WADORYU GRADING SYLLABUS - Joen · PDF fileWADORYU GRADING SYLLABUS 5th kyu – 5th dan Joen ... The grades in the ... The Finnish Karate Federation has also issued recommendations

WADORYU GRADING SYLLABUS

5th kyu – 5th dan

Joen Mawashi ry

NAME: ________________________________

v. 1.1.2010

Joen Mawashi ry Grading syllabus 3

CONTENTS GRADINGS ......................................................................................................... 4

5th kyu (yellow) .................................................................................................... 5 4th kyu (orange) ................................................................................................... 6 3rd kyu (green)..................................................................................................... 8 2nd kyu (blue) .................................................................................................... 10 1st kyu (brown) .................................................................................................. 12

1st dan (black) ................................................................................................... 13 2nd dan .............................................................................................................. 14 3rd dan ............................................................................................................... 15 4th dan ............................................................................................................... 16 5th dan ............................................................................................................... 17

PAIR TECHNIQUES (KUMITE) ........................................................................ 18

ONE STEP SPARRING (IPPON KUMITE) ................................................... 18

OHYO KUMITE (SEMI-FREE SPARRING) ................................................... 22 KIHON KUMITE (BASIC SPARRING) ........................................................... 25

4 Grading syllabus Joen Mawashi ry

GRADINGS The progress of a karate student is measured with gradings. The purpose of the grade is also to indicate what level the instructor can expect from the student. The grades in the adults' system are white (beginner), yellow (5th kyu), orange (4th kyu), green (3rd kyu), blue (2nd kyu), brown (1st kyu). There are 8-12 different black belt levels depending on the style (1st dan, 2nd dan, 3rd dan etc.) Already a 3rd dan can be considered rare. The grades are awarded in gradings, which are organized by clubs. The Finnish Karate Federation grading system: In order to achieve the right to award grades, one must take the grading course and be awarded the grading license. Also, in order to award the yellow or orange belt, one must have at least brown belt. To award the green or blue belt, one must have at least black (1st dan) belt. At least 2nd dan black belt is required to award brown belts. The brown belt can also be awarded by the dan-committee in the same way as the dan-grades. The dan-committee is comprised of 4-6 black belts. The Finnish Karate Federation has also issued recommendations for minimum time limits between the grades. Also, many clubs have their own requirements for minimum amount of participated training sessions.

BEGINGIN-NERS’ COURSE

3 m

os.

YEL-LOW

3-4

mo

s.

OR-AN-GE

6 m

os.

GREEN

12

mo

s.

BLUE 12

mo

s.

BROWN 12

mo

s.

BLACK 1st dan

FKF time limit!

One must always carefully prepare himself for the grading. One should not attend the grading, if he is not certain about his ability. In the grading, one should do his best and per-form the techniques as powerful, fast and purely as possible. Also the mental attitude is important. Despite the fact that if there are flaws in the previously mentioned matters and therefore one does not pass the grading, he should not give up. On the contrary, it should encourage one to practice even harder. Acquiring a certain grade should not be the ultimate goal and one must not settle for it be-cause gradings and even competitions are only tests. Real budo is training.


5th kyu (yellow) TACHIKATA (stance) 1. Kiba-dachi 2. Shiko-dachi 3. Zenkutsu-dachi UKE (block) 1. Chudan soto uke, kiba-dachi 2. Chudan uchi uke, kiba-dachi KERI (kick) 1. Maegeri chudan 2. Surikomi maegeri chudan 3. Sokuto fumikomi TSUKI (punch) 1. Junzuki 2. Gyakuzuki RENRAKU WAZA (combination technique) 1. Junzuki jodan – gyakuzuki chudan 2. Surikomi maegeri chudan – gyakuzuki chudan IPPON KUMITE Chudan uke ipponme, nihonme (No. 1 – 2) KATA Pinan Nidan UKEMI (rolling / breakfall technique) 1. Rolling ukemi forwards, from half-kneeling stance 2. Backwards breakfall, from standing position 3. Sideways breakfall, from standing position GOSHIN JUTSU (self-defence technique) 1. Break free from one hand grip from the wrist 2. Break free from strangulation

The grading is done after a 3-month begin-ner’s course. The typical characteristics can be seen in the techniques, there are not too many mis-takes, training is active and the person has a good attitude.


4th kyu (orange) TACHIKATA 1. Mahanmi no nekoashi-dachi 2. Mashomen no nekoashi-dachi 3. Hanmigamae UKE 1. Chudan soto uke, kiba-dachi 2. Chudan uchi uke, kiba-dachi 3. Jodan uke, kiba-dachi 4. Gedan barai, kiba-dachi KERI 1. Maegeri chudan 2. Mawashigeri chudan 3. Surikomi sokuto chudan TSUKI 1. Junzuki no tsukkomi 2. Gyakuzuki no tsukkomi RENRAKU WAZA 1. Mawashigeri chudan – gyakuzuki chudan 2. Maegeri chudan – sokuto fumikomi – gyakuzuki jodan IPPON KUMITE Chudan uke ipponme, nihonme (No. 1 – 2) Jodan uke ipponme, nihonme, (No. 1 – 2) Chudan maegeri uke ipponme, nihonme, sanbonme (No.1 – 3) KATA Pinan Shodan, Pinan Nidan UKEMI 1. Rolling ukemi forwards, from standing position 2. Rolling ukemi backwards, from half-kneeling position GOSHIN JUTSU 1. Break free from one hand grip from the wrist and perform a joint lock 2. Break free from strangulation and perform a joint lock

At least about 3-4 months since the previ-ous grading. Stances are correct and precise, technique can be almost correct and one has a cor-

rect attitude.


