Okinawan Shuri Ryu Manual

Last Updated: 10/13/2015 Shuri Ryu Karatedo Okinawan Shuri Ryu Karatedo Shu : o Learn ro radion Ri : o ranscend or Go Beyond Ryu : Stye or arcuar Schoo o houht

he roots o Shuri-Ryu are in Okinawa, especiay in the Shuri-e karate o Ankoh Itosu and Choki Motobu and the Hsin Yi Chuan o un Gee Hsin. Robert rias, the stye’s ounder, trained with un Gee Hsin, who had cross-trained with Choki Motobu earier in the Oki- nawan viae o Kue Mura. un Gee Hsin tauht rias Hsin Yi (the “Inteectua” ist) and Shuri Karate Kepo.

Later rias studied with Hoy Yuan in, Goen Yaauchi, Roy Oshiro, Yasuhiro Konishi, Makoto Gia, and severa other teachers. Konishi awarded rias with the 9th Dan in 1964 and was a proinent student o both Choki Motobu and Gichin unakoshi. Gia was a proinent student o unakoshi and awarded rias the 10th Dan in 1983. Both, Konishi and Gia heped rias reconstruct the od Shuri-e syste o Okinawan karate with soe odicaons, hence a new nae or the syste was desinated Shuri-Ryu. Shuri-Ryu aso incorporated soe Naha and ethods.

Robert rias, the rst person to teach karate in the United States in 1945 in hoenix, Arizo- na. He opened the rst karate schoo in the naon in 1946 and ored the rst karate or- anizaon, the United States Karate Associaon, in 1948. Other styes o karate reated to the rias-ine are Shorei-Goju-Ryu and Shorei-Ryu. In addion to the punches, bocks, and o karate, Shuri-ryu aso incorporates joint ocks, take-downs and throws, and kobudo (tradiona weapons).

Shuri-ryu aso has severa short cobinaons. hese incude: 26 ippons (ippon kuite ka- ta), which are perored to deveop or and power; 10 taezus (taezu naru waza) which are perored to deveop speed and fluidity; 30 kihons which are perored to deveop hn techniue; and 8 sente oons (thousand hands techniues). In addion, there are addiona trainin exercises incudin or sparrin ( kuite), ocus stance spar- rin (kie dachi kuite), ree exercise (jiju undo), and ree sparrin (jiju kuite). One o idenyin eatures o Shuri-ryu is the use o the Shuri st in ieu o a standard st. Instead o curin the index ner when akin the st, the index ner is aid flat, and the thub pushes down on the ner, resun in a hter st. Another eature o Shuri-ryu is the po- sion o the thub o the knie ede or bock. he thub and orener or a “j” so that the hand ay be used in a variety techniues (ridehand, spearhand, open-hand throat strikes, etc.) without chanin the thub posion. Robert Trias Robert A. Trias (1923–1989) was a U.S. karate pioneer, founding the first karate school in the main- land United States. He also developed Shuri-ryu karate, an eclecc style with roots in the Okinawan Shuri- te tradion. Lie Beore Karate

rias was epoyed by Southern acic Copany as a boieraker apprence ro 193–39 and a boier- aker ro 1939-42. Introducon to Karate

Whie servin in the United States Nava Reserve as a Metasith irst Cass (M1c) durin Word War II, Rob- ert rias was staoned on or around uai in the Sooon Isands ro June 1944 to Noveber 1945, and was a Navy chapion iddeweiht boxer. here he et un Gee Hsian, a Chinese issionary o Chan (Zen) Buddhis. Hsian oen watched rias work out and iitated his boxin ootwork, and he asked to pracce with rias. rias reused because Hsian was just a ny ie uy, but Hsian was persistent and at ast rias areed to spar with hi. Hsian ave rias the biest thrashin o his ie and rias then asked Hsian to instruct hi in the ara arts.

Hsian tauht rias soe xinyiuan as we as soe Okinawan Shuri-e karate, which Hsian had earned ro Choki Motobu in Okinawa. Later, rias studied with Hoy Yuan in whose ineae was ro the eshin Shinjo Schoo o Kepo in Japan. rias aso hed a 6th dan back bet in Kodokan ,and studied un- der Yaju Yaada. rias was aso entored by Yasuhiro Konishi and Makoto Gia. Karate in the U.S.

In ate 1945, shorty beore rias e the Navy in January o the oowin year, he bean teachin ara arts in his backyard. He ater opened the rst karate schoo in the United States ainand in hoenix, Arizona in 1946. rias served as an officer o the Arizona State Hihway atro ro 1946-1961uizin his se-deense knowede on duty and teachin his eow officers. In 1948 he ounded the United States Karate Associa- on (USKA), the rst karate oranizaon on the US ainand. hrouh his pioneerin efforts in Karate, he becae the United States' iaison with Korea, Japan, China, and Okinawa or any years. Jointy with John Keehan, rias hosted the rst actua naona karate tournaent, caed the 1st Word Karate ournaent, at the University o Chicaoiedhouse in 1963 in Chicao, IL. his event was reted the USKA Naonas in 1966 and the USKA Grand Naonas in 1968.His rues or tournaent copeon are s used today with ony siht variaon.

rias' stye was known as Shorei-Goju ryu, Shorei-ryu and Shuri-ryu. Many US oranizaons cai to trace their roots to hi and the USKA, incudin the United States Karate-Do Kai, roessiona Karate Coission, United States Karate Aiance, Internaona Shuri-Ryu Associaon, and Kondo No Shokai. Career Accopishents

Robert rias was responsibe or the oowin accopishents in deveopin karate in United States: 1955 - Wrote the rst rues or karate copeon. 1955 - Conducted the rst karate tournaent. 1958 - Wrote the rst textbook. 1959 - Made the rst instrucona . 1963 - Conducted the rst word karate chapionships. 1968 - Conducted the rst proessiona karate tournaent. Death and Leacy

rias died on Juy 11, 1989 o cancer eavin the Shuri-ryu syste to his dauhter Roberta rias-Keey, inheri- tor o Shuri-Ryu and Menkyo Kaiden, and precipitan a strue or succession within the USKA. ] rias is bur- ied in Secon 35, Site 112 o the Naona Meoria Ceetery o Arizona in hoenix.

Robert A. rias (1923-1989), known by soe as the ather o Karate in Aerica, ounded the rst karate schoo in Arizona. He deveoped Shuri-ryu karate with its roots in the Okinawan tradion.

