Introduction

Contents

• Karate basics

• Parts of the body

• Stands

• Positions

• Breathing

• Hand techniques: attacks

• Blocks

• Using legs (Ashi vasa)

• Jumping kicks (Tobi geri)

• Kicks from position on the ground (Ne vasa)

• Trips (Harai vasa)

• Practicing sequences of techniques

• Kihon

• Combinations (Rendeoku vasa)

• Sanbon kumite

• Free combinations

Karate basics

Parts of the body

Seiken

This part of the fist is probably the most often used for attacks, so it should be done properly. Consider this - if your punch is strong, it means that you are using your hand, and you also turn your body, to add some power of your back and hips muscles, and you may also step forward, to add the speed of your body moving towards the target. If your wrist is weak, all this power will twist it, instead of going into the target. It is a common trauma.

To close the fist properly, start from the baby finger, then the ring finger, and so on, thumb is the last. The thumb should be on the side of the fist (approx. on top of the middle finger) and NOT on top of the fist, covering the pointing finger. Beginners are often getting traumas when neglecting this rule.

The area used for the punch (the seiken) is circulled on the following picture, it includes the nockles of the pointing and middle fingers.

Note that I am only listing the parts of the body here, later, when we discuss particular techniques, we will talk about additional details, like concentration and relaxation, keeping the wrist aligned with the fist and so on.

Uraken

Same part of the fist as above (the nockles of the pointing and middle fingers) is used in the "ura" punch ("ura" means "back" or "reversed", you will see this term as part of many names in karate techniques).

Shuto

Used both for blocks and attacks.

It is very important to know that the area you are supposed to use is NOT at exact side of the palm, but slightly inside the palm. If you touch your hand at the side of the palm, you will feel the bone that connects your baby finger to the wrist. This bone is not protected by the muscules and can easily be broken if you try to use it. Now move your finger half of an inch inside, towards the center of the palm. There you have a large muscle, that will protect your bones, allowing (practice required) to break objects or to block hands and even feet of your opponent.

Enhon nukite

In this technique we are using tips of the fingers. It is working for "paralyzing" punches, on soft tissues, like muscles. Note that there are sensitive muscules in many "bony" areas, for example, between the ribs and on the neck. Also the technique can be used to attack the face and it is very dangerous if used on the eyes area (and usually rules forbid that).

As with seiken, the thumb must be pressing against the center of the palm, and NOT top of it (not parallel to the other fingers). Otherwise it can easily be damaged.

Ipon nukite

The use of this technique is the same as above. The technique is efficient for the precise attacks against the "vulnerable points". It should be noted, that as Kyokushin students are developing very strong muscles, their "vulnurable points" are less "vulnerable", at least, most of these points. So you will not see this techniqie very often on the competitions.

Nihon nukite

Pointing and middle fingers are used together. For this technique it is especially important to make the hand "solid", at least at the moment of the contact. I will talk about concentration and relaxation later, in the corresponding chapter.

Hiraken

You can use second nockles or you can use the part of the palm (circuled) to deliver a strike. The first form can be used both on soft tissues, and (not that often) on ribs. The second form is used for blocks and to deliver powerfull "shocking" or "breaking" punches.

Haishu

The back of the hand is used both for blocks and attacks (think of circular punch in the side of the head).

Shotei

The inside part of the palm, closer to the wrist. Used for blocks and for attacks (think of circular punck in the side of the head).

Tetsui

The "hammer". For this technique you use the bottom part of the fist.

Koken

Close your hand as if you want to pick up a small amount of salt or sand. Bend your wrist inside, as far as it normally bends. In this position the hand becomes tense. The outside part of the wrist (where you would normally wear the handwatches) is used for blocks or for powerful "breaking" attacks.

Oyaubi_ken

The fist is closed with the end of a thumb pushing against the second nockle of a pointing finger (from the inside). For the strike, the first nockle of the thumb is used. This technique is very dangerous, when used on the temple, so it is forbidden to use it on the competitions.

Keiko

Close your hand as if you want to pick up a small amount of salt or sand. The punch is delivered by the tips of the fingers, it can be either very fast, to produce the shock (think attacking face or the back of the hand), or (not very often) powerful, to penetrate the sensitive areas with the soft tissues.

Haito

Sometimes called ura shuto. The hand is closed as for the shuto, with the thumb against the middle part of the palm. The muscules between the thumb and the pointing finder are used for the strike.

Toho

The four fingers form the part of a semi-circle, while the thumb forms the other part of it. The area between the thumb and the pointing finger is used for the strike, usually in the throat area.

Kote

The part of the hand, on the side of the baby finger. Used for blocks and sometimes for the attacks. For this techniques, like for many others, the muscke is used, rather than the bone.

Also note, than in the Kyokushin karate the blocks are often performed as strikes (against the attacking part of the opponent's body).

When you use this area for the first time, you will feel the pain. You will also get bruses and bumps on the soft tissues of your hand. As time passes, your hands will become conditioned, so you will be able to block hands, legs and even sticks without any unpleasant side effects.

Hira kote

The back of the hand is used for blocks and attacks.

Ura kote

The inside part of the hand. Used for blocks and sometimes for attacks.

Omote kote

The part of the hand, on the side of a thumb. Used for blocks and attacks.

Nakajubi ipon ken

The second nockle of the middle finger is used, and the thumb (the fingerprint area) is pressing against the first nockle of the middle finger, creating the necessary support.

Usually, applied to the muscles of an opponent, but can be used to break things as well. For that reason, should not be used in the class or at competition, especially in the head (temple) area.

Hitosashi ubi ippon ken

Same idea as above, but the pointing finger is used.