4th kyu (orange) Attended training sessions, gray squares = minimum


3rd kyu (green) TACHIKATA 1. Gyakunekoashi-dachi 2. Kokutsu-dachi 3. Shizentai-dachi UKE From the fighting stance, stepping back and aside from the attack line 1. Chudan soto uke 2. Chudan uchi uke 3. Jodan uke 4. Gedan barai KERI 1. Surikomi mawashigeri jodan 2. Sokuto chudan 3. Ushirogeri hiza TSUKI 1. Kette junzuki 2. Kette gyakuzuki 3. Tobikomizuki, shizentai-dachi RENRAKU WAZA 1. Gyakuzuki jodan – soto uke chudan – mawashigeri jodan 2. Gedan barai – gyakuzuki jodan – surikomi sokuto chudan 3. Mawashigeri chudan – ushirogeri hiza – gyakuzuki chudan IPPON KUMITE Chudan uke ipponme, nihonme (No.1 – 2) Jodan uke ipponme, nihonme, sanbonme, yohonme (No.1 – 4) Chudan maegeri uke ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme (No.1 – 6) OHYO KUMITE Ipponme, nihonme (No.1 – 2) KATA Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan UKEMI 1. Rolling ukemi forwards, from a standing position, finishing with a breakfall 2. Rolling ukemi backwards, from a standing position GOSHIN JUTSU 1. (See previous no. 1) + control the opponent 2. (See previous no. 2) + control the opponent JI YU KUMITE

At least 6 months since the previous grad-ing. One meets the previous requirements. One can also perform techniques fast, keeps the guard up, the combinations are smooth and one pays attention to own safe-ty while performing the techniques. Excitement does not cause too many mis-takes. Also, a correct attitude must be seen while training and one must not give up.


3rd kyu (green) WORKING AS AN ASSISTANT INSTRUCTOR

NO GROUP DATE INSTRUCTOR’S SIGNATURE

1.

2.

3.

4.

5.

- contact the instructor of the group where you want to assist, contact information can

be found from the website of the club - after the session, ask the instructor to fill out this form - work as an assistant instructor at least five (5) times - bring the filled out form to the grading and show it when asked

Working as an assistant instructor includes continuous adjusting of the techniques and sometimes taking care of the warming up and stretching. Plan this with the instructor in advance. Standing idly during the session does not count as assisting and therefore you will not get a signature. Attended training sessions, gray squares = minimum


2nd kyu (blue) UKE 1. Uchi uke – gyakuzuki 2. Gedan barai – gyakuzuki 3. Shuto uke – gyakuzuki KERI 1. Surikomi sokuto chudan 2. Ushirogeri chudan 3. Uramawashigeri chudan TSUKI 1. Kette junzuki no tsukkomi 2. Kette gyakuzuki no tsukkomi 3. Nagashizuki, shizentai-dachi 4. Uraken, shizentai-dachi RENRAKU WAZA 1. Gedan barai – mawashigeri jodan – gyakuzuki chudan 2. Surikomi sokuto chudan – ushirogeri chudan – uraken jodan 3. Gyakuzuki jodan – surikomi mawashigeri jodan – soto uke chudan – tobikomizuki jodan

– gyakuzuki chudan IPPON KUMITE Chudan uke ipponme, nihonme (No.1 – 2) Jodan uke ipponme, nihonme, sanbonme, yohonme (No.1 – 4) Chudan maegeri uke ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, (No.1 – 6) OHYO KUMITE Ipponme, nihonme, sanbonme, yohonme (No.1 – 4) KATA Pinan Godan, Naihanchi, Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan GOSHIN JUTSU 1. Defending against a hook punch towards the head 2. Defending against a mawashigeri JI YU KUMITE

At least 12 months since the previous grad-ing. At this point training is to be done on one’s own initiative to improve oneself. One meets the previous requirements. Al-so, one must be able to generate power correctly in the techniques. Pairwork must be controlled and behavior both in and outside the dojo is exemplary.


2nd kyu (blue) WORKING AS AN INSTRUCTOR AND TRAINING

NO GROUP DATE INSTRUCTOR’S SIGNATURE

1.

2.

3.

4.

5.

