BEST KARATE SERIES

BASICS KATA ADVANCED KATA

1. Comprehensive 5. Heian, Tekki 9. Bassai Shč>, K nkO 1'10,
Chinte
2. Fundamentals 6. Bassai, KankO
10. Unsu, Sčchin, NljO hlho
3. Kumite I 7. Jitte, Hangetsu, Empi
11 . GojOshiho ShO, GojO hi·
4. Kumite II 8. Gankaku, Jion ho Dai, MeikyO

These advanced kata may be selected for testing above shodan lev 1.
The techniques in Bassai Sho, using sword hand, ridge hand and tig r
mouth, make good defenses against stick attacks. In Kanko Sho are many
counterattacks to the upper level. Chinte has unique techniques, the rar Iy
seen teteken, and is especially valuable for women's self-defense.

Masatoshi Nakayama carries on the tradition of his teacher, Gichin Funa-

koshi, the Father of Modern Karate. Long professor and director of physic I
education at Takushoku University, his alma mater (1937), he was chief in-
structor of the Japan Karate Association from 1955 until his death in 1987.
Aninth degree black belt and a familiar face at tournaments, he was among
the first to send instructors overseas and to encourage the development of
karate as a sport along scientific lines.

"Recommended to the competitor and 90000

. colleges supporting karate tearns."
Choi ce

9 780870 116803

ISBN 0-87011-680-0
ISBN4-7700-1180-6 C2375 ~1900E (in Japan) :lE1illi1,900FI3
IARATE~
Bassai Sho. Kanku Sho. Chinte

M.Nakayama

KODANSHA INTERNATIONAL
Tokyo and New York·
 CON NTS

1ntroduction 9
What Karate-do Is 11
Kata 12
Bassai Sho 15
Important Points, 40
KankO Sho 47
Important Points, 88
Chinte 97
Important Points, 134
Glossary 142

Kata in this volume demonstrated by Takeshi Oishi, Keigo Abe and

Mikio Yahara, instructors of the Japan Karate Association.

Front cover photo by Keiza Kaneko.

Distributed in the United States by Kodansha International/USA

Ltd, through Harper & Row, Publishers, Inc., 10 East 53rd Street.
New York, New York 10022.

Published by Kodansha International Ltd., 2-2 Otowa 1-chome,

Bunkyo-ku, Tokyo 112 and Kodansha International/USA Ltd., 10
East 53rd Street, New York, New York 10022. Copyright © 1985
by Kodansha International Ltd. All rights reserved. Printed in Japan.
LCC 77-74829
ISBN 0-87011-680-0
ISBN 4-77 00-1180-6 (in Japan)
First edition, 1985
Third printing, 1988
 INTRODUCTION

The past decades have seen a great increase in the popularity

of karate-do throughout the world. Among those who have been
attracted to it are college students and teachers. artists. busi-
nessmen and civil servants. It has come to be practiced by
policemen and members of .Japan's Self-defense Forces. In a
number of universities, it has become a compulsory subject, and
that number is increasing yearly.
Along with the increase in popularity, there have been certain
unfortunate and regrettable interpretations and performances.
For one thing, karate has been confused with the so-called
Chinese-style boxing, and its relationship with the original
Okinawan Te has not been sufficiently understood. There are
also people who have regarded it as a mere show, in which two
men attack each other savagely, or the contestants battle each
other as though it were a form of boxing in which the feet are
used. or a man shows off his talent for breaking bricks or tiles
with his head, hand or foot.
If karate is practiced solely asa fighting technique, this is
cause for regret. The fundamental techniques have been de-
veloped and perfected through long years of study and practice,
but to make any effective use of these techniques, the spiritual
aspect of this art of self-defense must be recognized and must
play the predominant role. It is gratifying to me to see that there
are those who understand this. who know that karate-do is a
purely Oriental martial art and who train with the proper at-
titude.
To be capable of inflicting devastating damage on an op-
ponent with one blow of the fist or a single kick has indeed
been the objective of this Okinawan martial art. But even the
practitioners of old placed stronger emphasis on the spiritual
side of the art than on the techniques. Training means training
of body and spirit and, above all else. one should treat his op-
ponent courteously and with the proper etiquette. It is not
enough to fight with all ones power; the realobjective in
karate-do is to do so for the sake of justice.
Gichin Funakoshi, a great master of karate-do, pointed out
repeatedly that the first purpose in pursuing this art is the
nurturing of a sublime spirit a spirit of humility. Simultaneous-

