Pigeon-toed Stance I slIlZchin dachi

'Cond\eosmg ,ower
To achievethis ~n I!I cSI:a:tiomuy pcsiltion is more difti(:utit The pig:oo'EI.~ wed stance, slll~chi" cadd. is 3. iitatiOOMjl' S-tlllmrlcefor practicin,g basjc;

rf 'Youste'w!~Lle p~bi~g,

you

1'1I9'W r'flUy

crea!l:eAlf.ltnlerl![Mfliland

power ..

you rooted, and and ~egiS.'I'!hdi:; COlccntratio,1l of energy :0101 ,o.nJ:y increases ,urWet btl.teMetics balallce. By fordng you Mk:eep yom feel ill pl are H yau p:r-aclice 'ba&ic tpl!lncl:leS" SaRc'un Jad~i eaches you to 1Il~ )lmB-hips. rooJ:e efiec lively. Us ,p.ms.eQnt t!O-ed pcsnne fe.OOClrces 'Ih,elltabi'l of oom:cemornling p(liweJ'"~by ooiliDg en,erg}' before YOIU, rell!O:<1!i~t thtoLl,gb your pUfi'Ch ,or strike, i Bveuthoughyou wiU l~!lI.WImmY llaJiati!lllns on the basic (e.clmiques in this bCllk. i!J'lJjl1ChirJdti[:h~ is !he [(lImootiOf:l for eRtab~181i11'llg po,w,er~balMIIC!8

power by i~c.re.Mililg your coatacr wiUl fl'Ic Hom:. Jt keeps focuses power .illll the largemllllscle grenps of the hips

punches ~:uidblocks. Practicing uoma sUltiQ~MY positicn

CODcem:tates

Imd feeus ..

f.IA .. 11-& dtt ngh!!jfI(Jt ~ OpF~ mll'l!: if :'Iliwhll]

Fra5J ~

~J:lC",

t&" tiK'h.~'JlJMtH'OI ,u(w~f!~ mRM!t' I~'IJ O';!.tn ,ft' lh~ l~Jf foil,. Th"
wnL

~e~

iP.rt$mll1 m~1l LI':III!4I'd ~ I,Qmb .rigllfJfJillnpamJ'~' :rI!ifi rlg,~t.f~ drck$ ~ .th~llut~ cl!'.m:i' b~'h Im.~ ",e;gh'$~d itllif,lI(y. ~. ta~6 ,olt~ ltr/iJoal w..~ ,y lfO\im iJ:Io!' ~,., (1f tht rnghr]rJw. IIlffJufikr-l'iIit11h ~ p<fJinli.n'N En Ilt.(H.d.

Stay relaxed but rooted! to the floor, Drop ycurweight,

• Trirlm me toes in sligbdy~ but don't lose flexibili~y indJe knees,

• Push Q\,n the reM. This p'Ulll>tbe inner thlg_lw r.oge'me'r t.o' protect
the groiKl: and ooncel'l!lifMe power; Th.mA: (Ij.rht, i:l\~
~~c~

in ~i!:!

,dl!!dt1

,rolJ'Mm

!!.;$ 1~1l' S,rllilIU'll:l;

~P'l:R

.ill fwNtllld'gtJ'

~ PUll din.':' hmcb: apart, as if ag.a..imlsrmsislamilcc, tioglil:m,uarle pow,e:r

&olii witl'lirll~

~}j~i~~~f!g

• Pl:'ac1ice 8tln~hin df1c#ti wi.'l:h ,eBhe;r fie teft or wight f(DCil forward.

-..--ting Stance I kumite

so kama«

The En:£hi~ figbti:ng SlaI'IcealloQ/$ 'mooilil)' to th= konl: Mld back IllS weU as side to side. The ~e~tstay rooted and lhe feeling of eoncenlIaood proWWi'is simnUWi I.b.;n of nm.chin ell:m. SlnY relned. but keep to

yom pOwer coiled, Keep the joim~

8!J'l d If! ady UH·e.aot.

aJIId

elbows-

flex«I
10

As in stlRchfn dachi. keep an ;m;b_ in tBp:

[puU yom 'l.bigh~ 'togc.nbei and CODCClltride y po er. Keep me eyes fncused on the SP'EWC :!i'iUIQundiflg your O'NJiOOHW_ This a.y. instead oI ]orfk~fig a1one poirll'l-, his b,mds or [eel-you see' My movement inst.m1tMeoll!l:i),+ Use yDI!If 'ltruldlis ,anlill,fee:1 Iik:e to sense your

of your back lin order

opponent's sliglrJtes~movement,

Thii; upper and lower bQ'dy~ e1bow8 md kng;;.ti" c;p:5 all fee] connected, as if everything i& wOJ:lring.I' ~~iI"s::itrm:Lhaill I

ft ltmra

. nilllU, flu

t:FrJ'.f~L:f, p(Jlm

nchJ /ar.tum

ill. The fgft

prokCIJ

Mil
IrJfj~

~KP~

['lUi!

.1m,l11lr ~:.rti'nA ftJfltiiaM. tJtAtiih~jiM Iltelllciglrl drlfJlJ 10M ,i;v dit!ribrJed almint ,wRI)'.

nu~

30Degl'eftl

'. From foOl poinrs atoppeaent. ., Back [oon is PI:Ii.o~edthirty to forty degrees off 'the center hne,
., SbO'rudc;,r and hips am aligned millY degrees left of center, .. Wi=ig'h t -is. cemllel'edyet flexible; ~b:iftillg bat: k and fOM as ~,

., Insid es 011' thighs pulltoge1her as j f 'protecting gr-oin. "llns coils power.

.. •

'I!

Knees, are sUghtly bent, weight on

we: bans

of your

reet.
J

• Practice figbting stance 'o\'idt~eft Of right foot forward.

-. __t Punch I seiken

chudan zuki" seiken.jotlan zuki

By coontina.tinit the action of thehiM':i and shoulders, the straight punch in pig:eolHoed -tance develops speed and powerwhile improving your focus, Lik~tt lung piece of rope that ,'au emilw.w-a.ys shoJ1e:n, the punehiag action: in jem.chin Jacki consists of a long; punching stroke wrnen is lates aDD,r.e\o'iatedin fj,ghdng staJil:Ce,By p1Jmng: hack: the lead hand ,:liS you release the punching back hill'ld, you create grearefrw'istiing action, ortnrque: think of a runner pumping hi~ arms as drives IUs legs. To illl-:rease focus. hold each pUiIlcli extended fora split-sec·ond

'From, pig~oD~'med stance • ~.'

PIIl.IIIM!:'" tkep"n.r;.lling und lilnd bJp '~14~r, dmwrng ~I: th" tlllnw8.1J1 Mal if td;gtI~ willl tl1~ mf4(Jl~(lIth£! b\!l'l!:k..

,..-.-~------,

/on'o'Um

KNp flIP plurcmng Qm~' R~ta/r 'he w,..W r:rU'5,e to ,11, rills, PfJim' tni! ptNP,,1Iingarm' "P, tlNrrt,l:tnlniTJf/ til€' hy. ,U:leittlrr /tH1fIIJnl

QJ

•
,. K.eep
),'0 ur

heels

,Iln

the floor.
litO(

-fi1Unch with Eb.ehip.

'" Dt,1tfl,'lbelitld
Ii

the shoulder;
[urn too

forward; keep the back: Sltr.a.i,gtlt. far.

Don"t ov,elieCI.t,end Ihe: shoulderor

!iii

Stop me pU1lch sharply by snapping tb~ wrist,

f"arltm fonfi'Jl UFper rHinch jl1nfll~ middle' pwnd, ~

The uvi!rl.apuf dOCtttlSfS,

'he gHtidel' the ,a".glE flJ tlH PrlnM, Mnc ,lislit.iu\11:'I!'. 2) mJ441~ J~~". J) (,~.Ui!'illiMJj~·t.
fl.l''.Il,

nil doH'l" w~

tit. ~b

illCTbHtS

a!i Ilit',tlinaJ1'O'

Jl'(Jm.y{J~7

oppmrl1m
.I)

.,

:==::~

.;::;o::::I:'n.I:l'l

""__"';!ij

off the back fool andletting the as you ~ve the p1ll_D(.:h.Alwuys
- dID

-ght punch is she ner and more da,chi_ Since me mead hand :..ou can't pull it Dack '[0 create ~a.nchin rmchi. Instead, gener-

rock. Keep' the arms relaxed, Think. of karate as offe.rul ami. defense together. Don"' keep your hands am:daem light aU the lime be-call e zney need to be responsis enough to block and pm:ry quickJy. Tighten !.he hand Ind mns on(l' as you punch or block.

prepare for 'the next at-

Wlrell p.il_ij.liing ajJ IlU!tffl~k [wt. pmI' 'Wt.~'g1u~hiJis /tlftiltlFd. If£~p' flIt' ft4£k' ltmiJjW. A$ 'hi!' UJ'mJlifj) l!xj.~f,ub un IMR~ jQ(;U,'i (IN 0/ war ptJlIltf ,inlrJ the oro' 141'Jl2 'lJ'"t~---sel1I2II1 (s~te tlianm.m belol!f.l).

pgJumr
mpiJ.,

fmmttliil1u:ll rrtmr~ 'hI! gaIJ'c.6iftK lIiu:d fow

Pi\j 11M ill 100 ,IIIriloi tw' h~UI", pu" bacl: •.hl!'

- If ~'WU
'mUD

p"~m,

- dl .. shoulder. .hips, and. feet wotkin,g rog,ether

OJ

pOw,.. ami ~1Jil/};

iD fld~,' waJd

I"_ IIIIIIIP"""
tim~'h'I r.r;klfSl iif thr UPP¥I' MdI.t.J~,J" body 1.0 tltuliluy «fir IWwidnll
~'r1g~f.U1J·. PM
gntH£11 !l(JWU,

po "r,~,. ;'.rltN
~

t,.1rmc,tlTJtmtJ: pundri'lfg
lhf: ,*,,~

kfju't:HtJ~.

1i--~I!IiI'!!!!I' II

__

-'_~'_I' ~

'ii_~'!!!I!~"""Iiiil'!"l!'!

__

gl

mB.timum

IWilrI umighi.

To .p,.'W1llt fpr-ain uJ PI!]'II'u, ~

MI~i:If

Backhand Side Strike I umken

s,ayu uchi

When you don't have time to tum your body to meet aa O'lIu{!!lckfrom the side. use me backhand side smJce or backhMld iii vcr suik,e. Because [:he~ide ~rri::tG~ uses a whip-like ac:uon ~ns!'oodl f a dri vi~g forre.lc~ep lib e wnsl nexib~e SiC! o lhM: t~can snap keely ,and Itn.nsfer power from tJilcrups. Be SUI,e 00 use the lOp of the knuckles, and let the s~e .book dO'Wliliwardtimpacr, f(lrrm]1 ~m_arp];}mg a acrimrll. If me imlPam of [Jhe straight punch re sembles thaI of a~alteri n1IgarMi. r theu the precjsion of the side strike is like ~ :s!-n letm,

A-i

_fOil

51w~

ptdJ lt~,_krh~ drlIHJJ8 htmd ,/IJI Mil 1fND',.-u. vgU IHu-kthi: 4ft1d ,flip _ KltlL ,Kefp fli'i' adfLl\l'·

{)IH!-I'

The eM(I W m~'CI'iliB i'i-_tii 6Wid (IS Uf.~ milirz.gmmd f!iU.."#:$ 'he I~:ml Th~ 'IIImll,DCiJM jU/i,r hf!fl'ff~imprJ.(I'.

back band can slrike dof,l,'II.Mid dwoogb th~~t

SnappiHg,pDwler ,',•• M,~f SI!Ue to snap the wri s( so th'ill:th~ lull' knuckles of tlt~ :I:1~1ble,
Tiigh~'11!

dile fist, butkeeptha Wfl st. eJ.oow. andsheulder so that fiej 0 ints CUmlOVi~ [re,eJy.

The slIlappblg pewer of the backJmnd strike is nmre effecltivc: ag.aiMta fIlexib'JI!:! 'tru:get AgiIJiilil:lil a homgl_olgo,m! or b an opponent's h,ead~ me sn8iPping aCiliol!iJicl:ie:,u:es~e 'Y'e~(}Cityfor b!igh impact withoutpw-hing fu;~ n~jf:lC"[, The shm-p strike extends in aciK:ulm arc ad n:b;:act.o41 on ,31, .su;Qiight lilDtlcto -creale thG 'Liftap, ,. Thi:nk (!If Iilie cliffe-Rftlce between :a boxer's jab to me :f:a-c~ ID"Ida lPowed'ul b~ow 'Kl' lhe body.

Sharp stm.e vs. power stri_ke

The. snsp pun c,h W'O(i~~s:tag.MIlISl

straight punch 1,80better suited (ormll10

Ute

body.

,head. w,hiil.e ~hl!

BackhandLiver Strike I uraken hizo'

For 100we'l" mrge:lll om the terse, !IIIse backhand liver the
dCilID .for tilghl ;!'iUliatiollli",. It uses a driviog

uc,hi'

Same wMppmg action" different mgle ...

PO'WeT through

tnke. Like (he backhand side :"rrik.e, mis technique is

11 re tracts aJon,g me same line,

I:rac-khand:""""'""Umk-fl'n-to

tb.€! large"1 ,EIIld

action of the

iIsn' with ,tJlr "8M Iumd on top. T/u~ lifrikil'!'g .h'fl._zuj .. pull ....t (D lhe upposi1.f! oll'm bip ,turd .~ht1,uIilIF coil. _ /!KfiS¢ tllt'Ji'I~ i1wg,d
11M, -

' 'II

,WU 'hl! I'IldJ'ltlo'iQrJl I'Hr.nd.A.II~rfiirrtl' frJ IIr,

oIb~T tit1~,

Rl'2UJ'l'JJh_"frik'''j:

h'fllld

_ badd~fld ii~e.1' s.tdj;~ ,1I.ftJi rlM SlUt"''' ,t'Wiftl~C mrJJitm' tIS "Werls. ml~g lnkiJSlIlmlL T"~ prillf:qJ'!is appfJl: UtiI1''1 CMrI, ~up "1$: txNk rlnliR,'hl. CNau- 'J1rqw: and I,l'DllltF.' by ruing {l'r ~" 1'#M'~.

The roundhouse sttike omJlokii llle OJlrMment's dt'r~n~e (!!l.la~I.! il.lc nr bill ~ side dilillgle. The backhand mUl1IiCiho1!.l.'ie fiLrike adds n V."ri~1 snf1p bt1!'tion:c~11l111~ 1
~.Il contrast,

the hook punch uses

:;I,

linn wrist.

1JIJt;! R.rul

6IJwmh!g

Tt'i' ,fiWUJtm SllllN'pS tl'ol!i!rl (fJlIi tl'tnl:t.i: 'lit lI!:.. nr~1I" Il~~le Itl' ~ ,!i1j jIDill::1L "j'h.!! ~'lrl1J~: (lm:$Jr,ops bd!i'r!d Ihe blI",i; m; 'Btl ~

dJrmMrF

c9il

omlrijr~&D.i JtJ~fl. PnU 1HN!k.'Ih!'liplj.' ~di,f'

llKl'i'iJ!J1!

rhr:

f.t.ittl gOO {he: ~t.riI'iJin:N.Mm .!fll'"",,lia £Ill 11M fiut Kli~ I,lrl'

i'1P'Pfl~Jtf ho!illrJ!

rr,

rW'!qlll'.

