Search Me! Upcoming events. Time 27 Friday - 29 Sunday. Location Slovakia Slovakia. Event Details. Time 18 Friday - 20 Sunday. Location Poland Bydgoszcz. Time All Day Saturday. Time 25 Friday - 27 Sunday. Location Belgium Brussels. Time 1 Friday - 3 Sunday. Location Australia Canberra. Popular Recent. End of year message from Nakamura Sensei December 24th, Hojo Undo Suspension training videos February 17th, Seasons Greetings from around the world December 21st, TRX — A new way of working out August 21st, Sensei Carlos Martinez March 5th, End of year message from Nakamura Sensei December 20th, Master Ryu Ryuko was a well-known master o f kempo in Fukien province.
Everyone knew of him as a well trained and extraordinarily disciplined martial artist. Once during Higao nna Sensei's apprenticesh ip , a young martial a rtist came to Master Ryu Ryuko 's workshop to challenge him to a test of skill. At the time Master Ryu Ryuko was making a bamboo po le. The young man took the bamboo and crushed it in his hands.
Asto nished , Higao nna Sensei was re ndered speechless. But the demonstration le ft Master Ryu Ryuko calm and undisturbed. Quietly he picked up. Higao nna Sensei could no t believe his eyes. Bamboo is unusually strong no t o nly because of its chemical makeup, b ut also because o f its circular , hollow design. The young man crushing it in his bare hands is awesome enough. The young c halle nger stood in sh ocked disbelief for a mo ment then left the wo rksh o p in silence.
An Episode of Competition The fame o f Higaonna Kanryo Sensei as a great martial artist gradually spread throughout the city of Foocho w. Once a discussion began between the students o f Master Ryu Ryuko's dojo an d another dojo of the sa me school o ver which dojo was superio r in skill.
The masters of t he two dojo each chose their best student to demonstrate kota. In China at that time, it was the p rac tice to have 3 demonstration or kota instead of competitio n in free styl e fighting. In this way it was possible to choose a superior martial artist wit11out anyone getting hurt.
Higaonna Sen sei was chosen to represent Master Ryu Ryuko's dojo. At the compe titio n th e student from t11e o ther dojo went first, perfom1ing a Sanchin kota , foll owed by Higaonna Sensei wh o perfom1ed the same kata. All the students from the o ther dojo watched with great attentio n as Higaonna Sensei performed the Sanclrin kata.
They were all struck with admiratio n at the performance o f Higaonna Sensei. After the perfonnance, th e master of the o ther dojo admit ted tha t the art of Master Ryu Ryu ko wa s much superior to that of h is own. After this competition , Higaonna Sensei's fame spread even further in Fooch ow. It is said that many ma rtial artists t rie d to e ngage Higaonna Sensei in a fight to prove their bravery. But Higaonna Sensei ke p t the promise he made to Master Ryu Ryuko when he first became a personal disciple o f the master of not to fight to show off his skill. Thus Higaonna Sensei always declined these gratu iwus c hallenges.
Higaonna Kanryo as the Fou. The master lived on the second floor while the workshop and Hig;10nna Sensei's room were locat ed on the ground floor. The floor of the ground floor got very cold. Higaonna Sensei was woken up early every morning by the cold. Unable to sleep any longer.
Higaonna Sensei got up and passed the early morning hours practicing kata in the yard. Master Ryu Ryulcu also got up early and watched from up stairs as Higaonna Sensei practiced. Much later, short ly before Higaonna Kanryo Sensei returned to Oki nawa , Master Ryu Ryuko told Higaonna Sensei not to over practice for he had to conserve his strength for the journey back to Okinawa.
Master Ryu Ryuko al ways watched over Higaonna Sensei as if he were his own son. Higaonna Sensei stayed as Master Ryu Ryuko's personal disciple for about thirteen years. Immediately after returning home, Higaonna Sensei paid a visit to Udon Yoshimura, who had helped him go to China thirteen years earlier. Udon Yoshimura was very much impressed to see that Higaonna Sensei had grown up to be a person of modest but dignified character.