9
 KARA ·0
lv. a power sufficient to destroy a ferocious wild animal with
single blow should be developed. Becoming a true follower of
karate-do is possible only when one attains perfection in these
two aspects. the one spiritual, the other physical.
Karate as an art of self-defense and karate as ameans of im-
proving and maintaining health has long existed. During the
past twenty years, a new activitv has been explored and is
coming to the fore. This is sports karate.
ln sports karate, contests are held for the purpose of deter-
mining the ability of the participants. This needs emphasizing, Deciding who is the winner and who is the loser is not the
for here again there is cause for regret. There is a tendency to ultimate objective. Karate-do is a rnartial art for the develop-
be too concerned about winning contests. and those who do ment of character through training, so that the karateka can
so neglect the practice of fundamental techniques, opting in- surmount any obstacle. tangible or intangible.
stead to attempt jiyO kumite at the' earliest opportunity. Karate-do is an empty-handed art of self-defense in which
Stress on winning contests cannot help but alter the funda- the arms and legs are systematically trained and an enemy at-
mental techniques a person uses and the practice he engages tacking by surprise can be controlled by a demonstration of
in. Not only that. it will result in a persons being incapable of strength like that of using actual weapons.
executing a strong and effective technique, which, after all, is Karate-do is exercise through which the karateka masters all
the unique cliaracteristic of karate-do. The man who begins body movements by learning to move limbs and body back-
jiyO kum ite prematurely-without sufficient practice of funda- ward and forward, left and right up and down. freely and uni-
melitals-wi!l soon be surpassed by the man who has trained formly.
in the basic techniques long and diligently. It is, quite simplv. a The techniques of karate-do are well controlled according to
case of haste makes waste. There is no alternative to learning the karateka's will power and are directed at the target ac-
and practicing basic techniques and movements step by step, curately and spontaneously.
stage by stage. The essence of karate techniques is kime. The meaning of
If karate competitions are to be held. they must be conducted kime is an explosive attack to the target using the appropriate
under suitable conditions and in the proper spirit. The desire to technique and maximum power in the shortest possible time.
win a contest is counterproductive, since it leads to a lack of (Long ago, there was the expression ikken hissetsu. meaning
seriousness in learning the fundamentals. Moreover. aiming "to kill with one blovv." but to assume from this that killing is
for a savage display of strength and power in a contest is totally the objective is dangerous and incorrect. It should be remem-
undesirable. When this happens. courtesv toward the opponent. bered that the karate ka of old were ab le to practice kime daily
which is of first importance in any expression of karate, is for- and in dead seriousness by using the makiwara.)
gotten. I believe this matter deserves a great deal of reflection Kime may be accomplished by striking, punching or kicking,
and self-examination on the part of both instructors and stu- but also by blocking. A technique lacking kime is never true
dents. karate. A contest is no exception; hovvever. it is against the
To explain the many and complex movements of the body, it rules to make contact because of the danger involved.
has been my desire to present a fully illustrated. up-to-date Sun-dame means to arrest a technique just before contact
text based on the experience in this art that I have acquired with the target (one sun is about three centimeters). But ex-
over a period of five decades. This hope is being realized by the ecuting a technique without kime is not true karate, so the
publication of the Best Karate series, in which earlier writings question is how to reconcile the contradiction between kime
of mine have been totally revised with the help and encourage- and sun-dame. The answer is this: establish the target slightly
ment of my readers. This new series explains in detail what in front of the opponents vital point. It can then be hit in a con-
karate-do is in language made as simple as possible. and I trolled way with maximum power without making contact.
sincerely hope that it will be of help to followers of karate-do. Training transforms parts ofthe body into weapons to be used
I hope also that karate ka in many countries will be able to under- freely and effectively. The quality necessary to accomplish this
stand each other better through this series of books. is self-control. To become a victor, one must first overcome his
own self.

10 11
 j

KA A up rllu u . o rrl out

I 11 lil IIILu IJ ("p rformano lin of which is
pr d l rmin d for ach kata .
. While porforming a kata. the karateka should imagine being
surrounded by enemies and be prepared to execute defensive
and offensive techniques in any direction.
Mastery of kata is a prerequisite for advancement through
kyu and dan. The kata in volumes 9. 10 and 11 of this series
belong to the category of free kata, which may be selected for
examination above 1st dan. They are kata of a fairly advanced
level, and successful performance depends on having first
The kata of karate-do are logical arrangements of blocking,
mastered fundamentals, basic techniques and the required
punching, striking and kicking techniques in certain set se-
kata.
quences. About fifty kata ("formal exercises") are practiced at
the present time, some having been passed down from genera-
Important Points
tion to generation, others being developed fairly recently.
Kata can be divided into two broad categories. In one group
are those appropriate for physical development the strength- Since the effects of practice are cumulative, train every day,
ening of bone and muscle. Seemingly sirnple. these kata re- even if only for a few minutes. When performing a kata. keep
quire composure for their performance and exhibit strength and calm; never rush through the movements. This means always
dignity when performed correctlv, In the other group are kata being aware of the correct timing of each movement. If a
suitable for developing fast reflexes and the ability to move particular kata proves difficult give it more attention, and al-
quickly. The lightninglike movements in these kata are sugges- ways keep in mind the relationship between kata practice and
tive of the rapid flight of the swallow. All kata require and kumite. (See Vols. 3 and 4.)
enhance rhythm and coordination. Specific points in performance are:
Training in kata is spiritual as well as phvsical. In his per- 1. Correct order. The number and sequence of movements
formance of the kata, the karateka should exhibit boldness and is predetermined. All must be performed.
confidence but also humility, gentleness and a sense of 2. Beginning and end. The kata must begin and end at the
decorum, thus integrating mind and body in a singulardiscipline. same spot on the embusen. This requires practice.
As Gichin Funakoshi of ten reminded his students. "The spirit of 3. Meaning of each movement. Each movement defensive
karate-do is lost without courtesv." or offensive, must be clearly understood and fully expressed.
One expression of this courtesy is the bow made at the be- This is also true of a kata as a whole, since each one has its own
ginning and end of each kata. The stance is musubi-dechi, with characteristics.
the arms relaxed, hands lightly touching the thighs and eyes 4. Awareness of the target. The karate ka must know what
focused straight ahead. the target is and precisely when to execute a technique.
After the bow. the karateka moves into the kamae of the first 5. Rhythm and timing. Rhythm must be appropriate to the
movement of the kata. This is a relaxed position devoid of particular kata and the body must be flexible, never overstrained.
tenseness, especially in the shoulders and knees. and breathing Always keep in mind three factors: correct use of power.
should be relaxed. The center of power and concentration is the swiftness or slowness in executing techniques. and the stretch-
tenden. the center of gravity. In this position, one should be ing and contraction of muscles.
full of fighting spirit and ready for any eventualitv, 6. Proper breathing. Breathing should adjust to changing
Being relaxed but alert also characterizes the bow completing situations. but basically inhale when blocking. exhale when ex-
the kata. This state is called zanshin ln karate-do, as in other ecuting a finishing technique. and inhale and exhale while ex-
martial arts. bringing the kata to a perfect finish is of the great- ecuting successive techniques.
est importance. Closely related to breathing is the kiai coming in the middle
Each kata begins with a blocking technique and has a specific or at the end of the kata. at the moment of maximum tension. By
number of movements to be performed in a set order. There is exhaling very sharply and tensing the abdomen. extra power
some variation in the complexity of movements and the time can be imparted to the muscles.
required to complete thern. but each has its own meaning and

12 13
 \
i
t nd rdl ti n
The basic Heian and Tekki kata and the 'free kata from Bassai
to Jion are all the essentially important Shoto-kan kata. In 1948,
disciples from Keio. Waseda and Takushoku universities met
with Master Gichin Funakoshi at Waseda University. Their pur-
pose was to form a viewpoint for the unification of the kata,
which in the period after tbe war had been subject to varied in-
dividual and subjective interpretations. The kata as presented
in Best Karate em body the criteria for standardization established
at that time.
BassaiSho
Rhythm