Training

- agree on the instruction in the instructor meetings - after the session, ask the instructor to fill out this form - work as an assistant instructor at least five (5) times and participate at least in one

instructor training course (information about upcoming courses is published at the website of the club)

- bring the filled out form to the grading and show it when asked Attended training sessions, gray squares = minimum


1st kyu (brown) UKE From hanmigamae dachi, stepping back and aside from the attack line 1. Chudan soto uke – gyakuzuki 2. Chudan uchi uke – gyakuzuki 3. Jodan uke – gyakuzuki 4. Gedan barai – gyakuzuki 5. Shuto uke – gyakuzuki KERI 1. Maegeri chudan 2. Sokuto chudan 3. Mawashigeri chudan 4. Uramawashigeri chudan TSUKI 1. Junzuki jodan 2. Gyakuzuki jodan 3. Tobikomizuki, hanmigamae-dachi 4. Nagashizuki, hanmigamae-dachi 5. Uraken, hanmigamae-dachi RENRAKU WAZA 1. Mawashigeri jodan – ushirogeri chudan – gyakuzuki chudan – nagashizuki jodan 2. Junzuki jodan – gyakuzuki chudan – gedan barai – surikomi uramawashigeri jodan –

gyakuzuki chudan 3. Uraken jodan – gyakuzuki chudan – uchi uke chudan – mawashigeri jodan – gyakuzuki

chudan OHYO KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme (No.1 – 8) KIHON KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme (No.1 – 5) KATA Kushanku, Naihanchi, Pinan Godan, Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan. JI YU KUMITE

At least 12 months since the previous grad-ing. Active participation in training camps and working as an instructor is required. One meets the previous requirements and the techniques should be automatic and precise. “Maturity” and ”preciseness” should be seen in the techniques.


1st dan (black) UKE From hanmigamae dachi, stepping aside from the attack line 1. Chudan soto uke – gyakuzuki 2. Chudan uchi uke – gyakuzuki 3. Jodan uke – gyakuzuki 4. Gedan barai – gyakuzuki 5. Chudan shuto uke – gyakuzuki KERI 1. Mawashigeri jodan 2. Ushirogeri chudan 3. Uramawashigeri jodan 4. Kakatogeri jodan 5. Ushiromawashigeri jodan TSUKI 1. Haito uchi 2. Shuto uchi 3. Tobikomizuki 4. Nagashizuki 5. Uraken RENRAKU WAZA 1. Mawashigeri jodan – ushiromawashigeri jodan – gyakuzuki chudan 2. Junzuki jodan – gyakuzuki chudan – soto uke chudan – kakatogeri jodan – gyakuzuki

chudan 3. Gyakuzuki chudan – surikomi mawashigeri jodan – uchi uke chudan – gyakuzuki

chudan – nagashizuki jodan OHYO KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme (No.1 – 8) KIHON KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme kyuhonme, jupponme (No.1 – 10) KATA Seishan, Chinto, Kushanku, Pinan Godan, Naihanchi, Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan JI YU KUMITE

At least 12 months since the previous grad-ing. One is expected to participate in training camps regularly. One is expected to work as an instructor at his own dojo. One meets the previous requirements, the techniques are controlled perfectly and one shows calmness of the mind even during

the grading.


2nd dan UKE From hanmigamae dachi, stepping aside from the attack line 1. Gedan barai – gyakuzuki 2. Jodan shuto uke – gyakuzuki 3. Teisho gedan barai – gyakuzuki 4. Hizageri uke – gyakuzuki 5. Morote uke – tobikomizuki KERI 1. Ushirogeri chudan 2. Surikomi uramawashigeri jodan 3. Kakatogeri jodan 4. Ushiromawashigeri jodan 5. Tobimaegeri jodan TSUKI 1. Nagashizuki – gyakuzuki, hanmigamae-dachi 2. Haito uchi – gyakuzuki, hanmigamae-dachi 3. Shuto uchi – gyakuzuki, hanmigamae-dachi 4. Uraken – gyakuzuki, hanmigamae-dachi 5. Kaitten tetsui – gyakuzuki, hanmigamae-dachi RENRAKU WAZA 1. Gyakuzuki chudan – shuto soto uke chudan – mawashigeri jodan

– ushiromawashigeri jodan. 2. Junzuki jodan – gyakuzuki chudan – uchi uke jodan – surikomi sokuto chudan

– gyakuzuki jodan 3. Uchi uke chudan – tobikomizuki jodan – surikomi uramawashigeri jodan

– gedan barai – kakatogeri jodan OHYO KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme (No.1 – 8) KIHON KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme kyuhonme, jupponme (No.1 – 10) KATA Seishan, Chinto, Kushanku, Pinan Godan, Naihanchi, Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan + two (2) elected katas from the following: Jion, Jitte, Rohai, Bassai, Niseishi, Wanshu JI YU KUMITE