Whie servin in the United States Navy durin Word War II, Robert rias was staoned in the Sooon Is- ands. here he et on Gee Hsin, a Chinsese issionary o Chan (Zen) Buddhis, who offered to teach rias soe ara arts in exchane or essons in Aerican boxin. Hsin becae O'Sensei's teacher and tauht hi Hsin-I, as we as soe Okinawan karate, which Hsin had earned ro Choki Motobu in Okina- wa.

O'Sensei hed a 6th dan back bet in Kodokan Judo and studied under Yju Yaada.

When Robert rias e the Navy, he bean teachin ara arts in his backyard in hoenix, Arizona. Later he opened his rst karate schoo in hoenix. Robert rias served as an officer o the Arizona State Hihway a- tro or a nuber o years uizin his se-deense knowede.

Grandaster rias died in 1989 o cancer eavin the Shuri-ryu syste to his dauhter Dr. Roberta rias- Keey, inheritor and Menkyo Kaiden.

July 10, 1944 became 1st dan under Hsing Konishi promoted Trias to 9th dan in July 16, 1964 Gim promoted Trias to 10th dan in 1983

NAIONAL DOJO KUN

I sha conduct yse in a anner which wi reflect credit upon yse and society.

I sha be oya to y schoo and to the art it teaches.

I sha be honest and exercise interity with the purpose o deveopin cooperaon and trust with y eow karate-ka and y teachers.

I sha exercise restraint in the use o y karate knowede, epoyin it ony in air copeon or in deense o y ie, y aiy, or y country.

GRANDMASTER OF SHURI RYU KARATE ROBERT A. TRIAS

Recognizing Shuri-Ryu Low stances Seiken thrust ist - index ner under thub Hip rotaon 8 Back sts: 4 ar - 4 shouder 5 Major bocks Head snaps housand hand exercise Hih risin bock eeth cenched Wide eyed stare Eiht aces A kicks, bocks & strikes 90% circuar Kicks - orward & reverse o a 12 Detaied punches: 6 on - 6 short Bock - - cover Bock - punch - shi - cover e-katana & te- covers Reaxed body un end o techniue or sparrin Ippons - Kihons - aezus Menon o Matsurura, Motobu, Hsin, rias, ine tree: a) Back with sun - chie instructor b) Back - Dan standards c) White - Basic standards

The Shuri Ryu Patch

KYU Pine Tree Patch DAN Pine Tree Patch Chief Instructor Pine Tree Patch

he Shuri-Ryu atch

Three Roots of the Pine Tree - Power, Speed and Form / Body, Mind, Spirit. Trunk- Strength, Longevity and Endur- ance (Character).

Branches - Growth and Progress also it is referred to represent the 12 meridians Individual Branches - refer to belt lev- els white, yellow, blue, green, purple, brown, and the top is black.

Red Sun - Sun gives life to the system. The colors on the seal represent.

White - Purity.

Black - Steadfastness and stubbornness of a karate-ka.

Green - Everlasng.

Red - Courage.

Circle - Everything returns to the source.

The pine tree patch is worn on the le sleeve two inches above the sleeve end not on the crease, set so it can be seen from the front with the arm hanging naturally. The different patches stand for levels of skill and knowledge. Shuri Ryu Kata

Kata (forms) are formal eercises consisn of a series of techniues erformed in seuence and arraned to eometric aerns They include all the arious hand foot and ody shiin tech niues used in kickin unchin and lockin The katas were conceied centuries ao and were deised y masters in anuity and hae een handed down from the ast Tai Kyoku Kata (First Basic Steps / Body Side Forms)

The Tai kyoku exercises were created by and his son Yoshitaka (Gigo) as basic introduc- tory movements in preparaon for the more advanced (Ping an) (eian in apanese and Chan ans in Okinawan. It is believed they were introduced by Chen Yuen Ping in 1644. Tai kyoku translates as first basic steps, also known as body side forms.

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Wunsu Kata (Strong Arm-Dumping Form)

The originator of Wunsu is not known. It is believed that it was named and composed by Okinawan maral arsts as a tribute to the Chinese emissary Wanshu who was in Okinawa around 16. Through me and difference in translaon the kata has also become known as Wansu, Ansu, nsu and nshu. The kata strong- ly emphasies the use of le and right arm punches, for which reason it is called Strong Arm form. Tatsuo Shimabuh (now deceased) later referred to the kata as Dragon Boy or dumping form.

Wunsu’s hidden physical movement occurs when the first right forward punch is executed. The punch is "hidden" slightly behind the right kidney with the thumb side away from the body. Execute a forefinger knuckle punch (keiko ken tsuki) that glides forward alongside the body with a sharp twisng moon (thumb facing straight up). Delay the twist unl the last possible moment. The theory behind the hidden punch is that while the normal punch (seiken) cannot be executed at close uarters, and takes a long me to reach the opponent, the forefinger punch can, as it does not reuire a full twist. (In the regular performance of this kata, execute at this point a middle punch (seiken tsuki) , the keiko ken tsuki being kept as a hidden or secret movement opon.)

The symbolic hidden movements take place during the beginning and ending of the kata. The first one, at the beginning, is where the right hammer-fist is executed to the le extended open hand. This meanss, "Karate is my secret." The second movement immediately follows the first movement, when the le open hand is placed on top of the right fist just before the hands are brought back to the chest (both hands open), meaning, "I bear no weapons." The third symbolic movement is on the last le edge-of-hand block, as the le hand is brought back towards the right hand into a praying (gasho) posion, meaning, "I ask forgiveness and accept responsibility for my acons".

Mudra Code: I rin no eil I ear no weaons

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Anaku kata (Swallow on the Beach and Pivong Form)

Anaku () means a swallow or small bird walking and turning (over looking the ocean). It is also known as expression pivot and turning form. ead snapping (before turning) and te and tekatana ukes should be strong and obvious when performing this kata. The kata origin is unknown, however it is believed to have been recomposed by Chotoku Kyan in Okinawa around 19. e died in 1946.

The hidden movement in Anaku is the scan execuon of the middle le augmented block on explanaon 1. The scan is held for approximately 1 seconds (with a wild and wide eye stare and teeth ghtly clenched) in a meditave pose. The Chinese translaon is called su-chi, and the Okinawans call it shin-chin taisha, which means to hold the breath in a meditave pose for incredible lengths of me. Shin chin taisha is also lmown as dead breath, and when done in a prolonged meditave sing pose (mokuso), with hands in praying posion (gasho), a heat sensaon will be felt in the lower stomach as the body begins to violently vibrate and almost rises from the pose.

