KARATE BOOKLET Karate Terminology
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Kihon Ido Dai Ichi
Kihon Basic Techniques • In this exercise, there are 13 techniques to learn from Heiko Dachi (natural stance). On the last technique, you must Kiai (yell “Ai!”) • The first 4 sequences are blocking, next 5 are hand strikes or punches, and the last 4 are kicking • The purpose of this exercise is to instill karate basic techniques without physical opposition. Be careful to maintain balance during kicking Formal opening: Kiotsuke, Rei, Yoi Uke Waza BLOCKING TECHNIQUES Heiko Dachi, Uke no Kamae. Make a natural stance with feet pointed straight, shoulders width apart, make left middle block with vigor and kiai (yell “Ai!”) 1. Jodan Uke Perform high block 2. Chudan Uke Perform middle block 3. Gedan Barai Perform a front low block just beyond your hip 4. Yoko Uke Shita Barai (or Morote Uke) Perform double block (middle and low simultaneous) – no chambers Uchi Waza STRIKING TECHNIQUES Heiko Dachi, Tsuki no Kamae. Make a natural stance with feet pointed straight and shoulders width apart, make left middle punch with vigor and kiai (yell “Ai!”) 5. Jodan Seiken Zuki Perform a centered high punch to chin/nose height 6. Chudan Seiken Zuki Perform a centered middle punch to solar plexus area 7. Gedan Tsuki Perform a centered low punch at belt height 8. Hikiate Perform a centered, elbow strike toward the chin 9. Chokkaku Seiken Zuki Perform a side-centered punch - shoulder height Keri Waza KICKING TECHNIQUES Heiko Dachi, Keri no Kamae. Make a natural stance with feet pointed straight and shoulders width apart, leave your fists along your sides (like in Yoi) with vigor and kiai (yell “Ai!”) 10. -
BA Thesis an Overview of Stereotyped Portrayals of LGBT+ People In
BA thesis in Japanese Language and Culture An Overview of Stereotyped Portrayals of LGBT+ People in Japanese Fiction and Literature Analysis of the historical evolution and commercialization of BL and yuri genres, and social practice of its consumer culture Bára B.S. Jóhannesdóttir Supervisor Kristín Ingvarsdóttir May 2021 FACULTY OF LANGUAGES AND CULTURES Háskóli Íslands Hugvísindasvið Japanskt Mál og Menning An Overview of Stereotyped Portrayals of LGBT+ People in Japanese Fiction and Literature Analysis of the historical evolution and commercialization of BL and yuri genres, and social practice of its consumer culture Ritgerð til BA-prófs 10 ECTS Bára B.S. Jóhannesdóttir Kt.: 210496-2039 Leiðbeinandi: Kristín Ingvarsdóttir Maí 2021 1 Abstract This essay will explore the history of the portrayal of LGBT+ people in Japanese fiction, starting from The Tale of Genji, a novel from the early 11th century that is widely considered to be the first classic in history, and to the proper establishment of what is known as the BL (boys’ love) and yuri genres. BL, as the name suggests, is a genre that features the relationship between two male characters, usually in a romantic and/or sexual nature, while yuri is between two female characters. There will be a short examination of LGBT+ portrayal in historical literary works and art before moving onto a more detailed recounting of modern fiction and television. Some ancient literature will be reviewed, comparing real-life societal norms to their fictional counterparts. The focus will mainly be on the introduction of the BL genre, the historical evolution of it, the commercial start of it, the main components that make up the genre, and why it is as popular as it is, a well as an examination of the culture surrounding the fans of the genre. -
Japanese - English a Age, Rising