BASSA/ SHO
~
! ~~~f-~ eg
.~~
__ 10 II 1'Z--i3(4 1'516 ('--'8 19 20
--../ ....•

21 22 23 24 25 26 27
-- -- -- ...•. --

3 4 5 6 7 8 9 10 1112 13 14 '-'
•.... --
15 16 17 18 1920
2 '-'
•.. -- ...• .. ---
..•.
tr·-,,---,---',
".. -- •.. ..... -- ...•.
34 35 36 37
21 22 23 24 25 26 ~ 28 ...• 29 30 31 32 33 '-.../
.... --- ... .......---...----, ..•. -- ....••
46--41
38 39 40 ...• 41 42 43 44 45
...•

eH/NTE

-Pe'JU/' (Jo !.t trw

-o
continuous, fast powerfully hu e-"'--S
1~,~2." D fov'EZAtJ0 iJ'1/L.,
slow, powerfully f o.;~S" ,,,-,----<>::' v.-.s
strong, continuous, fast
/-to~f"/)
kiai

-
strong, _ ~
10{'t .eAJCi!;Jo<-e f10c...,v~
increasingly strong

14
 Embusen

• •

Heisoku-dachi

Shizen-tai to musubi-dachi to heisoku-dachi. After bowing. take heisoku-dachi and to the left) in front of lower abdomen.
open both hands. Place left palm (palm to the right) verticallyon right palm (palm

~ Ryo sho de kobo o harau ~ evo sho joden yoko barai

~

Migi ashi mae k6sa-dachi

Side block against rear attack with both tiends Pivot left on left sole. Take a dou- Upper level side block with both hands Align left palm against back of right hand
ble step forward with right foot. side block rear attack with right palm. (palms outward). block with back of hands.
16 17
 MI I k. k iti muk! / K /1 ilira IIRII m
mukll H!d rl k hit muki

Right hand in from of forehead/ Left hand at Jeft hip Bring both hands toward left Left arm straight out from' tett shoulder/Right hand over right shoulder Perform
side as if blocking a stick diagonally. Distance between the hands. about 60cm. a and b as one continuous movement. slowly but gradually increasing power.

~ Migi maeude ge dan sukui uke 13b I Migi gedan barai

Heisoku-dachi

Right toreerm downward scooping block Pivot on right leg, rotate hips right- Right do wnward block Swing right fist up and stri ke diagonally downward from
W Ir L Whil bringing right foot back to left tcot. execute block in a semicircle. above the head in a large circular motion to the left.
1/1 19
 ~,~~0 I
I
I
I

)
Two-handed stick block Slide left foot forward into right back stance. This tech-
nique is like Movement 2.

151 Migi sho O hidari ken ue ni kasaneru Migi ko shila muki/Hidari

ko shila muki [Shomen muki
l6l M~g~ heito ~igi yoko joden yoko uchi . .
~ Hidari ken hidari koshi kamae ~ MIgI sokuto yoko keage Ko shila muki

Heisoku-dechi

Right hand on left fist/ Left fist at left hip Pivot on right leg, rotate hips leftward Upper level right ridge hand strike to right side/Right side snap kick with right
and puli the left foot back. sword root
20 21
17 I/lIeJl/lti shut h{(/IIIY/<. tik
~ Migi ken migi koshi n/ ka/komu

Kiba-dachi

Middle level block to side with left vertical sword hand/Right tist return to right from under right elbow.
side Put kicking leg dawn and bring left hand to the fra nt in an arclike motion

m Migi chDdan-zuki o Hidari chiiden-zuki

Kiba-dachi Kiba-dachi

Right middle level straight punch Left middle level straight punch

23
22
 Migi k6kutsu-dachi

Upper level block. inside outwerd, to right side with right fist/Lo wer level block to
left side with left fist Pivot on right leg, rotate hips leftward. Open right hand fist. Right elbow at shoulder level. (cf Jitte 19, Jion 18)
-.
and bring it strongly from under left elbow back above right side whi!e clenching

l11l Hidari ken hidari voko joden uchi uke

~ Migi ken migi voko gedan uke Shčmen muki/Kao migi muki

Hidari k6kutsu-dachi

Upper level block, inside outwerd. to left side with left fist/Lower level block to in Movement 10.
right side with right fist Twist hips sharplv. The essential points are the same as
24 25
 \

l1 2 J MIgI tuno uk

Hidari kokutsu-dectu

Right sword hand block Pivot on left leg, rotate hips leftward. Slide right foot
forward.

~ Hidari shuto uke

Shčmen muki hanmi
[!Il Migi shuto uke
Shomen muki hanmi
l.J5l Hidari shuto uke
~ Sh6men muki hanmi

Migi k6kutsu-dachi Hidari k6kutsu-dachi Migi k6kutsu-dachi

Right sword hand block Slide right foot forward. Left sword hand block Puli right foot back.

27
 Hidari zenkutsu-dachi

Grasping block with both hands Rotate hips leftward keeping feet in place. ward. This is the same as Bassai Dai 18, 19.
Describe arc to the front with right hand from under left elbow. Both palms down-

~ Rvo sho tsukami yose .

L!2J Migi sokuto gedan kekomi

Hidari ashi-dachi

Grasping-pulling with both palms/ Lower level thrust kick with right sword root right knee chest high (between extended arms).
Clench both fists and puli them strongly toward the right side of the chest. Raise
28 29
l1 8J I Vo A /1 hi CI III k ktv« lA lik. 111/1ni IRv

Migi ki5kutsu-dachi

Middle level reverse wedge block After thrust kick. put right foot dawn and
simultaneously rotate hips leftward. Block on reversing direction of torso.

~ Ry6 ken chDdan-zuki

Ko shita muki

Migi ki5kutsu-dachi

,~
~III

Middle level double-fist punch Keeping the stance. slide fest forward while
punching. Puli fists back immediately.
30 31
~o IMlvlA /1 U I1Id/ll /( III/O /1 1/1 k UlrtJ

Kiba-dachi

-c-
....