Rotate the mimd cmmgetbe an!hl~lor atmc:k

the pun ch
auaek, III}' e:hB.nging the I;llWigk of fie: s~riik1ngi:umd, )I'OU i;iI_[} s~'
l!i'JI

hook the punch frnW] the side V"'ii:h the mrc'fI.S1l.. YOW" body positioril and disumce will determine the angle fer _Yl;)liIr

the back {If yeur ~arget w~mthe backhand or

'IfIiJl~''I!fT~,:rllir.

lm::.lhiliilt~t!Ift:I!!'!i'il!1i'}~~i!l1'~tri~>I"f'e._I\r1i~'1 rn,lilldA(lIl"~',r !iliIWiJ.rd h~rii;1,ml'Tfl

sir;'

• P,arry Ci.oWlil and awa)'il!s the' £;lnKlng h.lll'l1d.coils b~ck wi~h'the hip WDI.
Use a hooting ac:rlot'1Jnd keep the sbik~ng ann .1drI10~m a parallel to r!le floor in order to deali Ilhe o:-PPolllent's

II

"boulder,

•' The backhand rolllllCU:tOUS~ stMJ.{c rh .. ge ta a ~. fon:.fi;&l raundhaase strike '~Hheek p1J1lcfu(see lDe,.~ p.lEI(g.e)s~mp~~ by ChiElng,i rig [he 9_TIgII:: r lbe 'fist, US~ o the !oop' rrr-OIIiI of the two larg~st :kl1luckl~es ccordc a ingly. _
Ijj

Ir yo III use the backlumd. le'[ lhe'Wrist snap OD eenract. IF yCIIJ U~t: <i. hook punch, keel' the wrist figbtA

When YCI'II.roppaneru,deJcm.d!l the fmo' of hls booy withhis arms bringthe hock pun(;h aro:und his guard! from the outs[de-in. u!'ring ~ rwisring actioD

of ~Jie' Jps, Unlike dIe backhand suike ~all uses a snllppirt~ actiun at conh mel. lIIe hook puaeh C'nJ~sfQ:r finn Wn!H and elbow. a

Th-r ,r:~nmJugal /tJ,..,e (if tlu!'

hip:n;.nd shnu_M~n dl'h' SlOt!

04£Ike pfHu~h

plJJfthiQlltMow ribs ~ ~l! tH't!_

Ullf

IN"'~ 'lit

tlle UUfetl 111m. a ttght wnfl, ,R"m

ra"lel ,lh~ ja~~ from

.'I:1!II',lngE

in. jOlllJ'w ,Utmugh' bi 'h~ t'euJ~F

m/;ff': {lif faa

,,/

purtcJars.,.

fall!'

mUMJD

lhr :."idl tJntlbfllJiiif', lh'~tmfR.m1t ;J•• knodi«ul p{jj~lIJiaf..

May weap"1J1.~are anextension of empty-.h,mded teehmques. The mechmlics of lh~llIrec: eetloes (S:'ftll,igbr punch. backhand and roUiDdhD'll~e) ean be easUy iUruaraJted in rile !!.!!,~e uf rmnt'huk-u-fi gtu ing stic ks oonnecWi Iby 11 flexjbh:~ joint. Let is look att the s imilariiliies.
~rikilf'lg

Three strikiu,g actions

nlfJ.nllhouu ,m- hoof< r:ln'JAW rnOIQ'~t!JIoI ',wll'

(11"",11 'fl.

r,.

.,riA
It

,miJ,

I.dmi~.'

MI

Wh

you take

'back Stance

and Ie! 'WIeI!:lPh• mglllaidy practice 'DIll!: mseb;:u;k stance, \Vhen pmc.[i:c.:h ing basi techniques. asswm horseback. 50llIDCe from ready po~

requin:s

down an opponent, you .mUSL keep contrel of him, 'IiU~ .ymg balaJlmd and "rooted" to the floor:. To develop balance

J /dba' dm:hi

iti

ai dm:hi~

Wid.! lllf! ~ft

DIll' right

~NUJrlJJ

jI:""Ut~

Sl'tp fJihw,IlJS1IIIiIh: '1M righlfrim tlIm:i1l th~Jrrr i,pread tll'a j"i1'uld~'·'Jf;.d;;IJ~ ap,,,,t, Si!paroi~ M.tt "',mdl a..~j\itu 4rD1" 1lfJ weight. III' Thu will/ul fI"DJ'J' /ucrue_t/ ,til ,rA~,~, 1b~

an'
IU'J

tan!'

roolt'd M' IIu: /lDVf'.

FOr£6stUnderpundt
.A:,!,

IlfiICl!ll n"1

I. Keeptbefeet
!II

parallel.

:lhe fiiU

lile 'palm up md

ann~1use the llDdc~cl1.. UnI.ib lIle elbow ,carnes aw.: y fnR:u ·lhe
1Il£ like a bat1eJjing

close di ranee, when you d

Knees, are pointed out.

" Weiglnis down.

Ilgb

• Raise the p~ulchiing angle '[0 create an

uppercut,

clese distance, where you can'textend the arms to l power behind p'lIln(;bes. use the eJbow strike, Betse the elbow is much closer fn the center of the

Ibow Strike I h,fji ue'tzi

bodyltbao tile fist. i't does not have the same' centrifug: force as the fist. Therefore, it w~n take extra practice I dev,clop as much spe:ed ,1iIS possible .out of' 'I:h~gweapon

iiIII

Darl.il1', prJritit}n" p.u~h

:yo 'Fhe bud hand is t1j1,r:-.high. jOfe:ruta perptmlit:u/ar tKJ' .he fist Df me strlki,Jg orin

,tJ'Iii\IlIJ"

th,. QPpone-m's lMli 1uJ."d at:rtJ'$$ Rmme the hip.1 (IRA ~ltiJuldml
a&

I«c~.

the tlplJolle.m: Reirad ,till tlCl!.ekroks tlrTO'Ugb thl' ,targ; and' wellpasl'lhe-c;"ntel'lin-t'. K~q lhi! bulhaM up tD'fJ~'OI'£1ya\ll
t'oW,iVllir

the

itlbii:iW

the ltac~ h'llluJ""oils.

j\fUis'UA!

wltli ,file Iron' lwuJ

as

51Mb

Follow fllTOUgh: K'iJ./l p dqWQw.W'! of lli~ l'rbow.

oifeband Strik.e {shato'

,uchi fJr(uhi ~ finishing off II downed oppOIlen'l, your target is often wai.st-h:igh. In this cas e, use !!SCendillg elbow strike Of a desDendiDg knlfe:1umd s.hrike. fer them_fehand strike; ~ wa.ys strike perpendicular to YOlt[ ~llIlget.
Pull 'back the lead hand Ito accelerste the s1rildng hand. Draw back. me fingers of fhe striking band to create tension in the kme,-,edge. Cock back tbe wrist to strike 'with the heel of the ln~fehand.

dr~ fnIJLI!'~i.M~g,1fJ du edge ,af the ~wm'll'on.l!:.

ou me-If

fl,e

rzml rQ,iu rhe Ntriking

From MrnllJaek

hand lu!hitul Y(JHr biMiJ. niB /'O'1Jl ~,fJJtJw ,mt'~'Cu. tAe j'aIV.

s-tllm:.e. dmw b.rKi lite hip

At

yliiU r:eieml! lhe strih "ilU bm--' an f"'~ OJ1FUUl! dbow (lad,wt Ih~ knUlj1u wifb your

momentum.

Jj

12

UI! aer Block I jodan

uke
Tfilditi Qn:aUy. me' upper !block nmi been u~d aga'iI1I!:!tll"~l{ij I, s ISh punches to the face. but Sabili strategy cans for def!eiLring these straight aUack~ across (he body. using an outside pany (oset" opposite P'H;ge). 1II Enshf~ we ~c the upper block to' preteet agairu;[ high anacks fl\on1l dle top or side. Instead of ~ling lite ,~:nack .u n.i.mJer.y iegrees,. the E~i hr'~ llppel' btoc k d 9 u uri!!iililJg and thrusung adiofi to, intercept the ,1lImu::.k and

deflect

~t upward

or oul:wa:rd~

IJJ S!llIfbirl dln.rhi d!~ !orr:mm rJ/ ,Mil'l ;,r1ll4~ d~lfl¢f~~fl"'~¢ 1i.e'

r~f' fj'.ltJr.:ki"w
(#1,'

rs coiled in ill Mlf~

PfJjDl' _

,tilt' lutdhan.d rtetro.ds.

aM ,fIlln~ l'okfJe ~'O

"",m' Jli'lJdr-s
a.s'

jluetJ. IM,tlU:llltt' M1Ckirl'8' hand jrHl ,apel' impuel"

fiJ~l.md ~/.J!'! ,,-w.d:lng r;llifl'i'. . "ur b~p dill ;roWeit' 10K' lImI

j:rern

Ibm 'I i:Xlt:nJ ,lluUJI'tmi !l!RJj

(ft~

,hmJ, unlil

(md piHiler.
Oi

N.?ady to b~t:l. I'oil,nl Jw .ac;curat;y.

'i\M'~i~Jo' ~P'iiJ.
}'ill;!

an

The backhand fis~prl)r.eCll~ the chill.

cantell' line .

• As dle forearm :rises. keep 'the wris~ of the bkK;kiIlg; hand on Ihe
•,End U]) in at half body positiil'lll. with the shoulder of the blocking ann turned forv.tard ,Iln-dthe tnrso rumed sideways .

•' Keep d)f: en iI'D lucked.

~Posilion
,M you ems.s the amu QII 01" . - ql UpplJl" bJod, MJ'nt of rt),Pflp1WW:rl ]iHU a.. I(<<p tJ'f! hip' 11M,1 run'" In l4:. t p'niMr f~1.

'm~blocking Jereerm r,u'ty-fiV"e degrees across the front of the body and forty-five degrees forward
a. strong bip:arld shoulder turn 'th t carries

• Finish. all blocb; witil

u]]"~r OOdy into

l!! h~U -bod)' (h(NlR~i) positien. This not 'onJy incre,a es p~,we!l' !btU' provides a narrower targel foOrYOLlr opponent,

me'

14

A g:ainSit :Si:raigihl't attacks to the face OJ middle-body, I!!se the outside parry. IDtworks a8rulns~ purt:che~ or f[(lntkicb by defi.ecling the'altack. a,w,3Yfrom ~t~ ~Mge~ with ,;)cireular ,parr-y.iing Ik"~[on of 1Lh.efom. arm. Sial~\a1d !i'lrateg), combines dlefle.cti]1jg ac[ion or the Pan)' with }XIiSitiOEl and fooiworktiJ, expose: the autacker',s 'bUnd spot ml:di set u~ a counteri1t'!,1!.Ck,

me

_ ...dIm drudMwitll' lkll [mid __ lUI lninEty d~~f!1 and ~e:

~1Ci::I ••
- ~P'

Qai'mt

M~tdJ", 'rkt,tj1 rlbn., 'ui'Kft~,rill! ,ft~~1r~1t4 ~h~ jr1~~

,lI'JUf:lI
#Ul'

As ,th~ riQJri' Irurld Jmlh OO{]~ ilu; Ql:ldd(!1

fflf!5'

wp~.r

ort a.rm u,aJrn'Osfjll.f'J} ml!l

!i~}'iS

Ji~"1rIp$, amlhtiulJ.m

a,.mpilj.

IiirM _1'"d7r.t~ thf!~lb{l!tJ ttl! ~ mMJf-~ (1/ th~' ll~ MClthantl,Utl.1 W rh'l' Qrmpil,

tr.!r"lli wg;ttk~ 'J~7Jltlll rlfllMt-d, NJlD1,l: Ih~

I<

,111bastes., always: use a c1o$OOIist rhat

iI!Ifiltil

relaxed
the ,fisC

contact,

~ B<GfCJiJ.'e mymg. pull back the ellbow ~.d toueh p

to the em to coil ~e I!!ilJlper b!::!d)"_
mmtg.MU1

• vtsuaU:zemwwg
hand.

by uslng you forearm 01' the hflel of yOun'

-

contact with jIlour a:~taek~u'spunc'harmratracts to 'tl'te

!l4dt: oJ _ro.ur f(m:fl_ f)nlY!proW~-I wil«'!! flcI'nb !H{)~er:r'tfi;. .4 nyU;'(ng mOr:e is !M.fJ~" ,",-Mffin. ~

, Deflect tl1e blow as fhe p~ifnJW:

boody,

&n "t ~,~Ild.lIe pa"'TiJl~

' .....-" ,"""' : v_f

1_"..,,)0 iii

filM !i1:!tiptd

,r.t" 6fec-liI!!"

'I

hooJ ,rn,(tcll

The Me of the panyin.g hud ,s;hc'1!I1d descend fM.m.the G,aT te shou1d~r height,
~lIlI

iE:jiIMi!l.Jilil..

'. finish

s:troog ~'ilaJf·OOdy (htlJlrlJi) position,

,Il.urdd~ ludfli,
(I,rllll:iiJr: J1f1n'1'

'l'~.e lfilKk.inl 1titlt.ltli' ilipN jreln ~J'~ ~flfghl to

(j,iI

iJflO("..e~urts.

lot!

mifldit:,

n~,hoot.mgmd

aIDlcb.r md e)i.po~ his blim:dlspm. Thh ~~hookil1g'"pa.rry works eQuaU, W'leUlagainst front ticks ~,othe middle oftll1le body or highftcllln:dih.au..~eki cks. In WIle basic [ower parry. the pWIing a;dion o,fth~ anJI!!I CQOr-dlillila:~es with a ~liigluhip lower parry to' d~nect plmtlbes 01" ilcicbro d"le: lower !l.to'mach a]'-e~L
ml.lttimJI awa), from the bli}Cl: ~[) increase speed. For s~s., mink. 001y of uS~lIlg [he stre.ngH1l MId

pUlliDg action of Iewe r P3!fI')I'can tum 00

Fr-om .ilcmtm,g ptJrtrum~, riJ~ 411 tmn4 Irii1 J'i# nil!' rill1rl~d c~a o!IN'GH' 11u'l~' -l fnml qf lite t~ &!mil.
JJ#:atf

t.II pttM81 ~ foci dJ'i-i£ in

JIJ'wi ,t:J"lMS UJ~ftlfJmOf ,th'<1 ./1ft' _dilOJiIIIM~

,fQ #J'II d'ir:,~'eliDn

AI the Jumdsprdr l.IJl'W1; the lripJul'm, fJ"PflU!ii~l lJJ tbll biockul'8 .halltL Thl!

Hod'~ilf:R h4nd
~.t

l.ft Emadpullil !itlt-k.

"'~~.lit.f

dli~ ~Olt!t,. iiomadi

iii

I~
K~p your eyl~
bloclk~

ill

OEil

}i'our opponent

Ne'\\'et follow

me

i. Moy~

bo1h:anru: 5imu[~aneOl'usl:y. m;o·L ~uen~. itn

I. Think of
of
YOW"

• The elbow of thep.rlncc IiTIg hnd sEillluld 1KI'im. own. d protectiing m.he ribs"
'illle Ib~oc'kjng hand as a ~wbield WE~1 in £iron!1 fa-ce'. This u.i]l ensure YI~eof correct ciJreu[ar
,0,1'1 me

illcth:m.

,~Plulll slrOngly
II

billck hilOd to incre~se

pruT}'iOJ!;

powelL

~
Q,~J

.,lIm",

lii'uwJ'!,

rh,r: ribJ~ lh, b~ a cJl:(QJarmntinn ~'/l~idi~S.J'wf

,'O~r:hIR

JJJ 'JJ~ pmIEr-rllJ~

,htm4 ~Muld ~

lIud

AJw.ays fim~h With lhe WlP~f ~ody ill a. half-b;Qdypositi:o,o-hr.mmL This .rnotonlyinCfleatSft'ii' ,parrying pOW~I but gets Y0IJ,I in tlh(l habit Dr l'lruJ'owiug YOIlU budy es a '~~et-

1~/fflnt

(J/'JtI!M~.