3rd dan UKE Performed with a partner. Counter attack freely 1. Gedan barai 2. Jiju uke 3. Shuto uke 4. Morote uke 5. Hizageri uke 6. Jodan uke KERI 1. Surikomi mawashigeri jodan 2. Uramawashigeri jodan 3. Kakatogeri jodan 4. Ushiromawashigeri jodan 5. Tobimaegeri jodan TSUKI 1. Tobikomizuki – gyakuzuki 2. Gyakuzuki – nagashizuki 3. Haito uchi – gyakuzuki 4. Empi uchi – gyakuzuki 5. Kaitten tetsui – gyakuzuki RENRAKU WAZA 1. Gyakuzuki chudan – surikomi uramawashigeri jodan – gedan barai – gyakuzuki chudan 2. Mawashigeri jodan – kaitten tetsui jodan – gyakuzuki chudan 3. Surikomi mawashigeri jodan – uchi uke chudan – uraken jodan – surikomi ashibarai –

gyakuzuki chudan 4. Tobikomizuki jodan – gyakuzuki chudan – mawashigeri jodan – shuto soto uke chudan

– kakatogeri jodan OHYO KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme (No.1 – 8) KIHON KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme kyuhonme, jupponme (No.1 – 10) KATA Seishan, Chinto, Kushanku, Pinan Godan, Naihanchi, Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan + three (3) elected katas from the following: Jion, Jitte, Rohai, Bassai, Niseishi, Wanshu JI YU KUMITE


4th dan KIHON All the previous techniques OHYO KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme (No.1 – 8) KIHON KUMITE No. 1 – 10 (Ipponme – jupponme) KATA Seishan, Chinto, Kushanku, Pinan Godan, Naihanchi, Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan + four (4) elected katas from the following: Jion, Jitte, Rohai, Bassai, Niseishi, Wanshu One elected kata performed with one or multiple attackers. Pinan Nidan Pinan Shodan Pinan Sandan Pinan Yodan Pinan Godan Naihanchi JI YU KUMITE


5th dan KIHON All the previous techniques OHYO KUMITE Ipponme, nihonme, sanbonme, yohonme, gohonme, ropponme, nanahonme, happonme (No.1 – 8) KIHON KUMITE No. 1 – 10 (Ipponme – jupponme) KATA Seishan, Chinto, Kushanku, Pinan Godan, Naihanchi, Pinan Sandan, Pinan Yodan, Pinan Shodan, Pinan Nidan + five (5) elected katas from the following: Jion, Jitte, Rohai, Bassai, Niseishi, Wanshu One elected kata from the above list performed with one or multiple attackers.


PAIR TECHNIQUES (KUMITE) The aim of practicing the pair techniques is to - develop the perception of distance (ma-ai) and to learn to perform the techniques from an optimal dis-

tance - learn to attack efficiently - learn timing (body movement and technique are simultaneous) - develop balance - help to apply the correct body movements learned in kihon with a partner. ONE STEP SPARRING (IPPON KUMITE) The aim of Ippon Kumite -training is to - learn to focus the attacks to correct target - learn to use real and efficient way of attacking - to perform technically correct and as fast as possible - to develop the reaction ability and situation control of the defender in such a way that the defender moves

after the attacker, even though the attacks are prearranged - learn to move the body away from the attacking line while blocking and to learn to perform the counter

attack from an optimal distance (the principle of minimum dodging) immediately after dodging and block-ing

Ippon Kumite -techniques are the fundamentals of pairworking. Both parties must pay attention to correct distance, timing, correct stances and technical perfection. Ippon Kumite -techniques start from the attention stance from which both parties prepare theirselves by tak-ing the yoi-stance from the attacker’s initiative. In chudan uke and jodan uke techniques, the attacker moves to a left forward stance (junzuki hidari gamae) while the defender stays in yoi-stance. In maegeri uke, the attacker moves to a left fighting stance (hidari hanmi gamae) and the defender moves from the attacker’s initiative to either left or right fighting stance (hanmi gamae) depending on which side the defending is to be performed. After the performance, both parties slide or step back to a right fighting stance from which both return to at-tention stance at the same time by pulling the front foot and then return to the starting place and take the yoi-stance. Chudan uke no. 1-2 Soto-uke A: Junzuki chudan

D: One moves away from the attacking line with a short slide to the back-left while keeping the body still facing the attacker. At the same time one performs a right soto-uke block. Immedi-ately after the block, one grabs the attacker’s right wrist, unbalances him by pulling from the wrist and performs a maegeri chudan with the front (right) foot. One continues the counter at-tack by performing a left chudan gyakuzuki while returning the right foot on to the ground.

Uchi-uke A: Junzuki chudan

D: One moves away from the attacking line to the right side of the punch (as seen from the defenders view) into a shiko-dachi stance without moving the right foot. At the same time one performs a right uchi-uke block directed along the attackers arm. One counter attacks imme-diately after the block by performing a right chudan yoko empi while sliding towards the at-tacker in the shiko-dachi stance. (Dodging the attack should be done straight backwards and the turning of the body to the left into shiko-dachi should be done at late as possible.)