Right fist on left fist Bring right fist in a circular motion to left hip as if blocking ~ight middle level punch to right side (punching block) I Left middle le ve/ punch to
an upper level attack, while pulling left fist to left hip. Rotate leftward. right side Step right on right foot. Punch with both fists simultaneously.

l21l Hidari shutsui hidari yoko o

eh dan uehi [ 221 Migi chiJdan oi-zuki
~ Migi ken migi koshi kamae

Migi

,
Kiba-dachi
zenkutsu-dachi

Left middle level hammer-fist strike to left side] Right fist at right hip Bring left Right middle level lunge punch Slide right foot forward.
hammer-fist from under right arm. Rotate right fist while pulling it back to right hip.
32 33
I '1 I Migi k 11 migi voko tu CI /1 ukl \
~3 Hidsri ken migi voko chiki n-zukl

Kiba-dachi

'''''''~

Right middle level punch to right side/ Left middle level punch to right side
hips widely leftward with left leg as pivot.

1241 Hidari ken hidari yoko chDdan-zuki

Migi ken hidari yoko chDdan-zuki

Kiba-dachi

, II nudd! Ivl punch to left side/ Right middle level punch to left side
IIIJ ti htw iril with ri ht leg as pivot.
35
 MIgI AlImIr I vuko hi li III- uk!
I Hid. rl k n migI voko chcd. n-zukl

Kiba-dachi

Right middle level punch to right sldell.ett middle level punch to right side Rotate
hips leftward with left leg as pivot.

1261 Hidari sho chtJdan tsukami uke

Migi sho gedan tsukami uke Ryo ko ue muki/Koko tomo ni mae muki

Hidari ashi mae

neko ashi-dachi

Middle level grasping block with left hand/Lower level grasping block with right snoulder. Swing right hand high above head and left shoulder, then downward
hand Raise left hand from under right arm in a high are to come ln fra nt of left toward left hip. Cross hands in fra nt of face as if describing a mountain.
36 37
Middle level grasp-pull with right hand/ Lower level grasp-pull with left hand left leg. Take cat leg stance. right foot slowly describing an are from the left. Face
Move right foot in front of left foot with )eft foot as pivot. then transfer weight to to right front.

Naore

Heisoku-dachi

1111111111111 f ot to left foot. return to Y6i.

39
BAS Al SHO: IMPORTAN POlN S
Bassai Shoshould be practiced after mastering Bassai Dai. The
two kata form a series. differing in the point that Bassai Dai
outwardlyshows power and solemnity while Bassai Sho. in the
calmness of its techniques. contains an inner strength.
Characteristics of Bassai Sho include the arclike movements
of hands andfeet and the use of the sword hand. ridge hand
and tiger mouth.The techniques learned in this kata are defence
against stick attacks. The palm is often used for this purpose
and strength is important for each block. especially against
heavy sticks. Wrists. elbows and knees must be flexible and
stances mustbe stable.
Of particular importance are the correct application of power
and the appropriate speed in executing techniques. This is a
good kata for learning how to block strongly and counterattack
sharply aftertensing muscles slowly in accordance with breath-
ing.
Bassai Daiis presented in Vol. 6 of this series.

1. Movement 1. While preparing to step in to take care of the

frontal attack. push aside the stick attack coming from the rear
with both palm-heels placed together. Use both hands to block
the u pper level attack from the front.

40 41
2. Movement 2. This is a good block against a stick aimed at
your head. With tiger mouths open and both palms tacino up. 3. Movement 3. To counter a kick from the side. swing the right
c teh and grasp the middle of the stick. Puli the right elbow hand widely from above the shoulder in coordination with the
ill( kw rdo turning the wrist over as It passes ln front of the rightward rotation of the hips. Scoop the kick to the side with
11111 Il ICi. Simultaneously. raise left hand and tiqhten the left the thumb-side of the forearm. Follow through with a throw or
Idl III tli cev. a hammer fist strike to the side of the assailant's body.

43
 5. Movement 20. Block the opponent's upper level punch with
4. Movement 19. In executing a reverse wedge block, there
the little-finger side of the right wrist by twisting the wrist while
should be the feeling of pulling the assailant's arms toward the'
brinqinq the arm from directly above the left hip. Straighten the
outside and toward vourselt. After the block, close the distance
right elbow for the punching block. Simultaneously deliver a
by sliding the feet and straighten both elbows for a double-
fisted close punch. punch with the left fist to the solar plexus.

44 45
 Kankl1Sho

6. Movements 26/27. To counter a punch to your solar plexus

coming from the left oblique. wheel both hands from over the
head, grasp the assailant's wrist with the right hand and his
elbow with the left hand. Move left foot outward in an arc and
throw him off balance while hooking his an kle. Do the same
against the assailant coming from the right side.

46
Y I

Ernbusen

Hachinoji-dachi

[IJ Hidari morote chDdan uke

Migi k6kutsu-dachi

Left middle level augmented forearm block Slide right foot half a step to right.
Right fist at left elbow. Backs of fists downward.
48 49
[ 2 j MI7/m(}ro! elu (~1I1 III<

Right middle level augmented forearm block Slide feet to left.

o Hidari morate chDdan uke

Migi k6kutsu-dachi

50 51
 Migi zenkutsu-dachi

Right middle level lunge punch Slide right foot one step forward.

14b I Migi maeude hineri 1i::l5 Hidari chiiden

~oi-zuki

Hidari zenkutsu-dachi
Migi zenkutsu-dachi

~ "- -----J)--, ~.
.»:
,-,1
<, 1
\-

Twist right forearm Relax elbow immediately. Tight-

en right side. naturally bringing elbow closer to body.
52 53
[ 5b 11-11 1u! Jn I ud hill rl Il.] MI ti IH 111I 1· LIkI

Hidari zenkutsu-dachi Migi zenkutsu-dachi

Twist forearm Slide left foot one step forward. Right middle level lunge punch
Same as Movement 4.

17! Migi sho tsukami uke Kako hiraku

~ Hidari sho migi tekubi o tsukamu Ushiro muki gyaku hanmi

Hidari zenkutsu-dachi
(vava asaku)

Grasping block with right palm/Hold right wrist with left hand Pivot on right leq. circularly from under left elbow in a grasping action. Use left hand to puli right
rotate hips leftward. Reverse direction quickly. Open right fist and bring it forward wnst towards body.
54 55
L~ Migi muo k MI{j/lIr
I Hld ,(k
A
11
/1 /( CI II'
hkl /fI ko 11/
tut, I1IIW MII/IIl.hI

Hideri ashi-dachi

.-----,~• te.. ~

Right front snap kick Execute while returning right elbow strongly to right side. Upper level vertical strike with right beck-tisttl.ett fist at left side Bring left foot
behind right an kle for stance.