Japanese - English A Age, Rising. Age tsuki, Rising punch. Age uke, Rising block. Ashi, Foot/leg. Ashi guruma, Leg wheel. Ashi hishigi, Leg crush. Ashi kubi, Ankle. Ashi kubi hishigi, Ankle crush. Ashi waza, Foot techniques. Atemi, Striking. Atemi waza, Striking techniques. B Bo, Staff (long). Bojitsu, Staff techniques (long). Bunkai, Application of form. Bushi, Warrior class of Japan. Bushido, Way of the warrior. Bujutsu, Fighting arts of the warrior class of Japan. C Choku tsuki, Straight punch. Chudan, Middle (of body, i.e. torso). D Dachi, Stance. Dan, Rank of black belt; 1st dan is the lowest, 10th the highest. De ashi barai, Forward foot sweep. Denzook, No count. Do, The way. Dojo, Exercise hall, the place where one practices the martial arts. E Eku Oar, used as a weapon in Okinawan Karate. Empi 1. Elbow. 2. Name of a kata. Empi uchi, Elbow strike. F Fudo dachi, Rooted stance. Fumikomi, Stamping kick. Funakoshi, Gichin Father of Japanese Karate. G Ganmen, Face. Ganmen, shuto Face knife-hand. Gari, Reap. Gatame, Hold arm bar. Geashi, Reversal. Gedan, Lower waist or below. Gedan barai, Low block. Gedan juji uke, Lower X-block. Gedan shuto uke, Lower knife-hand block. Geri, Kick. Gi, Uniform for practicing martial arts. Go Five. Goshin Jutsu, Body defence. Gohon, Five-finger strike. Goshi, Hip throw. Guruma, Wheel-like throw. Gyaku, Reverse, reversal. Gyaku tsuki, Reverse punch (opposite hand and leg). Gyaky juji jime, Reverse cross choke. H Hachi Eight, See also numerals. Hachiji dachi, Open leg stance. Hachimachi, Towel used as a headband. Hadake, Naked. Hadake jime, Naked choke/strangle. -
SHŌTŌKAN KARATE-Dō KATA Encyclopedie KASE-HA Encyclopedia
Katas Sup. SR_page 1-36 v7_Mise en page 1 14/08/2019 13:49 Page3 SHŌTŌKAN KARATE-dŌ KATA ENCYCLOPEdIE KASE-HA ENCYCLOPEdIA Taiji KASE Jū dan (10e dan) Shōtōkan-ryū Kase-Ha Heian Shōdan Hangetsu Chinte Heian Nidan Jion Sōchin Heian Sandan Jite Meikyō Heian Yodan Gankaku Gojū shihō-dai Heian Godan Tekki Nidan Gojū shihō-shō Ten no Kata Kankū shō Unsu Tekki Shōdan Bassai shō Wankan Kankū dai Nijū shihō Bassai dai Ji’in Heian Oyo Empi Tekki sandan Tekki Oyo Katas Sup. SR_page 1-36 v7_Mise en page 1 14/08/2019 13:49 Page4 Sommaire Préface. 6 Foreward. 7 le karate-dō. 8 e karate-dō . 9 l’histoire du karate-dō . 10 e history of karate-dō . 11 le fudō-dachi, la position du maître. 12 Fudō-dachi, the master’s stance . 13 Signification des katas. 15 la voie de taiji Kase . 16 taiji Kase’s path . 17 la progression . 18 e progression . 19 Parcours de maître Kase . 20 about sensei Kase . 22 introduction. 24 Introduction . 25 les katas. 26 Katas . 28 Nomenclature, attitude et postures - attitude and postures . 30 le salut, la présentation du kata . 33 Points clés . 34 Key points . 35 4 SHŌtŌKaN Karate-DŌ Kata Katas Sup. SR_page 1-36 v7_Mise en page 1 14/08/2019 13:49 Page5 HeiaN SHŌDaN 平安初段 . 37 HeiaN NiDaN 平安二段 . 43 HeiaN SaNDaN 平安三段 . 53 HeiaN YoDaN 平安四段 . 65 HeiaN GoDaN 平安五段 . 73 teN No Kata 天の型 . 83 teKKi SHŌDaN 鉄騎初段 . 95 KaNKŪ Dai 観空 大 . 107 BaSSai Dai 抜塞 大 . 125 emPi 燕飛 . -
The Degree of the Speaker's Negative Attitude in a Goal-Shifting
In Christopher Brown and Qianping Gu and Cornelia Loos and Jason Mielens and Grace Neveu (eds.), Proceedings of the 15th Texas Linguistics Society Conference, 150-169. 2015. The degree of the speaker’s negative attitude in a goal-shifting comparison Osamu Sawada∗ Mie University [email protected] Abstract The Japanese comparative expression sore-yori ‘than it’ can be used for shifting the goal of a conversation. What is interesting about goal-shifting via sore-yori is that, un- like ordinary goal-shifting with expressions like tokorode ‘by the way,’ using sore-yori often signals the speaker’s negative attitude toward the addressee. In this paper, I will investigate the meaning and use of goal-shifting comparison and consider the mecha- nism by which the speaker’s emotion is expressed. I will claim that the meaning of the pragmatic sore-yori conventionally implicates that the at-issue utterance is preferable to the previous utterance (cf. metalinguistic comparison (e.g. (Giannakidou & Yoon 2011))) and that the meaning of goal-shifting is derived if the goal associated with the at-issue utterance is considered irrelevant to the goal associated with the previous utterance. Moreover, I will argue that the speaker’s negative attitude is shown by the competition between the speaker’s goal and the hearer’s goal, and a strong negativity emerges if the goals are assumed to be not shared. I will also compare sore-yori to sonna koto-yori ‘than such a thing’ and show that sonna koto-yori directly expresses a strong negative attitude toward the previous utterance. -