Mudra Code: reecon of self and the desire to rise aoe ideals and discile oneself y ood thouhts words and deeds

There are moements and aacks Nai an Chi Kata (Sho) (Iron orse-Missing Enemy Form)

Each movement of a kata or form has a praccal applicaon, usually a block and a counter- aack. Within every kata, and this one in parcular there are hidden or symbolic movements that have both praccal and symbolic interpretaons. In this kata, the beginning symbolic movements mean, "I gather within me all forc- es of earth. I look up and ask the heavens for perfecon of self. I insll its force and energy (fire and earth elements) into my body."

The origin of the three () katas is unknown. We do know for a fact that they were pracced as one single kata by Okinawan Shuri-ryu Master Sokon Matsumura around 12. Naihanchi was, however, handed down to Matsumura from earlier mes. We can assume that Naihanchi is well over one hundred and seventy years old, possibly dang back to the era of Tode Sakugawa, Suekata Chogun and Ito Gusukuma.

Around 19, Master Choki MIotobu popularied Naihanchi by daily performing the three forms as only one kata at least five hundred mes. The three Naihanchis, performed as one, became known as Motobus Kata, and he is said to have stated many mes, "There is only one kata necessary to develop and excel in Karate, and that is Naihanchi as one." Motobus favorite hand form when performing Naihanchi was the forefinger punch (keiko ken uki).

Because of its length and degree of diculty, the kata is now divided into three secons for teaching purpos- es. A point of interest with this form is that although it was developed by Shuri-ryu stylists, it has become an internaonal form that is performed in almost every major style of Karate, Taekwon do and Kempo today. The form was developed as a defense against four to eight opponents, with the performer pinned against a wall defending to the right, le or from the front, but never from the rear. The original name for this kata is Naihanchi, which means "Iron orse," but it is more commonly referred to as Iron orse-missing Enemy form. Other names for this kata are Naifunchin, Teki and Chulgi.

Mudra Code: Brin all forces of earth into your ody and otain eace tranuility and ulmate reality

There are moements and aacks Kata (Original Pupil Breath and Three Conflicts Form)

The ancient Chinese name for this kata was Erh-lu-chuan. It was also called San schich or Chi shich. It was known in Okinawa as Bodhidharmas "u hachi rakan shoukyo," which means the eighteeen hand teclmiues of movement used in training by students, using theories of intrinsic energy and abdominal breathing for de- feang their opponents. akan is an older student, who is skilled in the art. The same term in Buddishm Ara- hant means a sage of wisdom who evolved from the bondage of passions or emoons. It is also referred to as the "Three bales of life" (three conflicts), which are birth, survival and death.

When performing either San-chin or Ten-sho katas, use both the hard and loud (ibuki or wai-chai) and the so and uiet (nogare or neichai) exhaling methods. In loud breathing, open the mouth wide while exhaling, placing the p of the tongue between the teeth while forcing the air out with a loud audible sound. In so breathing, exhale uietly and calmly, with the mouth parally open and with the p of the tongue between the teeth, while soly forcing the air out.

San-chins hidden and symbolic movement occurs when the arms first cross the fists (called sankai-gasho). The movement indicates "principles of universal knowledge in a psychological form." In China this is called sing. The apanese call it In, while in India it is called mudra in. It is interesng to note that almost all of the movements in San-chin kata are mudra. The circular movements of the enre kata indicate the return to the source, or rebirth, theory. The hands become instruments of the will, and the arms crossing are subject to a harmonious will. The inhaling and the raising of the body show a desire to rise above ideals, while the lower- ing of the body signifies lifes failures.

One of the highlights of the system is the "breathing katas. " Breath is the vital fuel needed to sustain life, and when vigorous physical and mental breathing is experienced, more blood sugar is reuired to keep the pace. If the blood does not have sucient oxygen, exhauson sets in. To minimie exhauson and obtain maximum results, the breathing procedure menoned here must be used Inhale by taking a deep breath into the lower stomach through the nose. Momentarily pracce dead breath (shin shin tai sha), visualiing the hung sound for storing the air (energy). The enre body should at this point be ght and under extreme surface tension (soness and tension with pliability). Slowly start releasing (exhaling) by blowing. Push and force all the air out through the mouth, ex- pressing the hahh or sooo sound, which will release all the air (power) completely from the enre abdominal region.

Sanchin Etended:

conicts —birth, survival, death / minds —conscious, sub-conscious, super conscious / forces —body- physical, mind-mental, heart-spirit / ewels —dharma-teaching, sangha-pracce, buddha-enlightenment / reath leels —chest, stomach, lower stomach / natures —meaning, explanaon, principle / senses —see, hear, feel / kiais—before, during, aer / methods —see without looking, know without thinking, do with- out effort / ways —yin, yang, both / forms - san-chin, san-mitsu, san-sei

Mudra Code: Comleon of a life cycle and return to the source life starts aain

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Empi Sho Kata (Flying Swallow or First Form)

The flying swallow form has a comparavely short history in comparison with other forms. The form was be- ing performed in Okinawa around 19, however its composer is unknown. The kata is referred to as Empi. (flying swallows) or first elbow form.

The hidden movement is executed during explanaon () when the right fist, in tekata na-uke posion, is brought back with a hidden right dragon fist punch that is next directed directly into the opponents groin.

Mudra Code: I will uhold uniersal siritualiaon (moral and siritual urihtness) throuh adherence to all laws usce charity and honesty

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Tsue Sho (Way of the Bo Form)

There are moements and aacks Bassai Dai Kata (Breaking the Giant Enemies Circle or Breaking Through the Fortress Form)

The Bassai (basai) or Patsai katas were believed to have originated and been composed strictly for King Oyado Mari of the yu kyu Islands (Okinawa), for his personal body guards use in saving his life against ene- my encounters. The katas were being taught by Kosaku Matsumura, in Tomari, Okinawa, around 169. The forms were the favorite of Chotoku Kyan (170-l946) and Choki Motobu (171-194).

There are now in existence four (4) basic Bassai forms, which are ) Bassai Sho breaking the small fortress. ) Bassai Dai breaking the great fortress. ) Bassai San penetrang the mountain fortress. ) Bassai Tomari thunder in the forest.

They are also known as "Breaking the giant enemy circle forms." The hidden and symbolic interpretaons in Bassai deal with the ruler elements, when both hands, palm down, are brought back to shoulder level, with the forearms perpendicular to the floor, just before the execuon of the double fist-back strikes "I bring the beang waves upon my body (blood flow), and release the heated steam (breath) that turns into a burning fire in my lower stomach (saika tanden)."

Mudra Code: Stron conicons in the intrinsic oodness of all mankind and the armae nature of life and in the alues of loe charity faith and loyalty

There are moements and aacks Go Pei Sho (Advanced Tearing Peacock or Kuju Ku Form)

Go Pei Sho represents a peacock preparing to defend itself. As it slowly opens its wings, it goes into a series of wing-striking and clawing aacks that are intended to blind the aacker.