Jodan uke 1-4 Jodan uke ipponme (no.1) A: Junzuki jodan

D: One moves away from the attacking line to the right side of the punch (as seen from the defenders view) into a shiko-dachi stance without moving the right foot. At the same time one performs a left haishu-uke (back of the hand) block directed along the attackers arm and a right kagizuki targeted towards the attacker’s chin. One continues the counter attack by mov-ing into a right zenkutsu-dachi and at the same time performing a left elbow strike, chudan mae empi. (Dodging the attack should be done straight backwards and the turning of the body to the left into shiko-dachi together with the block and punch should be done at late as possible.) Jodan uke nihonme (no.2) A: Junzuki jodan D: One moves away from the attacking line to the right side of the punch (as seen from the defenders view) into a shiko-dachi stance without moving the left foot. At the same time one performs a block with the outside part of the left arm while punching with the left fist targeted towards the attacker’s chin. One continues the counter attack by moving into a left zenkutsu-dachi towards the attacker, grabbing his collar with both hands, pulling him strongly and per-forming a right knee kick, hizageri chudan to the stomach. (Dodging the attack should be done by turning the body to the right into shiko-dachi together with the block/punch should be done at late as possible.) Jodan uke sanbonme (no.3) A: Junzuki jodan D: One moves away from the attacking line to the left side of the punch (as seen from the de-fenders view) into a tsukkomi stance without moving the left foot. At the same time one per-forms a left nagashizuki jodan. One immediately continues the counter attack by performing a right roundhouse kick, mawashigeri chudan; the foot is returned to the behind after the kick. (After dodging, the punch should be performed from a balanced position. While pulling back the right mawashigeri, it must protect the body by passing in front of it.) Jodan uke yonhonme (no.4) A: Junzuki jodan D: One moves away from the attacking line to down and to the left side of the punch (as seen from the defenders view) into a left kokutsu-dachi stance. At the same time one performs a left elbow block, empi uke diagonally to the up/right. One continues the counter attack imme-diately after blocking by moving into a left shiko-dachi and at the same time performing a left uraken chudan. One finishes the series by moving into a left zenkutsu-dachi and perfoming a right haitozuki chudan at the same time. (Dodging the attack and blocking should be performed sharply and timed together with the empi uke. The defender should especially pay attention to correct kokutsu-dachi, shiko dachi and zenkutsu-dachi stances, so that the optimal distance to the attacker remains).


Maegeri uke 1-6 Maegeri uke ipponme (no.1) A: Hidari hanmi gamae maegeri chudan D: Hidari hanmi gamae

One moves away from the attacking line to the left side of the kick (as seen from the defend-ers view). At the same time one performs a left teisho gedan barai block. The block is directed along the attacker’s leg in a sweeping motion. One immediately continues the counter attack by performing a right gyakuzuki chudan. During the gyakuzuki, one protects himself by hold-ing the side of the left hand (shuto!) against the attacker’s right forearm. (The dodging should be empasized more that the blocking. The dodging movement should be performed by using the hips.) Maegeri uke nihonme (no.2) A: Hidari hanmi gamae maegeri chudan D: Migi hanmi gamae One steps back and moves away from the attacking line to the left side of the kick (as seen from the defenders view) and performs a left teisho gedan barai block. The block is directed along the attacker’s leg in a sweeping motion. One immediately continues the counter attack by performing a right gyakuzuki chudan. During the gyakuzuki, one protects himself by hold-ing the side of the left hand (shuto!) against the attacker’s right forearm. (The dodging should be empasized more that the blocking. The dodging movement should be performed by using the hips.) Maegeri uke sanbonme (no.3) A: Hidari hanmi gamae surikomi maegeri chudan D: Hidari hanmi gamae One steps back and moves away from the attacking line to the right side of the kick (as seen from the defenders view) into a right fighting stance and performs a right teisho gedan barai block. The block is directed along the attacker’s leg in a sweeping motion. One immediately continues the counter attack by performing a left gyakuzuki chudan. During the gyakuzuki, one protects himself by holding the side of the right hand (shuto!) against the attacker’s left forearm. (The dodging should be empasized more that the blocking. The dodging movement should be performed by using the hips.)


Maegeri uke yohonme (no.4) A: Hidari hanmi gamae maegeri chudan D: Hidari hanmi gamae As the attack is coming, one slides slightly to the left and towards the kick. At the same time one stops the kick in halfway by pressing on the knee with the left arm while performing a right gyakuzuki chudan. (The idea is to perform the counter attack in such a way that the hand techniques are simulta-neous and timed before the attacker’s knee rises to chudan level.) Maegeri uke gohonme (no.5) A: Hidari hanmi gamae maegeri chudan D: Migi hanmi gamae One moves away from the attacking line to the left side of the kick (as seen from the defend-ers view). At the same time one performs a right gedan barai block. One immediately contin-ues the counter attack by performing a left gyakuzuki chudan. During the gyakuzuki, one pro-tects himself by holding the side of the right hand (shuto!) against the attacker’s right forearm. (The dodging and blocking should be done according to the vertical axis principle while keep-ing a correct distance to the attacker in order to succeed in the counter attack.) Maegeri uke ropponme (no.6) A: Hidari hanmi gamae surikomi maegeri chudan D: Hidari hanmi gamae One moves away from the attacking line to the right side of the kick (as seen from the defend-ers view). At the same time one performs a left gedan barai block. One immediately contin-ues the counter attack by performing a right gyakuzuki chudan. During the gyakuzuki, one protects himself by holding the side of the left hand (shuto!) against the attacker’s left forearm. (The dodging and blocking should be done according to the vertical axis principle while keep-ing a correct distance to the attacker in order to succeed in the counter attack.)