Udon Yoshimura asked Hlgaonna Sensei to teach his sons some of the skills he had learned in China. Udon Yoshimura's second son, Yoshimura Chogi took a great interest in the martial arts and practiced eagerly. Higaonna Sensei's fame rapidly spread througll out Naha and its vicinity after his return to the Ryukyus. Thus for many years, Higaonna Sensei taugllt the martial arts to the mem bers of the royal family as well as the family of Udon Yoshimura. Following the Chinese teaching of humility , Higa onna Sensei was modest and quiet in his demean or and never talked of his own skill and exploits as a martial artist.
For a short time after coming home. Higaonna Sensei went back to his old job of selling goods on a boat. But the sailors, the merchants and the government officials who had been to China all talked abou t the talent and reknown of. Hiponna Sensei. Many came to Higaonna Sensei and asked to be taken on as personal disciples. But because the training was harsh, only a few remained with Higa on na Sensei for long.
Higaonna Sensei opened up his house in Nishi mach! Higaonna Sensei was quiet by. There, his eyes became piercing like those of an eagle and the students were almost afraid of standing too close to him. In , Higaonna Sensei started to teach at a public higll school in Naha twice a week at the request of the principal. Higaonna Sensei taught his art to the high school students for both its physical and spiritual value.
During the thirteen years of training in China, Higaonna Sensei mastered many traditional Chinese martial arts such as the art of the straight sword chien , and the art of the broad sword dao and spear. Higaonna Sensei's technique in all of these various martial arts was truly art in motion. Thus, his fame quickly spread throughout Naha and through out many other cities in Okinawa.
Higaonna Sensei wa. He was only five foot one inch tall. Bot he was very strongly built. His muscles were weU developed through the harsh training he underwent in China. His hands and legs possessed extraordinary spring. People called him, "Higaonna of the powerful kick" because his kicks were so strong and quick. His movements were also quick as lightning.
People were surprised that one so smaU possessed such power and strength. People in Naha also called Higaonna Sensei "Kensel" meaning "sacred fists. After coming back from China, Higaonna Sensei devoted all his time and energy to the study and practice of the Sanchin kata. His mind was so occupied with the Sanchin kata that he sometimes even forgot to take his meals. Around this time. The boy's name was MiyaJti Choiun. Higaonna Kanryo Sensei taugh t his students only Unsokuho basic patterns of feet movement over and over again for the fust six months. After traininc in Unsoku-ho, Higaonna Sensei made his studen u practice only Sanchin kata - an exercise involvinr breath control and muscle lightning - for three to four years.
Higaonna Sensei's training was so seven that students would bleed from their shoulders whilr their sigh t grew dim and their hips and legs would bt on the verge of coUapse. After training, some studenu even had blood in their urine. Students were not allowed to sta rt practicing an other kata until they. At the time , Miyagi Sensei was not yet sure that he would continue to practice karate throughout his life but he already loved karate more than any thing else.
Miyagi Chojun : Training Higaonna Kanryo Sensei trained his disciples so hard and severely that even Miyagi Chojun Sensei though t more than once abou t quilling. But by the t ime Miyagi Sensei entered high school he found him self more than ever comm iued to the art of karate. For Miyagi Sensei, training was not confined to lhe dojo. He ran everyday to and from his school to develop his legs. Sometimes Miyagi Sensei went down to lhe harbor to train. There he would lie one end of his obi sash around a log and tie lhe other end around his neck. Then , in a standing position he would exercise bending forward and back erect from the trunk using the log as resistan ce thus exercising his hips , waist and legs.
At the seashore Miyagi Sensei would also practice lifting stones - some of which weighed almost one hundred kg. If a stone was too heavy he came back to the same stone everyday unt il he fi nally succeeded in lifting it. Miyagi Sensei did aU this on his own after school before he went to Higaonna Sensei's dojo in the evening. In spite of such extra condit ioning which Miyagi Sensei did, he still found the session with Higaonna Sensei severe and extremely demanding.