Go Pei Sho was inherited from the Chinese movements of Master Li Tsun I, of the opei School, also called Goka Ta Ken, from which stemmed Okinawan Karate. The kata was later restored to its present and original form by Master obert A Trias. Since it is basically Chinese in movement, it was first known as opei-sho.

Go pei sho s beginning hidden and symbolic movement is that of a peacock slowly opening its wings and preparing to aack. The symbolic meaning pertains to the water ruler element, which means, "Through my fingerps I receive streams of energy that I will direct deep into my lower stomach, which must flow uninter- rupted throughout my enre body." The interpretaon involves releasing oneself from two opponents who have grabbed one by the shoulders. The performer, using both hands as ger claws, rips at the opponents eyes. The other meaning of the same movement is two arm blocks against an opponent who is reaching for performers neck.

Mudra Code: Do away with dualism and confusion allow only immoale serenity to reail

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Dan Enn Sho ( Cung and Clawing Through the Fire or Tsume Form)

Dan Enn Sho represents five of the twelve animal styles of the sing yi system (feel of the mind or intellectual fist). The movements of the eagle, hawk, snake and ger are very obvious. Dan Enn Sho, like Go pei Sho, was inherited from the movements of the Chinese Master Li Tsum Yi (Tsun i) of the opei school. The opei schools were also called Goka Ta Ken, from which stems all Okinawan Karate.

The kata was later restored to its present and original form by Master obert Trias.

It is believed that this kata was named aer Lord Sho Ebb (Enn Sho) of Tama and Nakac in castles in Okinawa by Nogunto Otomo, who at the me was placed in jurisdicon of both castles by King Sho ashi. It is also re- ported that the Enn Kan i castle (home of the Otomo clan, in Saski-ki village) could have been a link in the naming of this form.

Forms used are Chicken (cock) head, Crane beak, Snake head, awk claw, Tiger claw and Eagle claw. Dan enn shos hidden and symbolic interpretaon is right before and just aer the kiai in the last movements of the kata, meaning "I reach out with my hand for the divine force and obtain reality and self-liberaon. I gather passive energies (yin-chi), press them into my lower stomach, and reach enlightenment." The inter- pretaon involves a side neck release, locking and turning the opponents arms with a hand twist and lock.

Dan Enn Sho Animals Chicken/Cock, Crane, Snake, awk, Tiger, Eagle, Swallow, Ostrich, Monkey, Iguana, Bear, Dragon, orse.

Mudra Code: The white crane sreadin its wins The oen arms reresent aence and tranuility The hands reach out for diine force in order to otain reality and selflieraon

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Nan Dan Sho (Smoth Water, 24 Steps, Dicult Victory Form)

The origin of this kata is unknown, although it was pracced in the Okinawan villages of Shuri and Tomari years ago. Its original name is basically Chinese -"Nandan sho" (Smooth water and Dicult victory form ). It may be noted that Nanda was the half brother of Gautama, the historical buddha. The apanese call the kata "Nijushoshi," meaning twenty-four(24) steps.

Nan dan shos hidden and symbolic movements pertain to the Earth ruler element, which deals with the body and the usage of all types of breath. The interpretaon is in the beginning movements, which means, "I take all forces and energies from earth and bring them into my body. When my body returns to earth, I give back to earth my body, mind and spirit, and all energies and forces I took while on earth"

Mudra Code: Gatherin of all forces and eneries from earth and rinin them into the ody When the ody returns to earth—ie ack to earth ody mind sirit and all other eneries and forces taken from the earth

There are moements and aacks Kan Ku Sho (Flowing Lagoon - Sky Form)

The originator of Kanku Sho is not known. It is believed that the kata was named and composed by Okinawan students in honor of a Chinese maral arst who was in Okinawa around the year 176. It can be assumed that the kata is well over 200 years old. It is pracced internaonally, and its name, "Kan ku sho," means Sky observaon (small) form however, it is far more commonly referred to as" Flowing la- goon and looking at the sky form." Other katas with similar movements are Kusanku (kusokun) and Kanku dai (sky observaon great form ).

The hidden physical movement is when the performer drops to the floor, with the fingers of both hands poinng to each other while the performer slowly scans the enre heavens, le to right (in shin chin taisha meditave pose), and then sharply turns the head to face the opponent.

Mudra Code: The erfect alance of yin and yan

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Nai an Chi Kata (Ni) (Iron orse-Missing Enemy Form 2)

The second part of the Nai an Chi Kata

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Nai an Chi Kata (San) (Iron orse-Missing Enemy Form )

The third part of the Nai an Chi Kata

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Te-Katana (Sai Form)

There are moements and aacks Ten Sho (Thousand ands - eaven Breath Form)

There are three () "Ten" katas. ("Ten" literally means "heaven, sky, air, heavens will, or nature.") The first kata is named , which means "moon of hands," but is oen referred to as "The Kata of the ni- verse," "Thousand hand and heaven and breath form" and "Earth reflecng eaven form."

Ten sho resembles the sudden awareness of the false-self to the real self. In it lies true existence. Truth exists in many forms, but only through serious study and connuous pracce (thousands of mes) will it reveal its true nature. Ten sho expresses a triple nature 1) A subtle inner meaning (teaching or Dharma) 2) An outer explanaon (pracce or Sangha) ) A divine principle (enlightenment or Buddha) within the state of nothingness (Sunyata) or empness. This triple nature is oen referred to as" The Three ewels."

When performing Ten sho, use both the hard and loud (ibuki) and so and uiet (nogare) breathing meth- ods (yin-chi), as developed through the breathing exercises. The stomach must be extremely tense, with rapid and strenuous body movements of great physical strength and spiritual concentraon, with instant relaxaon and dropping of the hips. The Chinese call this Pi-chi, which will generate, control and direct the energy flow throughout the body. Pi-Chi was also used by Tibetan Lamas ("Tu-mo" in Tibetan) to generate heat within their bodies for the purpose of transferring this heat or energy to another body.

When performing the interpretaons with an opponent, the hands must rotate in either direcon (like a ball) when making contact with his hands or arms. Always move with, and control, the opponents move- ment (as in trapping hands) without breaking contact with said movement.

Ten shos hidden symbolic movement takes place when the arms first cross and the fists, at the moment, are turned toward the body (called basa ran kongo). The movement shows "the vast knowledge which de- stroys passion" and "the impenetrable truth of universal wisdom." As in San-chin, breath inhaling (raising of the body) shows a desire to rise above ideals, while exhaling (lowering of the body) represents the per- formers failures in life. Most of the movements are mudra, and knowledge gained through Ten sho should flow through the mind like water.