J6

Prutectiog band in front, OF .i:m back?

JraditiiouUy thelower p.xry positicned the pro'tecting h3'11din front of me' parry ha:rnd ~iQ increase blocking power. Hewever, in J£n:shin. blecks and pMries,m,@ p.rotecting nand. is always pos~tioned be'hind the blocking or parryin g haad, This is amore natura] position, bec~use it a~~ows

me back hand to protect whUe aIlo:wmg the pat1)lllalld 'tomov,efn~elir_n

ts

a question of technique babmcmg the need fm power and speed.

PmmC,Rog handinha.ck

~---.-------------~

Uilh lhr JNlJ'tectlHR i#JmJ &,(J;ck"the'bJm:kifJ,~' iafree,f(J moP!), lU1nJ rlinrt/y IlJ V'ffITy ~he fJ1l1rei.

The t'inub'

{Htr:tm oj 11u Fl"Y

,js

1intD~''h lIRd ciJllii~u~

flMe the tJ:r()~e&ti•. h'Qgd is id IAt JI.I~. ll#parryi"'m MffJ ..,. be ~~,iUd ~,d 101' ,'Ow,u. ,b,W!dill' an,gli! JON(!5' ,j!J fJwd
~k

insiea4 oJ a .s,m'O~lrh fXUI"1.

be sh, difJ'6relWe ,in tJvoidingr.;~nttJct. iHlfies mgsl btl!l4n-c,t',lllWllir (I'/id sp,~ed.

riB/; til:l~ t/ud;' cafi

is the artgte. cl!ProltB" ,but ,ON lui""

IJI1llSUd' (lsll'iil'.SRQ,

TIle m.r.chal!icf

uJ

1'7

FIDDI~Ieaningkick stance J uniup

WII:b IlttleWi widely sprung in a deep position" thefMi1Il~~e:mingstance develops kg strength and flexibility. Although fromAewD.S: SlaIIce ~salso used in
1.0

_hi .l,n n6'.18iRill'

greater bumem on ea.ch musele gro1!lip in the kickirng mttti.on .and stre:ogtDms balanoe. The high stretching kick OP' of froiltj,eani.ng Wtee is all es:s,WltiaJ wmm--up, for any kick. reutine.
ill.

~tc:p-m:ld-kick. combimlitioEtS.

rts b"ilCkpo Tlion. This p1il.ts

rn ~t!l,~w'dClnuyform

the ki<ikinS leg always .returns

liJ1!'llf1 flm}
dU/J'.

Tht jut

t1J'~

,fIlQuUl«r-wUi~~

lwe ,fhauldN

!t'idthr

6t!fJ8

F,!"om rltltIJ ,'tllldo,., ,I.!fJ rig"~arm ,EnfmnJ' .tJlth~ l6Jt

TAt rlgh:ll~CSlq§ bacbll'liJw ~J.t!lf.t W','" 4Ipan. :nu. bml,j Nucl, daw,,: ~Il'.I! "lime IJP Iii pf'fjle~~rlI~ja&f'. Nc.rp Oit Imcl; Mt .tigh.tly jlt'Ztil.
fli"lJ tlwrdJt.r-wMIhs

The front high :s.tremchingkick from fmm-lcmring ~e 5e:alu&5 III UPWMd. dri¥Lng acrioD iQ,f dJ; kaee and bip !:hat, :!i:tJiie:ngtbau: Ihe pwas or "cere" mnscles (IIf the lower abdomen., Tbese muscles are used extensl ,rely i.t.l aim 0,$1[' &Ill kb. By holdk ing Ihe mete ~It to restrict use olthe . \lie isolate the hips DId fOTC~' them w WDrk even harder 'EO proviJde balanee u.di powe:r. Holding ,the. side belt 18 a good waY'II;) prtCtice an kicuj nbasics, It also prtp;EreS [or fi.gini1JJgsmruad~ m whicllil! ),ou are kicking and cannot use the h.:Jnds for b31:;moobecause they arc promedling the face,

Front hi,gh Sh'e1wbing kiick I rna btlll'

P_h YOM' 1'!o!rg./li. alrlil' M:r.frrmJ O.f lhl to IfIo'U:.1t 'DtiIf'r. lll.i! luki,~l'.''.#Ill ju,..wd III Jdl.l l' rm iJD 'M fmD' oJ fhr ffU.pporlillg fOOl. l'hr lltPIJI: rdlnts in" ,~mMJ ef 1m 1l1p£

_I'

,~w~

B.1J,f !IiI.~ Mit MY eI/ tJr, lfllJ1porli'nJJlIr!JOIID (liie m\-.j:j'Il'g MIJ! trwDrRl :ny t(J tol1t'-lt '11 t ~nU ~l'lt~; b::ting t~t:"gft., st! i!I ,Ij'qfn1J>U'B :hf}~1ti ~tnlJghtr" ,rlJ.r ,tNJkk' to' Irk '!ha-f. For" IlIld.t.n.fa.p,ull ltd tI.!'ol lou to silrtch bad thf! lffr f!l~""{1

nu

9J

FOlrmaximDDl

[ftI,.t high. stf>c:temng kick, pivot 011 tlJemplporting(oot

exieIHion nD tbe:

1)

.2)

11 pi~dng 1m r1r.tl 'rlRoninl1!WJI" ~h~' rmd s-1wu:f4U s tJ hlp thnmzb jruly, I~J~'t!rln, ~Idd ~m"R~ r;(J!JI~.AlfflzJt~14 m ~rudll'rJr:s ~"()UMr.." w rtl'&' lile "'fld f1j th' sfl.,PUt»1tnIJ~.
n -

lxe Kick /lrBIu:lto

,om,'sid gen
The ase kick begins withltli1:l upwWld drivmg ;acticm 0"1 to finish directl, ~oovefwe QPpomteliLfshead .. From, (he feet's highest point, tlite heel of fi,e kicld.n.g leg accelerates.rnrwMd mB driv'e.Sdown 'lttrough file tar .. get U~a &t 1iIt'!:;iilppomenfs hemd. This, '·at:llSsing":a.c-, [iiolli------OlJtside-kFinsi~sgnJIjoosthe ,~ek:_iC'.k as a rooUiI kk.:k:a!L'ldeaa be U&M iromfiighr[og stance to koopytlUf o[,lponeru:ofrhalamcs. F0f more on axe kick

the le,g m~ch tike t~e w.n'tmgh kick. excep1llie ~e kick arcs QlD~idetJhe IOppi}J1~tJfs shuuld.l;r ttu~:!1n ,~gaii:l1. i

~chn:iquefi,in fighting

Rt3fltle,

.e pa,gll

I.mo.

IqiD

uy
:~g

.~l:I'Utmg .tIli! hips ,Wlj,di sh,rJultft;rs lat

iH" phlClt8.

the

AB i!I~,~ ,JUL'!'S, Ike J~r

If}J ,b UcJd",
sligftrJ)' Imu,

~riI:e.! A$ ~~fE ."ighulPoi1Jl tile l.C'lIln btu:' ,'0 K;h'c m(l~ thrust t.Q tk~ IidirrB l~g. 'ell I~ k,r~k;ng It::~ t.$ The lue:' jOnfl'llrtJ fQm.~'~.c tl!CIlI /tJrlIFlmter l.f"-~:XI".n'l~n. LU YoOifJr Ihmugll Oir' tlUfl!' Q.ffQ..

"~"{I~g"t.
putl

11'0",

.rtPwanl
litelI"i

,Pllllam:i'nrillmi

/00' "'8 t1!~ 1111(11',

oj:l/J8SiIJJl1ljM.nf/

· .' C rtf,.Ztl ,e Ki····k /., gen

I.,

L,a

'"

L~e elbow s:uikes and underhand 'punches. knee kicks are used at do clistmce w~ef.] y,L}1lI ~amtot .fuUy e~teDd (or a roU~dtllJU.M! ~.ick or. srraigh; punch, UnLik,fl the efhow StrI~l;. which uses a_,cenffJpe'ti,ll cllI'IUngo'.u:l1on nlw cnnrracts 3iS it builds momentum). dle knee kick ei.tends away (rom '1M boo)' cenblfu"gaUy. Became~the knee kick is more compact than !t roundhouse kick. you :mmn d!e\!el,cp the springing action 'of the legs In order t pu sll off the floor an d miv,e the kick with power. Once you can generae power with c()rnpact mevemests I i'racticelh e knee kick at d]ffmenf angles These should mclude upward and dri:viDlgang~es, that target the torso, head, IlItd even legs, AgWnu aJi:Ji uppanem, yeuil'" POSililCiQ and distanee will determine me angle of YUUf 'kick_

A t, IC~ distance ~. '. 1IJ5f

1'hI'M ;lP'3b and knee ki~lk techniques

10 fh~ II!'i~u14~r wilh ill ,circular atJifm UN IMhift{J_nd~~:pFirlingffJQl roJ.aJe t!Opl'/jII;d~ /Rmttm oJ BW1'emntC

From hilt: s:ttJm:r, ,he

krl't'e

drive.', UP"~CIIYl ,UP!lO"4.d or snW

ro

fllt: h,UNl

ptl'lZJU.

l1ril!j·"l: 1,Jj~',"ml' 10 i1Ut IDloi plaru.

IUth hmvb lJolding flu 6iJf! httlf~,dUll h!Ttl8!Ul Jtighlly IJPlIt, :r~aA:f t,p sp-~ u:pIIfflTd:!lIt$:g ~htriih' JQqI ./r!mwd;

Tile I~PPCrl.ing hn tJmI :tlnilfO 11ft MdJ', upK':l:ll'lid fI:ml SMIJS ~ it",ll lit;: g~.

lj'di!'l8' kl'l t't'

tIn'lIeS

Fwtm

/(}nt m ;f4llll'

fii:hJJfill

j]!....,' DitJg.(Nml~, ,rvward 11R1 kirJdJl8 inl!i!' ]Uu. !t(ilmFm::' }'oar pt)l!iJlt(:..

\'lfln.cf, pl4$h o.J1 the had !ilrlF~rh-e km:e krc,t,. I'Ne lumdr

I 0f v.ery end. drl~',i!lil.eilip ,rltrro~gh,IOIIT Hf!p£tu' ih~ SlJmi! kicking ,ac.,illllJl IfTl ,imes I'!nl';(U'h "rd,. jN'!!l:inl'O'iP'l'it steady Ml~'t.m~ ~ ~ ll~ ffJP:lwrling JOflfpi"l1tR . ..ti. Jll!.j d,'Op }'VIlII" kicki'l.g fool w i.hi flDfJli r:il!~'!m't {he hips lHUi' t:JJil i'aCk Ihil!ppOSilt ['Ollt.

~Y:rlbetwef"n ~aJI~lTs:5jye

tick uses a !'napping acnonof me knee to,drive i.ht: lop of the foot an oppon(:iIlt,'!t leg's. On the street, the gun 0 kick will stop a attack;er WODgem:rllgb to allow an openlog ro:r escape or '-lIP nu~ groin lack works best when the artacker' 'bOO}'is O~Ded ~Dly. insreail uf'being UJrned lmhe half.OOdY~'W1i!ml;-figiui!!1gliitam;e'.

_.-'_

LJ/J

mot; JMW lit flijur b} ~mh "MlJD il'l 'Ii,e lhl 1m" 5:0i/l,," bel.meJI.&JpiWJ flIt nghl

oJ it1dihg ,ht in" I'iIS if dtllwir~8'a hDII'_

'-

kick targets, yom (I:ppo:llel'll"~ faee and dlle:'!ll, It IJ~ ,31 motion lack, blU with ,greater hip rotation and e:Uenslon of the 1IICi:I::1~. Develop this tick 0 you can bigger iitmstapU1ueGUI.I,y and ~ _ _,-_' ,a_~ q u iek I,Y. AI,oy hesitanioili ;,u::n:lI your Dpponent cangrab the kick-

~' ·k·" t KiC· _ llUJe Ceri

....

me groin
urn you

with

iii. strung

palif)'

lh 0.1 w(Dl.Jld e'xposBy{)ur bUnd spot,

I1tUf

ofrbiJ grui'tJ lick, foif Illf in.h' wultlh'il! bJtlfrn:k.

Pilim thi! NU.ppoJ'tinB/f!.f}l II) frlWI!" IgTA lip txlt.nJUtli. PIll1 bad ,Jr,r upDff! rheb.a1l (Jllh~ JOoI. KtfP 11111 t'iJP' tJJ Iht 111f'ld, Jlmiglrl,

~!U'J til

o ,~
.
~,
I'll

...._

Hm1gh;;, ~ l~ }riDl. JrlfU fO~

to :trmd fmd

plWlr wish

(/J,i

tlre~.

,poinl 161"

A.llDlIl tlte Illp. t.lJ mt1!Jh btu, m 1M kkldltg!fJbI.arm.u rbI'

1

Dim ., ft.iJld'i.h, hip

hel.

,I::f:lfll!dim

01J(JJi~ hodj,

.25

Roundhouse Kick I",.w:asld ge'ri

&, power The !!'Oui'ldhO'l!l1:e lGiek ~~ ~lI'ier.fthe most versanle wea.pons ~Iil me &ullin mm1liJ becaase it can be used for lhith.mi~dle. 0;.- l,owk:i¢:lr.· T~llheluw reundhouse kjck UII'me i:n:s:i(le Uf ouuilfe of the legs

Vena:t.illty

bin use .adnfeliCIIit' pan' of th e kic k:i n g root' or leg for each rarget, In IightWg situaeiens, position. ,arm.d djsumce :aI:w,3!Ys determine 'the apr pruprime kick, When we inllroduce Sabili StF'Ulegy, we'll talk m~CI~
ahmu dte :rigfiu 3lttaf.':k or COu.r:ntfr.dtack
fDr lei!1ctl. si,tUtd:i.on."

Acbievi:ng mnimum pIDwer and speed Cor the mUt~dlho!ils.e ick rek q:ui:res, a fFeC:' 'pi~~t of the 5up[mrting ~f}Dtand!easy rnovemem of the an:im body. Th~ "ORllP1Gm.6i1:1Wy 3~tiolill of the upper aad lQill.l~r bOO! ..
is cilli,caL SpedfiGar~y. 'the Si"/iting-~ngaction ofr~ele;g is balaaced b~ 1fJt: oppasJit,e movement o.f [he ~mr;;-swcle arm, In fighling Slti!1fI:OC. W~

.thls oomplemenrruy aC:E1on fiile arms and legs for groln kicks, o mmlfcicb. ,ud reundheuse kic ks,
~.~--!Jt,elJ1li" ,Ili:crilliIJ ~ ~,
{Jil,(J iUIflt:t· hfJiJ}': tht: ,arm ,m: lh~ teg nriqI ,thm.lith. R.n,!!~ ilhhi ,"·Ujl.ilf"ml'~ l~r:t'tu.m IiJ t,~ttJl .rl:at!~r_

"rJ~

r1t.141IiUPD(jrlifll1 A~'i~, , r:hrf,;ifJ~,~I~ ttl t! ,NfP fl~rm ~1iIlII }uJ1J ,f},t:~lilro'i~ Tilt!' fo~f!anI. htlml p,~its JM(JpfH1Jns fq tJ; stm(glll J'iII MmJl~ ilmf PiJlilel'. I!!l I~ #'t:f!: ~rfU r)J Jiu! If} III rjli~~w ~:I!1"IJ~~rif,f jW'?7, J'UB;, p.i v:otfid. fiiwu llfj l~o{J~!'l'i

n~

.{~R .W siftJJ _~{;IU!" trin'Gr nJtMlMtum, iletr4.(ll kiiCk;_~g $~g' ldlJlIC

f'~~,HJi 'Mre,~ tJu:

t},rigin{1r

Q~.