During the practice of Sancl1in kala , the tightening o f muscles expected by Higaonna Sensei was so difficult t ha t Miyagi Sensei would sometimes pass out during the exercise. After his evening wo rk outs, Miyugi Sensei was so worn out, he could barely make his way back home. Extremely fatigued, he had to lift his legs one by one with his hands in order to climb up the stairs to his room. Sometimes Miyalti Sensei did not even have the strength to climb up the stairs to his room and would sleep in the entrance hall until the next morning.
Even though the uaining was harsh, Miyagi Sensei had a great passion and enthusiasm for karate. He was a man of strong will. At his school, Miyagi Sensei did well in his studies. Higaonna Sensei had been studying the character of Miyagi Sensei, and was convinced that Miyagi Sensei was the person to whom he could pass on the art he had learned from his master, Ryu Ryuko. Higaonna Sensei gave Miyagi Sensei special in siruciions in the practicing of kaia.
Higaonna Sensei and Miyagi Sensei. It was about the same period of time which Higaonna Sensei spent with his Master. Ryu Ryuko in China. Higaonna Kanryo Sensei passed away in Qc. Iober of He was 63 years old. In the city of Foochow in Fukien province, Miyagi Sensei tried to find the place where Master Ryu Ryuko had had his dojo and where Higaonna Sensei had trained for th irteen years. Finally, Miyagi Sensei found the site where the dojo had once been and where Higaonna Sensei had once lived.
All that remained was the outer wall with no trace of either the dojo or Master Ryu Ryuko 's house. Miyagi Sensei came across an old ma n who had been a student of Master Ryu Ryuko. T he old man told him that during the revolutionary war almost aU of the mart ial artists Oed from Fukien province to Singapore or Malaysia to escape persecu lion.
Even after t he revolut ionary war was over though , they did not return. Miyagi Sensei gave a demonstration of his skills which impressed the old man. Tensho kata is cha racterized by soft and smooth movements as opposed to the "hard'' movements of Sonchin kata.. The movements are impressive. Miyagi Sensei developed two ot her kata. Miyagi Sensei practiced "kiat' on the seashore. He practiced shouting a powerful and spirited kiai which could be heard above the roar of the waves.
Miyagi Sensei also practiced his eye movement exer cises there. He began by looking down at the sand around his feet. Then he dropped his eyes to the surface of the sea and then back to the sand around his feet. Miyagi Sensei did all theSe motions without blinking. Sometimes Miyagi Sensei practiced Sonchin kala in the ocean in water up to his neck.
Once in Kyoto , Miyagi. Sensei practiced Sanchin kala in the snow for three days. He always tried to practice his art under severe and demanding conditions. He tried to study and practice every aspect of karate in close contac t with nature At the same time, Miyagi Sensei tried to use every opportunity in his everyday life, and surround ings. For example, when passing between two stone waUs two meters apart , he would run zigzag between the two walls hitting!
Sometimes he would throw himself on the stone pavement. When in a building. When he slept, he carefully chose his sleeping position. While he was washing his face in the morning. During the summertime, before going to bed, Miyagi Sensei practiced "lsuki" punches against a mosquito net made of hemp threads which was quite soft.
After practicing rsuki, he would put out the candle light with seiken fist. Then, he went into the mosquito net to sleep. In his bed, sometimes he would not be able to fall asleep because his muscles were so stiff and sore from the day's training. Sometimes in the morning, Miyagi Sensei would ask his wife to open a blind of the window to study whether he sensed the sound of the opening of the window first. One morning he repeatedly asked his wife to open and close the blind and she thought that he was going mad.
He also studied how to improve the five senses, and such things as sensing the enemy at his back through the skin and through an improved sense of smell. Miyagi Sensei had some interesting experiences while he was engrossed in the study and practice of the kala. During those years, one night a man appeared in his dream and told him of a kala, giving him instructions in precise details explaining the essence of the kata.
In the middle of the night after the dream Miyagi Sensei jumped out of bed and went to the dojo to follow the instructions he was given. This kind of experience happened to him more than once. What we have discussed are some examples of. Miyagi Sensei's daily training. Miyagi Chojun Sensei was thinking about his art all the time, devoting. A big ceremony was held in Okinawa in honor of the crown Prince. At the ceremony, in front of the crown prince, a performance of Naha-te and Shuri-te were given by the best martial artist of each school.