OHYO KUMITE (SEMI-FREE SPARRING) Ohyo Kumite is practiced to learn techniques which can be applied in free fighting. Controlling the correct distance and the defender’s moving are essential in Ohyo Kumite. Since the attacking targets, directions and way of attacking are prearranged, the defender must not move before the attack starts. The defender must be ready to counter attack immediately after blocking. The aim of practicing Ohyo Kumite is to master similar techniques used even in free fighting. It is important to control the balance and weight shifting and to utilize the whole body. Other important things to consider while practicing Ohyo Kumite: - the attacking must always be performed with a battle spirit even though the outcome of the technique is

known. - one must always be aware of the situation so one must keep a sharp eye on the opponent until the end

(zanshin). In Ohyo Kumite techniques, from the attacker’s initiative, both parties move to fighting stance straight from the attention stance. Ohyo Kumite 1-8 Ohyo Kumite ipponme (no.1) A: Hidari hanmi gamae

Junzuki jodan, gyakuzuki chudan, while pulling back the gyakuzuki, the attacker must move away from the attacking line followed by a left ashibarai and right gyakuzuki chudan. D: Hidari hanmi gamae When the first attack (junzuki) is coming, the defender steps back and blocks the punch with a left shuto uchi uke directed along the attacker’s arm in a sweeping motion. (During the first part of the attack, junzuki-gyakuzuki, one tries to shift the opponent’s weight on to the hind leg in order to make the ashibarai-gyakuzuki part easier). Ohyo Kumite nihonme (no.2) A: Migi hanmi gamae Gyakuzuki jodan on the spot, right surikomi ashibarai and left gyakuzuki chudan. D: Hidari hanmi gamae When the first attack is coming, the defender blocks the punch on the spot with left shuto uchi uke directed along the attacker’s arm in a sweeping motion. (During the first attack, one tries to shift the opponent’s weight on to the hind leg in order to make the surikomi ashibarai-gyakuzuki part easier.)


Ohyo Kumite sanbonme (no.3) A: Hidari hanmi gamae Junzuki jodan - gyakuzuki chudan. When the defender’s counter attack is coming, one slides under the tobikomizuki towards the opponent and takes him down by lifting up with the left hand from the opponent’s left ham and directing with the right arm. Immediately after the takedown, one performs a right uraken jodan from a kneeling position. D: Migi hanmi gamae When the first attack is coming, the defender steps back and blocks the punch with left shuto uchi uke directed along the attacker’s arm in a sweeping motion. One also blocks the other at-tack (gyakuzuki) with the left hand on the spot. One counter attacks with a left tobikomizuki jodan. (During the first part of the attack, junzuki-gyakuzuki, one tries to shift the opponent’s weight on to the hind leg. After moving the weight, the defender must jump forward while counter at-tacking. The attacker must move in close to the defender during the counter attack in such a way that the takedown can be performed as close to the opponent as possible.) Ohyo Kumite yohonme (no.4) A: Migi hanmi gamae One steps forward and performs a right uraken jodan. While pulling back the right hand, one grabs the opponent’s arm with the left hand and performs a right gyakuzuki chudan. One con-tinues by grabbing over the opponents neck with the right hand, unbalances him by pulling downwards and performing a right hizageri chudan. After the kick, one pushes the opponent downwards and performs a right otoshi empi towards the neck (be careful!). D: Migi hanmi gamae One blocks the attacker’s uraken with a right empiuke block. (During the second part of the attack, the attacker must keep his center of gravity low while performing the knee kick and cover his lower part of the body with the front leg while perform-ing the otoshi empi.) Ohyo Kumite Gohonme (no.5) A: Hidari hanmi gamae Step forward gyakuzuki chudan, surikomi maegeri chudan. D: Hidari hanmi gamae One blocks the gyakuzuki with a right uchi uke directed along the attacker’s arm while step-ping backwards. One blocks the surikomi maegeri by stepping again backwards and moving away from the attacking line to the left side of the kick (as seen from the defenders view) into a left fighting stance and performs a left teisho gedan barai block. One immediately counter attacks with a right haitozuki chudan followed by a right uraken jodan. One continues the counter attack by grabbing the opponent's right shoulder with the left hand and at the same time drops down on the right knee while unbalancing the opponent. One takes down the op-ponent by rotating to the left, moving the left knee out of the way and lifting up from the oppo-nent’s right ham with the right hand; the right hand then continues as a shuto to the oppo-nent’s face.