26

power in the Idddog~el,

.. ~m.
..

p Ihe ftltUN{J oJ nJ,!1iog,p.vWeT ill: ,tlu! f(r,cTti,.lell. pu.I, kg QJUJ d''''111 hack the knee. Try,l'fj< ttnlch l~;efJ,e,e.{ to
1'0 l~<f;n}:o;lile ,bafanN

As M.e kiJ:1c r~"emffS}

rhi.Jposili,(j,~.

theR ~'wfkh legs.

,find IlJ,t I~«r,f.:"thl' do .ten

:fim:e rlie' lii,k o.nd puTi /1J1' ,mQ..l:imum PlJw~r. Ati~w the ¥Qppumng jool /op,imt to., full Ifrp aetf~iJji. The i!igllu ilhle: :kick, the .mare the. 'iiiuJ1IWni.ll8 It.8, shf1.i1M pilmt' m.ld lift,

Ihf: hand pJl!; ill' tJ18 IJ'P1J(JS#e dlrsclio.1J •

se a rising and faillling a,c~i(ln. t fullexteesien of A tick your welghrnses up, and 'the .SUpip011illg leg maig h~,\Vhe[l til e kiek retracts, your weight, ~&Ulg.Lll'i droops as: the fWlt returns ro 'the .floor and knees bend. ':' originaluc, the puUm.g urn retrects stron.gly - ongina] hands-up pc~llion. This, ,nrm.l,Ct~m~
m retract ~he]deicing me:gmon~; qui:Cldy.

If you ha ve trolltde widthighroundhoo se kicks. make sure your hips are turning freely. Check r,G:]

pivot foot. fO'I th:erups to rotate freely, the' SUPP{ ing f.oot must pj.VQt.

same waytlile kickinl~e~ ,ex.teJ1ds nd retracts a

DiOn' t app,.~:y ower to the pi vot 'foot, Let ittum n p w~tllil, the mome'r:Dimmof tbel!dclcing l,eg. f,oJ1N:ard !

back.

• Practice with a barre allows you 'tobo~dI}'iO'ur hal alice as you G~onoel]tt,<bte perfecting fhekicl on
action.

1Zb

10 tll:e .th,lKh,. use

~'l1eski". It' FOI",mJi/Jle Mdy F(fltmlh~u;se/deb, u:!Olt th,e ~I:I~m(lr~rk1U;-al~ Iffllte~ In ,the b€lJl I'll d,'e /fmlt'o com:c,:rtrare .fJfJJUT' in ill '1mmJtN' slJr:firce M~€!'.

Srn;Ci8

rier!J,rlrnJ!' "'fwe" m~l!'~ w:~ M~1.0l'.oJ 1.11(1 J R,'eme:mte.,; I'tIrlPpingp,owM" iY mou' elfe.l
against
,flI

,tke hetJd is ~ :m~'e J1e~Jc ,~l

:/lrenb1e
lflZ"gltt

(S'I!,l!; ~

6"

~nletclrW::!gkiek as a WIlIUNIP 'l(l' loo5en IfJe andianer 1bigh. As the fOolswiogs up, lead with the boel" "'~ing it above dl.eroes, AJlow tie snppomng root to pi\ ot, Iwn rerum to beehHQgether stasee wiiliyoW" ~!lllighiI)' bent I,orcegain balenee, Aldlough the kick .. ing i!CIiop of !!heside kick d.iffuB from the side strelCbing bet. 'UJ to achieve 'me ume beigbl with both ticks,
Use the side

mp joim

Side Kj,c'k J YO'io gen

:u sa Ihe side kid to maimain
dJ~'

Sttut ,;. ..... k-mpl.U7 .rmnn !!fflll dloli! Um/r(J'/U &'flt. fir, ,inm: hAt. Swing ,rill kg' !JIU'W j_t14 IIZn' ~ atl_ ~ plrtJL

Llmk fj~!U tnT" IhultM~r ~"Dthr ~yeJfj.Il~~ ,ffl~ • AI du' ti'(;kJu~ l'rtentlJ, lup ,'I\i~Iud alHJrt rou,. Pi~'(j;: ~a('k tlM ,iu'mJ ,llri!l' kn 1J!tt!l .to u.tun IItrlsojo;g,efJl'« s&inclr. JCrei' 'to ,UEf!fJjf}JfJ'Jite. I>id

binadons. The side kick can be effanve in IIIUlCkmg lhe face or body. bur you llIu.st reDI!.CI tic '.quickly or leg !maybe gmbbed. " . g Bdlnique to

scmup com-

cheek the' Hl'Gmenl:um of an oneomieg attack, UJe:mk kIck is effecdve against both punches or rOU:[Idbo

tm '

kJelci when used. to target me supporting leg.

Pirt1I and ,1mi.-lIt'l1 rbl SUl'POfflrJg ,ler as Jo.rj ,;mnd d! e ~ Dth~ (ht IudfE~ • JJj'11u IklmgjOOl tlmillk!; lwtt' if/fl.tl) m~. B.~trm:,t thL I.r:ic:kfug k~ tJlDl1K 1M JWII~ lin I.In 'III1.Iit:h iJ wtl.:i' rXhn4ftf. RrtltRt 'ID lltt Itllt't&'·1it,l1I Stt:u'tlng
PUD~rt.

1fmpJ1 t IiJII rliil bi, ,ro~~ ltl:til' f1ral~1I! fI/1h WlIlJdt IJ/ UtI! foom' /Jl!jJjlUII thl! lias, oftJu fmIlH iDe and Ibl'.lrnL
., dqlfUfHU

-'J

111,.. ImiJ~tI
wdmg

ru IUJId~ i!r~

,g illill!'pfHM

TIm :JidfJ ~id' ,",lila ~:c

!I.M!i!I.ii'M'

1j.;\eapon. JU iI !}iII~lo!l'tUra.clll:. th.; >~id~ :1"1'd: to 'Jour {l.ft(lI:Qr's 'UPP4J'I',tifll8 d~lJ.~'

ofj.,,·siln!

lJ'1'

,,~w,t 'ilIl1.I

i~l."

l~'

",g~ ,of j1fHI'cht8 find'

ta1t. the still', kidu.

,nJrJm1hlJlUt

1~
+.

';

Rsise ~/J'r lkld'n,jlJ'(d tD the upportirlg knee-. thm t/rirr,e ,il 1iJ',jiihMl'id aM upwOFd on • Cionlii'l u:ou;s ,~\"",. ,1l.ttN",~ ,me ,ki'l:1dfl:l fDal ta the jlfJflT ,aCong ,rh.i9 JlU1J~ ate.

It~p joint Jolsil.lK !Jan',ew/.'I! a puf'lnt, flalding the biu-.-e J~ baltz,U·,t' one' hal'll mp' !I{'jU!' :lOJ'JO shigl II! tire leg is elevlQlel ~ t ~h·fknife~e4gf' I
,1i.l1Id

Stnrtch tbe: inder 1M"

",·m~

.loot as Yltrlrtlo,l'Im
II.p.

street In the dojo, you. CIm unbalance an oppoby driving a lick to h.i:srup or thigh. flOm the meat's b;;u:k or s~de, 'llie ktI,lee-jomnt kick caa tHe
Ie

d:: 'to the front of the knee can dis.ilble an attacker

nee-joint Kick I kametsa ,ren

him off 'balance and set up, a sweeping r . • g leel niqU!e.,[w, the' d.ojo. practioe ~s techEriquc' witlu:Xb"8.m caution. Never contact the froat or side 'of the knee.

""~I!II

i ""f/s-lDgnher

, the sqp'Ol1illll kn.ee.K,'P Ih" wuppiJ'fflng

sJanr:e,mise the fciddng/oOl

bent.

bgnts IwwanJ. Retitle, ,fhe JODi. 1I1ong U.s ffrigi'ftfJl ,:Q1},.

IOUD:tD"d~ Kf!l!p

Drf~i"Ihe lm'i/iJ<.edg;f1 o/Ihe kkldng

tlr~ Idci:mg 10m ft~t!. W

I~

1t10WI~ ,muJ

't"JI

. fN1"yilJf( away a: /ttJ1U mace' J~ur' oppunefll.

ti.ck:.

Ilu,e Ike

kn~'t-Jol".,tit:l

,W

:l"be kRife-t'dgC'

t{}

tbA'jlDt!r. 1iI'11 C-Dfl then/iJl'uh' wjJn tJ

the ,M~~ liih

Ililhe kl'luJOU'lS th~ lapponel'lt ~ v.'tUitt1- u/ taltlJiqltf!5'.

1J

· " " -t· /"'. 1M . ,ack Ki··, c, ."'. US,hir. ,gen

a
all d

4;

Use: the turning action of 'the back kick *0 contuse YOUTopponcnt land! powerful blows to me body from short or long dlislliUlce .. Bec:uJ1fe you are exposing your back. trigger the kiick qUickly by

rummg the moulden. Keep your eye en your opponem a you

nal fighting stance Of

extend iIi1eUck.:inl!:teg. ReU'!c~ Ihe kick.inlfiled.ia~ely ~o your origithe back kick with.
,31

ill

the' conec .. angl,e'.

crossover

step forward

step te make sure UlJekick ,ex.tcl]d.s

10

continue lhe;mack. Set up

mr lnl'.f!.
I

"p

ml

,,~~k tl'l-'erj'CI'U" llmmftJ'T fln'l oj 'hr IdtkiQg /Oo.r

rJr-ffle tll8 IJf'd ollcli:rrtl(lrg b'l W'tJ;lllm,.;',R. blE'.e.RulFtj'(:'~ altmg slu! saml' tlnp i'Jt.I which ttc. ,t:«rmt.ed. J'mcric.f! by aHf!rn.aJing rigln

SLmtwith the k.nee bent. Strnigluen'.f;

Ie,g as !haiti eking leg extends, 'Io'iew.

wpporting
yOW"

f~ftI~g~

Look back uveT yow shoulder ie ketp

mrg:et in.
• Alsu practice ~'Tomflghti I'Ig stance onto, ,ill barre.
Of

by boldipg.

Shurt Disbuwe Back Kick

Fa" /(Jill dillDltU Hd Aids, uep th~ knife poinJm dawn m; _JltltI! ro}" ~h't'hHI IJI!hilla the krJfI'ti!. &if:ttJ1' ,tfu. 'i.e/dllgl'" s!M/J,lu hack ,ani! rJp 1W(1J'd,

WIlM' YDU drm'OrfJ'f." ~n m nlmd, lift tIu! .tnw qf tire kid:iil'g "Re' ill· r.1l~ ,fj~mrie. kupiuJ?, il JNlTBfJdil1l,,~}1D(J'" Beml tire knote anti drilil! 'f_iu Il.ick. from thr ,1fNtrld,·In.

?pinnin&; BackHook Kick I us.him ma:was,hi' kake ,gen

Ml\~spirmim1!gbwcl hook lcicbwith back :l(icks and !Jf;)er anaeks OUI. of figh!:im,gstanee toprnlI'idE'J DU"lre :Bi'I1lIg]M ,of atlaclr9Jlildi fun'h~r ('.nflro~ :fQUrIi' opponent.

S,l.TlOCy01J1!1t b:u::k. IS atga1~ e:xposOO with tl'aiill' spin:rringbaek hook kick. Itris ger the' kick quickly. ,R~j!:ie elbows md use 3, strong £,wisting,ae[be
tiio~ oftae II!Ipperbody~(J tum lihe h~ps endlead
thi!:

kic k:tb:roU!gltt itill OOt:lIEiOD.

tm.mftJtfJ1e1y te1f!tUJ, u." ~Jfi1JgJmNras

!I7.Illitl'lt;riJ:! ,MWJo.Pl.

'J'h~ kit:t.Jrdfy ,m_~

mlo~Ji',i.' degRl!t.
,rretMn of
jo"tlll

.'hl!' Hck Jjh:r}~ld SWNpf"'I"i!U~~'.iII Jour oppo.lU'or"s :h.~ iImIiI'r:~ .po;rifIk,~,'iil m~

}lOOf lIN pmr:d.tl

n~1uJakml

diilll.ltl_J.

-~;._-,.._

~ libe elbows

1:0

create rorqu.e.

off die. floor widl thaball of

me slIJppo:rti.ngfoot.

'lhe ';

Kidt thro~1Pl

zone
WWIi
1il:Jil1rllJrf'.

pttIdia

{.i(:ltng

,II,f\l;l"I"1I ~"'0

r:i:r,P'IlJ'II".fi".d~

IhoDtdr.T-

ove speed and balenee, practice the turning action eXEell'lding tl,eliek, R,ais;e the knee a.n,(i rot1'!!l:e flli"l 'the ~:poIrti'iI:J',,g fool.
..J[

wtalIJ .lII"tKe~p :lid fiitJFrJJb~ to Uu! fleaF m'.tJ 5'Iil:tepl 11.I1'>tWlh (h~ ,fmp'Ild ~'~' •

row

31

HI lead!ing basics" exp].8!irn me' ICOTr,6Ct fo-rm lhefll execute ,the [~clmiql1efour limes slowly, Follow with ten to'~we;nlji oou.nlsi at fill 11speed williklai. Add ad\iiliflCOO

, &hllided ) techaiqaes for upper belts. Rem ember: De count ,and punch slmultanl!ously; always c.Ollnl first, rJ

punch or kick.

Pone, hes &":- B- ·Io'c·.-k··s··

,'.

]) From
••

Blip IBRC,UII",aCn:i, FORr~t middlh: ,1UI'cb I H.ike,~ chudan(Jdki

ngh. root flJrward pigeon..toed -lanre I

.r"..,
L-

..

'.

',.".

"',

,-'

'"

"

n'aclliDg Poin.t~
• COrrect fOOl position. weighl down. kn ees ben I • US'f! the b~ps on all blocks EIlndparries, Is the be
moylng side til side?

,IF(I,ftrist UPFI' ,pmdb I seiken' jod(j}1 ZlJki Baddumd &fdestrike J' "mien sa}TU uctli B,addiamd liwl" strike I u rakim hizo ur:hi :Ba'Cikband rOU!D,dhmuH' strike I uraktm dUlWI']'shi uchi lFo_ _ t hook pundJ l.s£'ihrz mawDshi uchi TrJple'pundit SQl1 OOR t;u.kl

• Cress the fists. relax the shoulders, pull back tl .r.'eU1IIcring hand complefely.
oil

Pictrue your opponent. Mak,e swe Ibe strike hEi the correct tiUget. Ccril back the smking band and hip before punching.

II

2) Blocks
V pper block I jodQJl uk.~ Mi:ddle OOUid I!' parry I f:fmdon :Lower PmT}! I gedan haPtli
sOiO

,_Look ilL your target to feeus energ; . nagDshi

,~Stand ill half-body po:ddoo, ,~Ens/un parries. should deflect tile alnu:ltin,g b.lu' D,on't maike C:C,[ltact ,at ninety degrees. The' panying band sllnuld move' wiih lhe direction lJbeattack.