Miyagi Sense1 perfom1ed the an of Naha-te in front of the crown prince. The crown prince was much impressed by the performances and also that the martial arts should be so highly developed in such a small islancJ as Okinawa. Already at this time , Miyagi Sensei foresaw the development of karate in Japan and the world. He thought that it was important to organize and unify the world of Okinawan karate in order to preserve Okinawan karate as a cultural treasure and as an inheritance of the Okinawan people to be transmitted to succeeding generations. This club was founded by Miyagi Chojun Sensei.
These four instructors took turns and taugh t the students alternately. The training started off with preliminary warm up exercises foUowed by supplementary exercises. The preliminary and supplementary exercises helped the students build up physical strength and stamina. After these exercises. The practicing of Sanchin kata repeatedly every day helps the student develop not only physical strength. Through repeated practice, these students gradually mastered the science and methods of karate. Afier training, Miyagi Chojun Sensei often talked with his students about the spirit and essence of the martial arts.
His talks touched on many topics: topics such as mankind , aspects of everyday life. Miyagi Chojun Sensei tried to help his students not only in their karate training but in their moral developments as well. This club lasted until In , the founder of judo, Kano Jigoro Sensei, visited Okinawa for the first time at the invi tation of the association of Okinawa. At the ceremony held in honor of Kan o Sensei, Miyagi Sensei gave a demonstration of karate kala. Kano Sensei was very much impressed with Miyagi Sensei's performance. After the performance, Miyagl Sensei also.
Miyagi Sensei explained that proper breathing was important in the execution o f aU these movemen ts. Kano Sensei was deeply impressed by the advanced techniques and sophistication of karate. This was learned later from the letters which were sent by Kano Sensei to Miyagi Sensei. In at the Botokusai Tournament, in Miyagi Sensei was called upon to demonstrate the Okinawan art of karate. After his performance. Shinzato Sensei could not answer that quest ion for at tha t time there was no need to have a name for each karate style. Chinese kempo.
In April of He spen t ten months in Hawaii before retu rnins to Naha. Miyaai Sensei went back to China in He stayed in China for two months. Miyagi Sensei spent his entire life promot. MiyaJI Sensei also created another ktzttz " Tensho" which em phasizes the softness of the art , as opposed to til hardness of the Stztu;hill ktzttz. It was about this time that Goju Ryu Karatedo wu fu Uy estab lished and started to develop and spread throughout the world.
From the very beginning he recognized karate as a valuable cultural treasure of Ok inawa. He devoted his entire life to the stu dy. The 's was a tragic period in the history of karate. World War II broke out in Mtyag1 Sensei lost his third son. Shinzato J in'an Sensei, in the ba ttle. This was not a lime for karate training. Miyagi Sensei stopped teach ing karate du ring this period. In the same year. Miyagi Sensei started to teach karate in the backyard o f his home in Tsuboya-cho, where his fourth son st ill lives today.
Miyaza to Ei'ichi Sensei. After the war, Ok inawan karate spread rapidly throughou t the mainland of Japan. General Vocaburary: Jod U - punch heiko zuki parallel punch haStJmi zuki I gedan. Additionlli voubut. Foot movements suri ashi Kamae lwmae.. Bend the fingers until the tips of the fingers touch the th ird joints.
Then roll the fingers inward, like you are rolling a piece of paper until it is tightly pressed into the palm. Now, fold the thumb finnly over the fingers pressing it against the index and middle fingers. We call this fist "seiken. This area is called the ''daikento. StrJigh tc n the fin,;crs fully and ilnnly. Thl' finper tips should toudt I he base of the fingers 1ightly.