Hidji

The elbow area. Please note, that the joint area of the elbow is very sensitive, so it only can be used for attacks on the soft areas, like the abdomen muscles. For "breaking" type of strikes, the next-to-elbow parts are used, where the bones can be conditioned and muscles are shielding the bone.

Sune

The part of the foot used for the blocks and attacks. Can be conditioned, to become much less sensitive to pain.

Chesoku

The toes are bent back as far as possible (practice helps). The area used for the strike is the part of the foot right under the toes.

Haisoku

Used for blocks and for attacks. In many schools you cannot use chesoku for kicks in the head (for safety reasons), so haisoku is used. Also, it helps when you work on a close distance, as the "haisoku" is aligned with the "sune", so if the distance is too close for you to kick with the foot - you can always use the "sune" area instead.

When you need the kick to be fast, this technique will give you some advantage, too.

Sokuto

The foot is bent sideways, to expose the side, between the heel and a baby toe. The four toes are bent down, while the big toe is bent up, this position provides the maximum of concentration.

Kakato

The heel. To reduce the risk of traumas, the angle should be as sharp as possible - use your muscles to pull the toes towards the knee.

There are some ligaments that go from the heel up. DO NOT USE THEM to deliver an attack. It is painfull for you and safe for your opponent. Instead, use the heel itself, this part of your body is naturally conditioned as we are walking on it.

Teisoku

This area is used for blocks and trips, keeping in mind, that when performed with enough power, the block can be considered an attack.

Hiza

The knee. As with the kakato, the angle should be as sharp as possible to make the knee cup solid. Still, the knee cap area can ONLY be used to attack abdominal muscles - they are soft. If you want to attack, for example, the opponent's forehead (assuming, he bends down), then you will use the area ABOVE the knee cup - there is nothing to damage there.

Atama

The head can be used for blocks and attacks, too. It is very important to know exactly which areas to use and how to concentrate. This technique can be learned by the book in its basic form (head to face attack on occasion in the close range fight), but if you want to learn to break the wood with your head, you should fing a teacher.

Tsumasaku

The tips of the toes used to attack. It is possible to condition them, but difficult. This is not a technique for the beginner.

Stands

Zenkutsu dachi

To get into this position, stay with your feet shoulderwith apart and parallel. Then slide one foot forward, on the same (parallel) line. Turn the back foot 45 degrees outside.

This is an important position, as it provides a way to move deep forward with an attack or a block.

There are few "checks" you need to apply.

Put the knee of the back foot down on the floor. It should be shoulderwidth to the side and two fists behind the heel of the front foot.

When in zenkutsu dachi, the projection of your front knee on the ground should never go forward further then the middle of your front foot. Otherwise you have no strength in the forward direction: your opponent can pull you forward and you will fall, also it will take more time to move back if your opponent launches an attack.

The knee joint of the back foot must be straight or almost straight, muscles tense. It should be (ideally) possible for someone to stay on your back foot, at least you should not collapse, if your opponent (or someone from behind) pushes your knee joint down.

70% of the body weight should be on the front foot, 30% on the back foot.

Kokutsu dachi

Mostly a defencive position, but of course, there are exceptions. 70% of the weight is on the back foot. As in the most positions, feet are shoulderwidth apart, back foot turned outside, 45 degrees.

Now, let's talk about the "shoulderwidth apart" part. In many karate schools it is not so. In many schools you will see front and back foot on the same line with the projection of the center of gravity. Kyokushinkai is using the different approach.

When your feet are sliding by these invisible lines, you are slightly less fast, but a lot more stable. If your feet were on the same line with the center of gravity, then to step forward, you would have to move through the position, where both feet are together. What a wonderful opportunity to attack you with the trip!

Neko ashi dachi

"Neko" means "cat", "ashi" means "legs", and "dachi" means "position". It is more about the mental readiness of a cat to attack or retreat, then about cat's physical posture.

The front foot is touching the ground with chesoku area, ready to launch a kick, or to push against the floor, if you need to jump back. Feet are on the line, and not shoulderwidth apart, as in most positions.

Kiba dachi

The "horse rider". Feet are wide apart, parallel to each other. Knees are bent. The hips are moved forward, so that, ideally, the hips and knees are in the same - vertical - plane.

The most common mistake of the beginners is to "sit" in this posture, moving the hips back, as if there is a chair behind you. To compensate the weight, they have to bend forward, arriving to the funny and unstable posture. The back should be straight and vertical.

Kake dachi

Used to move sideways. Often used as a preparation stage for the kicks both to the side (with any leg) and forward (with the front leg).

Positions

Enshin

The open hands (shuto - like) are used instead of the fists, that are usually used in the kumite.

Morote

Fists are on the central line, so that the opponent's fist cannot squeeze in between. Heein on the same line or almost on the same.

Ruhen

One hand is on top of another. Very often this position is used to confuse an opponent, for example, hands can rotate, so that the upper hand goes down and vice versa. This kind of the hand movements is also efficient in a close fight, where hands do not have a lot of speed and can easily be trapped.

Birin

One hand is forming a "spree", while the other ic covering the elbow from below. You can see this position a lot when people change from one position to another.

Maeba

Hands are open, and the overall motion is forward. Can be used to push an opponent (or his leg doing the jodan mavashi geri) back.

Breathing

Ibuki

There are few ways of performing this technique, for example in san chin dachi. Here we will consider the classical way, when the hands go up to cross in front of the chest as you breath in, and then they go down (straight or making a small circle) when you are exhailing.

During the breathing out ALL muscles are at maximum tension.

When performed with san chin dachi, you will do the short inhall together with the step (from the left san chin dachi to the right, and vice versa), while the breathing out with powerful muscles contraction is performed when you are "settling down" into the position, after the step.