One of the highlights of the Okinawna system is the "breathing katas." Breath is the vital fuel needed to sus- tain life, and when vigorous physical and mental breathing is experienced, more blood sugar is reuired to keep the pace. If the blood does not have sucient oxygen, exhauson sets in. To minimie exhauson and obtain maximum results, the breathing procedure menoned here must be used

Inhale by taking a deep breath into the lower stomach through the nose. Momentarily pracce dead breath (shin shin tai sha), visualiing the hung sound for storing the air (energy). The enre body should at this point be ght and under extreme surface tension (soness and tension with pliability). Slowly start releasing (exhaling) by blowing. Push and force all the air out through the mouth, expressing the hahh or sooo sound, which will release all the air (power) completely from the enre abdominal region.

Finally, the following points should be noted in performing the Ten Sho kata 1. All hand movements are done with tension under breath 2. The pelvis rises with each inhalaon . All middle block posions must have the elbows inside of the rib cage, and the fist must be slightly outside of the shoulders 4. elax (exhale) and drop hips aer each arm movement

Mudra Code: Harmony is eace—one with the unierse

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Shudo-So (Monastery Monk - Advanced Breathing Exercise)

This kata was developed by Grandmaster obert A Trias from the breathing exercises of Shaolin Monks as used in moving Chan mediaon. Shuri Ryu Ions

Ions ein and end with a lock as they resond to an aack and follow throuh with a rear raned form of defense The techniues were desined rimarily to deelo POWER and FORM Ions imroe aility in ody turnin shiin stein and chanin direcon

Ippon Kata

Ion Kumite Kata # 1. Step back with right foot into a le forward stance and execute a le high block 2. Execute a right forward to the groin . Step forward into a right forward stance and execute a right edge of hand strike to opposite clavicle 4. Execute a le then right punch to the solar plexus . Step back with right foot into a le forward stance and execute a le low block

Ion Kumite Kata # 1. Step back with right foot into a le forward stance and execute a le high block 2. Execute a right forward kick to the groin . Step forward into a right forward stance and execute a right hammer strike to opposite clavicle 4. Execute a le then right punch to the solar plexus . Step back with right foot into a le forward stance and execute a le low block

Ion Kumite Kata # 1. Step back with right foot into a le forward stance and execute a le high block 2. Execute a right forward kick to the groin . Step forward into a right forward stance and execute a right leopard strike (palm up) to throat 4. Execute a le then right punch to the solar plexus . Step back with right foot into a le forward stance and execute a le low block

Ion Kumite Kata # 1. Step back with right foot into a le forward stance and execute a le high block 2. Execute a right forward kick to the groin . Step forward into a right forward stance and execute a right vercal punch to solar plexus 4. Execute a le then right punch to the solar plexus . Step back with right foot into a le forward stance and execute a le low block

Ion Kumite Kata # 1. Step back with right foot into a le forward stance and execute a le high block 2. Execute a right forward kick to the groin . Step forward into a right forward stance and execute a right heel of hand strike (ger fist) to the chin 4. Execute a le then right punch to the solar plexus . Step back with right foot into a le forward stance and execute a le low block Ion Kumite Kata # 1. Step back with right foot into a le forward stance and execute a le high block 2. Step forward with the right foot into a 4 degree grabbing aacker’s right wrist and execute a right edge of hand strike to the bicep . emain in 4 degree horse stance and execute a right knife hand strike to aackers neck. (Sll holding aackers wrist) 4. Shi into a right forward stance and execute a le then right punch to the solar plexus . Step back with right foot into a le forward stance and execute a le low block

Ion Kumite Kata # 1. Step back with right foot into a le forward stance and execute a le high block 2. Step forward with the right foot and execute a heel stomp to top of aackers right foot . Step forward with the right foot into a 4 degree horse stance grabbing aacker’s right wrist and execute a right edge of hand strike to the bicep 4. emain in 4 degree horse stance and execute a right knife hand strike to aackers neck. (Sll holding aackers wrist) . Shi into a right forward stance and execute a le then right punch to the solar plexus 6. Step back with right foot into a le forward stance and execute a le low block

Ion Kumite Kata # 1. Step back with right foot into a le forward stance and execute a le high block 2. aackers right leg with the right foot and simultaneously execute a right elbow strike to the chin . emain in a le forward stance and execute a le then right punch to the solar plexus 4. Execute a le low block

Ion Kumite Kata # 1. Step forward into a right 4 degree horse stance and execute a right downward hammer fist strike to aackers bicep 2. Pivot body 90 degrees (back towards aacker) into a hanmae stance and lock opponent’s arm under your right arm . Execute a le hammer strike to the groin, followed by a le elbow strike to the stomach 4. Step with the le foot in front of the right . Pivot 10 degrees (clockwise) to a le forward stance 6. Execute a le then right punch to the solar plexus 7. Execute a le low block

Ion Kumite Kata # 1. From a standing posion raise right hand to crane posion and kiai 2. Leap forward into a horse stance and execute a le low thrust punch to the groin . emain in kiba dachi and execute a right knife hand strike (palm up) to aackers neck . Execute a le then right punch to the solar plexus 4. Step back with right foot into a le forward stance and execute a le low block Ion Kumite Kata # 1. Step back with right foot into a le forward stance and execute a le high block 2. Execute a right back of hand strike to the side of the neck . Execute an le uppercut punch to the chin followed by a le side kick to the groin 4. Shi back and execute a le side kick to aackers groin . Step down with the le foot into a le forward stance and execute a le then right punch to the solar plex- us . Execute a le low block

Ion Kumite Kata # 1. Aacker steps in with a 2 handed grab 2. Step back with right foot into a le forward stance and execute a double hammer fist strike to aackers wrists . Grab wrists and execute a right thrust front kick to the groin 4. Step forward into a right forward stance and execute a le then right punch to the solar plexus . Step back into a le forward stance and execute a le low block

Ion Kumite Kata # 1. Step back with le foot into a right forward stance and execute a right high block 2. Grab aackers arm with right handstep into a le 4 degree horst stance . aise aackers arm and execute a le edge of hand strike under aackers arm to aackers neck 4. Execute a right then le punch to midsecon . Step back into a right forward stance and execute a right low block

Ion Kumite Kata # 1. Aacker executes a right punch 2. Step le into a wide horse stance and catch the aack in the crook of the right arm . Pivot 90 degrees on the right foot into a side horse stance and execute a forearm strike to aacker’s elbow 4. Execute a right and le punch to the solar plexus . Step back into a le forward stance and execute a le low block