Kee p bending the fingers inwa rd rill they arc righ tly pressed int o th e pa lm. Usc the side of the hand be neath the little fin! Ho wever. Rend the fo ur fingers slightly. Keep th e hand o pe n. Attack with the part o f the pal m wh ich is closest to the wrist. The slwtl'i c a lso be used effe. Use the base of the index flnger for striking. Nukite finger thrust In nukite , form a fairly level surface with the tips of the first t hree fingers, with a slight bend in the middle finger. The fingers are kept straight. Nukitt is used to anack the solar plexu s, t he point between tht eyes, and the armpit.
Boshiken thumo 11st Form the first as on seiken , except for the thu mb. The thumb is pressed to the side of the index finger and extended. The tip of the ex ten ded thumb is used for attacking the eyes. Nihon nuklte two flllgers thrust Nihon nukite is formed with the tips of the indu and middle fingers. Stretch the index and middk fingers firmly, and grip the other three fingers firmly in the same way as selken.
Yubf hasami finger pinch Form the shape of a pinch with the thumb, index. Yubf hasami is used to pinch the nose, ear, jaw. Use the ur of the index finger for the attack. Nalazdoka-ktm middle finger knuckle fist Fonn the fist as in seiken, but let the middle joint of the middle fmger protrude. Squeeze the middle fmger t ightly with the index and ring ftnger. Then press the thumb down on the index and the middle fingers and grip fumly. Use the tip of the middle joint for attacking. This is very effective for attacking the face, throat.
Bend the fingers and thumb to form an eagle's claw. After striking , catch with the fingers, and pull. It is used to attack the top of the head, throat, collar bone area and groin. Bend the fingers at the middle joints until the tips of the fingers touch the palm. The back of the upper half of the fingers and the whole of the palm area used for the attack. Kumde is mainly used to attack an opponent's face area, chest, the side of the abdomen and the solar plexus.
Hiji uchi is one of the most effettive ann attacks. It is used to attack the face, solar plexus or the side of the abdomen. Hiji uchi is. The thumb is pressed to the tip of the index ftnger to strengthen it. The second joint of the index finger is used to auack the face area, back of the head, chest, side of t he abdomen and the poinl below the nose. Tellsui fist-hammer The bottom of the fist is used to strike.
Tettsui is used to hit the head, face, chest, abdomen, side of the abdomen or leg. Hinlken Bend the fingers at the middle join ts until the tips of the fingers touch the palm. The pa rt of the fingers between the middle joints and the frrst joints are used to attack. Koleen bent wrist Bend the hand downward to its maximum extent and touch the thumb to the middle of the fmgers.
Use the bent wrist area to attack the opponent's face area, chest, side of the abdomen and lower part of the abdomen. Koleen can be used for effective block in g. Kaikoken nat fist Bend the fingers at the middle joints until the tips of the fingers touch the palm. The joints of the fingers are used to attack.
By curling the toes upward and using the ball of the foot. It is possible to deliver kicks to t he op ponent's face area, lower part of the chin, c hest , ab domcn and the side of the abdomen. SoUco instep The ankle and toes arc stretched downward, and the top of the foot from the toes to the ankle is used. The sokko is used to attack the opponent's face, the back of the head, abdomen , side of the abdomen , groin and thigh.
We can not exdude manners in association wrth people in our society. If a society without manners existed, it would be so confused that it would be almost tmpossible to live in such a society. From olden days. Compared to o ther martial arts, karate is 3 figtlting art wh ich has very dangerous elements in its techniques. It is very easy for karate to glve an imprtnion uf being rough and vulgar or even for people to become rude, violent and vulgar in the training. To preven t this, karate has a long history of bting po lite and having respectful manners while practicing.
From olden days, karate kara were performed with a b ow to the front at the beginnina and end o f the performance. Furthermore, there is not a single leota which begins with an attack. Karate kJJta always begin with a defence. This is the spirit and philoso phy o f karate. In the world of kara te, even whe n a man is well t rained in techniques , if the man is ill mannered he cannot be considered a true man of karatedo.
The student of karate should always tell himself that he is training his heart and spirit through karate do. In this way he does not become an arrogant or prideful person , but polite and modest. SometJmes, manners become only a fo rm or ceremony without sincerity. We have to be careful. Manners should be a natural expression of respect, politeness and warm feeling toward other people. The Bow. There are two d ifferent way of bowing. One is done while standing, and the ot her in sitt ing posture.