Nogare gai

Move hands up with the circular motion, slightly stretching your body, and breathing in. Move them straight down in front of your body, palms down, as if you are pushing something down, with abdominal muscles tense (not as tense as with the ibuki), and breathing out.

Nogare sho

Breath in and move your hands close to the armpits, palms up. At the end of the breath, throw them forward. Breath out, bringing them down, palms down, in a circles, no tension should be present in your exhale or in your muscles.

Hand techniques: attacks

Terminology

Chudan stands for the area from the belt up to the throat. Jodan area covers the neck and the head. Gedan area is everything below the belt.

There are areas above the head, or very low, but in most schools they are ignored, and called jodan and gedan, correspondingly.

Migi and hidari means right and left, correspondingly.

Seiken chudan tsuki

A most important technique, so we are going to explain some vital theoretical points, using it as an example.

First of all, there are different ideas in different schools, about the way your body should move to help the punch to be fast and strong. In the Kyokushin we end up with the shoulders turned 45 degrees, so that the twist of the body increases the speed of the hand.

But it only works if the two motions are performed in synch. If you, for example, move your shoulders, and then begin to move the hand, your opponent will get a message: "his shoulders are moving, looks like a punch, I better do something". In many places of this book I am going to talk about the ways to NOT to communicate your intentions to your opponent.

If you turn your shoulders more then 45 degrees, you will a) injure your back sooner or later, b) spend too much energy, c) loose the speed, and d) make your back vulnerable to the counterattack.

The hips are turning too, it looks more like a slap, throwing an impulse, to provide an additional speed. It is different from many other karate schools. Also keep in mind, that if you work on a very short distance, there will be no space for hips and shoulders to perform the "classics". The techniques (all of them) are adjustable.

The fist must be properly closed. The hand should be almost relaxed, until the last moment, when it is touching the target. Then it should be completely tense, all your focus on the target, or - if you are performing a "breaking" punch - behind the target. You will often hear the saying, that if you are hitting the chest, you should aim the backbone.

The outer side of the palm and the wrist must be on a straight line. Imagine the line that goes through the seiken (nockles of the pointing and the middle fingers), the wrist and the elbow. This should be the line and not a zigzag. Otherwise you will bend your wrist, using all the power of your hand, hips, plus the body weight.

The fist begins its motion from the place almost under the armpit, at the height of the nipple. This is different from many traditional schools, they start from the hip level.

The fist rotates. At the beginning it is with the palm up, at the end - with the palm down. It should screw itself into the target - it will help your elbow to unbend, and the energy of a punch will increase.

But the elbow should not unbend completely - it must be slightly bent, to prewent the injury. Imagine, that your elbow is straight, and your opponent blocks it, or hits it. Very bad for you. While if the elbow is bent - it is not that easy to damage, and your opponent will think twice, before hitting it.

Your elbows must look down. If they look sideways, your punch will be less powerfull, and your armpits are opened for an attack.

The other hand is performing a "reverse" - exactly the same move, in the opposite direction. At the end, it will be near the armpit, ready to launch another punch. In the middle of the trajectory, both hands should face each other, palms inside. This is often used to check the beginners for mistakes.

The fist should move by the straight line. It does not mater, that the body is turning, and hands are moving, and hips are moving too. It your hand is moving by the "freehand trajectory" - you are doing something wrong. The line between your fist, when still in the armpit, and the target, is the trajectory to follow.

Seiken jodan tsuki

Everything that was said about the chudan tsuki applies, except for one little detail. If you are attacking the opponent's chin, you can keep your fist aligned with the wrist. But what if you want to punch him in the forehead? Or in the nose? If you are attacking (with this particular technique) the area that cannot be approacked from undernese, you may bend your wrist, to keep the 90 degrees angle between the nockles and the target. Therefore, for a jodan tsuki, the wrist may bent down, while for gedan tsuki - up.

Note however, that some people would keep their fist straight, and expect the opponent's head to ajust its position. Surprisingly, it works, too. Both techniques are called the same name, but obviously - they are different.

Tate tsuki

This techniqu is faster then tsuki and used as frequently. If you watch kung fu movies, you will see it a lot. The attack begins from the less classical position - pretend that you are doing pushups, close your fists and you are there.

The hand does not rotate. The palm is facing inside, both at the beginning and at the end of the punch.

Everything said about shoulders and hips applies, except for the case of super-fast tata tsiki, when the body has no time to move all the way - it only sends a short impuls to the hand. Watch the "Enter the dragon" movie to see the way it works.

Giaku tsuki, oe tsuki

There are two ways for many techniques. If you are in the position with your left (right) foot in front, and you punch with the same (left - left, right - right) hand, it is called oe. Oe tsuki, for example.

If you are using the opposite hand (left position - right hand), it is called giaku.

Uraken shomen uchi

The technique allows you to perform very fast and very powerful punches.

From your ready position, turn shoulders 45 degrees, to bring the fist to the central line, and extend the hand forward, towards the nose of your opponent. The fist does not spin, in the end it is facing palm up.

There is an important moment with all "uraken" hand techniques - the wrist bends, so that the fist goes at 90 degrees into the target. The wrist bends towards the back side of the palm.

This move (bending the wrist) brings additional speed, and is very important. It should be performed at the very end, right before the hand becomes "solid" to contact the target, and it looks like a slap.

Jodan hidji ate

The elbow moves at a circle. At the end of the move your fist touches your chest at the opposite side.

Tetsui oroshi ganmen uchi

The tetsui part of the fist is used, other details are the same as in Uraken ganmen oroshi uchi.

Blocks

Seiken chudan soto uke

Begin with your fist behind your head, and the opposite hand covering your armpit, for additional protection. As your body turns 45 degrees, the fist will draw a circle and spin, so that the palm is always turned towards your face. The elbow at the end should be vertical.