Writing As Aesthetic in Modern and Contemporary Japanese-Language Literature
At the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2021 Reading Committee: Edward Mack, Chair Davinder Bhowmik Zev Handel Jeffrey Todd Knight Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2021 Christopher J Lowy University of Washington Abstract At the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy Chair of the Supervisory Committee: Edward Mack Department of Asian Languages and Literature This dissertation examines the dynamic relationship between written language and literary fiction in modern and contemporary Japanese-language literature. I analyze how script and narration come together to function as a site of expression, and how they connect to questions of visuality, textuality, and materiality. Informed by work from the field of textual humanities, my project brings together new philological approaches to visual aspects of text in literature written in the Japanese script. Because research in English on the visual textuality of Japanese-language literature is scant, my work serves as a fundamental first-step in creating a new area of critical interest by establishing key terms and a general theoretical framework from which to approach the topic. Chapter One establishes the scope of my project and the vocabulary necessary for an analysis of script relative to narrative content; Chapter Two looks at one author’s relationship with written language; and Chapters Three and Four apply the concepts explored in Chapter One to a variety of modern and contemporary literary texts where script plays a central role. -
Ukemi in Aikido
Edinburgh Aikido Ukemi in Aikido The word uke in Japanese translates as “to receive” which is at odds with many people’s assumption that taking ukemi primarily involves acting out the losing role of an attacker. “Receiving the technique” evokes a more active and collaborative role for uke within the kata execution, where the attack and subsequent breakfall are used as a learning experience1 for both tori and uke. Those that train in aikido will quickly realize that half of their time training is spent receiving the aikido techniques and taking ukemi. When we first start aikido training, it is while being uke that we feel stiff and clumsy. Later as we progress in aikido, it is often while working with a good uke – one who is able to adapt their movements to maintain a feeling of connection and lightness throughout the technique – that we often improve our understanding of the aikido techniques. When watching aikido, it will often be a good uke that gives the movements the dynamism and flair that characterize a good aikido demonstration. With so much of our training time on the tatami taken up carrying out the role of uke, it is important that this aspect of training is also developed as a learning tool. However, in many dojos around the world, it is still very common to see a practice where the emphasis on ukemi is very small or, in some cases, completely absent. There are several good reasons to work hard to improve our ukemi. First and foremost, ukemi abilities are developed so we are able to safely receive the locks and throws seen in aikido. -
5892 Cisco Category: Standards Track August 2010 ISSN: 2070-1721
