokan. At the Shotokan dojo when they saw my fist, they my senpai told me that it was an old way and they told me to roll all four fingers.
I do not know exactly when this happened but I think it was in my first year. I remember clearly that I wondered why it was an old way.
For those few months, until I quit Goju ryu, I used two different styles of fists. When I started my makiwara training, I really had to squeeze index and middle fingers in tightly. If you do the makiwara training, you know this well. We are supposed to hit the board with the knuckles of those fingers illustration below. For many years I never doubted this method and continued this training.
At the age of 38 I retired from tournaments. I started to search for a karate life after competition. The answer was budo karate in which you train to master the techniques that work in the street.
In other words, the real fighting techniques for life and death situations. After searching for the budo karate I found my answer in Asai ryu karate that was founded by Master Tetsuhiko Asai. First, you need to keep the elbow pointing downward when you complete a choku zuki straight punch.
I wrote an essay on this subject and it will be included in my fourth book, Budo Karate Paradigm Shift which is slated to be publish in April I described in detail why the arm and elbow have to be held in that position in that essay so I will not cover it here. If you are interested in this subject, please get a copy of my book.
Another important thing I learned was that you have to be totally relaxed. I am talking about the entire body being relaxed. Asai karate is known for the whip like techniques such as the whip arm strikes photo below and whip leg kicks. In order to generate this type of body movement, you must learn to relax all of your muscles and your body must turn into a flexible tube, so to speak. From this main tube, two flexible branches stick out from the top area. Of course, those are your arms.
Then from the bottom, two flexible branches support the whole tube. At the same time, one of these two lower branches supports the body while the other is used as a whip like kick. This is the reason why we use a lot of open hand techniques.
The open hand is naturally more relaxed than the closed fist. We also use the fist techniques for punching and striking. I learned that you need to relax your fist if you want to punch faster.
In other words, you do not want to squeeze your fist when you are delivering a punch. You will make a tight fist only for a split second the shorter the better when the fist impacts the target.
The benefit of this way of punching is not only faster but also I can keep my shoulder down. When you punch your shoulder comes up if your punching side arm, including your fist, is too tense.
When I was competing my sensei used to tell me that I needed to tense my armpit more so I could keep the shoulder down when I punched. No one told me to relax my fist. I remember that I used to clench my fists during the kumite matches that resulted in a raised shoulder when I punched. What is wrong with this raised shoulder is simply your upper body motion will be detected by the opponent and also your body motion will not be smooth as you will have an up and down motion. So, what I learned is that we need to keep our fists in a relaxed condition instead of having them tightly clenched.
These relaxed fists helped me to relax my shoulders, upper body, neck area, etc. In other words, I could keep my entire body relaxed much easier.