Migi ashi mae kčse-dechi

,. ~ -...-------'1..
<========-
••• ~--- /I _

57
 [11 [HhlJrI .111 (/'1/1 tiA I
MigI k 11 migi ko hi

Migi zenkutsu-dachi Migi zenkutsu-

dachi

Right middle level block, inside outward/ Left fist at left side Bring left foot back elbow bent forearm slanting upward. Left middle level punch/Right fist
astep. Keep right elbow in place, return right fist from under left arm to the right at right side

~
~
Migi chiiden-zuki
Hidari ken hidari koshi
l13l
~
Migi ken migi yoko
chiiden uchi uke
Hidari ken zenpo gedan-barai
Sh6men muki hanmi

Migi zenkutsu-dachi

Right middle level punch/Left fist at left side Right middle level block, inside outwerd. with right fist/ Left fist downward block
Movements 11 and 12 are alternate punching. to front Pivot on right leg, rotate hips leftward. Reverse direction quickly.
58 59
I
~
14J Hld ul k turi r hi
11
Migi k n mIgI ko hi
1/ hi

Hidari mae renoji-dachi

Left fist downward swinging strike/Right fist atright side Bring left fi st to right the second row of knuckles. .
shoulder and make a loop from the chin. swinging downward to stri ke with

'15l
~
Migi sho tsukami uke
Hidari sho migi tekubi o tsukamu

Hidari zenkutsu-dachi

Grasping block with right palm/Hold right wrist with left hand
me nt 7.
60 61
l1 6 j Mit Im Il k J /1 jod III tntt IIIIW 1,11I11 ht

Hidari ashi-dachi

Right front snap kick Same as Movement 8.

K 6 shila muki
Shomen muki hanmi
l18l Mig~chDdan
~uchluke .

Kose-dechi Migi zenkutsu-dachi

Upper level vertical strike with right beck-tisi Right middle Ievet block. Same as
ln as Movement 9. Movement 10.
II 63
 Migi zenkutsu-dachi Migi zenkutsu-dechi

Left middle level punch Right middle level punch Movements 19 and 20 are alternate punching.

f21l Migi ken migi yoko chiiden uchi uke

~ Hidari ken zenpo gedan-barai

Migi kokutsu-dechi

Right middle level block. inside outwerd. with right fist/Left fist downward block Movement 13.
to front Pivot on left leg, rotate hips leftward. Reverse direction quickly. Same as
64 65
I
~
22J Hki. rl k n fur/oro
MIgi ken mIgi
hi u hi
koshl

Hidari mae renoji-dachi

~~ ..,
-----

t.ett fist downward swinging stoke/Right fist at right side Same as Movement 14.

1231 Migi ken migi yoko j6dan uchi uke

Hidari ken hidari yoko ge dan uke

Migi k6kutsu-dachi

Right upper level block, inside outwerd, with right fist/ Left lower level block with pulling it from under left elbow to upper right side.
left fist Pivot on right leg, rotate hips leftward. Open and elen eh right fist while
66 67
1241 H/C~rl k n hkt. rl y k hi fi ll» liki
Migi ken hld rl voko ctiaa n-zukl

Kiba-dachi

Left middle level punch with left tist] Left middle level punch with right fist Sl,ide simultaneously to left side making arms parallel.
feet leftward. Swing left fist to the right and using this reaction thrust both fists

~ Hid~ri ken hidari,yoko j6dan uchi uke

~ Migi gedan berei

Left upper level block, inside outwerd, with left tist! Right lower level block with
right fist
68 69
I 2 a IMIgIk n mIgI voko ln rl n- uk!
~ Hidari ken migi voko chcdsn-euki

Right middle level punch with right fist/ Right middle level punch with left fist
Same as Movement 24.

!27jRYO sho bo uke

Hidari kokutsu-dechi

~
i•••----/)~l
••~ I
I

Two-handed stick block Bring left foot half a step rightward to support body palm, bring it circularly in front of right hip with elbow stretched a little. palm
weight rotate hips leftward while sliding right foot one step forward. Open right upward. Bring left palm, slanting upward. in front of forehead.
71
70
1281 MI I k nnn m hit nl oshlnob u Migi k /1 lilI/ki
II/rl rl k hit muki
rli hi k It 11
Hldarl ken migi chichi ma U hlro muki henmt

Hidari kokutsu-dechi

Push right fist diagonally downward/ Left fist in front of right side Slide feet twisting wrists.
slightly forward. Clench both fists and strongly push diagonally downward while

129bl Migi shuto chtJdan uke

/ ~--,"
...•.•. '--,
~'
I
/

.
'
\
\ v..~\ /
\

" ""'---_/
/
I

Jump with 360 turn Jump high. fold legs. and turn 360 leftward. Jump must
0 0
Right middle level sword hand block Block must be completed on landing.
be at least 40 to 50 cm to escape having legs swept by stick.
72 73
 Migi ashi-dachi

Upper level horizontal strike with left back-fis ti Left side snap kickl Right fist at
right side

[KI Migi empi uchi

Hidari zenkutsu-dachi

Right elbow strike Immediately after left foot is on the ground. strike left palm
with right elbow.
74 75
l321 Mlolllnk. 11 J ~ III voko f11IW I hill 'hI
Migi yoko k eg / Htd. rl k n hld rl ko hi

Upper level horizontal strike with right beck-tisti Right side snap kick/ Lett fist at
left side

133 IHidari empi =. .

MIgI muki
1
34 1 Migi sho tsukami uke
Hidari sho migi tekubi
Kako hiraku
Ushira muki gyaku hanmi

Migi zenkutsu-dachi Hidari zenkutsu-dachi

Left elbow strike Strike right palm. Grasping block with right palm/Hold
right wrist with left hand
76 77
 k {j
IMIt111flA /1 Jc fi 11/ t It 11/ W I hi li hI

Illderi ashi-dachi

••..
---(?