Ion Kumite Kata # 1. Aacker steps in with a 2 handed grab 2. Step back into a le forward stance and execute a double hammer fist strike to aackers wrists . Grab wrists and simultaneously execute a double hammer strike to aacker’s ears and a right to the groin 4. Step forward into a right forward stance and execute a le and right punch to the solar plexus . Step back into a le forward stance and execute a le low block Shuri Ryu Kihons

Kihon kumite emhasies the cominaon Power Form Seed and Fluidity It is racced as the foundaon and introducon to techniues used for and in sarrin Kihons imroe aility in ody turnin shiin stein and chanin direcon

Kihon Kumite Kata

Kihon Kumite Kata # 1. Step out into right and execute an augmented middle block 2. From the extended posion execute right high twisng punch, then execute le twisng punch . emain in right front stance and execute right low block

Kihon Kumite Kata # 1. Step out with your le foot into a forty five degree horse stance and execute right palm heel deflecon 2. Pivot 4 degrees right into a right front stance and execute le twisng punch . Pull your right foot back and execute right roundhouse kick 4. Pull your kicking leg all the way back to a le front stance and execute le low block

Kihon Kumite Kata # 1. Step out with your le foot into a forty five degree horse stance and execute le push block 2. Pivot 4 degrees le into a le front stance and execute right Isshin ryu strike . Pivot 90 degrees right into a right front stance and execute le hammer strike 4. emain in right front stance and execute right low block

Kihon Kumite Kata # 1. Step out with your le foot into a forty five degree horse stance and execute two arm palm heel deflect 2. Pull hands to your right hip and execute right knee strike, before the leg steps down pivot 4 degrees right . Step down into a right forward stance and execute right low knifehand, then execute right low block

Kihon Kumite Kata # 1. Step forward into a le front stance and execute le high block 2. Bring your right fist back to your forehead with palm facing out and execute right backfist . Immediately execute le twisng punch 4. emain in le front stance and execute le low block

Kihon Kumite Kata # 1. Step forward with your le foot into a le front stance and execute right palm deflecon 2. Pivot 90 degrees right into a right front stance and execute le upward elbow, then execute le horiontal elbow strike . Step back into le front stance and execute le low block Kihon Kumite Kata # 1. Step forward with your le foot into forty five degree horse stance and execute two arm palm deflecon 2. Flip you le hand palm in and make a large circle with both hands and meet them on your right knee . Bring the right leg all the way back to le forty five degree front stance and execute le low block

Kihon Kumite Kata # 1. Step forward into right front stance and execute le palm deflecon 2. Execute le knee strike, as the foot hits the ground execute right upward elbow strike . Step back into le front stance and execute le low block

Kihon Kumite Kata # 1. Step back into a le front stance and execute le low block 2. Execute right front kick as the kicking foot lands in a right front stance execute right twisng punch . Step back into a le front stance and execute le low block

Kihon Kumite Kata # 1. Step out into a le front stance and execute right palm deflecon 2. Execute right stomp side kick, immediately shi 90 degrees right and land in a right front stance . Dip into a right jungle stance and execute a le dragon fist punch 4. ise up into a right front stance and execute right low block

Kihon Kumite Kata # 1. Step out with your le foot into a forty five degree horse stance and execute right palm deflecon 2. Pivot 4 degrees right into right front stance and execute le twisng punch . Shi 4 degrees le back into a forty five degree horse riding stance and execute right twisng punch 4. Step back into le forty five front stance and execute le low block

Kihon Kumite Kata # 1. Immediately execute a right inside crescent kick, without pung your foot down execute a right snap side (blade) kick 2. As your foot hits the ground pivot right into a right front stance and execute le twisng punch . Step back into a le front stance and execute le low block

Kihon Kumite Kata # 1. Step out into a le front stance and execute right palm deflecon 2. Simultaneously thrust your right hand forward in a throat strike and execute back stomp kick . emain in le front stance and execute le low block Kihon Kumite Kata # 1. Step back into a le front stance and execute le low swimming deflecon 2. Step forward into a natural stance facing forty five degrees le, and execute right palm heel strike . Execute right front stomp kick, pivot and pull your right foot to the back into a le front stance facing forward and execute le low block Kihon Kumite Kata # 1. Step out with your right foot 90 degrees le into a horse riding stance and execute right hammer block 2. Then execute right low back elbow, immediately execute right high back elbow . Step right foot straight back and pivot 90 degrees right into right front stance and execute le twisng punch 4. Step back into a le front stance and execute le low block Shuri Ryu Taeus

Taeu naru waa (connuous moon) ein and end with a lock Taeus are desined rimarily to deelo SPEED and FLUIDITY Without taeu techniue a student tends to deelo a owerful col lecon of moements which will not ow Taeu will imroe aility in ody turnin shiin ste in and chanin direcons with roer seed and uidity Taeus Naru Waa

Taeu Naru Waa # 1. Step back into a le front stance and execute a le high block 2. Step forward into right front stance and execute knife hand strike to aackers le clavicle . Execute le twisng punch, then execute right twisng punch to heart 4. Chamber hands and execute double snake strike to aackers eyes . Pull both hands back to cross block and come to right cat stance 6. Immediately execute a right front kick bring right leg back into a back into a le front stance and execute a le low block

Taeu Naru Waa # 1. Step back into a le front stance and execute le high block 2. Step forward into a right forward stance execute a right hammer strike to aackers right shoulder . Chamber hands and immediately thrust them out in a two arm spearhand with le hand on top and right on boom. Palms are facing each other 4. Chamber hands and execute double snake strike to aackers eyes . Pull both hands back to cross block and come to right cat stance 6. Immediately execute a right front kick bring right leg back into a back into a le front stance and execute a le low block

Taeu Naru Waa # 1. Step back into a le front stance and execute le high block 2. Step forward into right forward stance simultaneously grabbing, or trapping aackers right punch, with your le hand and execute an palm up leopard strike to aackers throat . Pull both hands back to chamber then execute a simultaneous right vercal punch and le roundhouse punch 4. Chamber hands and execute double snake strike to aackers eyes . Pull both hands back to cross block and come to right cat stance 6. Immediately execute a right front kick bring right leg back into a back into a le front stance and execute a le low block Taeu Naru Waa # 1. Step back into a le front stance and execute le high block 2. Step forward into right front stance and execute right vercal punch to solar plexus . Execute le low thrust punch, then execute right high twisng punch to aackers jaw 4. Pull both hands back to the le side of your head right fingerps over le fingerps, palms facing each oth- er. Then execute a double knifehand strike to temple and neck of aacker . Chamber hands and execute double snake strike to aackers eyes 6. Pull both hands back to cross block and come to right cat stance 7. Immediately execute a right front kick bring right leg back into a back into a le front stance and execute a le low block

