Adult Shotokan Karate – Black Belt

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Skill Shodan Nidan Sandan (Requires passing the Black Belt Exam) (Requires 2 years at Shodan) (Requires 3 years at Nidan) All requirements from All stage 6 techniques Technique White to Black Belt All stage 5 techniques Review all stage 3-5 techniques Read “Karate-Do Kyohan” the master text & write a 1 page report about it Explain & Breakdown 2 Write a 1 page paper on Black Belt Katas “What it means to be a Black Belt” Know terms: Ronin, Ninja, Shogun, Tachi, Kenjutsu, Know terms: Write a Black Belt speech Uke, Uchi, Keri Budo, Bunkai, Karate-Do, Karateka, Knowledge Ken, Shomen Proficient with all knowledge Proficient with all knowledge White to Black Belt Write a 2 page paper explaining the Compete in a tournament as a application of Kata to Karate Show 6 months of workout logs Black Belt Show 1 year of workout logs Show 1 year of workout logs Perform 4 Sentei Katas Know all Black Belt Katas Know all Black Belt Katas Kata Perform 1 Tekki Kata from Nidan Set from Sandan Set Perform 2 Heian Katas Perform 2 additional Black Belt Katas Perform 2 additional Black Belt Katas Jiyu Ippon Kumite: Perform any 5 Drills Drills Perform All Drills Lunge punch, Front kick, Side kick, Roundhouse Create two 3-move Combo Drills Perform 2 Weapon Katas of your choice Sickle Kata: Souden Nunchaku Kata: Nunchaku Sho Hold square stance for Perform 2 additional Versatility 3 minutes Weapon Katas Perform 2 weapon katas of your choice Perform any Break on 1” Pine Board Complete a 2 Board Break (1” pine) with Black Belt Precision & Power Keep 2 attackers at bay for 1 minute Spar a Sensei – 5 point match Keep an attacker at bay for 1 minute under duress under duress Demo & Explain Kumite Concepts: Kumite Demo & Explain Kumite Concepts: Go No Sen & Tai No Sen All Kumite combos Ken No Sen & Sen No Sen 3 times each 3 times each Self-defense set 9 Self-defense set 10 Perform 1 Self-defense set against an (Harassment) (Knife) Self-Defense attacking Black Belt Show 3 Bunkai from any Nidan Black Show 3 Bunkai from any Sandan Black Self-defense sets 1-8 Belt Kata Belt Kata Demonstrate excellent Roll cone to cone Know & be proficient with all rolls, Uke skills & be taken down by a Sensei Set-up a 5 roll sequence Momentum falls and sweeps 5 times showing your skill Perform 4 sweeps Perform 4 throws Perform 6 sweeps Rev. 8/1/2021 © Karate Edge, LLC .

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World Karate Federation
World Karate Federation Kata Competition Examination questions for Kata Judges Version January 2019 The answer paper is to be returned to the examiners. All answers are to be entered on the separate answer paper only. You must make sure that your name, country, number and any other information required are entered on the answer paper. You may not have any additional papers or books on your desk while undertaking this examination. During the examination to be seen speaking to another candidate or copying another’s paper will mean suspension and automatic failure of the examination. If you are not sure of the correct procedures or have any questions about any aspect of the examination you should speak only to an examiner. The result of the examination both theory and practical will be sent to the candidate’s National Federation. January 2019 Kata Examination Paper. Version January 2019 1 / 6 World Karate Federation KATA EXAMINATION “TRUE OR FALSE” On the answer paper put an “X” in the appropriate box. The answer to a question is true only if it can be held to be true in all situations; otherwise it is considered to be false. Each correct answer scores one point. 1. Competitors must wear a plain blue or red belt corresponding to their pool. 2. The total time allowed for the Kata and Bunkai demonstration combined, is six minutes. 3. In Kata competition slight variations as taught by the contestant's style (Ryu-ha) are permitted. 4. Glasses are forbidden in kata completion. 5. The number of Competitors will determine the number of groups to facilitate the elimination rounds.
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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.
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Japanese - English a Age, Rising
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April 2007 Newsletter
December 2018 Newsletter Goju-Ryu Karate-Do Kyokai www.goju.com ________________________________________________________ Obituary: Zachary T. Shepherdson-Barrington Zachary T. Shepherdson-Barrington 25, of Springfield, passed away at 1:22 p.m. on Tuesday, November 27, 2018 at Memorial Medical Center. Zachary was born October 12, 1993 in Springfield, the son of Kim D. Barrington and Rebecca E. Shepherdson. Zachary attended Lincoln Land Community College. He was a former member of The Springfield Goju-Ryu Karate Club where he earned a brown belt in karate. He worked for Target and had worked in retail for several years. He also worked as a driver for Uber. He enjoyed game night with his friends and working on the computer. He was preceded in death by his paternal grandparents, James and Fern Gilbert; maternal grandparents, Carol J. Karlovsky and Harold T. Shepherdson; seven uncles, including Mark Shepherdson; and aunt, Carolyn Norbutt. He is survived by his father Kim D. Barrington (wife, Patricia M. Ballweg); mother, Rebecca E. Shepherdson of Springfield; half-brother, Derek Embree of Girard; and several aunts, uncles, and cousins. Cremation will be accorded by Butler Cremation Tribute Center prior to ceremonies . Memorial Gathering: Family will receive friends from 10:00 to 10:45 a.m. on Tuesday, December 4, 2018 at First Church of the Nazarene, 5200 S. 6th St., Springfield. Memorial Ceremony: 11:00 a.m. on Tuesday, December 4, 2018 at First Church of the Nazarene, with Pastor Fred Prince and Pastor Jay Bush officiating. Memorial contributions may be made to the American Cancer Society, 675 E. Linton, Springfield, IL 62703.
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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.
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Seiunchin Kata Bunkai
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SHOTOKAN KARATE Grading Requirements White to 1St Degree Black Belt
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Good Uke, Bad Uke
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How to Enhance Effectiveness of Direct Attack Judo Throws
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Chito-Ryu Karate-Do – Grading Requirements (Karate 4 Life)
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American Judo Fall 2007
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Uke – the One Who Is
U k e – t h e o n e w h o i s l e d Although only the defense techniques are aikido, still the attacker’s role is not to be neglected. The kind of attack and the skill of it are also of importance. Because aikido itself contains no attack techniques, it is common that the students train them insufficiently, and do them with little concentra- tion. But sloppy and weak attacks lead to sloppy and weak aikido. Both roles are important, because aikido is about guiding the attacking force. The attacker in aikido is called uke, like in the term for falling technique: ukemi. The kanji for uke is a sign that means to receive and be susceptible. The symbols that com- pose the sign show a hand giving something. So, the attacker is the one who is led, who is receiving. The defender, the one who leads, is called tori – or nage, as in nagewaza, throwing techniques. Tori simply means to take. Amusingly, it is written with the symbols of somebody grabbing the ear of another – an action that seems to be com- parable to the western use of it, and therefore implies a cor- recting purpose, like that of a teacher or parent. Observe that the word pair tori and uke does not signify give and take, but take and receive. So, the two have simi- lar roles in the aikido training. The difference is that tori has the initiative, although uke is the one who starts it off with the attack. In aikido, then, you should take over the initia- tive – not to win, but for both to learn something.
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