Internet Engineering Task Force (IETF) P. Faltstrom, Ed. Request for Comments: 5892 Cisco Category: Standards Track August 2010 ISSN: 2070-1721 The Unicode Code Points and Internationalized Domain Names for Applications (IDNA) Abstract This document specifies rules for deciding whether a code point, considered in isolation or in context, is a candidate for inclusion in an Internationalized Domain Name (IDN). It is part of the specification of Internationalizing Domain Names in Applications 2008 (IDNA2008). Status of This Memo This is an Internet Standards Track document. This document is a product of the Internet Engineering Task Force (IETF). It represents the consensus of the IETF community. It has received public review and has been approved for publication by the Internet Engineering Steering Group (IESG). Further information on Internet Standards is available in Section 2 of RFC 5741. Information about the current status of this document, any errata, and how to provide feedback on it may be obtained at http://www.rfc-editor.org/info/rfc5892. Copyright Notice Copyright (c) 2010 IETF Trust and the persons identified as the document authors. All rights reserved. This document is subject to BCP 78 and the IETF Trust's Legal Provisions Relating to IETF Documents (http://trustee.ietf.org/license-info) in effect on the date of publication of this document. Please review these documents carefully, as they describe your rights and restrictions with respect to this document. Code Components extracted from this document must include Simplified BSD License text as described in Section 4.e of the Trust Legal Provisions and are provided without warranty as described in the Simplified BSD License. -
Shoto Ryu Karate Kai Association History Rules and Grading Syllabus
SHOTO RYU KARATE KAI ASSOCIATION HISTORY, RULES & GRADING SYLLABUS Master Vivian Nash 8th Dan FOUNDER OF SHOTO RYU KARATE KAI ASSOCIATION 1931 - 2009 Viv, as he liked to be known (outside the dojo), was born in Radstock, near Bristol, but his family settled in Plymouth when he was around five years old. BOXING Viv spent much of his life practicing and studying physical activity, and fighting arts. His mother had a theatrical background and encouraged Viv to explore the rhythm and harmony of music and dance. His father, a keen amateur boxer, taught Viv to box to a high standard. It is perhaps this positive encouragement, from a very early age that put Viv on the path to become the martial arts master and perfectionist that he certainly was. Viv was successful in the Amateur Boxing Association and during two years of National Service in the Army he became Middle-weight Battalion Champion. He also boxed in fair ground booths and often said that his boxing experience underpinned the physical side of his early karate practice. ‘I fought in many competitions, winning most of them. Later I boxed in fairground booths for £3 for three rounds; in those days, I liked to fight very much. I believe that boxing certainly helped the physical side of my karate.’ However, whilst in the army he was involved in a fire accident and was badly burned, thus ending his boxing career. While in the army he served in Suez and during his off-duty hours would spend many hours in the library, reading about many different religions. -
Taikyoku Kata - 太極
Taikyoku Kata - 太極 Taikyoku Kata - 太極 The name Taikyoku - 太極 refers to the Chinese philosophical concept of Taiji. Taikyoku is literally translated as ‘Great Ultime’. The word Taikyoku can also mean overview or intent – seeing the whole rather than concentrating on the individual parts, and keeping an open mind or beginner's mind. No prejudices and endless possibilities are pursued in the training. That's why a karateka should never think that, as soon as he gets better or passes to a more complex Kata, the first and most basic Kata is less important, and therefore must keep an open mind. The Taikyoku Kata were developed by Yoshitaka Funakoshi and introduced in 1930 by Gichin Funakoshi, founder of Shotokan, as a way to simplify the principles of the Pinan series. Taikyoku Kata are often introduced first, in preparation for the Pinan Kata. These northern Kata are based on the Shuri-te tradition of karate, which Sosai Masutatsu Oyama taught while exercising under Gichin Funakoshi. The respective Embusen - 演武線 or trajectory/route/road of all Taikyoku Kata is an ' I '. At each turn a block is executed, followed by a step and a punch. Back and forth in the middle there are three punches. The three Sokugi Kata were made by Mas Oyama to further develop kick skills. They have the same Embusen as the original Taikyoku Kata. Sokugi - 足技 literally means 'foot', 'technique' or 'kicking'. They were only formally introduced to the Kyokushin syllabus after the death of Mas Oyama. Mas Oyama developed Taikyoku sono Ichi, Ni, San – URA in 1980. -