Ritsurei standing bow I. Stand in the musubi dachi stance first. Withdraw the chin slightly. Lower the shoulders, straighten your arms ar1d hands to the side of the thighs naturally. Straighten the back, and stand in the correct posture. Stand at a comfortable distance from your part ner. Keep a straight line from the head to the hips. After bo wing. It is important to do the above motions in one breath. Ritsurei standing bow First assume musubi daclri, withdraw the chin and look straight ahead.
Straighten the back and stand in the right posture. Zarei sitting bow I. Kneel down on the left knee. Then k. The knees are separated by two fists width. Place the big toe of the right foot on the big tot of the left fool. Now sit naturally. Look straight forward. The tips of the index fingers arc slightly apart. Lean your body forward naturally. Your hands and forcam1s arc touching the fluor lightly.
Whik you arc bowing. Do the above motions in one breath. After bowing. Nvw, sit in the natunl and correct posture and look at your partner'! To stand up. Raise the righ t knee llrst. Return to the original m11subi dadti stance. It is important to bow sincerely during the train ing.
At the end of the training period. Preliminary Exercises a. Preliminary Exercises The preliminary exercises which we do 1oday were syslcmalically developed by Miyagi Chojun s,nsci. These preliminary exercises serve nol only 1o limber up 1he muscles bul also serve as a basis for pcrfecling the sludent's karate rcchniques.
Thr srudent will also lack speed and flexibility of movemenl. II is importanl to slarl with light exercises 10 warm up lhc muscles. Afler these preliminary exercises. These simple exercises help 10 unpruvc unc"s karalc ICchniques and also 10 arouse ,.
The Iauer exerdses are to build up physical slrenglh and stamina. Students should ake sure 10 exhale and inhale correcl ly while Juing each exercise. At the same time, grip the floor firmly wilh rhe big toe of bolh feet. Repeat the exercise 20 rimes. Ankle J oint Rotations Standing in the heiko dachi. Do this exercise 10 times for each ankle.
Order and Methods I. Toe Exercises Ra ise Ihe big toes of both feel as high as you ca n ,,rr rhe floM. Ar Ihe same time, grip the floor wilh rhe orher toes. Ankle Joint Stretches Standing in heiko dachi, raise Ihe inner parts of both feel off lhe floor. At the same time , press the soktuo of both feet firmly 10 the floor.
Now, reverse rhe motion. Repeat th is exercise I 0 ti mes. T his exercise ca n ulso be dune wilh the toes of th e left a nd righ t fee t in reverse motion to each o ther. This exercise is d o ne to slretc h the calf m uscles and ach illes 1cndon. Repea l the exercise 20 times.
Ankl e Rolalions Maincaining your balance. Then ro late your a nkle first one way I hen the o ther. Knee Exercises a. Standing in lreiw ku dachi, first press firmly against bo th knees witJ1 both hands. Repeat thi s exercise 10 times. From the sl3nd ing posit ion. Feet wid e apart. Breathing sho uld be coordinated so that you exhale as you stretch. Ankle and Pelvic Joint Exercises a. Keepi ng your feet firmly on the floor. Alt er nate th is exerc ise 5 times fo r each leg. Repeat tJte above exercises keeping the toes point ed forward, thereby stretching the side of the knee and pelvic joints.
Leg Raises a. Standing in heiko dachi, with the hands extending forward, keeping your legs fully extended alter nately lift them up to touch the corresponding hand. Do this exercise 10 times with each leg. Exhale as you. Standing in heiko dacJti. Be sure to brace the hand firmly, thereby allowing as linle movement as possible when the knees slam up against them. Be sure to keep your back muscles firm throughout the exercise. Do not raise the shoulders while kicking. Repeat the exercise 20 times for each knee.
Repeat the above exercises, but this time bring the knee up against the opposite hand. Concentrate on your knees and relax the ankles. Keri kicks Learning to klck correctly during the warmup will accelerate your rate of improvement. Gedan Mawaslrigeri low ruundhousc kick Raise your knee and ankle up to hip level.