Middle outside parry, mldd.l . punth I t:hUiltJn lOW naglllhi~ reihn ukrukm 1JiJd Lowe .. p.arry~mMdIe:pWf£b I ged:an bora;' seiken Duman [Uk;

Upper bloclt- pundl, lj.oJon

lock, & Punch

u.te. .fI~iten jodan

wid

• Keep
I. On

yOWi'

we.ighl

dOIWD-

forefist underpum::n and knifehand strike,

I,) From bo,nebacit lij,twlt1e IIdInJ duh;;'

contract yo ur power.
'lJ~ki

110_' t WJderpundl I k.dke flke. s.eiken $hita Elbow strike I hi_ii uchi :KnB'eband strike I SNU'() uchi orosh;

One ,aud one·h:alf hour LutrucHoD plan Stretches IOmm.

I

Punches, 10 min.

Blocks

Smin.

Kicks 10 m:in.

..Prrom bl6ic ·Apfnsl aroJ 111mb ~A(tht: bllrl'i!

Teac:binag Points nn ,tront...eanml stao"e I Z:e.tSIl dachi ken i

It Idek

• Deepen 'Ihe stance

10

SUlmglrem the legs,

IlamBl! tint hwgil stntchin:gkiek I mae keage

I kakato oto3hi g,en

..' For punches, use :i!mtational actio n of the h For Dlcb. the hips. aJld legs drive rupward,"
.' F()rpiIJtI.c1l:J.e.s. 'ttlile belt :d.wukI, - ·e side 'to' si During .kicks 'the body should 'be moving 1l1~

·"In kiek I kinteki geri unt Idek I mae geTi loodbollse ,kick I mawashi g,cri

see tick l kiw geti

om rea.dy stance I yoi d.Qchi

down co develop' a ,s:mmg d:rivin;g action of

supporting leg,

• Watch the Milgle (~fthe' 'tn.te ' - fOOl: ' the beginning of each kialkto e:m:sme eoueU~O] the angle is correct leady on. the -ck 'WiD i
the ti,ght ~~~h .. isolateleg
,·EhreU dowrnlwe 'tick mto, 3. fO'LU~eomn.-~ -

movemeets,

om ready stance I,€li dschi

di kil.k, I ushim g,eri DID 6ghti__ng ,SUtllee I bmite no ktuntw linning backltook lric.k I ~fhi,,('JmtEWashi kt:!t:d geri

'. After full,extensioD.

mts arigina] pato.

ile

.k] ct. sboUld

Rmm ,E

'. Use the arms, f s the Illppe:r bod, working wi the lower body?

In a one-hour class" use an cight- ereendwing buies. Ul alonger class you ,m tend the
set 10£ kicks and p11nches. In a longer f you CaD also include 'WIJI,C advanced (;1 nanens and .mO'fil!:ins.mac~ioil1 n pesitio o distance £01 ~:r:uji'vjdl!],aJ 'techniques. V3il)I niques from class ~oclass. If Y01.ll, wod::: 01 distance one day, concelliw.ate on shod: ,djl
or bac.k side position tli:rlcnext. count to

time f:r,ame and stude.'bi' abili~

as, :many
,rIS

Val7 the w,orkoutto 10 fit Y01

twenty

fOI

Tedmique
I~~~~~~~~~~~~I

I., positioBing lSm.iL

I

Sa~haki,with partner
'.,

IS

mm.

ISpamne:

B,' !alll',aimng

lDmm.

Kala

37

Pattern
Improving on instinct ...
In a fighting situation, we instinctively move out of the way ot an attack to avoid injury, But instinct does 110t always show us the most efficient escape route. To move out of the way effectively; you must move outside the opponent's attacking channel (See 2 belewj=-that line of force extending forward from between his hips and shoulders-into a position (3) from which your opponent cannot easily continue to attack. This means moving to the outside of the punching hand or kicking leg. When you are likely to face more than one punch or kick, you need a strategy that will take you out of the range of attack and simultaneously prepare you to counterattack. The first step to the Sabaki method: move to the outside of an oncoming at-

TatruJki Tamashiro move« to the blind spot position with a twQ~handed grab in action from the '93 Sabaki Challenge.

tack.

Move outside
thechannelofaUack

1) ~
II I I I I

3)

slmuttaneously elude attack and take control

Moving to the attacker's blind spot is a way of simultaneously eludi/lg att(lCk alld raking control.

Tbe wrong wayno escape and DO counterattack!

A poor defense offers little chance for escape and even opportunity for counterattack, To block or parry an attack w remaining in the path of a. follow-up punch or kick is suic In the figure below. the defender (in white) blocks the stra punch to the outside and stays in front ofhis attacker (2). fails. to create a tactical advantage and (3)meav.es himselfo for the attacker's follow-up punch wirththe back hand ..

1)~.

Challenge: Shingo ASllyama mOVES 1 opponent's attack and follows up 'II: rouuclhmtSe kick counterattack lind spor position..

blocking,. graIl the sleeve afihi punchitlg arm "I,ll the attacker off-bakm:ce.

y()ur .counteratttJck is easy

To pnrry as you mo !I·eto the outt:ide and set up for if yo.u ,n:ave ill rhythm.

d Sp10t Objective
e the shortest route to the blind spot
move immediately to your anacker's blind spot-that area to the back and side of the opponent where his visibility is limited and his offenArter blocking a punch or kick,

sive weaponsare few.

Always move to the blind pot by taking the shortest possible route: this means moving around your attacker's Leading shoulder or hlp. This way you stay out of range of a follow-up attack.

time th.at you move outside to the blind spot position.

As you will see, it is often possible to block at the same

It dOl!~,tI t matter wlttfthe,. (he attock cmJUJ!{ /r.()m yOllr right J or left side; s,imply moyeto the outs.ide (JUke attacker's lead shollider or hi,..". This will to.ke you to' the blind spot position. We will examine how to step and grahl so that you move as qukkly (:IS. possible and make the best US!! of the hliluJ ,~:PDt~~ tacticm advantage.

The Blind Spot: that area tD the back and side of the opponent, where his visiblity is limited and his oiJensivewea"pons are few

.. At the blind spot position. you are well situated to keep your opponent off balance as you counterattack. • Think-of the blind spot as the launching pad for your counterattack. But move quickly, because it is only available for a split second before your opponent re-

covers.

• To switch quickly from defense to offense from the blind spot position, use a pendulum-type rhythm.

Defense + Counterattack
Sabaki means pendulum power

- Sabaki

Enshin Karate uses a pendulum-type body action to provide defense and offense in one continuous rhythmic motion. This pendulum-type motion 1) takes you to the blind spot position, 2) gives you control of your opponent, and 3) creates momentum for YOlIr counterattack. The power of a pendulum derives from a weight swinging back and forth from a fixed point. The centrifugal momentum around that point creates rhythm and power. Think of a child on a swing.

use a penduhnn-like rhythm to "swing out" on the

In Enshin. Karate, we grab the opponent's

sleeve and

parry and to "swing in" on the counterattack. Sometimes this mot jon is large, and you can pull the opponent to the flOOT. Sometimes this motion is Iittle more thaa ajerk oftbe sleeve to pull him off balance in preparation for a quick follow-up attack.

The heart ofEnshin s Sabaki Method is this use of rhythmic centrifugal force. Think of yOW" body as a pendulum on a horizontal plane. Your grabbing hand and rum are the rope from which you swing out of the line of attack on the parry and swing back in on the counterattack. You are defending and preparing your counterattack at the same time. This is the Sabaki Method.

"rom' loot and allow the back leg to trail out behilfli
.,. letting it ;\'wing in ,a, slnooth are,

any and step· to the outside pO~'ition, Pi~ot on the

As }GllT back leg lands, JOUT weight shiftli 1IatuTally to the back fool. Now puslz off the back foot and pllU your.re/fin the opposite .dire,cti~mQS you initiate .ylmr counterattaak,

The gmhhing

pivot foot ad as LitE arit for -';()Iff roIaIicJ&.

Jum4,..

41

sic
,..-..:o~ _

Sabaki Sequence

pendulum power, th.ink . g around a fireman's pole

_ pendulum requires a fixed support to which the object in motion is attached. The pendulum action of Sabaki Method is no different. 'Ibis means when au move outside an attacker's lead shoulder. you should establisb a vertical axis with your grabbing band and pivot foot. As you step to the outside of your opponent grab the sleeve and let your front foot pivot as your momentum swings out the back foot in a natural arc. It is as easy as swinging around a pole. Think of swinging around a fireman's pole. Grab the oppenent's sleeve between the elbow and shoulder as you pLant your pivot foot.

me

Movil~g to die blind ~p,fJt o,~iti(ln is similar to ~'wingiug (rr(llllld a p pole. To go left, grub with JOlIJ' Lelliumd and PUUIlyour left Jool. As you pivot open, l~tyour back: leg swing Old. To mov~ right, use your right hand and right fOOL.

Now put together these movements in a typical Sabaki "' ......o.'n ....... . '....

As you st,ep to t~,e olliside of the atUlcke'r's lead shoulder, pivot Oil your .frtHU/oot andlet your mometuun« swing open the back leg ill a broad arc.

The closer you step.to the opponent, liJe better leverage you will JIa:Pe.

As your back leg swr/lgs out, pull the. attacker o.fl balance. Use his forward m01'lIentum against Mm.

42

ving out, swing in. (reverse rotation) ...

ock and move to an outside position. Grab the attacker's sleeve and let : circular momentum reverse itself naturally at the point of maximum lerage. You will feel the tension built up in the hips and shoulders .

,
.

II I

)r the best "set" position think of a triangle

'f the optimum "set" position fOT your counterattack. think of ur feet 3II.d the target as three points in a triangle laid out on ! floor. IIthe attacker's head is your target, one side of the angle is formed by your front foot and tbe opponent's head. te second side of the triangle is formed by your front foot and ck foot. The third side is fonned by the target and your back Jl and should always be longer than the other two sides. Tills "mes that the back leg and hip are pulled back for maximum .erage and power for your counterattack. When your energy is Ily coiled, simply release your counterattack, Ibis pattern. holds re for kicks and punches alike.

~. ..

IU,en YOllr momentum stops, keel' pushing with the arm. four back leg J"mlld be coiled at the knee and read)' it} push off for cotuuemttack.

To double yOllT power, pllli the attacker by the sleeve into yaul' kick.

4S

Footwork I Positions 1 & 2

Four Positions
Sabaki footwork is patterned on moving to one of four basic positions in order to lake your opponent's blind spot. Move forward or backward depending OD the momentum behind your opponenr' attack. Move to Positions 1 or 2. when your IUppmmnt.' moce is balanced. Move to Positions J r en h drives forward with. full w()m - look first at footwork for Positions. 1 & 2..

ft tbot: first; right foot first

_ (~ urd or backpivot by winging Tomo e right, step with 'fM'W'IIj' -Fril_ 0 batkward) and pivot sw::mgmg:m behind you. Keep your fur maximum balance and leSabak] strategy is based OJI movement to Jour basil; posiJimlil. Move to the imtjitle of the atf(tCk, either forward or backward, to th« right or to the left

verage,

Position 1

lead sho.ulduAgtJiLm first wah fl.~re/i foot

Whel'J ~h'HtHlad.er ~ 1mlmH:·etJ dlfd Idf mITIIlentllm ddelt n(~t cuny through s1rot!gly, parry and move forward . Q ,.;gm pmrdJ. mOl'ejanwud alul to your left to create the ~lto1'testroute to the atttU:1r.,~fI~;t1f1Jtd:sp

,tmd wing

1Ipn1

ch..e back 100.1.

This bl'lng.~you t:o the blind

~Oi

in set position ready

II~ co.unterattaek

with

a!{1C8

purtch~

he Control Point

rient your footwork around the control point-that isition on the floor corresponding to a point just outIe the attacker's lead shoulder or hip, Touch down at

the control point with the stepping foot in order to es tablish YOIJjpivot for "swinging auf' and counterai tacking. Step to the control point, then swing out

Control. Point jor Posihon 1

Control Point for Position 2

Agaitlst ,a baianeed right Pltl1Ch, you l$ft JQ.ot steps .fcmvaril and to the kjt to Positinn, 1.

A.gainst a balanced l'f.{l PIUfCI1 yOffl" rigll1 foal mQveS jorward and to the righl UJ Posiiion2.
j•

osition 2

r y~u land, pirut

011

the right foot anu open the. shQulders and liips to prepare your face plHJch ct)UI~tcr(Jttack.

__ I Positions 3 & 4
~!I:St.

rtraight lunging attacks

-.,...,..,.... anyour own pace. When you. move backward and to -rng your left. the left foot steps backward first and the left leg swiEJgsopen to elude the attacker's main thrust. First, parry with your arm as you move your feet, then pull the attacker forward and. off balance as you move out. Draw your front foot to a new control point.

L-i::SllIton 3 when you are forced to give ground against "_'_-",,"'"aIDlcks from your opponent's right side (right hand ,. Keep your balance by staying under control and

Position 3 MQve lmck Against low roundhouse kick & lunging puach attacks
Againstalowroundhouse kick. you mustfirst shin block the kick, then step back before touching down. If the

and to the left

attacker lunges with a follow-up punch, grab his sleeve and pun him off balance as you move back.

a'Ice 'y,Qi'l have "riven grvund by swinging open the back ('1igllO joot; SilmJerldnuveJ1QsitiQJi as you. ]ilo"ld be in positi()tI 1.

'yOitute

in the

Ptlildown thelu:«d and c!JutUeratttlt/( as you

wvuld from Position 1.

osition 4 .gainst straight lunging attacks

gainst a lunging [eft hand or left leg attack, 1) Swing )en the front foot to bring your body into a blind spot )sitiol1_ 2) Re-establish your control point with the-right lot, and create the outside position by swinging open e back (left) foot as you draw the attacker's momentum rward and pun him off balance.

Control

Pom'

osition 4 .gamst low roundhouse kick & lunging punch

rst shin block with the back (right) leg. 'then touch down and parry the folw-up punch. Swing open and pun the opponent forward and off balance.

'ainsl a low roundhouse kick to tile ~k leg, use a right shhi biock: ..

"Db
t:

the sleeve QS y.QU swing open. Honk neek. to' control the lM!ad.

Maintain rotation as ym" force

dO,wrI

the. alttlcbr's kecHi into "forward

rol1ing Ilrrow.

uick Counterattacks
If an attacker leaves himsel f open to an immediate counterattack. go ahead and Gunter withoutgrabbi1!lg. However, try 1:0 position your lead foot at the control point in order 10 make SUre' you are in range. The first two sequences below show the defender responding with a quick counterattack by moving forward and left to Po~ition l. In [he second two sequence's, the defender gives ground and moves backward and left to Position 3., In each case. the defender sets for his quick counterattack in the blindspot position, Note the variety of COlIOterattacks you can execute from the same blind spot po-

sition.

, :e 11lllJlfd and left/oat rpet posilion.

work togeiJJl!1':. the left ,lumd bloL'kJ~ tlte l'eftfoot steps ,out to tlut Milld As

Aigain.Jl middle roulIdlu}Ilse kick., !t.':l' I.he foor-$top-lISbi dome. HOlfNllre;r, if tI~e tlllt1{;k.er'/i'jJOfjlll1' drilll' lh,."ugll. l/I~i kl] toucloi dowll w;lll ,lie Sltlppillg /00'1 and pillo,' 10 Pos,iti611 J by !iwingillg op~{r lire back leg. Xu speed rAp'f"ll'r fOOIW~;Tk. {(HI'eli dO'IJm, alld ase.a '~'"'mp'-Slllil1:li" to mOl'e bOI). Jen itnu.ilam!ol1 1),.

Set Up Back Kicks b_ tepping Across

When using either a back kick. or spinning back hook kick after

a front kick or roundhou e kick. allow the kicking leg to carry through after the first kick. Let it touch down across the line of attack (dotred line in the di gram at the right). This way, you have properlyaligned your body to set up tti:le back kick. If you don't compensate by stepping aero the line of attack, your impact zone wilJ falJ short of the mark. The diagram at the right shows correct aligmnent for a spinnsig back hook kick. Remember: upper and lower body should work together. Use the elbows for added turning power, balance. and speed.