In Kyokushin, the block is a form of an attack, so you should consider ATTACKING opponent's hand with your blocks, so they are thrown to the side from their trajectory.

"Soto" means "inside", while "uchi" (see below) means "outside". In our case, the block is performed from outside, towards the central line (soto).

Seiken Jodan uke

The initial position is the same as for the tsuki. Raise your fist to the eyes level, keeping the elbow vertical (perpendicullar to the ground). Then turn the fist, palm outside. To do this, you will have to move your elbow to the side, so that it is 45 degrees to the ground now. Finally, raise your hand, so that the wrist is on your central line, as higt as the top of your head.

These are elements of the move, of course. The technique - any technique - is performed as a whole, and not as a loose sequence.

The body should turn 45 degrees, same way as we did it with tsuki. The opposite hand should perform the reverse movement.

The block is not supposed to stop the attack (the one coming from above, for example), but rather to provide the 45 degrees slope, so that the attack slides to the side, towards the elbow.

Seiken chudan uchi uke

The block from inside to the outside. In the classical version, it starts with the fist (or the weist) in the opposite arnpit. The wrist of the hand, that is performing a block is sliding by the opposite hand - from the armpit, by the elbow and to rhe wrist, always maintaining the contact. Then hands separate - one completes the block, and another performs the reverse movement.

As in most of the techniques, the shoulders are turning 45 degrees, and the hips are performing a whipsaw-like motion, to add speed to the technique.

Seiken gedan barai

The fist at nhe opposite side of the neck, below the ear. The opposite hand straight (as if you just performed tsuki). Then the hand that was straight performs the reverse movement, while the blocking hand goes forward and down (45 degrees) in a circle, sliding by the other hand. Note, that it is an "agressive" block, pushing opponent's hand or leg FORWARD and sown. To do it properly, it is very important to turn the shoulders 45 degrees.

A little note. I keep repeating this mantra about shoulders, but based on my experience, ALL students keep forgeting about it. So - I am going to repeate it as often as I can ;)

Do not bend forward - the back should remain vertical.

Shotei chudan coto uke

The "soto uke", performed with the open hand, rather than a fist. The part of the hand, that is between the wrist and a elbow, still can be used, or you can use the side of the palm, which can give your opponent an additional pain shock.

Note, that the palm should turn, performing the scoobing motion at the end. It increases the speed, and makes the palm "solid", preventing traumas.

Sune uke

The block with your leg, mostly against the opponent's leg (it is possible to block a hand, but you wouldn't see it very often).

The knee is moving in a circle, from outside to the inside, crossing the central line. If an opponent attaks your knee, for example, you don't have to raise your knee too high, but if an attack is high, the knee should go high, too. The sune uke can be used to close the area from the ground up to the throat.

It is very important not to overtwist. If you block an attack, and then continue spinning, your back will be exposed to the counterattack. Practice returning to the same position after you have done the block.

Keep the knee of your supporting leg slightly bent, and keep the foot on the ground - don't go up on your toes. These are the most important rules, they should be used for all techniques.

Using legs

Mae geri

This is the straight kick, one that you see most often. It can be fast, it can be strong, "breaking", "stopping" or "whipsaw-like", it works on short, middle and long distance.

The basics may look simple, however from my experience, everybody makes mistakes, and usuammy - more than one mistake in a time, when performing this technique.

Begin from the "kumite", the leg that you are going to use for a kick is the back one.

Raise the knee to your chest (it is a preparation for the attack, and a defence, in the same time).

With your leg muscles AND your hips turning 45 degrees, send the foot towards the target, keeping in mind, that it should move on the straight line.

The chesoku (base of the toes) or a kakato (the heel) is used in a classical version.

That was the basic technique. Now lets take a look at the details, just keep in mind, that missing any "little" detail will make your technique much less efficient, or vulnerable for a counterattack.

The foot of the supporting leg MUST be flat on the ground. DO NOT go up on your toes. If you do that, your balance will be compromised. Also, when the foot hits the target, you need to have a strong support. If you are on your toes, the ancle will work as a shock absorber, which is not what you want - the energy must go into your opponent, and not into your ancle.

The supporting foot may turn outside, but normally, no more than 45 degrees.

The knee of the supporting leg should be slightly bent. If not, the speed of your next motion will be compromised (you need to bend your knee to begin moving), and your balance will be weak, and your knee will be more vulnerable to the opponent's counter attack.

Your hips should turn, sending the leg forward, adding to the speed and power of a kick. However, it is not so on the short distance, so apply the common sence.

In a classical version, the knee goes up, to the chest, and then the leg is being thrown forward. There are variations. First of all, note that the foot is moving in a circle, when the knee is going up, and then the circle turns into the straight line. So the kick - it is very important - begins ON THE GROUND, and the foot is accelerating all the way. There is a "kekomi" version of mae geri, where the leg is going in a different path, but it is another technique (see below).

Now, what if you want to attack your opponent's knee? Bringing your knee all the way up would be too explicit, and the speed will be compromised. So there is a version, when the foot is going from the floor to the target, on the straight line. It can also be done to the chudan, or jodan. Again, the foot is accelerating all the way to the target.

The abdominal muscles. It is the most common mistake. They have nothing to do with your leg. Do not use them. Same about your shoulders and neck. The more tired you are, the more often you will try to use them, or to make faces, or to stick out your tongue. It does not help! And it takes energy, so learn to be relaxed, even when tired.

The body position. Unless you are a master, and know what you are doing, keep your back vertical. Yes, you can bend back, or forward. Both are bad ideas.

The foot at the moment of the contact must be solid. If it is relaxed, or if your toes are not in a proper position, you can get hurt. Conditioning helps.

Joko geri

As with all "basic" techniques, there are few ways of doing it. Let's consider the most "classic", with some variations.