Then kick. Mae geri front kick Ra ise the knee and kick fnrward groi n level. Begin by kic king slowly and then gradually increase your speed. After kicking low. At first. Yokogeri side kick Raise the knee. Assume the natural position with the hands in a ready position. Swing the arms.
Then, stretch the upper body backward, placing the hands on the buttocks. Repeat the stretching and bending exercises ten times each.. Stand with your feet wide apart. Bend th e upper body diagona lly forward from the waist. Trying to put your chest on your knee. Stre tching the Sides of tl1 e Body Bring the hands to the sides after doing tora guchi mawashi-uke. Bend the upper body to the side fro m the waist and stretch the side of Ute body.
Twisting the Upper Body First do toroguchi mawashi-uke. Bring the hands to the sides after doing toraguchi mawaslti-uke. Twist the upper body down in a spiral motion. Repeat three times. Twisting the Hips a. Assume the natural stance , straighten the hands na turJlly. Relax the entire body a nd swing the anns to the right and left. Rotating the upper body. Straighten the hands and rotate the upper body.
Bend the upper body backward as much us possible while the hands swing to the rear. Keeping the hands on the hips. Then twist the hips to the left in t he same way. Repeat the movements ten times on each side. Assume shiko dachi, with the hands on the knees. Bend and push the right shoulder forward, then the lefl shoulder.
Repeat the exercises rive times with each shoulder. Inhale as yo u raise your hips. Relax the shoulders and drop the hips. Simuha neously exhale in a short burst, saying " Jolatt. This exercise st"imulatcs th e in terna l organs through the action of the shoulder joints. Thrusting the Open Hands High Overhead a. Assume a high shiko -da. Keep o ne hand at the side and t ltc o ther hand on the thigh.
Inhale deep ly , then thrust the open hand high overhead while ex haling explosively, saying ''Halt. Bend the head backward as you thrust. Repea t the exercise ten times with each hand. Tighten the muscles of the buttocks and anus as you raise the hips and return to the original posi lion. Ready both hands at the sides. Drop the hips and thrust both open hands high over head. Exhale ex plosivcly saying 'Hat! Repea t the exercise ten t imes. Thrusting Backward with Open Hands a. Hold both open hands in front of yo ur face.
As you exhale explosively. Push the shoulder bladc:s firmly to the rear as you thru st. As you return to your original posit ion. In hale as you rise. Assume heiko-dachi with bo th fists at the sides. Thrust the right fist forward. Focus all your power in the first two knuckles at the moment the elbow is straightened. Draw the left fist to the side as you t hrust wit h the right fut. Breathe out as you punch. Th is push-up exercise imitates the movements of a cat stretching after it wakes up. This exercise helps to develop the muscles of the nec k, hips and forcanns.
It helps to build up stamina. Keep the soles of the feet firmly on the ground. Tuck you r chin in. Tighten the muscles of the back. Lower the body into the norm al push-up position , support ing the body with bene arms. Concentrate on the first two knuckles of the fi. Lift the chin , arch the neck backward and simul taneously exhale saying " Hatt. Look to the left and right.
Then look down at the n oor. Exhale when looking to the left and right. From a squatting position, kick backward in the air with both feet, concentrating on the heels. Then, relax the body and return to the squatting posit ion with your feet together. Arch the head and upper body backward and exhale strongly saying " Hatt" as the feet touch the ground. Kick diagonally t o the rear. Repeat the exercise ten times.
Draw the hips backward , straightcnin,g the arms. Then , drop the hips down to the floor quickly. Straighten the arms and arch the upper body backward , and exhale saying ''Hatt. Extend the legs and kick with the heels while moving the legs in a circular motion opposite to that of riding a bicycle. Concentrate on the heels. Gradually increase the speed of the kicks. Repeat the exercise about 50 times. Leg lifts while lying on your back on the ground. Extend one leg straight up so that the sole of the foot is facing the ceiling.