Right front snap kick

1
37 \Migi chtJdan uchi uke

Migi ashi mae k6sa-dachi

ik-------~
,-'
Right middle level block, inside outwerd Bring left foot back astep.
Upper level vertical strike with right beck-tisi Pivot on left leg, take a full step
forward with right foot. Bring left foot behind right ankle for stance.
79
78
l38J H/C~ rl
eh ef, /7- ukl l J Mlql II ti 1/1- uAI 1/1

Migi zenkutsu-dachi

ir
'0

Left middle level punch Right middle level punch ( r, sceni kick Keep right front stance, rotate hips leftward. While turning head to
Movements 38 and 39 are alternate punchrnq. il rt. streteh left palm backward at shoulder level. Deliver crescent kick with right

411 Fuse no shisei

[ ~ Tsumasaki-dachi kaka to ukasu

Migi ashi mae hikui

zenkutsu-dachi

toot. striking left palm while in a low jump. Going to ground position Immediately after crescent kick. rotate hips sharply
1 ftward. Stretch left leg backward while body is stili in the air.
80 81
 j II/ti III hu« It tim IIAt

Migi kokutsu-dechi (hikume)

~-----čJ
---------
Lower level left sword hand block Take stance by switching position of feet.

143 I Migi shuto chtJdan uke

Hidari kokutsu-dechi

82 83
144j Hld rl elu d. n uchl tik

Left middle level block, inside outwerd Pivot on right leg, rotate hips leftward.

145 1 Migi chiiden oi-zuki

,
Migi zenkutsu-dachi

/--1.
+
I
I

'oO /~

~ \
\
\

bt>
84
85
L46J Migi elu tim 1/(.11I uk

I~

, \:
--.\

\.. ~ j
/
/

'..#
JI

Right middle level block, inside outward Pivot on left leg. rotate hips rightward.

1471 H!dari chtidsn

oi-zuki
Naore
Hidari muki

Hidari zenkutsu-dachi

.,~
---~
I

.l
\
/
/
t-..
"" ~

N' .~
:
,-~"
....
:
,\\
/
I
,
I

J
Left middle level lunge punch Rotate hips leftward and withdraw left leg to return to posture of Y6i.
Slide right foot forward.
86 87
 KANKO HO: IMPORTAN POINTS

Before practicing KankO Sho. the fundamentals in Heian 4 must

be thoroughly learned. It should not be practiced until all the
techniques in KankO Dai have been mastered. The configura-
tion of offensive and defensive techniques in the two kata is
almost the same, as are the speed and sharpness of rotation
and various techniques. The difference is found in the counter-
attacks making use of the sword hand stri ke or front kick after
a block. In KankO Dai. these are delivered mainly to the upper
level, ln KankO Sho, mainly to the middle level.
ln performing this kata, remember to express three factors:
correct use of power, speed of techniques, and the stretching
and contraction of muscles. KankO Sho cannot be mastered
until the karateka has fully understood that the high jump and
low turn are not a single action.

1. Movement 4. It is incorrect to execute the middle level block

from inside outward after punching. The correct way is, after
punching with explosive force, to immediately relax the elbow
and rotate the forearm. .
A karateka cannot be called a true expert until he masters
this punch. It should not be executed using only pushing
power. The spring and flexibility of the elbow must be given
full expression.
As seen in the illustrations, when the wrist is captured after
punching, quickly and strongly puli back and twist to release
it.
The important point is to relax the elbow momentarily right
after punching, which will make it possible to turn the wrist
naturally and recapture the arm. Do not puli the elbow outward.
Bring it back to the side of the stomach. (See a/so Vol. 8, p.
141.)

88 89
2. Movement 7. Open the right hand and describe an arc 3. Movements 13/14. After the right middle level block with
forward from under the left hand as if to grasp something. Grip the right forearm and the left downward block, raise the left
the right wrist with the left hand. Keep thumb and other fingers fi st forcefully straight above the right shoulder, slightly with-
together. drawing the fra nt foot. Immediately strike down to the middle
From a strong and stable half-front facing stance, seize the level in front. describing a small arc.
assailant and puli back with both hands. Bring the right fist This movement also has the meaning of releasing the cap-
toward the right side of the stomach. tured left wrist. See next page for appl ication.

90 91
 5. Movements 23/24. After the upper level side block, strike
the opponent's solar plexus with the right fist while sliding the
4. Movements 13/14. The above photos show the application feet to the left. Immed iately rotate the hips to sh ift the body to
of Movements 13 and 14 in kumite. When striking, use the the right and deliver a blocking punch with the right arm against
second row of left knuckles and stri ke the opponent's punch- the opponent's punching arm. At the same time, stri ke his solar
mg hand or chest. plexus with the left fist.

92 93
•
6. Movements 28/29. Block the downward swinging stick
with both hands and push hard diagonally downward to throw
the opponent off balance. Counter a second stick attack com-
ing from the rear to sweep your legs by jumping and turning
leftward. On landing attack with sword hand to the side of the
head of the opponent on the right.
Rather than the height of the jump, the important point is to
bend and hold the knees close to the chest.

94 95
 Chinte

7. Movements 40/41. Turning the head back, block the oppo-

nent's punch with the left hand and deliver a middle level
crescent kick. Immediately make another half turn of the body
by going to ground to avoid the opponent's attack. Do this by
thrusting the left foot backward-after kicking but before the
kicking foot hits the ground-while turning the body in the air
c/ose to the ground. Hands and feet land at the same time.
Note the importance of keeping the jump low.

96
Y I

Embusen

Heisoku-dachi

Fists in front of solar plexus kamae. Right fist (back forward) on top of left fist
(back downward).