From the fudo dachi, bring your knee to the chest. Note, that if you do it by the straight line, your leg will have zero speed when the knee touches the chest. However, if you move the foot by the circle, the foot will begin gaining the speed from the moment it leaves the ground.

Both ways are correct, first is used, for example, for "kekomi" (breaking) technique, while the second is more "classic".

Extend your foot to the side, with additional power coming from the hip motion.

The foot should be turned, exposing the "sakuto", all toes bent down, while the big toe bent up - in this position there is the maximum tension in the foot.

As in most techniques, you can make your joko geri "breaking", or "stopping", or perform it as a "slap", which can be very fast.

It is important to keep in mind, that the foot should move by the smooth line, and not by the zigzag. Often, it is useful to forget about the knee, hips, and other technical details, and to think only about the foot and the target, and the trajectory the foot should travel. Your body will do the rest.

Let me repeate the above statement, as it is very important, and it holds true, regardless what technique we are talking about. The basics should be learned, and then kept in the unconscious. There is no need to counsciously think about details, as you do the technique - first, you cannot do it fast enough, and second, your body can do it better. So think only about the target, and the type of the punch (strong, breaking, stopping - whatever). Let it flow.

Chudan mavashi geri

There are few important points in this technique. First of all, the distance can be so close, that you will not be able to add the hip movion.

In a very close distance, you will not be able to use your foot (chesoku or haisoku). Use sune instead, it works extremely well.

The opponent's elbows pose a danger, if instead of the ribs or hip you hit the elbow, you may get trauma. This is a mistake most beginners make. The solution is simple - DO NOT move your foot 45 degrees up - make sure it goes up first, and then moves HORIZONTALLY. By the way, the 45 degrees "from the floor up" kick is much less efficient, as it "scratches" the opponent's skin, instead of getting "in".

Jodan mavashi geri

In a classical version, the back foot moves on a smooth line, connecting the place, where it originally was on the floor, and the target (side of the opponent's head). There are steps to learn in this technique, like bringing the knee up, then turning the hips and in the same time sending the foot to the target, but after the technique is studied, all steps should become one move. The foot should accelerate all the way to the target, from the moment it leaves the ground.

The body should be straight, bending forward will take additional efforts, while bending back will compromise your balance.

The supporting foot may tirn outside, up to 90 degrees, it should never go up on the toes. The supporting knee must be slightly bent.

Gedan mavashi geri

You can perform it in any part of the leg, from the hip to the ancle. The knee of your leg should not (in classical version) go up, as the target is low.

The kick must go 90 degrees to the bone you are attacking, and the target you have in mind should not be on the surface of the opponent's leg - it should be on the other side, as if you was sure that you are going to break it.

As it is a close distance kick, it is often used with the hand techniques. Also, if the leg is properly conditioned, a single kick might not penetrate the muscle. So on the competitions you will see multiple kicks launched in the same area within half a minute.

Note, that when done with proper power, the kick will move the opponent's leg, it can force him to change the position, making him vulnerable for an attack, or he may even fall down, in which case the technique works like a trip.

Ushiro geri

The kick back. As many other techniques, it's technique can be adjusted depending on the distance.

In the classical version, the knee goes up to the chest, and then the leg extends back. The heel looks up, while toes look down.

The hip motion is very important for this technique - move your hip, adding few inches to the range.

The general rule in karate says "see what you are doing", so turn your back and head (over the shoulder) so, that you look at the target.

Note that there are two ways of moving the foot. First, you cam bring it up and then shoot it to the target. Second - you can accelerate the foot all the way from the ground, so that it moves by the smooth line, rather then by zigzag. The knee still should go to the chest first.

Ushiro mavashi geri

First, you need to bring the knee up to the chest. Then the foot draws a circle from inside (from the central line) to the outside and up to the target. The kick can be performed with the heel (combat version), or with the foot (competition version).

It is possible to perform the kick with or without turning around (short or long version).

Here is a variation of the ushiro mavashi geri, that is performed on the extremely close distance, and is usually unexpected.

Ura mavashi geri (with turn)

Let's assume that you are in migi (right) zenkutsu dachi. Turn your back to the opponent, changing to hidari (left) kokutsu dachi. Continue by bringing your left foot closer to the right (supporting) foot (to the neko ashi dachi position).

Turn your shoulders and your head, so that you can see you opponent over your shoulder.

Continue turning, and in the same time bring your left knee up.

At this point it is VERY important to keep your body straight. Many beginners would bend, and - when the technique is performed fast - it will literally shoot them to the side.

If, on the other hand, your body is straight and your head is projecting down to the heel of a supporting foot, you will remain balanced, no mater how fast you spin.

Once again: the projection of your head on the floor is initially (when you are in kokutsu dachi) betweer your feet. The more you move your weight to the right foot, the close the projection of your head should be to the supporting foot. Finally, when you are standing on one leg, the head must be EXACTLY on above your right foot. Sounds simple. But it will take you many days to do it right.

Finally, continue turning, and send the heel to the target by the smooth line. Make sure the foot is "solid" (as opposed to "relaxed and jelly-like") when it touches the target.

Jumping kicks

Tobi mae geri

One of the ways of doing it includes "scissors". First, you jump up and forward, pushing with, say, left foot, and bringing the right knee up to the chest. Then you perform "scissors" - your right leg goes down, while the left one kicks forward (or forward-up).

As usual, hips are used to increase range and power of the technique.

The most important moment is the mental picture you use. There should be no separate phases of this technique, as it will slow it down. Instead, do it few times to remember the sequence, and then focus on the foot that will hit the target and send it to the target from the very first moment. That's right, even when you are bringing the knee to the chest, you must focus on the target, after all, you don't do if for the sake of bringing the knee up.