Then drop the leg to the ground, still keeping the tension in the heel. Next lift the other foot in the air in the same way. Swinging the Anns Assume heiko dachi, with the left foot slightly forward. Plac:e the left hand o n the hip. Bring the right ann to the shoulder level, holding the fist lightly clenched. Then, swing the arm forward with a circular mo tion. Gradually, increase the speed of the swing. After you reach top speed , gradually decrease the speed. Then , swing the ann bac kward in the same way. Jumps Assume a squatting position.
Bounce lightly two or three times. Then, jump as high as possible with the heels touching the thighs, and kiai shout. Repeat the exercise 20 times. Bring both arms to the le'td of the shoulders in a circular motion. Throw out the chest and inhale deeply. Drop the arms down ward. The Closiug Exercises. The closing exercises are done after the main karate training to slow down your breathing and also done to cool down the body and restore it to its.
It is important to do the closing exercises with the correct posture and in a correct manner according to your physical condition. Try to do these exerclsea slowly and rhythmical ly, concentrating on rebxing your muscles as well as all the parts of the body, thereby bringing the breath ing back to normal. Fi11ish these exercises with a few deep breaths. Be sure to do the warming up exercjses at the beginning of! Try to find the beat way of dolng the closing exercbes to suit your own physical condition. Add more exerciaes after the group exer cises if you feel it Is necessary for your body condi tlonlng.
The exer ciscs are very useful for basic training. If students undentand the principles behind each exercise and practice them methodically, these exercises wUI great ly improve their ability and body movement. It is important to do these exercises regularly for Jona period and then you will fmd your physical strenath greatly increased. These exercises can help you set out of a "slump" you mlsht have been facing for a long time. I would like to point out some things which are inportant to remember when doing supplementary exercises using training aids. Before you begin training, make sure that the equipment is in good condition.
You should talce good care of the equipment since the equipment will help you develop your abU! When you are using the equipment, make su re that you are not in someone's way since some of the equipment can be very dangerous. After trnining, be sure to store the equipment properly. If you see any equipment misplaced, put it back in its proper place. Know your physical condition weU, and design a program of exercise according to your con dition and individual need. It is very importnnt to know your own physical strength.
Choose equipment which is appro priate for you. Do not start using equipment which is too heavy foe you. Be sure to start with equipment which you can handle easUy, and then move on to the heaVier equipment when you feel comfortable with the UJ Iter ones. If you are right handed, It is important to do two or even three times as many repetitions with your left hand as with your right.
Make sure to maintain correct posture while handling the equipment. Uft the equipment from the ground with care, being sure to bend your knees. Handl1ng equipment with a bad posture could cause Injury to your back and hips. To lift the equipment, drop your hips and then rise: with the equipment firmly In hand. You should always remember that even every day things in your environment can be used as training aids to help you build up your mength.
Chlshi stone lever weight The chishi is used mainly to strengthen your grip and wrists. In addition, the exercises with the chlshi also help to strengthen the elbow. Moreover, exer clslng with the chishi develops muchimi heavy sticky hand and Intensity in your movements. Tensing the latiSSl. Repeat the exer-.
As you grasp lhc ehish l firmly , lcwt'r lhchlps. Draw the chi shi firmly to'! Drawing the nfglrl. Spread the toes and keep the soles of the feet. Uke the roots of 1 willow tree spreading underground. It also helps to buDd up a strong lower abdominal area. After spending some time doing nigirigame training, gradu ally make the nigirigame heavier by pulling sand in the jar.
co.organiccrap.com/189686.php Add more sand as your physical strength im proves. After building up some gripping power. After acquiring more gripping power. To build up gripping power for 11igirigame. Crnp t. Exha le deeply and s top.
Tense the lower part of the. Concentrate on the inside of the sole as you slide your feet over the floor. Mokiwara striking post Striking the makiwara is o ne of the most funda mental exercises of karate. You can st rike the m11ki 1vara using sciken zuki, shotei zuki. Striking the makiwara hardens the first two knuckles as well as the back and the heel of the hand. It also strengthens the wrist.