111Migi kentsui chiiden tate mawashi uchi

~ Hidari ken suigetsu mae kamae
~~~----~~~~~--

Heisoku-dachi

Right middle level hammer fist vertical strike] Left fist in front of chest kamae
Slowly raise right hammer fi st high in front of forehead. then strike down to
98 99
I 2JH/(~ rl k. nt ul 11l}(~ 11 t t m w hi uob!
~ MIgi k n ulg tsu m k ln

Left middle level vertical hamm er fist strike] Right fist in from of chest kamae

Slowly raise left hammer tist in front of forehead, gradualry increasing power, then
strike down to left shoulder level. Movements 1 and 2 must be done slowly and con-
100 101
 Kiba-dachi

Upper level rising block with sword hands Pivot on right leg, slide left foot of forehead until index and middle fingers touch.
forward and rotate hips rightward. Simultaneously, raise both sword hands in front .

[iJ Migi chiJdan tate shuto uke

Right middle level vertical sword hand block Pivot on left leg, slide right foot
slightly rightward. Right hand and right foot move simultaneously and slowly.
102 103
L _IHII rl hi (~ 11 t t • liki

Migi zenkutsu-dachi

Left middle level vertical punch Keeping same position of Ieet. strongly straighten right palm with left fist.) Movements 4 and 5 should be performed as slow block
knee of back leg and push hips to rotate. Counterattack with reverse punch. (Strike and fast punch.

m Hidari chDdan tate shuto uke

Hidari tudč •.dachi

Left middle level vertical sword hand block Pivot on right leg, slide left foot
slightly forward. Left hand and left foot move simultaneously and slowly.
104 105
l.?J MIgI 111 (~ 11 t t • uk!

Hidari zenkutsu-dachi

Right middle level vertical punch Change from rooted stance to front stance to
execute right vertical-fist punch. Strike left palm with right fi st.

m Migi childan tate sbuto uke

Migi tudč-dechi

106 107
W HI(/, «! CI, 11 t t mpi u hI

Migi zenkutsu-dachi

Left upper level vertical elbow strike Change from rooted stance to fra nt stane
to deliver upward elbow stri ke to face. (Strike right palm with left elbow.)

[IQ] Hidari chDdan shoto uke

c\
\
'--

108 109
lliJ Migi oht CI 11 shut lik

Hidari k6kutsu-dachi

--,
~ td ...-..J

Right middle level sword hand block Pivot on left leg, slide right foot forward
while executing the sword hand block.

[ili Hidari chDdan mae-geri

Migi ashi-dachi

Left middle level front kick/ Hands in same position as in Movement 11

110 111
 114 I MI.l/ I (~III Inil/ IIAl

Migi
Heisoku-daohi
zenkutsu-dachi

--- ....
---1
\~

Right middle level block, inside Right lower level block, inside outwerd stance. Turn right wrist over while blocking. Continue to swing right hand in a
outward/Left downward block Slide left foot toward right foot to take large circle, passing over the head and stopping in front of the lower abdomen.

l15l Hic!~ri
~
ged~n heito mav.:ashi uke
te sutqetsu mae ru kamaeru
Migi

Kiba-dachi

Left downward ridge hand block/Right hand in front of chest kamae Pivot on left neously move both hands in a large arc from the left side. hands almost paraIleI.
leg, rotate hips rightward, and slide right foot to the right to take stance. Simulta-
112
113
 Right downward ridge hand b/ock/Left hand in front of chest kamae

[!2J Rvo ken cbtiden kakiwake

Kiba-dachi

114
115
 Fists out to sides downward kamae Bring right instep against back of left knee.
Do Movements 16, 17 and 18 cOntinuously and fast.

~--------~

116
117
 ,.
Migi zenkutsu-dechi

i~~
,(j9l,
,,I __'

\,
Middle level falling block with right one-knuckle tist

/20 I Hidari nakadaka ippon ken chtJdan uchi otoshi

Migi ken Kvodo 19 no mama

Middle level fa/ling block with left one-knuckle fist

tion as in Movement 19.
118
119
 111171 clutd. 11 li IIIlIl<t

Migi zenkutsu-dachi

Right middle level two-finger spear hand block. inside outward Keeping front
stance. rotate hips leftward while bringing right arm from under left elbow.

/221 Hidari nihon nukite j6dan age-zuki

y I

I
I
I
I
I

,
I
I
\

Upper level nsing punch with left two-finger spear hand

~J
120 121
 J Nlbon nusn h1(~rl hi dnu hI ul<

Hidari zenkutsu-dachi

Left middle level two-finger spear hand block, inside outward

and withdraw left foot while rotating hips leftward.

/24/ Migi nihon nukite joden age-zuki

,
Migi zenkutsu-dachi

I
t
~-, I
I~(
I
I
I

Upper level rising punch with right two-finger spear hand ~

122
123
 t m w hi uk

Migi tudo-dechi

Right middle level roundhouse palm-heel block outside inward

rotate hips leftward.

126 1 Hidari teisho chiJdan soto mawashi uchi

Middle level roundhouse strike. outside inwerd, with left palm-heel/Right hand
same position as in Movement 25.
124 125
 l27/ Ry Ic. II ry 'J IW I l hlklh mu

Migi tudč-dechi

1281 Ry6 ken chtJdan hasami-zuki

Middle level scissors punch Pivot on right leg, rotate hips quickly leftward. and
face to the front. Movements 27 and 28 must be dane continuously and quicklv,
126 127
 l29 j MItJI (.111 cI, III t It shut: uk«

~~)
~---------.;

Right vertical sword hand block

130 I Hidari chiiden tate-zuki

Migi zenkutsu-dachi

128 129
 Hidari fud6-dachi

~------------~
'i?)

1321 Migi chrJdan tate-zuki

Hidari zenkutsu-dachi

Right middle level vertical punch

130
131
 MI I k. /1 mun III III h/k./y s
I HI'" rl II migi k II ni k bus ru

Right fist in front of chest/Left palm wrapped around right fist On completion of right foot on first step. then moving feet in unison.
vertical fi st punch. take three small jumping steps backward. aligning left foot with

Naore

Hachinoji-dachi

132
133
 HIN : IM R AN P IN

The name eh/me, written with Chinese characters indicating

"extraordinarv" and "hand," is thought to derive from the
unique techniques in the kata. The kata as a whole has a se-
quence of movements beginning in tranquility, becoming
powerful and ending in calmness.
There is much to learn from this kata. One point is the ac-
quisition of the technique of punching employing power
generated by pushing the back foot against the ground. After
blocking in the rooted stance, the rear knee is pushed forward
to take the front stance.
Another point is the ta teken , rarely seen in basic karate
techniques, though it is common in Chinese martial arts. There
are also techniques for attacking the eyes with the two-finger
spear hand. This is effective self-defense for women who lack
strong muscular power. .
The last movement requires the feeling of strength in calm-