Another version of this technique includes bringing up both knees. After you groupped your body like that, you can fly forward, without any concerns about your opponent's actions, as all your vulnerable areas are protected. Again, focus on the target, and on the sensation of your foot hitting it.

The third version involves spinning. You can use it as the first technique in a combination, or after you have blocked the opponent's attack.

You need to jump up and towards the target, spinning simultaneously, and bringing your knee to the chest. The "knee to the chest" will make you spin faster, so be careful.

Another way of performing mae tobi geri - this time you replace "bringing your knee to the chest" with mae geri.

After the first mae geri reached the target, you need to perform the "scissors", the reverse motion of one leg going down should coinside with the other leg performing the kick. Focus on the scissors, or - better - on the target.

Ne vasa

Ne vasa stands for the techniques in the low position. Often you will find yourself on the ground, either as the result of the mistake you made, or by intent (think fighting the boxer). The following group of kicks is used most often.

Ne vasa: mae geri

Your initial position is on your back, while an opponent is approaching you from the direction of your head. Bring your knee to the chest, and perform the mae geri kick over your head.

Ne vasa: joko geri

Your initial position is on the ground on your side. Bring the knee of the upper leg to the chest, and perform the joko geri kick. Hips are used in ne vasa as mutch as in other situations.

There are some similarities between this kick and joko tobi geri, because the other leg is free (it does not have to support your body). As the result it's foot is covering your groins area.

Harai vasa: trips

Otosi gari

Can be used after you went down, escaping high kick, or in other situations like this. It is desirable that your opponent is on one leg, but it isn't a requirement.

The leg moves in a circle, and it should be almost straight. It is possible, of course, to go down first, and then to perform a low mavashi geri, but this is different. To gain maximum speed, you should go down and turn in the same time, so that when you are down, your leg had maximum speed.

It is possible to touch the ground, but you will do better if you keep your back straight.

De ashi barai

It is an attack, and even if your opponent manages to keep his balance, it should do some damage. There are variations of this technique, that are done in a nice and soft way, but mostly it is a kick.

The foot is used, or the area between the foot and the knee (in this case the kick is even stronger).

The attack is performed so that the foot moves by the circle, from outside to inside, or from inside to outside.

There are two scenarios. First - your opponent's weight is on the foot that you are attacking. In this case it requires more energy, but if you are successful, your opponent's balance will be completely compromised. The second scenario: your opponent is moving, and his weight is going to be on the foot that you are attacking, the commitment already made, but the move is not yet complete. In this case you need very little power to defiate opponent's foot from its trajectory, but timing is much more important, than in first scenario.

Often, this technique is done together with punches, for example you punch, opponent moves back, releasing the some weight from the front foot, and it makes it easier to apply a technique.

Practicing sequences of techniques

Kihon

Kihon stands for small groups of techniques, performed one after another. It is not a combat simulation, but rather an excersise to perfect the form.

Kihon chudan oi tsuki

From hidari zenkutsu dachi, perform step forward with migi chudan tsuki. Then step forward with your left foot, doing hidari chudan tsuki and so on.

After you done three punches, turn around with jodan ago uchi. To perform this turn, keep your feet on the ground where they are, and turn around from (for example) migi zenkutsu dachi to hidari kokutsu dachi. Move your front foot to the side, to align your position.

It is wery important to keep punches synchronized with steps. If you punch and then step forward, the power of your legs, sending your body forward, will not be used in a punch. If you step forward and then punch, your opponent will see the step and have time to prepare.

A correct way to do it, therefore, is to make step and punch in the same time, so that the fist touches the target exactly when your step is complete, so that the hip movement takes the speed of a step and passes it to the punch.

Kihon chudan giaku tsuki

"Giaku" techniques are reversed. If the right foot is in front, the left hand is used for a punch, and vice versa.

Kihon uchi uke

Defensive techniques can be combined in kihon as well as attacks. In this case, walk forward with the block (uchi uke), maintaining the proper position, and following rules, outlined above for the distance between feet, weight distribution and other details.

The last few inches of the block should coinside with the last few inches of the step, when you are "sinking" into the new position.

Kihon giaku uchi uke

Blocks can be performed with the opposite hand. The body (shoulders) should still turn about 45 degrees, and it requires more of a twist in the waiste area. Hips should send additional impulse through your body and to the hand, increasing power of a block in the last moment.

Kihon chudan soto uke

Soto uke is performed from outside to the inside. Note that by blocking with the back hand, you make your front hand available for the counterattack, and (as it is in front) it can reach much further.

Kihon jodan uke

Walking forward with jodan uke.

Kihon chudan mae geri

This is a familiar mae geri technique, except, the back leg kicks and then goes forward. However, there are important details about the mental concentration of the student.

The back foot goes to the target. It is important to concentrate on the foot from the very beginning, rather than focusing on the step, shoulders, hips and so on. BECOME the foot. Make it the essence of you... Sometimes you do something like "step-step-kick". Even then, the kick begins when the first step begins. Keep the focus on your foot, feeling that it is accelerating for a kick.

Kihon chudan hidji soto uchi

From the ready position, your elbow makes a circle, moving form outside to the inside. Note, that most of the circle is done not because of the shoulder joint, but because we turn hips and waiste to turn the shoulders. After all, hips are way more powerful, then a hand.

Also, please, refer to the section, describing what parts of the hand are used when "hidji" techniques are performed. The elbow itself is not protected by the muscles and can easily be damaged.

Rendeoku vasa (combinations)

Soto uke - gedan barai - giaku tsuki

The soto uke brings your body in the position, that makes it possible to switch to gedan barai easily. Both blocks are done with the same hand. Just keep in mind, that your body must add power to the soto uke, by turning from outside to the inside, and then, as the hand is doing gedan barai, the shoulder and the hip are moving from inside to outside and your position is getting slightly lower, so that the second block is also getting an additional power.