Ohyo Kumite ropponme (no.6) A: Hidari hanmi gamae Surikomi maegeri chudan, gyakuzuki jodan, surikomi ashibarai, mawashigeri jodan. One starts the attack by drawing the opponent’s attention to chudan level, from where one tries to shift the opponent’s weight on to the hind leg with a long right jodan gyakuzuki. At the same time while pulling back the right fist, one sweeps the opponent’s right leg with the left foot to unbalance him. One immediately continues the attack with a right jodan mawashigeri. D: Hidari hanmi gamae One evades the first attack (surikomi maegeri chudan) simply by stepping back; one blocks the other attack (gyakuzuki jodan) with a right shuto uchi uke directed along the attacker’s arm in a sweeping motion. Ohyo Kumite nanahonme (no.7) A: Hidari hanmi gamae One performs two consecutive jodan tobikomizukis. When the opponent comes with his coun-ter attack (maegeri chudan), one moves away from the attacking line to the left side of the kick (as seen from the defenders view). At the same time one performs a left teisho gedan barai block. The block is directed along the attacker’s leg in a sweeping motion. One immediately continues the counter attack by performing a right gyakuzuki chudan (cp. maegeri uke ippon-me). Immediately after pulling back the gyakuzuki, one jumps behind the opponent and takes him down by pulling with the right hand from the opponent’s right shoulder and by pressing at the same time with the inner edge of the right foot on the opponent’s right ham. One follows the opponent during the takedown and immediately performs a left gyakuzuki jo-dan. D: Hidari hanmi gamae One blocks both tobikomizukis by performing two right jodan shuto uchi ukes directed along the attacker’s arm in a sweeping motion while sliding backwards in order to maintain the dis-tance. As a counter attack one immediately performs a right maegeri chudan. Ohyo Kumite happonme (no.8) A: Migi hanmi gamae One performs a right surikomi ashibarai, followed by a left ashibarai and a right ushirogeri chudan. While returning the ushirogeri, one turns towards the opponent, pushes his front arm away to the right with the right arm and unbalances him by using the right knee and performs a left gykuzuki chudan. D: Hidari hanmi gamae One dodges each foot sweep by stepping back.


KIHON KUMITE (BASIC SPARRING) Kihon Kumite techniques incorporate moving away from the attacking line and performing simultaneous block and counter attack which is typical for the Wadoryu style of karate. The aim of practicing Kihon Kumite is to learn to use correct distance. One also tries to develop efficient and balanced way of performing tech-niques and movement without wasting energy on excess movements and tension. When Kihon Kumite training starts, both parties bow just as in the other pair techniques, from which the train-ing intensity is strong all the way to the finishing bows. During the whole performance, both parties must be aware of the situation and of the opponent (zanshin). After the starting bows, the attacker moves forward and takes either a right or a left tate seishan dachi and the defender moves backwards in the same way into a right tate seishan dachi from the attacker’s initiative. The starting distance in Kihon Kumite techniques is adequate when by straightening the arm one cannot reach to grab or to perform a technique on the opponent without moving. However, the distance must be the kind of from where one can reach the opponent by moving forward. Kihon Kumite 1-10 Kihon Kumite ipponme (no.1) A: Migi tate seishan dachi Tobikomizuki jodan, gyakuzuki chudan D: Migi tate seishan dachi

One blocks the tobikomizuki by shifting the body away to the left from the attacking line and by performing a right nagashi soto uke. When the opponent comes with the gyakuzuki, one dodges the punch by rotating the body along the vertical axis and blocks the punch by drop-ping and guiding with the right arm in a relaxed manner. The counter attack is performed at the same time with the blocking action by performing a left hook punch to chudan level. One should keep the center of gravity in the middle during the counter attack. Kihon Kumite nihonme (no.2) A: Migi tate seishan dachi Tobikomizuki jodan, surikomi sokuto chudan D: Migi tate seishan dachi One blocks the tobikomizuki by shifting the body away to the left from the attacking line and by performing a right nagashi soto uke. When the opponent comes with the surikomi sokuto chudan, one dodges the kick by shifting the body further to the left and blocks the kick by dropping and guiding with a right gedan barai. One dodges the kick in such a way that after shifting the body to the left, one is almost facing away from the opponent. One counter attacks by moving the right foot near the opponent’s right foot and unbalances him with the right knee while turning the body towards him. At the same time one performs a right haito and a left shuto to the opponent’s back.