50

instead of gmbhing, ct}unt:erattack ng,hr away ~'Uh a fa'cit pundt ,rma roumllUlU e kick. Y(JUI' punching JIlJrldretracts; plf..~h(iff the jl(}or wilh your OO,ck fool ~o Uigger the mntulhom ~ I._-jc:k..

After moving

to. the control point, spn·ng into a spnmillg back 11(Jt)k kicK cQunteraltack. Use the elbows ,to trigger your bachtmd spin. Hip,,> and lower body follow the rotation of I.'lieelbows Twith a whipp,ing aetian.

iri its proper alignment.lj y(m tum't step

Coullterattack

Wilh a l'atmdhOUi:H! kick, lettii'~gyour kitkil1g

QC"('OSl',

the back kick e;r:/(mds off target (see ,diagram, pllge SO).

leg carry across the

{i,UI oj attack. This sets np the fallaw-up bad kick

Use the side kick La check rflun:dhoase kick.

yQUI'

(lttllcker's advance.

fOil

can larget tile fr()n~ hip or torso, and follow

ltp

'tI<1,i1/, a $pilUlU:rg bod:

51

_____ Grab I hiki kuzushi nded

Alter you block your opponent's attack, he either will pull away to escape or turn into you to continue his

attack. This is precisely the instant to take control of his upper body. By grabbing his sleeve and forcing him off balance, you create the opening for your counterattack.

Your distance from the attacker will decide whether you grab with one hand or two. At dose distance, grab the attacker's sleeve with your front hand and hook his neck with the knife-edge of the back hand. Prom middle distance, use a one-handed grab to control the attacker's lead arm as you force him off balance to set up your

ceunterattack,

Create the best possible leverage

to pul] around the opponent as you pivot on the front foot and swing an arc with the back leg. Your body will feel like a gate swinging open, taking your opponent off balance with its momentum.
Grab your attacker's ann between the elbow and shoulder. For maximum Leverage, keep your grabbing ann close to your body. Use your whole body

Usc one of two angles for controlling an attacker's lead arm and taking himojf bakmce after the grab. Hither pull qcross your budy for middle (chudQn) COUllternttlrclc.~,or pull acTOU and down/or high. (jodaD) ctmnterottacks. (A third choice: if the asaeker doesn't moYe as you try to pull or push, then pivot open your own body; using his resistance as a counterweight. Null' youare coiled/or a counterattack with either a pursch or kick.,

52

Use a circular grabbing motion that draws the opponent off balance

TIlt! grab i.~a quick, decisive motion.

The hand c.ircle:,·forward from behind Iile a1mcker's arm. Keep the grabbi.ng hand open, with the thumb up.

Ta,.,ell1~e sleeve between the etbow m~d

s/wuide.r. Orab tlw sleeve tmd pull

.fortl'llTd.

Alter g.rabbiug Ihe auac ke r 's sleev, pivo1 and {lull him off btJIo.m:e brtfm starting t:QwderoRnck..

'0'"

a middle roundhouse kick. counterattack

Pu.1Iacross and draw the attacker off balance. Counterattack

with middle routzdh(~use kick.

Pull across & down to set up a bigh roundhouse kick

Pull dOWIJ on the attacker's sleeve to hring his head intu range for

(J

high I'oumlhmtse

kiek:

53

o-Handed Grab I hiki mawashi

Grab the sleeve & hook the neck
Use the two-handed grab-l1iki mawashi=tot close distance encounters to gain control ofyour opponent's head and upper body. the two-handed grab not only smothers your opponent's follow-up attack: but positions you for knee kicks or throwing techniques.

Two circles: one on top, of the other

The two-handed grab-hiki

mawashi-«

starts with the same grabbing action ali the one-handed grab (hiki kusushi}, but adds a hooking motion to the neck with the knife-edgeof'the top hand. Think of the hand movements for hiki mawashi as two circles. one on top of the other. Whether moving to Position 1 or 2, the

bottom hand wi llalways grab the

Hiki kuzushi-one lULudeti gmb Bili mll.w;lshi-iwu-h.tn.lded grab & lwok

attacker's sleeve, and the top band will hook the attacker's neck.

Ilse a reverse lower porr)' against the frotu kick, step flUlJ1ideto tbe blind spot pm'uion as you gruh

ami Iwok the fleck.

you step straight in q.n.d grab, you 111 IW advantage, because your iument can j'tiJl attack.

keep !J'aul' opponent glleSsitlg,. SClmetim6S, WE tuiek ctnL~ks before moving to' the blinA spot; sometimes parry tmd move Old ,fmlJUdiaJdy. Avoid
easily recognized patterns.

1] YOll siln:ultallf'O'U 'iy step ou~i4'e tQ lI,e bliml ¥Jot poriJiD and grQb, you are reQdy to take fl~Jl cQntror by hookir:.g {h,e aIlaekel''1 ,mek. llfJU is true fll" both hik:i kuzushi and hiki mawashi. But lIary,ulU mo DB lD 1Ju blind spot f(}

.eep the grabbing elbow in close to

he body

irab from the outside-in

.s the grabbing hand

puns in

start

o book with the lop hand .pply the knife edge of the hooking rand to the back of the neck.
199) Sabak; Lightweight Champion

Tamald Tomar>I,iro UJeS the two-handed gl'ab-hiki mawasb:i-to control his opponent and lake him dawn with a forward rolling throw. Tile two-I,anded grab IS a pJ'O'Pell tee hl~ique for taking larger opponents o.tf balance .

.:u

_,ou force dowTt the head and pltlfyou.r opponent around; the small circular movemetus of'th« hand« grow into a Wrg~ nrlCrJor -emen: oj tile body. Counterattack with a kue,e kick.

5.

-Armed Hook and Knee Kick

The one-armed hook is faster than the pull-around hooking techniques-hiki mawashi Of' hiki kuzushi-becBlUse you are driving straight in with your attack instead of moving outside. The disadvan-

marily to knee kicks.

tage of the one-armed

hook is that it limits your counterattacks

pri-

Use the inside of your forearm to hook the back of yOUl" opponenCs neck. Draw the head downward into the knee kick.

Instead of first moving outside, pulling around your opponent and then counterattacking, move straight in and draw your opponent's head directly into your knee kick. When using side kyushu to move to
the outside against a book punch or roundhouse kick, use the attacker's neck as an axis around which your concentrate your centrifugal force (see bottom sequence )"

Use a lower parry against the front kick. l'he/~ move to an ou~!ide pOl;Uim1..

Block the Iust plmch and move outside on tlie hl)ok punch witll a side kyushu.

(hen you target the head, the angle f your knee kick is important. Your hances of scoring aknockout are bet~Ii f you connect with the softer tisi ie of tile jaw, Tl1ink of ;J, boxer's LIIPercut or hook. The techniques that do ie most damage are designed [0 conect with the bottom half of the head. target this area attack from undereath, Drive up,ward with your knee ick [0 make contact with this vulner-

umping knee kick

,Ie

area.

opponent's Ittad dow" into the knee

kick.

l"iglU arm hlJt»ks

ts y1JIU' rigllt fonl steps outside.

ti'll/ neck.

:i0I~F

1.!,tll th'e

StilI{) .the kicking knee arttlllooking srrapp;n.g dud.

lIml'

together like tlu! jaws Qfa gkwt trap

,.t - lOll

kyushu te lhe side. hook tlUt "cu:k will. !'JIll! arm. Use ,tirep'endui,,,,,, lion of r/lt! h.ips HI trigge:r .tile jlm!piJ',g lienee ldck.

n,.LlIc !JOIlrlmee kick upwurd 1.1) atch c ,fllcb,aUom 9j.heaI14c1r.er'sjllw, lii~/len p'ro:c'tldng wil~j' Q p.arl'lM1r, {I.t'flll(JJs rJS~ cotUrol.

Block & Grab Combinations in Fighting Stance

Blocks & kicks
frODI figbting stance We practice the basic punche • blocks, and kicks in pigeon-toed stance in order to bWid strength and balance. In fighting stance, these techniques be-

come faster and more compact. The five basic blocks or parries in the Enshin stem are designed
to deflect an attack and turn the opponent's body to expose his blind spot. Allhaugh each block is designed to protect a different area of the body, the principle of following up wilhoutside movement to the blind spot i: . common to all of them.
Tile nppe.r block protects Jhe head with all upward blocking actien o] the forearms t.o dell(u:t away Itpper punches, axe kicks, or high round}wltse tdcks overhead and otJlo the side.

Jodan uke &jodan age like

Iodan age uke uses the same motion es jodan uke., but
lifts the eJbow of the blocking arm. to trap the attacker's leg and push him backward. off balance (see detail on

top of next page).

Ag.a.ifH' high Tou.ntfhollfe

kieh. alw« '$ ,u~e~ Jinjl-MI'igll marion In deflect the

kick. M('(;id mJJliing contact "bone ta bo·ne ...

Lift lhe/ore«rmjrom heneatl, rile line 0/ the kick to deflect it upward.

Start buth blacklYwith an upward oval motia» of the arms. Gather lhe lumds towards the chest; then release them olltwtlrd. :rOll should Jeel as ij'you are ducl..irig under the kick, then rising up frombelow to deflect the /tick upward. Use the backhand either to protect the face or to brace. tiU! block.

Rotate flu; hips Wid slumlders as Jim bioek:

lJp,per HIOCk./jodan
Blocking angles f'orjodan uke &jodan ag« uke

uke

Like jodan wke, jodar: age uk« starts with an upward circular motion from. beneath the attacker's kicking leg. Whereasjodan uke pushes outward; jot/an age uke pushes straight back on a line di-

rectly throagh the.attacker's head.

Use upper block and }ilJve immediately to the blintl!Shdt, Grah while the attae~i:Fis "A~. [I nbalauoed. Co unterttif!Jt;t= with high roundkous« fd~:,

,1j.f

,~.o/

"~."

'.

~.,

Iodan age uke & grab

If you time tile upper

fa

/r0'!l underneath atths, iJ!!lf 0/ Us arc. you can take aiWf

trap tIll! at:tacker'Jj(},;>_;_,.zo;

4t1* ,11l"'

r~ ss

Qffba-lanCI1. By lift.ing;" : es driving his leg u.p and over Ilis 'lead, you call, ~ him onto his back. Follvw ' rrr:aight in to set up your
r:OIJ

+
59

nteratl.(lck.

iddle-Outside Parry I chudan

soto nagash,i

Deflect away •••

The middle-outside parry is used against straight at-

tacks-right at left punches. orright-fronrkicks. It is designed to deDect the attack away from the defender while_simultan~ouslyllllrniln.g tliJeattacker and exposing his blind-spot. Apply the cID::I.IJar omentum of the m parry across the line of attack, drawing the blow forward and '(0 the side.

The elbow oJ the parrying arm inscribes (J small (j,yal a): the Mnd {lfId .fQr,earm ,extend ac ross the j'ronJ Qf the chest. The cantact surface for the middl(Hiu/$ide parry i:r the inside jOI"l!l(I'ma:reaJiwll tI,e heel ojthe It(1Jld ttl the elbow. You can use the [Ullm as W(?ll" IlUt keep- the jiJlg_er.~well al!ol!l! I"'.e IIiris~ sa tha; liz 6] aren ,[jammed.

By lINing til strung parry motion ar;.r().~s/z.e body, you can.tur" tJif: «ttacke,r l his b~ind ~:P(),t.

'$ oS houldets

and expos e

ry across, never down ...

ing across the .body fofce~the l1ltac1wt;s shmdders to tum. 'WI ollly tliSTuptt; his attack; bllt exposes his blind spot.

other /tarn! ALWaysparry 1.W:JJJJi. the hoii:J.

If you parry

do Hm, yo.u tea VI! 101.(r' faee exposed

:10

fhe attac];