The third technique (the tsuki) is not really a part of the combination, but it is important to realize, that the life does not end after the gedan barai - be ready to switch to the technique number three, four and so on.

Chudan mae geri - giaku tsuki

When mae geri is performed (by you), the natural reaction of your opponent is to move slightly back. His balance as well as the "fighting spirit" is not very strong at that moment, so you would like to continue an attack.

It is important to remember, that the punch should touch the target the same moment your foot is touching the ground, so that the following two events happened simultaneously: your fist penetrating the target and your body sinking into the new position.

As was mentioned before, the technique is NOT a sequence, but rather a whole. Your "emotional contents" should be on your fist from the very first moment. It is not really a requirement, as there is no such thing as a predetermined combination during the real fight. But it is a very useful excersise. Focus on the second punch, and make sure the mae geri is just an intermediate step and in the same time - a complete and powerfull kick. The two requirements above are contradicting to each other, but only when you are able to do it, you can say that you have mastered the technique.

The point is in making it flow, and in shutting down the logical thinking, that is saying something like "turn your foot, bring the knee to the chest, oh, I forgot about the fist, and - where is the knee now?..." The internal dialog is not fast enough, so keep it shut.

Soto uke - hidji ate

As with many combinations, the first technique brings you to the position from which you can start the second technique. In this case, the first technique is a soto uke (assuming your opponent is attacking on the chudan level). From the final position of the block, attack with your elbow (hidji ate), and in the same time change your position to kiba dachi.

Mae hidji ate - uraken shomen uchi, gedan barai - giaku tsuki

Ather the attack with the elbow, your hand is in the natural position for a uraken shomen uchi. After the uraken shomen uchi is completed, the hand is ready for a gedan barai block. Finally, just to make sure you are not dead, continue with a tsuki.

Again, it is just a combination, learn it, practice it, and then forget it. There is no point in doing gedan barai, if your opponent is punching you in the nose. Same as with learning how to write. You practice writing "cat" and "dop", and then you can write anything, depending what you need.

Sanbon kumite

Sanbon kumite is an important part of the karate training. On one hand, you have a chance to apply the real techniques against the real attacks, on the other - the attack is short enough, so you (especially if you are a beginner) are not loosing it completely.

"San" means "three" in Japanese, so we are going to do three steps.

There is a sequence that you are expected to follow, kind of the etiquette. First, you bow. Then you do a step back with the gedan barai. From this position the technique itself begins. Note, that the sequence described is for an attacker. The defending person should bow, but he will not do anything else, until you start your attack.

At the end ot the three steps the defending person does a counterattack. For example, let's consider one of the most common sequences. The format is: technique done by the first person - (dash) responce by the second person; (semicolon).

Chudan ou tsuki - uchi uke
Chudan ou tsuki - uchi uke
Chudan ou tsuki - uchi uke
chudan tsuki

A little comment. Each time an attacked does tsuki, he steps forward, so every time it is done with the different hand. Finally, the defending person blocks the third tsuki, and counter attacks with the chudan tsuki WITHOUT stepping forward. Then both people are pulling their front foot back to the fudo dachi (more or less) and bow. After that they are ready for the next sequence, usually the person that was attacking becomes a defending one and vice versa.

Jodan (chudan) tsuki - uchi (jodan) uke - jodan (chudan) tsuki

During the block, your hand is in direct contact with the opponent's hand. Use it. Let's say you just did hidari (left) uchi uke. If you did it properly, your fist is turned with the palm towards you. Turn your hand counterclockwise, so that your palm is now on top of the opponent's wrist. Grab the wrist, and do the tsuki punck with the other hand.

Few very important details. First, you can do the uchi uke in two different ways. First, you can "help" the opponent's hand to slightly deviate from it's trajectory. Second (and most often used in Kyokushin) is a brutal attack, when the opponent's hand is hit with all the possible power, and preferably - broken. That's just a metaphor, but the hand still "flies" to the side too far, so it is hard to grab it afterwards.

Second, some people would grab a hand and then pull ut in their armpit, as if they are doing the "reverse" for a classical tsuki. It is wrong, as your hand alone is simply not strong enough. Instead, do not bend your elbow at all, keep your hand relative to your body exactly where it was, when it met the opponent's hand. And TURN YOUR BODY INSTEAD. You need to turn your shoulders, to do the tsuki - use the power that comes from your hips - the most powerful parts of your body. But to do that, again, do not bend your elbow. Do not, in another words, bring the opponent's wrist to your central line, where the leverage is shorter.

Chudan ou tsuki - soto uke - uraken shomen uchi

After the soto uke block your hand is in the natural position for the uraken shomen uchi. The uraken should be very fast, and the fist should immediately return to the initial position, so that you can (and often will) perform more than one urakes in a row.

Chudan uke - chudan mae geri

The most difficult for beginners, is the fact that "long" kicks can sometimes be very short. This combination is an example. After the chudan uke, you are literally face to face with your opponent. However, if you follow these simple rules, you can attack him with mae geri.

First, move the foot from the ground by the straight line to the target. Even if you are close to your opponent - can you draw that line? Yes, in most cases. Then nothing prevents you from sending your foot along this line.

Second, do not turn your hips. Keep them on the same place, or even move them back. Or, if you want to make the kick even more powerful, move the hip forward in a wipe-like motion, when the foot is half-way to the target, and then move it back. That will send a "wave" through your leg, making the foot to move even faster. By the way, do you know that the tip of the whip is moving at hypersonic speed because of the wave that runs through it? That's where the sound comes from.