Kihon Kumite sanbonme (no.3) A: Migi tate seishan dachi Tobikomizuki jodan, followed by turning towards the opponent and adjusting the distance and finished with a left maegeri chudan. D: One blocks the tobikomizuki by shifting the body away to the left from the attacking line and by performing a right nagashi soto uke. When the opponent comes with the maegeri, one times his movement and enters with the body before the knee of the opponent’s kicking leg rises to chudan level while at the same time blocking the kick by hitting the inside of the knee with the left fist and performing a right hook punch to chudan level in zenkutsu dachi. Kihon Kumite yohonme (no.4) A: Hidari tate seishan dachi Tobikomizuki jodan, gyakuzuki jodan D: One blocks the tobikomizuki by shifting the body away to the left from the attacking line and by performing a right nagashi soto uke. When the opponent comes with the gyakuzuki, one dodges the punch by rotating the body along the vertical axis and blocks the punch by per-forming a left shuto uchi uke directed along the opponent’s arm in a sweeping motion. After the dodging, one’s weight should be mostly on the left foot. One immediately moves in closer and counter attacks by performing a right hook punch to the opponent’s right side in a zenkutsu dachi; at the same time one presses the opponent’s right arm with the left hand in order to make the counter attack easier. Kihon Kumite gohonme (no.5) A: Hidari tate seishan dachi Tobikomizuki jodan, gyakuzuki chudan D: One blocks the tobikomizuki by shifting the body away to the left from the attacking line and by performing a right nagashi soto uke. When the opponent comes with the gyakuzuki, one shifts the body slightly backwards and turns the body towards the opponent. At the same time one performs a block by dropping the right arm on the opponent’s arm from above. After the block, one grabs the opponent’s right wrist with the left hand and performs a right haito di-rected to the opponent’s nose. One continues the counter attack by performing a right chudan yoko empi in a shiko dachi, followed by grabbing the opponent’s wrist also with the other hand,followed by taking him down by turning the body to the left and performing a joint lock on the opponent’s wrist and arm. One presses the opponent’s right elbow/arm with the right knee and performs a right jodan shuto uchi. Kihon Kumite ropponme (no.6) A: Hidari tate seishan dachi Tobikomizuki jodan, surikomi sokuto chudan, gyakuzuki jodan D: Migi tate seishan dachi One blocks the tobikomizuki by shifting the body away to the left from the attacking line and by performing a right nagashi soto uke. When the opponent comes with the surikomi sokuto chudan, one dodges the kick by shifting the body further to the left and blocks the kick by dropping and guiding with a right gedan barai. One dodges the kick in such a way that after shifting the body to the left, one is almost facing away from the opponent. When the opponent comes with the gyakuzuki, one dodges the punch by rotating the body along the vertical axis and blocks the punch by guiding with the backside of the right hand. The counter attack is per-formed at the same time with the blocking action by performing a left ippon-ken punch to the opponent’s right armpit.


Kihon Kumite nanahonme (no.7) A: Hidari tate seishan dachi Tobikomizuki jodan, followed by adjusting the distance and finished with a left maegeri jodan. D: Migi tate seishan dachi One blocks the tobikomizuki by shifting the body away to the left from the attacking line and by performing a right nagashi soto uke. When the opponent comes with the maegeri, one en-ters with the body and dodges the kick. At the same time one blocks the kick by dropping and guiding with the left arm between the body and the opponent’s leg and stops him by perform-ing a right shuto on his collar bone. Kihon Kumite happonme (no.8) A: Migi tate seishan dachi Tobikomizuki jodan (breast level), gyakuzuki jodan. D: Migi tate seishan dachi One blocks the tobikomizuki by shifting the body away to the right from the attacking line and by performing a right nagashi uchi uke. When the opponent comes with the gyakuzuki, one sinks down into a low shiko dachi while performing a right empi uke directed upwards. At the same time one shifts his weight slightly more on the left foot. One counter attacks by perform-ing a right ippon-ken to the opponent’s right hip joint followed by a right yoko empi chudan while moving closer and unbalancing him with the right knee. After the counter attack and right before leaving the opponent, one immobilizes the opponent’s right arm by pressing on the arm with the edges of both hands. Kihon Kumite kyuhonme (no.9) A: Migi tate seishan dachi Tobikomizuki jodan (breast level), gyakuzuki chudan D: Migi tate seishan dachi One blocks the tobikomizuki by shifting the body away to the right from the attacking line and by performing a right nagashi uchi uke. When the opponent comes with the gyakuzuki, one dodges the punch by rotating the body along the vertical axis and blocks the punch by guiding along the opponent’s arm with the backside of the right hand. The counter attack is performed at the same time with the blocking action by performing a left hook punch to the opponent’s chest. Kihon Kumite jupponme (no.10) A: Migi tate seishan dachi Tobikomizuki jodan, gyakuzuki jodan D: Migi tate seishan dachi One blocks the tobikomizuki by shifting the body away to the right from the attacking line and by performing a right nagashi shuto uchi uke.When the opponent comes with the gyakuzuki, one enters with the body and performs a right nagashi soto uke at the same time. One contin-ues the counter attack by grabbing the opponent’s jacket near the left shoulder with the right hand while striking with the right elbow at the same time. One then performs a left haito tar-geted towards the groin. One prepares to throw the opponent by stepping forward and across with the left foot and turning the body so that it’s facing away from the opponent while still holding with the right hand. One then performs the throw by sinking down on to the left knee, pulling with the right hand and lifting up from the opponent’s left leg with the left hand. During the throw, one moves the body slightly backwards and then releases both grips.


NOTES

WADORYU GRADING SYLLABUS - Joen · PDF fileWADORYU GRADING SYLLABUS 5th kyu – 5th dan Joen ... The grades in the ... The Finnish Karate Federation has also issued recommendations

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