Against a left face punch ...

~~~~~~~~~

Ag4hut a left Jlll-flt:h 10 tJH1/an, rise lIu: righ~ middle-outside parry and counter wlBttf!dial£ly with th e opposite hand be/flr.e mOml!! Old: UJ .fhe blind spot POliitiOl,. Alw.u:ys keep Il~,ennnblm::king (back hand) up ro protect you,. face.

The parryif:1.g hand circle,s agmn 10 grab .the attacker and take control with hOd kuzushi. Finish off with

(I

PUrU:ll •

• grabbing the sleeve arid nOlJkil)g the neck willi the backhaJln-b:iki take filii control. FoUow lqJ wah a knee kick;

mawashi-Jou can diree; the opponent)s he04·dof4,w

Lower Parry I gedan

barai

The lower parry is used to deflect front kicks or underpunches. Even though it primarily protects the lower torso, it also can be used to pull down a high roundhouse kick (see page 64), Against punches or front kicks to the face, use outside parry (soto nagashi).

From left [oot-farward fighting stance: a) lower parry and

b) reverse lower parr)'

ong
dfrll1_l! (:

• Circle the parrying arm all the way through, so thai the hand returns to protect the face. e
~;, ~j

(·~ks}

• The angle of the parry is from front to back. React forward and pun back before the parrying hand circles to the top position. This angle will change depending on your counterattack (see illustration at left). '.If necessary, skip back as you parry to absorbkyushu-the impact of the blow (see page 1:00)..

By tlwnging

IJf;C ~gIe oJ middle, or long disbm« C'DI:I:Ift.I!:r==z:f~

Push off the' back foot as you slart your counterattack with a
low roundhouse kick.

From fighting stance. open your bod_vas YOIl SMn your back hand lower parry.

As Y(Jll parry away the anaeker'« leg, your weighl lands on the baek: foot before pushing off.to begin your low roundhouse

eoumemuaek.

62

'Ding tbe attacker

ough you can block a front kick with a middle outside

IU

~ back hand lower parry

were to use a back hand (also called "reverse") lower parry, you can pull through ntacker's leg, keeping his body turned and forcing him lOW his blind spot. Think: of the back hand lowerparry as e motions in one. From left foot forward. ii,gb . , ce: 1) Start the back hand circling the attacker's leg. 2) D thefront hip and pull back the front foo.t. 3) Bring the t hand to center to protect the face.
y. With the back hand lower

'{;it is harder to keep the attacker "turn ed' , afterward than

ing out, swing in ...

,'en,ing the frOlU hip tl'tJdpulling bad tlse ,leadfOOl t.r.t JOt, execute the r parry, you 'Coilpowerfar your counterattack. Now yo II are reatly ts
tI

tow kick.

ow kick al,d' grab simul.tt.meCIIJs(y to ke('P your ,opptmem Q!f alance.

rJ

Ifler the low roundhouse kick, step across with the kic/dJ'g leg position yotmudJ for a back kick,

High Parry I jodan

kake oroshi

Use the high parry against high roundhouse kicks that carry strongly through the impact zone. (Against snap roundhouse kicks, which are shallower and retract more quickly, use a body stop-ashi dome-or a foot sweerr-jikuashi gari.) The high parry's scooping action draws down the kicking leg and can tum the attacker to expose his back side. When parrying down, you may need to draw your head back out of range; always keep your chin tucked. Time the high p3.1TJ' so your parrying hand makes contact with your oppon s kicking leg b'ejore it reaches your guard hand

• Use a scooping action of the nand to

• Keep your guard hand up. • Use high kyushu to avoid contact • Tuck your chin. • The gaard.hand (back han ' but remains tationary pnJW:t
0

forward inside the arc of the punching fist and snap downward with the forearm at an angle ninety degrees, to the attacker's forearm. • Move forward inside the arc of the hook punch.
o. Use an outward snapping action of the forearm.

targetillg: the ribs or kidneys-use the lower block (geelan uk,e). When executing the lower block, move

Lo er parry (gedan barai) or middle-outside parry nagashi) defends the front of the body by deflecting straight punches or front kicks to the side. A.ainst c:i:rcular punching attacks from the side(clU.ldIl1l80to

,. Target the opponent's forearm or elbow-no

higher,

64

Il,.,~p in ~,rJ ,.'TOt from strong horseback sIiJnc~.

vins,r IMO/r: pllNellos" move: .IofWn,iJ' '(1'1'11 block Qu1 ""ill~ •jonarm tit, all anfl,le ninety depue$ Is tht line .of lite

If your

11£11,.

OPP()"U!~I, ulls hack ~hf .Imn(:,hing uaniJ, p iCfJnli"ol,{.Ilthe 'QP[UJsw Qmll ,/}JI grtJhbing the: ,opueP!il.

fllke

...

and Flook the: neck.

From a fitraigbl-on ptJSitifnI, use cmillside thigh kitk.

bee kick.

Onc,e ,y~u" (JPP,(J1lent IS doubled

over, ftlli~1I him oJ! wilh a

Shin Block I

sune uke
Against low roundhouse kicks at close distanoe, use the shin blOGk~sune uke. Unlike wiIthparryingrechniqu.es. the shin block inunobilizes a low roundhouse attaok by meeting the kicking leg at a. perpendicularangle just above the knee.

Whrl:l1ll1fing a shin bmck agail:l8Jtl loB roundhousB kick; k.eeplourlrantl!; up and momefltum

/OrWariL

Front leg shin bl

set your a1:tm~

r=iu drefrtmr s.#Un aml turn it out to meet tlw right tfDgJ, (Pfwto A & 8). Once you ool'e 1Im:::::;zr:::;;;;-,;:q'.;;;Z" drzd:n 11' momlllflum, us~ this ope nJng to establi~h" ~ altllcb 1D dIe bad; leg (PlIOlo C), lift the' back t1mPn UJ deflect the kick. it} the floor. mJ:
til II

____.m "

.. Keep yom body ~ 'S'IiGJll:C:~

.. Never drop your hands below your waist to block a low Irick. '. Bend back the ankle of yo Or kicking leg tightly to trap the attacker's kicking leg and prevent it from sweeping yOUl' back [ego

• Snap the leg fOf\\'aJ::d on impact to incre-ase your stopping power and pu:sh back his leg.
• Target the irui.ide of your opponent's just above the knee. kicking leg

WlI,ell your atracker~~ kicking leg drop's forward after the shin' bloek; sllgiltly ndractY(lur blocking leg Hum circle it outside the attacker's leg before to'utihing down at the control poinf. From thu' positiun, swing (Jut your hack /()ol to an ,outside pO!;ftioll ,as you grab the '(}PPOlleflt's' sleeve se' up you» counterattack.

'0

Agm'1I:i:t a right 10M' kit,., keep

knee

Up'

as the shin swings

OI~t

me hands ',igh, briTlging to meet the kick.

the

Block the kick" 111l,nuldWely retract and "step around" the attacker'$Jronl fool with !lOUT blocking leg,

66

,dYe the hip of the blocking leg forward

Targeting shin blocks

~Iter the attacker's momentum by thrusting witll file hip Whi188kipping forWard 'he supporting j'ootduriltg the shin block. If the: blockilzg hip' is not projected n.·ord with ~~our momentum, you; wiU be toppled over backward.
I

atlacke'I"'s

4Ft!:fJ abov~ YOI'a' t/M'e.l! )lO'U block below tf,e knee, ytJuwill hi.t bt.me·to-bQrle. Use eiti!fN" Jo~r shin Q'1' bee to Mock th:IJ /del€.. Block the kick earl'y. before it

T(1.rget the

ate the shortest route to your opponent's blind spot

, J.ttacker's right kicking leg dr-OllS forward, l'l"'e to Position 1
A)
I, 1

picks up mOrilentlUti.

H attacker's

right klckleg leg is forced backwmrd., move to Position 2

B)

C)

~ attacker IS momentum carries forward (UuJ his . .cmg leg droP!;' in /1"011f, tak« the shortest route to blind .I'pot at .Po'Sitio" 1.: (.4.) move' outside his d:i:Rg .leg to reach the control polnt (B).

If you shin brock with strong momentum and push hack the atto.cker~~ kic. leg (A). you.r shortest route to tile blind spot is mO'l'ing around tbe front /(; Poeitio« 2. Touch dOWJI the blocking too/just inside the attacker's leftfoOl as you grab his lead arm .. Pivot Q~,t uickly, stt![Jping to the control point q your back/ont (C),

Grub and honk as you "load up" the kicking leg. Counterattack
~ Q

knee kick.

Pull the attacker off balance withlliki w.ith a high rotl1ldhouse luck.

kuzu.~h~(Ind jalkJw ~

sever IShinBlock
Cf0S50ver shln block against left low roundhouse
Au

get either YOIM to the front leg, use your front shin to cross over and deflect the kick downward. After the block. your
of your blocking leg and s~epout to. Position 2. the same as you would aftee a lower parry.

attacker may use

Eeftlow roundhouse kick. ttl tarfront leg or back Leg.Against an attack

a!

kick

attacKer's kicking leg will usually dr-opforward, I~ tbtis case, touch down inside the attacker's leg with the foot

With l'.eft IOHiFOlmdhouse kick, your opponent will target t~U!inside ,of YOUT Jl'Dn't Illigfl 0'(' the' outsideo!'yo'ur back thig:11.

either

• Let the hipand blocking knee rotate into the attacker

left, inaer thigh.

• Do not pivot the supporting foot or tum your shoulder you will expose your back side.
• Block with your shin just abevetae attacker' s knee ::::
the inside of his thigh.

• The crossover shin block should have a high-to-le motion. Remember to flex !!heknee 00 cOilitad and.kics,

out with the shin to

SlOP

the momentum of the kick,

,I.l' crossover shin block «gainst II riOundhQus'l! kick (oyo,",,- /r(}tI't leg, brin'J, the knee f}v'crqu.i£kt, but ke:ep lite sholdders amlhips r;,qu(1n~ your to opponent. ljyo.u turn .1'00 far, or cross OW!,. Wr; early, Jour ,opPQtlfmt' will sweep Y()l~ .or take YOl4r bad: side.

ww

To use

Crossover shin block and m,ove to POSitiO.R ,2

Agairu't the low l'Qundlw,u.se kick, turn the sltill and hips ,ql4ickly. Ke,ep tIle s.houlden amI suppol'till'g Joot i'l place.

Use a s.trong top·tQ..Qown motion to j'mot/J(T the fdr.;k. Toue'l dQ'Wfl quicl'dy on~/,e' ball ~fthe fO'IJJ~ g:rah the iI'tls:chr't Jl'tmd,.tmd :con~rof
the upper body (~\eediag.rams above pho"os}.

Back Leg Shin Block

~Wn block agamst back leg attacks
TIl protect the back Jeg against a low ~le back knee to the outside as you

roundhouse kick, point lift the foot to create a wnward angle with your shin, This will keep your leg from ~-mng the attacker's leg straight on, shin-to-sbin, and will Je"Ht"Cl most of the attacker's power downward. Keep the

~ le flexed at ninety degrees to l p the low kick.and keep - from driving into your. upporting Leg.
~ttacker's front shoulder. This will help throw

~s you shinblock, use your left hand to straight-ann the

ance and weaken his attack.

• ~eep your backhand up
tne
[Q

him off bal-

protect your face ..

. After the block, touch down by immediately

stepping over attacker's kicking leg. Pivot out to Position 2 to take :'"leblind spot position.

TORch' dOI4'R by slqpmg over 'lie (fit(l'Cker'.~kick;;ng leg. Open 'he body to plrilitln Yf)ursel/ to Jinisll off.

.. faster II.wVi;ll1lem to the o[lrside, (cO!ICI!,dOW1Ilmd grab til I! _ ...... $liullle, the,1 !mwe:ighl {he/eel «ru! sh.ift 1)1e trips, .7R:CI}'iJlg ,-'1 . n 2. .fIooK the rJl"ckquickJ)".o k.eerJ COlltTfJ,l (see di(lgI'tIm).

Il!orwa,rn-roi:oog

Mai'fllat" your e;l"Cular 1110,/J/mtum ,toforce 1lU!4ffl:1ckerdown inlo throiftl •

69

op I ashi dome
and breaking his rhythm. By repeatedly stopping yol.!opponent's leg or body as he initiates bis attack, you can keer an aggressive opponent at distance.
Timing is critical. A foot-stop only works when used early 1£ youropponent's.auack, before he develops momentum. If yo, are late, you can be caught figbrjng on one leg and quickf end up on the floor, Foot stopping is equally effective against punches and roundhouse techniques. To take the steam out of an attacker's punch. stop to the body or leg with the arch of your foot. Disrupt the roundhouse kick by checking the hip of the attacker's kicking leg. his body, or even his supporting leg. • Instead of first cocking your leg. as you would for a front kick. simply lift the Leg and plant the foot

j ab: it allows y _ to keep your opponent off balance by pre-empting his attal,.,l"
A_lI effective foot stop is similar to aboxer's

against yow opponent' leg or body,

0]"

" Use the arch of your foot.

• Do not lean back

be late; you'Il be .w,ept.

• Shift your weighr forward to stop forward momenmm,

your opponent's

The foot stop usesa lifting aetiOlL a/the front leg, witllllle ar:choj the foot puslling out against the opponent's hip or kicking leg.
Angle the foot to a position whicll aligns perptlildicularly 10lilt lim! of Jour opponent's kick. Retract' ql~ic'kly so tllat YO'I" opponelll can :1 grab Y(Jur leg.

Very oft;en when ),OU ffl'op Jour aitacker's distance Situmi.oFl.

h.ip or body,

),0.11

wiU pusll .him oQ£hJaril •. cre4thj~g a fling··

D}

:ift$

. I pUDd,es) the /rOllt II~A &; B; (agai'fl'~ rDll"dlI0'm~ or spimling fJack ffjumJJwlssB /dek ) ,the kicking leg ,at tRll tnp of [ltjg't~ the body, IJr the frlmt oj the J:uppot'ciing leg-C &; D. AlwRJlS keep Ihe stopping/oo; p.erpelUliculaF your taFgd b,Y ~g ,lilt!: tti.f!$ illwanl or outward os need.ed. Keep the flukle betu m njnf!Ij' degrees.

fol' lie /001 stop' i".cl"Je:

'0

opping against punches

using the foot stop to check 'the attacker' forward -nentum, most of the power is taken out of any punch,

juol

II

In

right ",.n(;1t. 11:1:' tllee Re,lract Ihe s/,QPpillJg le.g QQd top Ili,e atJQcke,r's step' o41si4e tIle ailaciterJs lead
shou.lder.

.usiflg hid IrnIwasht to

,faTuI

,control oj,the o;ppo"ent~ ,head~flilll

I,im (Iff ~'it/~ JJ. Jmee kidr.

rii"R ,le~ at the thigh.

7J

ovement-Attack and Grab

Follow up your attacks with a one- or two-banded grab

Grabbing techniques can be used defensively after a block or parry, or they can be used offensively to follow up punches or kicks and to pull your opponent off balance.

Hiki kuzush: & roundhouse kick

Follow the attllck with a low reundhause kick as you grab the sleeve and move to Pas ition 1.

q you
neck.

choose a two-handed grab---hiki mawasbi-gmb

the sleeve and hook the

72

punch or kickis only 'the first step in your attack. By lJIIIlingthe opponent, you create an opening: to grab and

ke control from a bUnd spot position. From there the Inons are unlimited, .

11flu! attacke» arollnd aml ft~llow up with

II

,'oundfwusi!. kick.

the oppmteni off balallce, tak« him down with a M()k tnrlnl'-nra nage.

, up wjth an imide ihigh kick und .f'ofward-I"ollirJg

throw-makikomi

nage,

ponent off balance

~_ uses sweeping or throwing takedowns to ~,":=C"'--":-L dimension to the arsenal of kicks and punches ttJJIlIl3JJ)' associate with karate. In a close-distance fightsimarion, when your opponent braces in anticipation follow-up kick or punch; the sweep 0;1' throw can catch m off guard and easily take him down.

FOTWnrd.ro'lting

throw-nl3kikomi

nage

opponent's momentum against him

Whicl~lhrQwing ted~nique yo" use depends on yOUI" 0PPO,rlcnt's position tlrtd momentum as .J!tm establish tile ane- or ,fwDhanded grab. Moving wlth }'Oltr OPP01HJltt. yo~ can i,u:rease his ifwmenium liJ adding an unexpected pu.sh Qr puU.

Stay ~ ~tellahead of.yo~ opponent By anncipating the dnection of your opponent's momentum, you can add pressure and redouble it, forcing him off balance and into
a forward-rolling throw, front throw, or back throw.
]f

your attacker loses balance or pulls away so strongly that be ends up with his weight on one foot, you can take him down with a foot sweep--ashi ba.r;ai-in one of two ways: a) Draw the unsupported leg and his upper body in opposite directions, forcing him