Jodan uke (jodan shuto uke, uchi uke) - jodan mavashi geri

As was described before, you need to end the block by grabbing the opponent's hand. The mavashi geri can be done at a close or middle distance - depending on the situation.

Soto uke - giaku tsuki - trip

Very often beginners are concerned with the following question. He is standing in front of me, so if I do a step forward, as required by the excersise, where should I step - inside or outside.

The answer is "you don't care", and by the way, if you can step ON his foot, by all means, do it.

In this particular technique, your foot goes outside the opponent's foot. Then your punch (hopefully) pushes him back, taking some weight from his front foot, and at that exact moment you can perform a trip.

Gedan barai - morote heiko tsuki

This technique is illustrating a very important point that you will see a lot in kung fu, but not very often in karate. After the gedan barai, how can we perform the punch with the same hand?

The "classical" way is to stop the hand completely, to bring it back, and to begin the punch from the initial position (near the armpit). However it is very slow and energy consuming.

The "martial" way is to continue the gedan barai, turn the hand (in a tata tsuki position, baby finger down, thumb up), but almost without moving it back. Instead, your hips make a powerfull "back - forward" move, making your shoulders to move back and then forward very fast and making the punch very powerfull.

A word of caution. If the technique is not smooth enough, or if you are not warmed up properly, you can easily hurt your back muscles.

Jodan shuto uke - attack to the temple area (ura shuto)

In this technique your hands are not moving very much - all the job is done by the hips. Also, note that your opponent has to counteract to the power of your hips with power of his hand (which is almost impossible) and his head (yes, it hurts). Usually, when done with enough power, the technique wipes an opponent off his feet.

Soto uke - uraken shomen uchi

After the soto uke block is complete, your hand is resting on top of your opponent's hand, giving you an advantage. The uraken shomen uchi is one of the fastest punches, if necessary, you can do two or even three of them, before your opponent can do something.

The shoulders and hips are used in this technique, contributing to the speed and power of it.

Free combinations

Soto uke - hidji attack

After the soto uke block, your elbow can draw the circle either from inside to the outside, or from the outside to the inside. In both cases the end of the trajectory should be on the opponent's head or neck. Sometimes, when head or neck is protected or too far, you can attack the chest of the back.

Shuto uke - shotei

The technique is very powerful. However, to make it powerful, you need to make your hips to send the kind of a wave through your body up to the hand. Once again, it is a very powerful "breaking" shotei, not just a slap over the face.

Capturing mae geri after the gedan barai

After the gedan barai, put your hand under the opponent's leg, and turn your fist palm up. The opponent's leg should now rest on your hand, as close to your elbow and as close to his knee, as possible.

Slide forward, bringing the knee up, and push an opponent with your chest.

There is a reasonable argument against moving towards the opponent's fists, however. Here is another approach. Move your hand, so the heel of the opponent's foot is resting in your palm. And then perform a shotei push, making sure it is not horizontal, but rather ascending.

Shuto uke - mae geri - shotei

Before, we considered couple of techniques, where one hand was grabbing, and another hand was punching. However, we can grab and punch with the same hand. The initial pulling part of the motion gives your opponent some momentum forward (while he need to move back to avoid a punch), and in the same time it brings your hand to the ready position for a punch. Then you need to release an opponent's hand, and to do the punch.

Nothing prevents you from attacking your opponent with some other part of your body first (in this case it would be the mae geri).

Jodan shuto uke, attack in the temple area, hiza geri

The hands can become really "sticky", taking the opponent off balance at each and every occasion.

After the jodan shuto uke, grab the opponent's hand, and bring it down and to the side. In the same time attack with the shuto or tetsui on the temple area.

The hand that you just used for an attack, is grabbing the opponent's neck or shoulder, and pulls him forward, towards your knee.

Ushiro mavashi geri - mavashi geri

The first kick is actuallu a defensive move. It will stop the opponent's ushiro mavashi geri. Then you need to bend your knee WITHOUT bringing the leg down, and perform the mavashi geri. The technique is nice, but it is certainly not for beginners.

Sune uke - jodan mae geri

The sune uke is performed with enough power to move the opponent's leg to the side. Then the opponent is "open" and our knee is already in a position for the mae geri.

Hips must be used to give more power to the kick. It may seem that I am repeating this directive too often, however when tired, people tent do avoid doing extra movements, which make their techniques much less efficient. In other words - you wil do this mistake, especially at the beginning, regardless my warnings.

Ushiro mavashi geri - mae geri

Another interesting foot work. When you move your head back, avoiding an attack, slide your front foot forward. This way, you will end up closer to an opponent, hopefully - to his surprice.

Oi tsuki - giaku tsuki - mavashi geri jodan - kagi tsuki - ushiro mavashi geri

The first three moves are classical, they work very well and - regardless that everybody know about it - almost always get uncatched. Tsuki chudan - giaku tsuki chudan - jodan mavashi geri.

For this example, we used a very powerful kagi tsuki, because if we stop, the opponent will immediately counterattack (providing he survived our attack). Then, as we are at a close range, and we have some spinning momentum, we used ushuro mavashi geri.

It has to be mentioned, that using high kicks is much more dangerous (for you), then using kicks at the low amd middle levels only.

Oi tsuki - giaku tsuki - mavashi geri

This combination works very well, because the opponent's hands are going down to block the first and the second attack.

Mae geri - tsuki

Mae geri is slower than a tsuki. Therefore if you catch the very beginning of the attack, you can move forward with the preemptive counter attack.

Conclusion

Consider this book a good start. Just remember the old saying: "to master karate, even nine lives will not be enough". There are katas, that I haven't even mentioned. There are meditations and special excersizes to make the body stronger. There are self-hypnotic mantras, that will make your behaviour spontaneous...

It all is based on the "basic" techniques, so this book was a foundation. Hope you enjoyed it.

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