Taeu Naru Waa # 1. Step 4 degrees le and forward into a half face front stance and execute right hammer block to aackers bicep 2. Execute right horiontal backfist, pivot into right front stance . Immediately execute a simultaneous right middle block and le thrust punch 4. Pivot into forty-five degree horse riding stance and execute right elbow strike . Pivot back into right front stance and execute two arm thrust punch le hand over right palms down or side by side 6. Chamber hands and execute double snake strike to aackers eyes 7. Pull both hands back to cross block and come to right cat stance . Immediately execute a right front kick bring right leg back into a back into a le front stance and execute a le low block

Taeu Naru Waa # 1. Step back into a le front stance and execute low swimming deflecon then execute right high block 2. Drop your right hand to your hip and execute two arm spearhand . Push with le hand and step through to right front stance and execute right rising punch 4. Meet both hands side by side, palms up. Flip hands toward your chest and then immediately shoot them out in double snake strike . Pull both hands back to cross block and come to right cat stance 6. Immediately execute a right front kick bring right leg back into a back into a le front stance and execute a le low block

Taeu Naru Waa # 1. Step back into a le front stance and execute le high block 2. Immediately execute right middle block then execute right vercal backfist . Step up turning 90 degrees into a formal stance and pull to stack hand and immediately execute right hori- ontal backfist 4. Step down to forty five degree horse riding stance, immediately sweep your right leg back and simultane- ously execute right horiontal knifehand . As the right foot hits the ground execute two arm palm heel smash 6. Step back into le front stance and execute le low block Taeu Naru Waa # 1. Execute a right inside crescent kick, without pung your foot down execute right snap side(blade) kick 2. Step forward into right shadow stance and execute right backfist, then immediately execute le swimming punch . Step le foot back into right front stance and simultaneously execute two arm palm heel smash 4. Step back into a front stance and execute le low block . Execute le high twisng punch, then execute right high twisng punch 4. Immediately execute le low twisng punch, then execute right low twisng punch . Meet hands side by side with palms facing up, flip hands toward your chest and immediately shoot them out in a snake strike 6. Pull hands back to chest in snake posion to a right cat stance 7. Step back into a le front stance and execute le low block

Taeu Naru Waa # 1. Step back with right foot into le forward stance. Le downward pushaway block to opponents right punch. Execute a right high block to opponents le punch 2. Step forward into right forward stance, Le punch to head, ight punch to head . emain in forward right stance. Le punch to groin, ight punch to groin 4. Double snake head strikes to eyes . Step back into a le front stance and execute le low block

Taeu Naru Waa # 1. Step back into a le front stance and execute le high block 2. Step forward into right front stance and execute right rising punch . Pull right fist back to forehead with palm facing out, immediately execute right backfist 4. Meet hands side by side with palms facing up, flip hands toward your chest and immediately shoot them out in a snake strike . Pull hands back to chest in snake posion to a right cat stance 6. Step back into a le front stance and execute le low block Shuri Ryu Sente

Sente eercises came from the teachin of the Chinese style Pa Kua (Ba Gua) one of the three main styles of China Pa Kua is known for its circular moements When raccin Sente eercises it is imortant to ulie Yin and Yan theory (ush ull method) with your hand strikes These e ercises can e done weaonless or with a weaon Bo or oar (Eiku) Thousand and ice Exercises

Sente # Start in heels together stance 1. Step across your le side with your right foot into a forward stance (facing 90 degrees to your le) right hand in chamber to your right ear (palm away) le hand extended towards your rear. Turn counterclockwise and pull your right foot back to heels together stance (facing your rear). Deliver a right horiontal strike to your le hand at neck level epeat, finishing in the same posion you originally started

Sente # Start in heels together stance 1. pull into a right crane stance while simultaneously delivering a right underarm palm heel strike into your le palm 2. Step with your right foot into a kiba dachi and deliver a right overhead shuto to aackers clavicle

Sente # Start in ready stance. Step out right foot to kiba dachi 1. Execute a overhead right shuto strike to aackers clavicle 2. Execute a horiontal right shuto (palm down) to aackers right side of neck . Execute a horiontal right shuto (palm up) to aackers le side of neck

Sente # Start in ready stance. Step out right foot to kiba dachi 1. ight push away parry 2. ight back of hand parry . Circle your right hand head high into a right horiontal shuto strike into your palm at hip level 4. Execute a right overhead shuto to aackers clavicle

Sente # Start in ready stance. Step out right foot to kiba dachi 1. Execute a right downward shuto strike across aacker towards your le knee 2. Execute a right downward shuto strike across aacker towards your right knee . Execute a horiontal right shuto (palm up) to neck 4. Execute a horiontal right shuto (palm down) to neck . ight overhead shuto strike to aackers center Sente # Start in ready stance. Step out right foot to kiba dachi 1. Execute a right downward shuto strike across aacker towards your le knee 2. Execute a right downward shuto strike across aacker towards your right knee . Execute a horiontal right shuto (palm up) to neck 4. Execute a horiontal right shuto (palm down) to neck . ight elbow strike to the rear 6. ight hook hand strike to the throat

Sente # Start in ready stance. Step out right foot into right forward stance 1. ight push away parry 2. ight back of hand parry . Double palm heel strikes (palms up) to chin and (palms down) to midsecon 4. Execute a right downward shuto strike across aacker towards your le knee . Execute a right downward shuto strike across aacker towards your right knee 6. Pull into a right crane stance while simultaneously delivering a right underarm palm heel strike into your le palm 7. Step with your right foot into a kiba dachi and deliver a right overhead shuto to aackers clavicle

Sente # Start in ready stance. Step out right foot into right forward stance 1. Double palm heel strikes (palms up) to chin and (palms down) to midsecon 2. Turn counterclockwise 90 degree into le back stance with double le parry (palm up) . Turn clockwise 10 degree into right back stance with double right parry (palm up) 4. Turn counterclockwise 90 degree (front) into kiba dachi execute a right downward diagonal shuto strike towards your le knee . Execute a right downward diagonal shuto strike towards your right knee 6. ight horiontal shuto strike (palm up) 7. ight horiontal shuto strike (palm down) . ight overhead shuto strike to aackers center Performance Cateories