The Folk Dances of Shotokan by Rob Redmond
The Folk Dances of Shotokan by Rob Redmond Kevin Hawley 385 Ramsey Road Yardley, PA 19067 United States Copyright 2006 Rob Redmond. All Rights Reserved. No part of this may be reproduced for for any purpose, commercial or non-profit, without the express, written permission of the author. Listed with the US Library of Congress US Copyright Office Registration #TXu-1-167-868 Published by digital means by Rob Redmond PO BOX 41 Holly Springs, GA 30142 Second Edition, 2006 2 Kevin Hawley 385 Ramsey Road Yardley, PA 19067 United States In Gratitude The Karate Widow, my beautiful and apparently endlessly patient wife – Lorna. Thanks, Kevin Hawley, for saying, “You’re a writer, so write!” Thanks to the man who opened my eyes to Karate other than Shotokan – Rob Alvelais. Thanks to the wise man who named me 24 Fighting Chickens and listens to me complain – Gerald Bush. Thanks to my training buddy – Bob Greico. Thanks to John Cheetham, for publishing my articles in Shotokan Karate Magazine. Thanks to Mark Groenewold, for support, encouragement, and for taking the forums off my hands. And also thanks to the original Secret Order of the ^v^, without whom this content would never have been compiled: Roberto A. Alvelais, Gerald H. Bush IV, Malcolm Diamond, Lester Ingber, Shawn Jefferson, Peter C. Jensen, Jon Keeling, Michael Lamertz, Sorin Lemnariu, Scott Lippacher, Roshan Mamarvar, David Manise, Rolland Mueller, Chris Parsons, Elmar Schmeisser, Steven K. Shapiro, Bradley Webb, George Weller, and George Winter. And thanks to the fans of 24FC who’ve been reading my work all of these years and for some reason keep coming back. -
Roots of Shotokan: Funakoshi's Original 15 Kata
Joe Swift About The Author: Joe Swift, native of New York State (USA) has lived in Japan since 1994. He holds a dan-rank in Isshinryu Karatedo, and also currently acts as assistant instructor (3rd dan) at the Mushinkan Shoreiryu Karate Kobudo Dojo in Kanazawa, Japan. He is also a member of the International Ryukyu Karate Research Society and the Okinawa Isshinryu Karate Kobudo Association. He currently works as a translator/interpreter for the Ishikawa International Cooperation Research Centre in Kanazawa. He is also a Contributing Editor for FightingArts.com. Roots Of Shotokan: Funakoshi's Original 15 Kata Part 1- Classification & Knowledge Of Kata Introduction Gichin Funakoshi is probably the best known karate master of the early 20th century and is known by many as the "Father Of Japanese Karate." It was Funakoshi who was first selected to demonstrate his Okinawan art on mainland Japan. In Japan Funakoshi helped build the popularity of his fledgling art and helped it gain acceptance by the all important Japanese organization founded (and sanctioned by the government) to preserve and promote the martial arts and ways in Japan (the Dai Nippon Butokukai). An author of several pioneering books on karate, he was the founder Shotokan karate from which many other styles derived. When Funakoshi arrived in Japan in 1922, he originally taught a total of fifteen kata, although it has been speculated that he probably knew many more. The purpose of this article will be to introduce some of the theories on the possible origins of these kata, provide some historical testimony on them, and try and improve the overall understanding of the roots of Shotokan.