ness. of waves quietly receding after dashing hard against the 2. Movement 3. Raise both hands .in front of the forehead and
shore. bring the fingers together. Put the right palm on the back of the
left hand and lightly touch tips of Index and mld~le finqers .. In
executing this block, the hands extend the body s center Ilne
upward. To weaken the opponent's power, puli the blockinq
hands slightly toward you.

1. Movements 1/2. Swing the right arm in a wide motion

passing in front of the face to the right. Stri ke with the hammer
fist against the opponent's punching arm or collarbone. Imme-
diately turn head to the left and counterattack in that direction
with the same technique. These two actions are do ne in one
breath.

134
135
 3. Movements 9/10. After the upward elbow stri ke to the chin
rotate hips sharply to the left with right foot as pivot whil~
executmq left sword hand block. Shift right front stance to
right back stance without changing position of right knee.

4. Movement 14. Against a kick from the trent. swing the arm
dawn widely, turning the wrist inward, and block with the
thumb-side of the forearm. Continue the wide upward swing-
ing motion and upset the opponent's balance. During 'this 5. Movement 15. Block the kicking attack from the left with
action, bring the rear foot to the front foot to take the feet- the left ridge hand and swing both hands high overhead to put
together stance. the assailant off balance.

136 137
 7. Movement 18. Assume that after the middle level reverse
wedge block you are attacked from the front with a s.tick or by
kicking. Since there is no time to dodge the attack, quickly rarse
the right foot behind the left knee to take the one-Iegged stance
and execute the downward block.

6. Movement 16. Against a kick and a punch coming from the

right side. bl,ock the .kick with .the right ridge hand and grasp
the assailant s punchinq arm with the left hand. Pulling the left
elbow toward the side of the stomach, swing the right ridge
hand upward. (Note the similarity to application of Movement
8. Movement 22. The two-finger spear hand attack to the
15.) This -action should cause the opponent to-Ia!' down.
eyes does not require strong power. The important point IS the
The arms are swung in a way similar to the shoulder wheel
(kata-guruma) throw of Judo. course the hand takes. It should describe a semicircle coming
up from a low position to hit the target.

138
139
 9.. Movements 26/27. To counter a frontal punching attack,
strike the opponent's inner wrist hard with the palm-heel.
Sirnultaneouslv deliver a hard stri ke with the left palm-heel to 10. Movement 28. Against a middle level attack from behind,
the elbow. Grab his wrist with the right hand and puli strongly rotate the hips leftward with right foot as pivot and execute the
to the right rear. It IS rrnportant to fully bend and tighten the scissors punch to the sides of your assailant's body. Drop the
vvnst. hips very low for maximum effectiveness.

140
141
 I\/Y 1/1 I/..I (, Ir lili 11 lil I 1(.1 co plil J 1)1 I
~·II/..(// U/..,
ln uc/,,'
r rm. wrl l lili, unit o'f I nth. bout
megeru. beljd three centlmeters
mama, as it lis sun-dome. to arrest a tech-
mawashi ucbi. roundhouse nique just before making
stri ke contact
mawashi uke, roundhouse suri-eshi. sliding the feet
block
migi, right tenden, center of gravity
migi ashi-daehi, right leg teteken. vertical fi st
age-uke, rising block hiku). low stance tate mawashi uchi. vertical
eqe-zuki, rising punch bineri. twist. turn migi ashi mee. right leg in roundhouse stri ke
eshi. foot. leg hireku. open front teteru. raise
ashiko. instep hitsi. forehead mikazuki-geri, crescent kick tate shuto, vertical sword
hize. knee moro te, both hands hand
bo. stick morate uke. augmented block tete-zuki. vertical punch
ichi. one mone. chest te, hand
chichi, nipple ikken hissatsu. to kill with one musubi-dechi. informal atten- teisbo. palm-heel
chuden, middle level blow tion stance. toes out tekubi. wrist. forearm
ehtJdan uchi, middle level tobiagari. jump
stri ke . joden, upper level nakadaka ippon ken. one tomo ni. together
chuden-zuki, middle level knuckle fist tsukami uke, grasping block
punch kebuseru, wrap nenerne. diagonally. obliquely tsukemi vose. grasping-pulling
neore. return to voi tsukemu, grasp
keikomu. hold (under the
embusen. performance line arm) neko esbi-dectu. cat leg tsuki uke. stri ke-block
empi. elbow keiten. turn stance tsumasaki-daehi. tip-toe
empi uchi, elbow stri ke kaka to, heel nihon nukite, two-finger stance
kaki wake uke. reverse wedge spear hand
tudo-dechi, rooted stance block nobashi. straighten. extend uchi, strike
furioroshi ucbi. downward kemee. posture. position uehi uke, inside-outward
swinging stri ke ka o, face oi-zuki, lunge punch block
fuse no sbisei. going-to- ksruku, lightly oshinobasu, push -extend ue. up. on top of
ground position ksseneru. pile up otoshi, falling ue muki. facing upward
kata, shoulder uho, right direction
qewe. side kata-guruma, shoulder wheel renoji-daehi. L stance ukesu. f!oat
gedan, lower level kazasu, hold aloft rvo. both uke, block
gedan berei. downward keage, snap kick ura, back side
block kekorni. thrust kick seho, left direction ureken, back-fist
gedan uke, lower level block ken. fist shita muki. facing downward ushira muh facing to the
gvaku henmi, reverse half- kentsui uchi. hammer fi st shita ni, down back
front facing stri ke shizen-tei. natural position
kiba-daehi. straddle-Ieg sho. palm vava, slightly
haehinoji-daehi. open-Ieg stance shomen, front vava eseku. slightly shallow
stance kimi, decide shčmen muki, facing to the Voi.position of readiness
heito, ridge hand ko. back of fist front voko, side
benmi, half-front facing koha, back direction shutč. sword hand voko bara;' side block
hereu, parry koko. tiger mouth shuto uke. sword hand block voko keage. side snap kick
hesemi-zuki. scissors punch kčkutsu-dechi, back stance shutsui. hammer fist voko uchi, stri ke to side
beisoku-dechi. feet -together kose-dechi, crossed -feet soeru. attach voko uke. sideward block
stance stance sokumen. side
hideri, left koshi. hip sokuto, sword foot zenshin, relaxed but alert
hiji, elbow kvodč. movement soto,outside-inward state of readiness
hikiharau. clear away soto muh facing outward zenkutsu-daehi. frant stance
bikivose. puli near mee. trent. in trent of suiqetsu. solar plexus zenpo. fra nt direction

142 143