Ippon Kumite Katas (Body Power) Taeu Naru Waas (Speed -Fluidity) Kihon Kumite Katas ( Power-Speed-Form) iu ndo (Free Exercise) Kime Dachi Kumite (Stance ) Kata - Kumite (Form Sparring) Kata (Pre-arranged Form) iu Kumite and Sessen Kumite

Undo Chikara Moin Forces

1. Breath (ki or Chi) control - eleasing of air and the yell. Energy contro, we breathe for energy

2. Applied Pressure (Appaku) - Apply pressure to carod arteries, costal nerves, hollow of throat, solar plexus, underarms and wrist

. oint bending (Tsugime or Kansetsu) - fingers, wrists, arms, shoulders, ankles, against all joints

4. Striking vulnerable and paralying areas (tsu or Kobushi Ate) - Includes locking hand to throat, wrist crooked to chin, mirror hand to groin, palm of hand to jaw, finger hand to eyes, knuckle strikes to body, ges- ture kicking and elbow strikes

. Absorbing and controlling pain and/or punishment (Kote) - involves extreme yelling, releasing of all air, kiai and kote-aite pracce with partner

6. olding (osae komi) and (Ne) - marriage with all holds and controlling opponents body and limbs

7. Throwing (nage) and sweeping (Ashi) - sweeping kicks to ankles and knee fold, kicking with haku geri, throws such as osoto gari, tai otoshi, uchi gari, kubi nage and Ogoshi, etc

. Choking (jime) and rendering unconciousness by neck choking, striking to the carod arteries, costal nerve, hollow of throat, solar plexus, underarms and wrists

9. Counters (kaeshu) to all of the above Other Koeki—methods of retrean and adancin

1. Step Thru 2. Sacrificial . Step and Slide 4. Boxers Step or Close the Gap . Foot eplacing Foot 6. Step Across 7. Step Behind

Facial Eressions

1. Confidence 2. Contempt . Solemn 4. Shock . Fear 6. Friendly 7. Anger . nconcerned

Kata Interretaon Mental / Spirital / niversal 1. Mina —Full interpretaon 2. Goshindo Bunkai – Self Defense . Kaeshu—Counters 4. aikai / Katamari—Killing Blows

everse Katas—antei (self) / Kagami (mirror—with opponent)

Other Body Forms

Snake —Breath Strenght (nishi-kin) Tier —Bone Strength (Shote—palm) (Tore-te Finger) Kokoken Crane —Spirit/muscle Strength (Tsurakin / Kokuto-kin) Draon —Body Strenght (Onikin) Leoard —Inner/Outer Strength—anuchi-kin

lon/short unches 1. Seiken uki—front punch 2. Tate-uki—vercal punch . rajikin—upper cut 4. Kadge-uki—hook punch . Odgikin—upward punch 6. Swimuki—swim punch (over the top)

leels of lockin 1. Wrist 2. Elbow . Armpit

1. Block-to-block 2. Block-to-break . Block-to-strike Other

Time when to ack 1. Before (sen) 2. During (sen no sen) . Aer (go no sen)

Tyes of ack 1. Direct Aack 2. Counter Aack . Surprise Aack 4. it and un Aack . Defensive Aack 6. Circle Aack 7. Passive Aack . Sacrafice Aack

Ways of Breathin Nagari 1—in through nose, out nose Nagari 2—in through nose/mouth, out nose/mouth Ibuki—in nose / out mouth Stances in System

1. Fudo dachi —heels together

2. Hachii dachi —spread out stance

. Hane tsu dachi —wide hour glass stance (Sanchin )

4. Heisoku dachi —aenon stance

. Kake dachi —hooked cross stance

6. Kia dachi —straddle stance

7. Kokutsu dachi —layout stance (Snake)

. Ko neko dachi —layout cat stance

9. Mitsurin dachi —jungle stance (Leopard)

10. Nekoashidachi —cat leg stance

11. Sanchi dachi —hour glass tance

12. Shiko dachi —stand up suat stance

1. Shiro haku tsuru dachi —white swan stance

14. Shiro kouru dachi —white stork stance

1. Shiro tsuru dachi —white crane stance

16. Sochin dachi —diagonal straadle stance , hour glass ( sanchin 2)

17. Zenkutsu dachi —forward stance Other

Maor rts: 1. 2. Spearmanship . 4. orsemanship . Swimming with Armor Minor rts: (One iece weaons) 1. ie (Sai) 2. Staff (Bo) . War Fan (Gum bai) 4. Eiku Collateral rts: (two iece weaons) 1. Nun-chaku 2. Kama . Tonfa And others Unarmed rts: 1. Karate 2. udo . 4. Karube . Kempo 6. 7. ujitsu . (and others) Occult rts: Ninjitsu Flower Arranging Art / Painng

Terminoloy

Mitsume —Wide-eyed Stare temi —Vital point striking Kuu shi —breaking balance Maeude —forearm Morote —two hands Nukite —Finger p Seir Yuto —oxjaw shuto Tekui —wrist Teuke —2 clenched firsts Te katana uke —top open, boom clenched Hia —knee Tori —Aacker Uki —Defender Mushin —no mindedness Gasho —praying posion Hidari —Le Mii —ight Fumikomieri —Foot Stomp Osoto Gari —major outside Sweep Kosoto Gari —minor outside sweep Oiechi Gari —Major inside sweep Koiechi Gari —Minor inside sweep Seia —site down in kneeling posion, back straight, palms on thighs Mokuso —close eyes, clear mind, prepare Rei —to bow Counn

Enlish Jaanese Okinawan

1 Ichi Tea ch

2 Ni Tar ch

San Mee ch

4 Shi Yuu ch

Go Ichi ch

6 oku Mud ch

7 Shichi Nana ch

achi Yar ch

9 Ku Kukunu ch

10 u Too Hiher

20 Ni-ju 21 Ni-ju-ichi 100 yaku 200 Nihyaku 1000 Sen 2000 Nisen 10000 Ichiman

apanese 大字 (daiji) numerals

壱 弐 参 四 五 六 七 八 九 百 千 拾 万/萬 [壹] [貳] [參] [肆] [伍] [陸] [柒] [捌] [玖] [佰] [仟]

一 二 三 四 五 六 七 八 九 十 百 千 万

1 2 4 6 7 9 10 100 1000 10000

Rank Reuirements

References hp//www.shuri-ryu.com/index.html

hp//suncoastkarate.com/page-Shuri-ryu.html

Pinnacle of Karate hps//en.wikipedia.org/wiki/obertTrias

hp//www.triaskarate.com/obertTrias.html

hps//uilet.com/177970/kata-idenfying-mudra-codes-flash-cards/