off balance (see opposite page, bottom). b) Trap the supporting leg in place and force his upper body off balance. With proper tinting. each of these techniques can easily bring an opponent to the floor.

.p'ponent's :momeD'ium fo,rward: 'orward·roOing throw Ilnakikomi nage

')'()ur knee kic,k c~ugeg )lOll;' oppOnetlt"s IU:tJa to ,r/rap jOrwtlf(/. i.ncreaseItM'!orwar-il ~ II;;>; huad liIml directifig his bod, tnti' a !orwmd -rnlU"g ", ra W',

mom.i.mt~m by pfishilJ,g dOlUn

'pponellt's momentum backward: a.ct tbrow I UTa' nag:e

~,IJIa'

'Opponent resists lhe be ~klhrow,

/d(;k bypullittll btlct..'lfII«rd add to kis backwar;d

mODMnblm, lIud

joIrow ,up wab

,il

"pponenf's momentum sideways (pulling away):

'Dot sw,eep laski, barai

r,llOl,l,r opponent

anri.cip,tl.les lltl! knee 'II /rfJm b.ed,eiilh ,ir,ira Ql\' J'O,I~p,uU Ms rJ tl16 j1:Oor.,

Tdck tJlld pull,!;

IlppeT

lj:WIzy,

body

OVII"

1I.ewill end ,up l'I1eighJlId 1m o,tC!OOl • .flook MSiUUve:ighted fI,e llnsupported tee. 'l-·itlN~ut file-, f(j :wand on. he w.iIJ end ,up'

75

-Rolling Throw / makikomi

Im:imf::ntum is moving forward ... U - me forwaed rolling throw-makikomi fl,(lge-when
.. ill

nage

opponent's

.attacker's weight and momentum are moving for-

out of the way to Position 1. With the top hand, hook the neck and push down as quickly as possible while your grabbing hand pushes up and hack on the sleeve. Both hands workingtogether should give the feel of turning a small wheel.

ard, First grab the sleeve from the side as you move

The simultaneous li/ting ~ pllRlting action of Ute ha11& slmilart» {'hat of turm'ng II ""Jr.

.II

Finishin,g Off
Dnce you get your 'Opponent to the floor, keep him unIer control. If he falls away from you, close the disaace and keep him on his side $0 be can'treach you vith a punch Or kick. Pull up on his arm as you pin hi s xxly with your shin. Using at modified horseback ;umce-kiba dachi-keep the attacker in place between ,u.i of kicking or punching range.
ronr knees. With your back straight, your head stays: Io finish off with a punch from horseback stance, drop lown on the right knee as you twist your hips and reease the punch. Keep the angle of the punch perpenlicular to the floor, Rotate the body with the motion of be punch for maximum power. For more on FfnishIIlg O~

see page 88.

Prtll the. attacker ti/nse to your bad}.

Keep him under controt by puUing up on his sieev« as you d:top into horseback stanee-« kiba dach1. Pin !lim 011 his side
wilh your knee.

Finish QffWilh apunr:h to the ribs or face.

Keep your opponent 011 his side?' otherwise, he will be able to kick or punch y()ttjrom thefl{)or.

ow
01 throw

I omote nage

rsatile -combinations
1be front throw---vmote nage-works best in cornbinariOfi with sweeps or throws, as a finishing 'technique 10 bring your opponent to thefloor. After an in 'ide thigh kick or knee kick that drives your opponent's upper body forward, ornate nage adds to his momentum and easily brings him down. It is also effective when your opponent resists a back throw or pulls forward from a back-of-the-knee-joint kick-teisoku kansetsu geri. In each case, omote nage uses yow opponent's momentum against him.

Use shill block agaills,' ti,e low roundhous« kick.

Wlum the attacker's ie'gdrops forward, grab the sleeve and hook th« neck.

Use lower parry agai:nst the left from ,/dck.

As you pull through, turning the attacker to set uptciso.b.."U kan.setm

ger~ he

l"esi.f~ a.ndpulh'

forward ..

'Open the
Pos ition yoursel

r: ...
'0

you and your opp nent are facing almost, t

same direction, YOW" supporting foot should be close to ye opponent's in 'de le-g for maximum leverage, Grab his inside slee and push it fomard and down at a forty-five-degree angle. A~ [ same instant. your boobng leg drives your opponent's inside ~ backward, The a tion i e opening a scissors: as you force J upp r body fo joo·" e the inside leg back and remove I
upport, Remember: timine azainst • v -- c ".b'" it' m ch more tiriug to use power instead

'. Push the sleeve forward and down at a forty-five-degree angle to Force the opponent's, upper body off balance. '. As With the back throw-ura
,I

nage~ a tam ing action of the hooking leg to drive back the opponent' leg.

Extend your rum and

]eg fully,

••

• Time the arm and leg action together.

It/OM' willi btside ,llligll kick ,anil refract the kicking wg.

Pollow up "~ilh omore na,ge. PlU;,/zforward mz the sleeve all}1 sam« time you dri'lI(! back tlU! hooking leg.

II' II:rs momenlu,.m, ,agllin,~t [,im b:; applying a forwm:d' throw ,'f! ~ ~anu! dire:Cti011 that ,he 1& already lealling.,

.Drive JPJI,' (ltlaJ: ker to the floor and lolla W 'IP wiJ II tI. 10 JJ1,fjrpwld

7!

Throw I Bra nag«

throw opponenfs DflmfntlIDl· moying backward
1.1... ",......,...

~::ron-.Ir_;ki k:1~::;ushi-lbyswinging in and pushan your opponent's upper body as you drive from a two-handed grab pOsitioD-hikl """""L_rhi-to follow up a knee kick. When the oprecoils backward from YOII]f" knee kick, touch if to load up for a follow-up knee kick and ~ upper body with your forearm.
your leg behindhis inside leg. driving back g in the opp site direction. Use the back.

back throw from a one-handed grab

.. Grab the sleeve of the attacker's inside arm and pu his lead houlder acres your body as you hook h:
leg. • Bring your free hand to the opponent's chin. tumin

his head! toward you so be can' ipull free in the Oppl site direction, You can also apply pressure aero s chest or with the forearm to- the lead collar bone.

• Apply backward pressure to his upper body as yt drive his inside leg forward. The scissor action of'ln

upper and lowell body will force him off balance.

'. As he start ro go d.OWIl" keep his body close by swin; lng open your outside leg and pivoting until he's l the floor ..Pin him in place with your knee,
Back throw~rUi.nage

etose.

Mill fhe left hi-b',erparry, dralf' a'l! IruJacker~s.leg pasl }'our body to keep lIim

Grab th« sleeve wiln tire

OU-ill/de

han«

J) Drive hllek ;VQI." i1ldd't too;

(JppOll~nl"S

a's 2) liu! in idt'i hlln'd ehin. 3)' For addititmal ,lflVel'll e, swm

.n·u.........

foo, as J'(mpivot on llje ball ,a/chi' }V,rl,,. Opplr}:tl'ent i'l if CirCI~Ia,. motron

m ith-hookin fi
to

and. all/J"'" :/00

PMlj't

pinning

the drilling /oul and

t'he opponent
011

Dse

his side.

it to pivo,t QPl!lI. Ke,ep in

c'()ntrtJ

.fOI1I' 1fl'IU'SO

im~ide leg backward into tlU! As Mg. ill

JOlI
,(1

driv'i! the attacker~'11eg backwnrd, pltsh on the (:hin

cire,f' Ill" mol'itm.

'oot Sweep /ashi

Ie

barai

'hen your opponent pulls away ....

Front Leg Sweep and the Driving Foot veep are better suited to the Doe-handed ab---hiki kuzuski. They are espeeially effecrewhen. your opponent is trying to pull away xn your grasp. or as follow-ups. to high undhouse kicks when yoar opponent is DOl. ell-grounded, The Front Leg Sweep unbalces your opponen t by scooping the ankle of s front foot and dr.awing: it forward as }'txl ; your opponent pulls backward, give .~ up~rbody an extra push while zeeping Iris back leg, rhe leg or foot swee~shi bami-a scooping and lifting action opponent's ankle, It should sw leg away from JUs body at a f

III backward on his upper bod}'. The !DriT.. g Foot Sweep requires closer posib.onin~
"EM ulnf1r.act11111' o/Ille potU kg
upfuro5 the oPPol'lelll's leg ,Ul'Id I@11U Pody in opposite directions. Force the. upper body Qj] balunCO'l YOI~ target the back leg wiill a piJ sweep.

an

'.'Keep your hooking ankle bent at ninety degrees. Th will trap the opponent's leg and keep il from shall" free during the sweep.

llH If high 11I!ItI;mM<IIIJZ'

floo.J( ~/le (ulkle (J.nd pull bad;: on "flit

s'irl)ulde.r.

After the lower parrJjRdd 0: low Niu·ndhOltse kick be/are the attacker's .kicking/o()t t~llches dowu. lithe .inlp'aCr ~ur11'S l:lis f)().d, Sf} ,1iis back is facing you. . .

)riving foot sweep

Trap the outside of your opponent's support.

ankle; force hi s upper body past its

_Ho~kthe opp~ment's ankle-e-not IUs calf o~ the back. of his knee. ~u~pmg mto a chair that ruts you at the knee will only stop you, but tnppmg over a rock can take you down because it traps your momentum down low. Whhfoot sweeps, always think low. Push with your upper body; book with the ankle ..
Drivi"g foot sweep

Front

As YOllr opponent's attention is drawn upward, hepulls .awa] anticipating a follow-up MgT, roulldhotJ.se kick. Sweep Ollt hi:~ inside 1m,t as Y(JiJ. J iJ II /Jig weigllt baek to the imMe foot f

.front !1hou.ld£r~Once lleJs down finish him off.

As you ~weep h.is JQOt old from .lmdef him, pull baek an the

IIp

If the attacker leansawo:y from the roundlwuse kick,!ollow by ,driving iflto him and redoubling Itis momentum.

As he lunges off balance; swee,pl .his back leg tlnd upro.ot him. Once he'g down; .fillish "Im off.

.. grab the opposite shoulder and {)ull backward on his

eveas you sweep his .ankle from th« inside out.

Open Jour body and drop into Iwrseback stanc» as _~OUF aJtacker goes down. Sta, close and keep JUIU undvr (;all!ro' to finis}. him .Qff.

lnside Thigh Kick I uchi momo

geri

Two ..handed grab and inside thigh kick

Enshin s.n:ategy typically moves I1S outside an attack in orderto cou teranackfrem a blind spot position. The inside thigh kick, howev. prevides an immedietecounterattack from a front position that drai tlle opponent forward and off balance. Even if the inside thigh ki does nottlke down yOW' opponent, it will unbalance him enough create 8JIl opening for 31. strong movement to the blind spot.
'll)lU' o.PPI1JD.ent's neck with two bands to control his upp bod • Pull his head forward as you diri.ve a shin kick to tlJe insi, .• thigh. (You COOl also target the lead ankle with the top of yc foot, drhTiJ1g it backward and to the outside.) By forcing t o,pponent's upper and lower body in opposite directions, you C ~_. upend him.

!\ttacking from the inside o·~ ....

1\

:ram:sfering vertical force into its me against the other (A), Ho he bracing power of one leg of

triangle can support enormn

~gm

rtructure cannot stand (8 _ >ppo:menfs legs in fighting SiWlCe

bm:ed ~ ... the

~.

aiangle, [f you Wldermioe "'"SII;i~r;;: )y driving it outward from •."" stance illcollapse.

.~ kid:

""om best

ill close distance,

where you can take control of the opponent's

A,gains:t the riglu mundhouse kick, moveto Positw.n 2, outside the kick's impact.z.one. As the kickin~ .leg louche.]] down, ,c{}unteratUu:k with a short underpuru:h to keep the opponent busy.

'Iake out your opponent's support by drivbIg your power inside out
• Thi IS ODe of the few times you don't move first Move straight -in at an inside-out angle.
OUtS1!

• Control the upper body first: your opponent's le hand. neck. and head. • Force down the head. • Pull the opponent' weight onto his front foot. •U shin th imide
5UJJplJIIt

as

to create maximum impact again eo drigb. Your kick will take out h his upper body forward onto h

fmntfoot..

• FOT rget the inside of the thigh orlJJl.lt.le lile pulling forward on the upper r:ly. When targeting the allkle~ lM'e Q oking motion of the ankle similw- to )/ swtep-asbi beral,

opponent. then :Followup

uchi
mORW

variety, sho

an ou: i

8,eri.

r1 him:forward and 1.1;11 balance

1101. attack the supporting

leg.

As your opponent goes down, turn his sJlOu.lders and open your hipsjor ieverag«. He wiUfall if. the space y.(}u have just v«cQted, and you end up positioned close enough to keep contrO'l.

w imm:edilftely

(mil hook the neck at dose diftance to take control of the attacker'li upper body. fi'oll()'w up with the in.sidethi'g i: before moving ma to the blilldspotposi:tion.

85

One-Handed Grab / Hiki Kuzushi Two-Handed Grab / Hiki Mawashi One-Armed Hook and Knee Kick

52
54

,56

BI,ock & Grab, Combinations from, F'ighting IStance ~.' .58

Upper' Block .. ~5:9 Midd1e Outside plan}' . , . 60 . Lower Parry . . . 62 High Parry, Lower Block ~'",.,64 Shin B,lock ,.',.. , 66 Crossover Shin Block ~~..68 Back Leg Shin Block ~.. ' 69 Foot Stop . . ~70 Offensive Movemenr=-Atrack and Grab .', . 72 .
Sabaki Ta~edowns .. ' . 74 Forward-Rolling Throw. '.. 76 Front Throw .'.. ' 7:8 Back Throw 180 Foot Sweep 82 Inside Thigh Kick ~. .,84 Back-of-Knee-Joint Kick ~.. 86 Finishing Off ,.. , 88 . ateov· '. C----b, 'mm· 'D'e"e-nse",~'.. ,e:.. Oft'-nQ ..... 9"0' • ,eJ "_om ,,', g ,'_1'1', -ueJU.Lle ',',', ~ Sabaki Defen ive Stratezv: Rhythm & Timing ~~. '9 2
_I_ ',_

Saba

~'f!I!'

,',

'S,trl,

,'.,

Inside Thigh Kick Setups "

108,

Axe Kick from Fighting Stance ... 1[0

Following up the Axe Kick ... 112, Sabaki Follow-ups . . ~114

More Sabaki Follow-ups 116 Drawing the Attack': Sabaki Traps . '.. 118 Sabaki Traps For High Roundhouse Kicks . '. .' 120 Sabaki Traps For Punches ,',.'~122
° ,.
0,

Ald,vanced Defensive Str,ategy . " . 124

Sabaki Escapes .' . ~126 Escaping One-Handed Counterattacks .. ' ~ 128 Escaping the Two-Handed Grab .. '. l3o. Defense Against Combination Attacks . " . 132 Defense Against Middle ... istance & Driving Attacks .. D Defense Against Combination Kicks " . ~ 1361 Defense Against Spinning Back Hook Kicks .'.. ]38
More Defense Against Combination KJ,cks .' .. ' 140

I.

134

In "he [)oj~Trainin,g

... ' 142

,0 • ,.

Training Philosophy, .. ' ,.144

Sabaki Training With Armguards 146 More Sabaki Training W~th Armguards .,
Ii ~

148

HoldingArmguards

Against Combination. Attacks. , . , 130 .

Hea~yB,ag,Training ~. ,. 152
How to Use the Heavy Bag
"1"' + •• '

154

'!no __

1'""1 __

~ L!

~ ... ~ _ ~

11 ,1t'.L"

_ ,re.... ng ,...-., hoi·'Iq'ues ,. B _'IIp"':: . .Lee:. '-,_.

!iJ

..

182. ".,',.'",

Conditioning the Hands, Feet, and, Shins ~, '.'184, ~ Breaking Techniques for Fixed Boards ... ~,18,5 Positioning the Break .'~~186 Breaking Suspended Boards . 1:87 The Horizontal Bat Break . ~~18,8 Multiple Bat Breaks l Vertical Bat Break ~'.'. 189' Ice Breaks . ~~19'0
,0 ~

Self~Defense . ~ 1'92 Self ... Defense & Sabaki Movement ~~~194, Defending Against the Grab ~~, 19,6 ~ Self-Defense Against Multiple Attackers, ~~,.19:8 . Grappling Techniques . ,~ ~200 Grappling Takedowns . '.. 2 02 erial Sutemi Waza 204 ore Sutemi Waza ,.~,.20'6 elf-Defense: Using What's At Hand .. ' ~2'0:8 elf-Defense Against A Handgun 2.110
,i,
1

,i

"

I.

~•

"I

Ibaki Challenge ~. .,212

-r_""~

.~~~~d Stance '&, Fighting Stance . ~. 2 ---,,_. Punch from sanchin dalchi .. .' ~4 Side Strike & Backhand Liver Strike " . ~6 ~""'_:=;::Ii.II...-......' d Roundhouse Strike & HookPuncb " :8 ~ "trike from Horseback Stance. ;;I. 10
........
1

,i

DaSJrB ,ks.;. 12 .__ Block & Middle Outside Parry

~.!-. ..__,.,,_ ...,
'_a:.;>"

I•••

14
E

Parry ..~~16

_.

Punch, Combinations in Basic Stance .. , 18

, , .. a:Ii!!!! ell.......
iIIl. "_ :_.-

__

.........

2',0, ""', ..High Stretching Kick ,& Axe Kick ., "c,'k 2-'4 -=---__ Kick & Front Kick .' ... 25
._. 1'"OII''!iI:'____'

Ii

Ii

22

""'-~-""''''LLIIlous,e

Ki,ck

I ••

,I

26

retching Kick, Side Kick ,& Knee-joint Kick , I. '. 28 ~.-...... ".ick & Spinning Back Hook Kick , . .,30 . "~~hination Kicks in B,8SicStance ... ,. 32Basic Training Routine ... I. 34
<-.-o!:.a.." _

1 abaki Mov1ement-B,lind, Spot Positio'R ... ' 36

_--..---abaki Pattern ~. ~38